นิตยสาร Twist

The international magazine for natural fibres, yarns and fabrics

Twist

Issue 60 April 2014

Are you ready for this?

Performance Merino

Analysis of the latest global fabric trends US Olympic sourcing journey Myanmar shows off silk skills All American textile success

www.twist-international.com

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Contents

April 2014 Regulars 6

Comment The view from the editor

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News Global update

46 The Markets Global raw material prices 49 Events Shows, exhibitions and conferences across the world

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Show reports Reporting by Elizia Volkmann, Janet Prescott, Tara Hounslea and Charlotte Rogers 14 Hong Kong 16 Pitti Uomo 18 Pitti Filati

Cotton 32 Global Cotton Market Review Analysis by Matt Robinson

Wool 12 IWTO focuses on wool wellbeing

20 Munich Fabric Start

34 Performance Merino hits its stride

21 Colombiatex

44 Q&A: Working Wool

22 Milano Unica

US focus

24 Première Vision

36 Road to Sochi Wool supplier Jeanne Carver describes her Winter Olympic journey

26 Texworld

Silk 28 Myanmar shows off its natural flair Jessica Mudditt reports from Shan State 30 Meet Modern Thai Silk

Cashmere 31 Todd & Duncan, NYC style 2

39 Ramping up the heat Ramtect lightweight insulation celebrates a 100% US supply chain.

41 US textile industry Reported by Marsha Mercer, Special to Stateline.

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Issue 60 April 2014

Twist Editorial calendar 2014

This month’s front cover features Icebreaker’s latest Merino performance wear innovations for autumn/winter 2014. Find out more about Icebreaker and other performance Merino brands on pages 34-35.

February/March • Sourcing Spring/Summer • Wool & Early Stage focus

April • Menswear and womenswear fabric trends • Silk fibre focus

Next month • IWTO Congress special distribution • Linen fibre focus

May • Yarn trends from Filo • Linen fibre focus

June • Rare & Speciality fibre focus

July/August • Super luxury • Cotton fibre focus

September • Sourcing Autum/Winter • Cashmere fibre focus

October • Japanese translation issue • Mohair fibre focus

November • Menswear and womenswear fabric trends • Wool & Early Stage

December • Knitwear • Cotton fibre focus

January 2015 • Rare & Speciality fibres

Twist is published by

World Textile Information Network Ltd. West One 114 Wellington Street • Leeds • West Yorkshire • LS1 1BA Tel: +44 (0)113 388 4882 • Fax: +44 (0)113 388 4844 E-mail: info@wtin.com • Internet: www.wtin.com ISSN 1759-0418 Subscriptions (10 issues) Worldwide £320.00 For subscription details, please contact Luke Hanratty on: Tel: +44 (0)113 203 1267 E-mail: lhanratty@wtin.com • Website: www.twist-international.com Printed by: KHL Printing Co Pte Ltd • 57 Loyang Drive • Singapore 508968 Tel: +65 6543 2222 • Fax: +65 6545 3333 Copyright © 2014 World Textile Information Network Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the publisher.

Other specialist titles serving the global textiles industry from World Textile Information Network PUBLICATIONS

Future Materials The latest R&D and product launches in bite-size chunks, with a focus on technical and industrial textiles, but also including relevant developments in glass, film and plastics, paper, composites etc.

International Dyer In-depth coverage of the world’s textile dyeing, printing and finishing industry.

Knitting International The leading technical and management journal for the hosiery, underwear, knitwear and knitted fabric manufacturers.

Nonwovens Report International Europe’s only English-language monthly publication devoted to the world’s nonwovens industries.

Textile Month A global focus on the machinery, raw materials, processes and issues affecting the textile world.

International Carpet Bulletin Essential information on the technical and commercial aspects of carpet manufacturing worldwide.

The subscription package includes the International Carpet Yearbook.

Digital Textile The world’s only magazine dedicated wholly to textile applications in the rapidly developing field of digital printing. Delivering vital information for both users and suppliers in the industry’s three major segments – traditional textiles, flags & banners, and garments.

NEWSLETTERS • Executive Market Report • Wool Market Report • Nonwovens Report International • Future Materials DIRECTORIES • Index to Textile Auxiliaries • International Carpet Yearbook • Nonwovens Report Yearbook

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BRING BACK THE COTTON

Research told us that over half of all consumers would be dissatisfied if cotton were taken out of their favorite clothing.

Now they’re starting to speak up. The good news is, 56% of consumers say they’re willing to pay more to ensure their T-shirts and denim jeans stay cotton rich. So if you’re thinking of replacing cotton to keep your costs down, you may want to think again. After all, there’s a reason cotton is the fabric of our lives.

cottoninc.com AMERICA’S COTTON PRODUCERS AND IMPORTERS. Service Marks/Trademarks of Cotton Incorporated. © 2013 Cotton Incorporated.

Source: The Cotton Incorporated Lifestyle Monitor™ (www.CottonLifestyleMonitor.com)

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COMMENT

The Twist team Editor Charlotte Rogers crogers@wtin.com Fabrics and Yarns Editor Janet Prescott jprescott@wtin.com Fashion/Art Direction Elizia Volkmann evolkmann@wtin.com Japanese Correspondent Michiharu Nagamatsu mnagamatsu@wtin.com South African Correspondent Bruce Paterson bpaterson@wtin.com Peru Correspondent Francis Rainsford frainsford@wtin.com Display & Classsified Advertising Sales Managers James Wilson jwilson@wtin.com Alex Cooke acooke@wtin.com Editorial Design Jessica Holgate design@wtin.com Subscriptions Luke Hanratty lhanratty@wtin.com Managing Director Mark Jarvis mjarvis@wtin.com

Movers & shakers Speaking at the recent Intertextile Shanghai Apparel Fabrics show, Mr Xu Yingxin, executive vice president of the sub-council of the textile industry (CCPIT), described China’s strategy for going global. In reaction to rising domestic labour and raw material costs, Yingxin spoke of a three pronged attack for international success.

The first prong is investment in Chinese manufacturing overseas in countries such as Vietnam and Bangladesh. Next is expertise, relocating R&D hubs to places like Italy.

Lastly is the acquisition of foreign manufacturers.

One company highly adept at global stratagems is the Shandong Ruyi Technology Group Co Ltd, which recently acquired an 80% stake in West Yorkshire worsted fabric manufacturer Taylor & Lodge. The acquisition is part of a joint venture agreement with the Bulmer & Lumb Group Ltd UK (20% share).

A new company has been formed, known as Taylor & Lodge (Huddersfield) Ltd. It is hoped Chinese giant Shandong Ruyi will improve the Huddersfield manufacturer’s access to international markets by upgrading its equipment and expanding marketing efforts.

To this venture Taylor & Lodge obviously brings its long established manufacturing and design skills.

Shandong Ruyi certainly has form for acquiring overseas interests. In March 2013, the Carloway Mill Harris Tweed entered a joint venture with the Chinese company.

The JV promised an expansion programme for the Hebridean manufacturer, including investment in machinery and a recruitment campaign.

More recently, the Chinese group invested $100 million to acquire a 52% stake in Pakistan’s Masood Textile Mills, a manufacturer of cotton and synthetic yarn, knitted and dyed fabrics and garments.

The dynamic taking place appears to be; as China looks outwards to increase its competitiveness, so local sourcing is becoming ever more popular in the UK. The announcement of the first exclusively British sourcing event, courtesy of Make it British (page10-11), is a case in point.

Yet, despite the push from a Governmental level to manufacture in the UK, how sound is the business case? Speaking at the recent Association of Suppliers to the British Clothing Industry (ASBCI) conference, Alek Adamski of financial consultancy Kurt Salmon, noted the impact rising affluence is having on China, where production for the domestic market is driving costs upwards.

According to Adamski, if companies looked at the total cost of sourcing from the Far East – the ‘Cost to Serve’ – local production would be more viable.

Back at Intertextile Shanghai, Xu Yingxin spoke of the continuous trend for textile knowledge transfer, which originally moved from the UK to the US, East Asia and then China. In light of the international expansion of mega groups like Shandong Ruyi, could knowledge transfer actually be coming full circle, bringing experience built up in the East back to the West to strengthen textile manufacturing in countries like the UK?

Charlotte Rogers Editor crogers@wtin.com 6

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NEWS

Ayacucho produces record vicuña yield Francis Rainsford reports During the 2013 chaccu (round-up) season (May 15 - November 15), the Region of Ayacucho in Peru produced 3,400kgs of vicuña fibre - an all time record.

“To organise a total of 238 chaccus throughout the region during this last season is an immense achievement,” said Ismael Oscco, regional director for agriculture in Ayacucho. “Each chaccu has to be sanctioned by a legal resolution which takes time and effort to prepare.

“The local communities involved in rounding-up the animals and shearing them were the prime beneficiaries, with an average market price of US$500.00/ kg for the fibre produced.”

The total vicuña population of Ayacucho is around 50,000. This year a problem of excessive numbers in the Lucanas province of the Pampas Galeras National Reserve was discovered, where there was insufficient pasture to support the numbers of vicuñas grazing there.

As a result, a significant percentage of animals were found to be sick and under nourished.

Oscco has requested that the Agriculture and Environment Ministries grant permission for these animals to be relocated to an area in the north of the region where grasses are in abundance.

On a negative note, it was reported that, during the last days of December

in Pilpichaca in the neighbouring Region of Huancavelica, an unknown group of hunters killed 93 vicuñas and escaped with their fleeces.

The fibre obtainable from these fleeces is estimated to total 18kgs, with an overall value of around US$ 5,000.00.

Record vicuña yield recorded in Ayacucho region of Peru.

Alpaca Fiesta preparations underway Representatives of Promperu (the Peruvian government’s commercial promotions body) have met with members of the International Alpaca Association’s (IAA) organising committee to discuss plans for the upcoming 5th Alpaca Fiesta (November 10-15, in Arequipa, Peru).

In 1997 the Alpaca Fiesta focused primarily on the fibre producers and their animals (60%), with less emphasis on the commercialisation of alpaca

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products (40%).

These days the commercialisation of alpaca products is the main driving force of the production chain and, in order to reflect this, this year’s event will include a programme of activities favouring fashion and garment manufacturers, with around 30% of activities focused on fibre producers.

Promperu’s flagship event Peru Moda, which will be held in Lima from April 9-11, is to host a spin-off event during the Alpaca Fiesta entitled 'Alpaca Moda.'

Taking place during the three day celebrations, Alpaca Moda will feature conference presentations, round table business meetings and four fashion displays on the event showground.

The goal of the Fiesta is to promote sellers and buyers of alpaca garments, as well as established and new designers using the fibre. The highlight of the Alpaca Fiesta is set to be the evening fashion show, taking place in an historic part of Arequipa.

Access breaking news and analysis on textiles at www.wtin.com

05/03/2014 13:44

NEWS

Japan celebrates mohair love Bruce Paterson reports from South Africa In an effort to stimulate interest for mohair among young consumers, Mohair South Africa (MSA) has been supporting a designer development programme at Mode Gakuen, a prestigious school of fashion design and make-up in Nagoya, Japan.

Opened in 1966, Mode Gakuen is currently Japan’s largest specialised training college, which boasts campuses in Tokyo, Shinjuku, Osaka and Nagoya.

The schools hold lectures by specialists active at the front lines of the industry.

This top design institution has links with several prestigious design training facilities and universities in France (Academie International de Coupe de Paris (AICP)), England (London College of Fashion), Italy and the US

(Fashion Institute of Technology New York). Graduates from these facilities are employed by top designers from around the world.

MSA supports the students in their third year of design, supplying Mohair material, yarn and information to assist them to design a collection of garments for which a prize is awarded annually.

Support is provided by local and international mohair companies.

The much sought after prize includes a trip to South Africa, where the students are taken on a complete mohair tour from farm to factory. This trip includes a visit to an Angora goat farm and mohair brokers, where the fibre is offered on official auction sales. Mohair processors show how the mohair is washed and

MSA is supporting designer development at the Mode Gakuen School of Design in Japan.

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combed. Next the winning students visit spinning mills where they witness the creation of yarn. A final trip to a weaving mill completes their ‘mohairising’ experience.

The winning entries are exhibited in Port Elizabeth at Nelson Mandela University’s annual graduate fashion show for design students, a project MSA also supports.

Before coming to South Africa the students in Nagoya take part in their own graduate fashion show, which is a very impressive affair that attracts coverage from six television channels. Tickets for the 15,000 seats at the fashion show are hotly contested.

Last October the students’ visit to South Africa was brought forward to coincide with the International Mohair Summit in Jansenville, a town in the Cape midlands. Footage of the trip was screened at the fashion show in Nagoya.

Last year’s visit also coincided with the announcement of Nihon Vogue magazine’s mohair knitting competition winners. Nihon Vogue and Mohair South Africa began collaborating on the mohair design competition in 2012 for two categories (fashion and accessories).

The 23 finalists were all present at the South African Embassy in Tokyo, where the award ceremony took place. Madame Simoda Naoka, a recognised and revered sensei (teacher) who has released several publications on knitting and handcraft, acted as competition judge.

Around 70 visitors attended the function, which had an entirely South African theme. Japanese guests were treated to South African wine, biltong (dried wild game meat) and dried sausage.

Mohair marketing across all boundaries and world destinations remains a major function of Mohair South Africa. Despite volatile exchange rates, the organisation is trying to find creative solutions to promote mohair fibre.

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NEWS

First exclusively British sourcing event launched

UK website Make it British has launched the first sourcing event exclusively for British clothing, textile and leather goods manufacturers. Taking place from June 11-12, Meet the Manufacturer aims to connect buyers with UK factories in a push to bring production back to Britain.

This inaugural event comes in response to the huge increase in requests on the Make it British website from designers, buyers and sourcing directors looking for quality British factories to make their products.

“The Meet the Manufacturer event is something that I’ve been thinking about doing for a few years now,” explains Kate Hills, Make it British founder.

“I realised that there was no one place to go to find UK factories to make clothing and textiles and there was a real lack of information out there about

where they all were. The manufacturers themselves are also not the best at marketing themselves - they’re all too busy with the production side of things to be chasing after new customers.

“I also saw a huge increase in enquiries to the Make it British website from designers looking for manufacturers - it’s up 250% on last year - so it made sense to provide an event where they can all get together.”

Hills believes there are several factors working together to build demand for UK manufacturing. The rise in the cost of sourcing from the Far East has made UK production appear less expensive by comparison. The Rana Plaza disaster in Bangladesh brought into sharp relief the ethics of distant supply chains. Frenzied demand for fast fashion also means having a factory on your doorstep that can provide a quick turnaround is beneficial.

“From a consumer perspective, I think that the Jubilee and the Olympics created a pride in Britain that has carried over into other things,” Kate observes. “If you buy products made in the UK it helps to create jobs in this country, which is important in times of recession.”

Meet the Manufacturer will be held at the Truman Brewery on Brick Lane, in the

Kate Hills, Make it British founder.

Enquires to the Make it British site are up 250%.

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heart of London’s East End, an area once home to many of the city’s weavers and clothing manufacturers. Kate is working alongside John Walford, the original founder of Vauxhall Fashion Scout and director of Walford Shows, who brings his experience of high profile events such as London Fashion Week.

The exhibition will concentrate on companies making for the fashion sector such as knitters, weavers, printers, garment manufacturers leather goods makers, label suppliers, pattern cutters, CMT units and lingerie factories. “We are aiming to have a broad enough mix that you would be able to come to the event and find all of the suppliers that you would need to put your collection together,” Kate explains.

Buyers will also have the opportunity to pre-book one-to-one appointments with key manufacturers. During these informal meetings, buyers and designers will have 10 minutes per manufacturer to discuss their requirements before moving on to the next appointment. “Just like speed dating, they will be able to decide after the ten minutes whether they wish to take the relationship further!” says Hills.

The seminar programme will aim to inspire and educate people about producing

Access breaking news and analysis on textiles at www.wtin.com

05/03/2014 13:50

NEWS

The Meet the Manufacturers event will combine seminars with pre-booked, one to one appointments.

fashion and textiles in the UK. The first day will deal with the issues faced by bigger companies, such as reshoring their production to the UK or adding a ‘Made in Britain’ collection to their range. Day two will be of interest to smaller businesses.

Despite all the advantages of local sourcing, Hills acknowledges that challenges still remain, in particular for mass manufacturing: “High Street retailers have all started looking at UK production

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again, however the supply chain here is quite fragmented now and it’s not easy to find out where all the British manufacturers are, I want it to end,” she explains.

“There are also some things that just aren’t made here anymore - cotton shirting, for instance - which makes it difficult to put together a comprehensive collection of entirely British made product.

“The other barrier for the big retailers is that most of those manufacturers that

are left here are all reasonably small.

However, I am starting to see factories expanding and taking on new staff for the first time in ages, and even totally new factories opening.”

Ultimately, Hills’ aim is to create more business for UK textile manufacturers. “If this show can help bring them into the limelight and find them new customers then my work will be done.” www.meetthemanufacturer.co.uk

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WOOL

Well wool Elisabeth Van Delden, International Wool Textile Organisation (IWTO) secretary general, explains why product wellness is a strategic priority for the global wool industry.

A critical consumer trend is toward a lifestyle of health and sustainability (the so called ‘LOHAS consumer’), a development permeating consumer decision making processes across all markets, from food products to building materials, motor vehicles and apparel choices.

This development represents both a challenge and a profound opportunity for wool. Globally, over 4 in 10 consumers still nominate perceived prickle and itch as a barrier to the purchase of wool products, whilst 1 in 10 claim that they are allergic to wool.

Yet wool’s unique technical properties confer an almost unparalleled natural ability to manage the microclimate between fabric and the skin of the wearer. The fibre resists the development of body odour, removes toxins from the air and provides inherent flame resistance without chemical modification.

These technical features are of relevance across the wide array of wool product market categories and diameters.

To address these challenges and opportunities, IWTO has initiated a research project that builds on pre–existing scientific evidence of wool’s inherent wellness credentials.

With the support of its members, the IWTO is creating opportunities to establish new consumer product markets and categories.

These ‘industry good’ opportunities will provide a longer-term platform for product and market development, inform fibre advocacy and marketing efforts, and support global fibre marketing efforts such as the Campaign for Wool.

Currently a technical review of wellness science is under way, conducted

by Dr Rachel Laing from the University of Otago, New Zealand. The initial results will be presented during the upcoming IWTO Congress in Cape

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Town, April 28-30. (www.iwto.org/ events/upcoming-events/38/ ) Substantial research efforts are already underway in a number of IWTO member countries. Australian Wool Innovation (AWI) has been supporting a study on sleeping with wool at the University of Sydney, led by Associate Professor Chin-Moi Chow, with support from Ph.D student Mirim Shin.

With wool having been previously linked to good sleep outcomes, a strategic investment target for AWI has been to collect and collate scientific data to support marketing statements regarding sleep and sleeping patterns, among other important wellness topics such as skin health.

The second phase of this adult sleep study has successfully been completed.

The key findings are that, under these conditions, wearing Merino wool pyjamas

significantly reduced the time taken for the participants to fall asleep, thereby contributing to increased total sleep time.

A related stream of research is under way, conducted by Associate Professor Amanda Richdale at La Trobe University.

The work focuses on the impact of the sleep environment on sleep quality outcomes of children aged between two and five, whereas Associate Professor Chow’s University of Sydney study focused on adults.

AWI’s Dr Paul Swan argues such research is invaluable. “The great value of these research investments is the ability to build on a very solid and contemporary body of scientific evidence that wool is part of the recipe for a good night’s sleep, indeed part of a lifestyle of health and sustainability.” www.iwto.org www.merino.com

Dr Chin-Moi Chow and Mirim Shin of the University of Sydney, with Dr Paul Swan of AWI. Courtesy of AWI.

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TRENDS

Crazy about Hong Kong An influential platform for burgeoning fashion talent, Hong Kong Fashion Week focused on menswear innovation and knitwear expertise. Elizia Volkmann reports.

The opening Fashion Extravaganza of Hong Kong Fashion Week has become an intriguing event to follow and one which seems to be a signifier for the maturing fashion market in China.

The myth about the great Chinese luxury gold rush may now be being debunked. You only have to gaze to the left of the Hong Kong Exhibition Centre to see H&M’s LED advertising animation professing ‘H&M loves Hong Kong’ covering the whole of a tower block building. Forever 21 opened its first store two years ago and now young Hong Kong citizens queue around the block to get a job application to work on the shop floor.

The reality is that China has a similar market split; it’s just that the scale of its millionaire class is larger. The trend is away from the conspicuous consumption of luxury branded accessories towards individual style and a craving for boutique brands. Hong Kong Fashion Week is increasingly a gateway for these types of brands.

It is of note that Vivienne Westwood closed the week with a runway show of 55 looks. A truly mammoth event, the collection was aimed at positioning Westwood beyond another 'must have' handbag brand, towards engaging with fashion consumers.

Each year Hong Kong Trade & Development Council (HKTDC) invites overseas designers to take part in its Fashion Extravaganza. This year those taking part included Parisian designer Calla Haynes, Madrid-based Amaya Arzuaga, Masha Ma, who works between Paris and Shanghai and Hong Kong’s Henry Lau. The show was stolen by Arzuaga’s exquisite gowns in Mikado silk. Her work is both sculptural and architectural, yet has a soft femininity. This collection was unusual for Arzuaga as it used a palette of coral red, yellow and white rather than her customary

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New talent Nelson Lim's collection was inspired by vintage video games.

‘The trend is away from the conspicuous consumption of luxury branded accessories towards individual style’ black. The next collection will be a return to black, celebrating 20 years in fashion.

Masha Ma showed what a fusion of Chinese talent and training at Central Saint Martins can produce. Having worked under Alexander McQueen before his death, Ma went on to set up her eponymous brand and diffusion line, Ma by Ma Studio.

Regularly showing at Paris Fashion Week, Masha Ma has developed a celebrity following from Lana Del Rey and Lady Gaga to Chinese star Laure Shang and the Swarovski Runway Rocks Show. Her designs marry bold silhouettes with a contemporary take on luxury detailing and prints.

Henry Lau showed a surprisingly old fashioned collection of over the top evening gowns, accompanied by a full musical production. If there is one thing Hong Kong Fashion Week always delivers it is the quality of its video projections. Sadly even the best production cannot mask bad design.

The Young Designer’s Competition showed the trend towards innovation in menswear is a global phenomenon, not just restricted to London Collections: Men. The two best collections were both menswear.

The overall winner Nelson Lim created a sharp, innovative collection of menswear inspired by vintage video

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TRENDS

Designs from the Knitwear Symphony.

games. His maze game suit and printed baseball jacket were inspired. This is a young man to watch. Lim’s designs represent the kind of innovation the menswear market is ready to embrace.

The rest of the exhibitors mostly appeared to create clumsy graduate style collections that looked as if they were pinned at the last minute. The question is, how does a young designer progress in Hong Kong when there are no big established fashion houses where they can learn about the business?

Sister show to Hong Kong Fashion Week, the World Boutique is a more ‘outrospective’ event. Last year only one Peruvian designer showed his collection. This year Peru Moda presented a major stand.

The Sweden Fashion Council brought a number of young designers to the World Boutique seminars and press meetings.

Hong Kong is proving to be a useful place for emerging overseas brands to investigate how to enter the Asian market.

One of the most useful aspects to Hong Kong Fashion Week are the trend and industry seminars from important forecasters such as WGSN and Stylesight.

The focus on manufacture is a real draw and gives an overview for spring/summer 2015 for designers and producers.

Hong Kong Fashion Week is fast becoming the home of interesting competitions. This year the organisers staged the EcoChic Design Award, which was preceded by a two day forum hosted by Redress, an NGO focused on the future and sustainability of the fashion industry. Many of the young designers in the final seemed to

Emerging talent was rewarded on the catwalk in Hong Kong.

veer towards up-cycled denim, with varying degrees of success.

The most successful and interesting collection came from runner up Louise de Testa, whose sportswear and geometric pattern motifs are the sort of design Redress/EcoChic should be supporting. This collection is commercially viable enough to be carried as a line by sponsors Esprit.

Each year the Knitwear Symphony celebrates young designers and highlights Hong Kong’s knitwear heritage. The two major sponsors of the Knitwear Symphony are Shima Seiki and Woolmark.

Winner Mimi Ho’s collection - Artificial Clouds - used a palette of blues and greys with highly sculptural knits in organic

curling forms. Masculine knitwear was also very strong, with fashion forward design garnering runners’ up awards.

A very strong menswear collection by Andy Chiu (Lost Identity) bagged him the Shima Seiki award. Dr Shima himself presented the award.

The young knitwear designers were mentored by Johanna Ho, who opened her first store in central Hong Kong at the end of January. The award ceremony was interesting not only because of the new talent, but also as it gave Shima Seiki the chance to showcase some of its latest innovations by partnering with designers to demonstrate the capabilities of their knitting machines and software for design.

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MENSWEAR TRENDS

Rock out!

Pitti Uomo rocked onto the fashion scene with a vibrant mash up of technology and design. All eyes were fixed firmly on the future. Janet Prescott reports from Florence.

This January’s Pitti Immagine Uomo was infused with ideas which cheered and reinforced an already stirring menswear scene. The show led the way to the new season with an optimistic whistle. Pitti Uomo showed its customary verve and pace, characterised by the Pitti Rocks theme. Traditional clothing and accessories were enhanced by added technological elements in many collections.

The show took place against a background of slowly improving trade figures in Italy, combined with greater confidence in most markets in Europe and the Far East. Buyers came in force looking for new ideas and styles to refresh their offer, with the major economies leading the way.

Specialist shops, stores and luxury chains were again looking for more unusual design in sophisticated markets such as Europe, the US and increasingly the Far East. There is a special mention for South Korea and China, where interest in quality men’s fashion is growing rapidly.

Pitti Uomo brings together strands of fashion across cultures and age groups.

They are becoming more complex, offering more items and ideas season on season.

Many of these flout demographic barriers and age categories. The jeans area is more than blue denim, encompassing as it does leather jackets, knits, weaves and cottons, as well as high-tech garments developed for sportswear.

Brands and labels offer the classic retailer a complete look, with leather shoes, belts, ties, accessories and layers from T-shirts to multi-faceted garments to be worn together. Formal city wear has many of the elements of leisurewear and sportswear.

Fabrics are a major driver of trends.

Natural fibres and heritage styles were cleverly used in tandem with overtly synthetic technical cloths to give a new lease of life to traditional designs. Natural fibre tweeds and knitwear were mixed

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Visitors to Pitti Uomo. Image courtesy of Pitti Uomo.

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with synthetic linings, membranes and finishes for panels and hoods. These hybrid garments perform and keep their style.

At Van Gils, Woolrich and Cerruti 1881, the emphasis was on quality and fabric/ garment provenance, including microsourcing such as ‘Shetland from Shetland,’ which is proving a potent selling point.

Colour was predominantly warm, like brown, black, dark red or mossy green.

Woven sports jackets had highlights of bright reds and purples in tweeds and overchecks. Canvas coats were seen in red, mustard and blue. Light colours abounded for winter 2014/15, such as greys, camels and a Nordic fur-trimmed snowy look. Pale pastel winter white, cream and pink were contrasted with blue and green.

Unlined jackets in wool tweeds and blended jersey were complemented by layers of knitwear. T-shirts and soft cotton or wool shirts were topped with padded jackets or gilets. The look is a rugged one, with a touch of the trapper. Fur trims, flapped and concealed pockets, and zips worked together with padded jackets, as seen at Bugatti.

Large, flamboyant scarves in soft woven wool, cashmere, viscose or cotton were knotted casually or cascaded from the neck.

Designs ranged from florals to geometrics or block colours. Unlined jackets or jersey blazers layered for an urban capsule wardrobe, topped with black techno jackets, traditional pattern folksy knitwear and shirts for a bulky and macho look.

‘Soft’ accessories were a main focus, such as the highly patterned and coloured socks presented in deep jewel shades of blue, red and orange by Corgi, Dè Pio and Pantharella. Drakes of London and Kinloch Anderson showcased colourful silk ties, foulards and kerchiefs.

At the same time extremely classic, underplayed looks used luxury fabrics and traditional accoutrements. The large number of handmade footwear and fashioned leather belts, both Italian and English, did good business. The strictly dressy appeal of rearranged regimental colours and stripes was epitomised by new Smart Turnout designs, which now include watches.

The suit in worsted, blazer stripes and knitted fabric has been restyled with skinny cut, short jackets and tight trousers - a sharp look for both single and double breasted styles. Names to favour this look included Cantarelli, Hardy Amies, Van Gils

Key looks from Pitti Uomo - skinny suits, single breasted and double breasted - the layered look for winter.

Johnstons of Elgin.

‘Natural fibres and heritage styles were cleverly used in tandem with overtly synthetic technical cloths’ and Bruno Cucinelli. Skinny cut suits were also seen across the catwalk shows from Stella Jean, Diesel and No. 21.

The buoyancy of the bespoke inspired area was illustrated by the likes of Richard James Mayfair, Luciano Barbera and Kiton, who combined modern fabric with classic looks.

Returning to Pitti Uomo, Aquascutum showed a classic overcoat in a new ginger brown waterproof woollen fabric.

Dormeuil and Stefano Ricci, in the sumptuous Ricci shop in Florence, celebrated iconic 1950s advertising images

by Rene Gruau, accurately recreated in contemporary fabrics for an ultra-hip elegance.

Knitwear innovation featured intricate, 3D patterns such as Arran, cable, moss stitch and stripes. Luxury brands like Johnstons of Elgin and John Smedley played with new yarns, emphasising intricate texture and colour. Garments ranged from substantial outerwear to fine knits.

Taking a cue from the 1940s, the catwalk show at Florence’s National library by designer label No 21 included subtle, long-line knitwear styled with an intellectual look. Classic golf looks were interpreted in unexpected bright purple,

yellow and red at British label Glenbrae.

Cashmere dominated the Italian collections and wool was seen in all its guises, from fine gauge to chunky sweaters.

Flecked, dark, outdoor looks used thicker, rougher yarn.

Ukraine, Pitti Uomo’s guest nation, brought forth a collection of intelligent designers, some discovered at Mercedes Benz Kiev Fashion Days. Sasha Kanevski’s original designs were displayed in an area called The Latest Fashion Buzz.

East and West, traditional and avant-garde are converging. Markets in the Far East are discovering the appeal of traditional rugged solutions to winter, but the fabrics used for the layered look are lightweight and possess hidden technical features.

Lumberjack shirts, tweed coats and technical jackets often have all-weather reactivity like vapour management, breathability or climate control. Dark urban chic, with a minimalist design, features intelligent elements like branded membranes or climate control finishes seen recently at fabric shows. Pitti Uomo stressed science and design in action, taking fashion forward.

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YARN TRENDS

Good vibrations At Pitti Filati the emphasis was on design development, which appealed to the increasing number of buyers in search of colour and invention. Janet Prescott reports from Florence.

The 74th edition of Pitti Immagine Filati in Florence produced good reactions from the many international buyers. Final attendance figures showed 4,000 buyers, an increase of nearly 6% on January 2013, with foreign markets leading the way.

An estimated 1,700 international buyers represented a 12% increase on the previous spring/summer season. There was also particular excitement in the home market at a ‘reassuring’ increase in the number of Italian buyers.

Against a backdrop of good figures for Pitti Uomo and Pitti Bimbo in the preceding two weeks, Pitti Immagine Filati revealed yarns for summer 2015 to a trade which was actively looking for novelty, colours, ideas and inventions. Keen to capitalise on the increased interest, buyers looked to yarn manufacturers to provide inspiration and direction.

‘Multiple yarns dipped in colourful resin gave a pixelated look’ The spinners responded with immense amounts of research and development into new qualities, blends of fibres and spinning techniques producing novel thicknesses, dyeing techniques and constructions.

One of the hardest nuts to crack has been the incompatibility of animal fibres with hot summer weather. A greater problem in the Far East and US than perhaps most of Europe, this issue has limited the year round possibilities for fibre and fabric producers.

However, the great advances in spinning technology over the past five years mean that cashmere, mohair and, in particular, wool, can be spun, knitted and woven into fabrics which are as light as gossamer or as

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Gossamer light knits showed off intricate detail.

feathery and spongy as a ball of fluff.

Lightweight wools were seen in many collections, notably at Zegna Baruffa which wowed buyers with an ultra lightweight, puffy wool construction. “It’s important to understand that wool can work in the summer,” explained Paola Rossi, of Zegna Baruffa. Fine yarns included spider web

weights in wool or cashmere, sometimes mixed with silk as at DiVé.

At Pitti Filati big spinners work closely with knitwear and fabric designers to suggest end uses for their highly technical yarns and blends. The arcane arts of colour prediction also find their first expression at the yarn shows. This all explains why

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top design teams from couture houses and brands were in attendance. The colours shown at Pitti Filati will be seen on the catwalks and collections next season.

Stock holding is still very important, with increasingly large ranges of colours and qualities in luxury cashmere and Cool Wool in a large array of changing shades available from specialists such as Z. Hinchliffe.

The mood was light and colourful, typified by the large number of see-through knitted fabrics on the stands, semi or fully transparent. Designers played about with patterns, stripes and geometric effects, contrasting light and shade in collections from Pinori Filati, Iafil and DiVè.

Filpucci showed deep dyed navy yarns in viscose and blends, contrasting matt and see-through for a very elegant look. Navy, and blue in general, is coming through as a major colour for classic, sophisticated knits in silk, wool and fine linen. This shade was strongly tipped by Cariaggi, Todd & Duncan and Filpucci. Cariaggi predicts that blue will be the substitute black.

The Wool Lab, with its increasingly consulted direction for designers, showed lightweight Cool Wool in micro patterns, gossamer light qualities and a new mercerised Merino with Lycra. The Wool Lab also chimed in with the lightweight trend, presenting a semi-transparent 51% wool/49% silk.

Hand-knitting yarns continue to thrive, enhanced by natural dyes in neutral colours and subtle pastels, as well as darker shades in luxury fibres. Ecologically dyed fabrics are a focus for many companies, including Cariaggi which has recalibrated its Systema Naturae collection of high quality, beautiful natural plant colours for deluxe cashmere.

Cariaggi emphasised the appeal and purity of natural cashmere without optical brighteners, as well as glowing palettes of silk in gold and jewel tones. Their New Zealand Merino and silk featured acidulated bright colours, whilst contemporary summer blends in cashmere and linen emphasised novel textures.

Fancy effects such as marls abounded, creating depth as seen at Sinfonia.

Hagesawa’s essential texture featured examples of soft coloured glitter yarn.

Filatura di Pollone had furry feel cotton/ silk and textured handles in linen, cotton and acrylic, showing the continuing advances in blending techniques. Looped

Todd & Duncan's Graffiti inspired trend.

Blue is the new black at Cariaggi.

‘Graffiti as a theme gave tremendous creative impetus, which encompassed dip-dyeing, spray effects and dark urban overtones’ ribbons in blue and green gave a dramatic fish scale look at Ecafil Best.

Loro Piana mixed cashmere with wool, silk or cotton for various handles, colours, weights and lustrous effects, knitting together two blended yarns. Multiple yarns dipped in colourful resin gave a pixelated look. Zegna Baruffa had developed a scatter-dye effect on silk producing tiny points of light on red and pink swathes of colour. Manifattura Sesia showed mineral colours in unusual constructions, like 100% silk raffia looks and Giza cotton in waxed bronze and grey tones.

The Pitti Filati Research Area featured student designers who had used new yarns selected by Figus and Miller to illustrate the latest theme - I Play - with various scenarios from classical Greece to Lego to trendy athletics.

Orange lustrous yarns introduced the bright, graffiti theme of the season, inspiring many. Black yarns or dark midnight blues were set against neons, bright greens and yellows. Bright reds, pinks and oranges also came through in

many collections as at Pinori Filati.

Graffiti as a theme gave tremendous creative impetus, which encompassed dip-dyeing, spray effects and dark urban overtones with splashy brights in modernistic mixes like cotton/viscose.

Street art inspiration was interpreted at Zegna Baruffa, taking inspiration from Warhol colours immortalised by the Marilyn Monroe prints.

Todd & Duncan, renowned for its colour palette, had a startling range of cashmere darks to brights inspired by iconoclastic street painters and artists Navarro, Morelet and Flavin. The Scottish cashmere specialist also favoured subtle pastels, echoing the paintings of William Johnston.

Knitclub returned successfully with 13 high end participant knitwear companies.

Shima Seiki demonstrated the quality and range of its manufacture, making contact with major labels. Throughout Pitti Filati the emphasis was on the nature and extent of research and design, giving a colourful vibrancy to the new season and a young new look for summer.

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Sport couture The 36th edition of Munich Fabric Start celebrated the spirit of Haute Sporture, a theme of sporty elegance, supported by a rise in sustainable sourcing.

Participation

The first fabric show of the 2015 spring/summer season, Munich Fabric Start (February 4-6) showcased 1,500 collections from 900 international fabric and accessory manufacturers, ranging from basic to haute couture.

The show attracted 20,000 trade visitors, up 8% compared to last year, including buyers from Zara, Li & Fung, Benetton and Tommy Hilfiger. The organisers were keen to remark on the ‘internationalisation’ of the show.

“With a select portfolio and market relevant areas, Munich Fabric Start continues to establish itself and strengthen its position as an international trade fair,” said exhibition managing director, Wolfgang Klinder.

“The early date of the fair as a season opener and the strong German market as a basis in the background, are factors that contribute to the growing international importance of Munich as an opportunity for early information.”

Segments The Bluezone featured 76 denim specialists from weaving and finishing mills to laundries, an increase in participation from the last session. The CUBE X denim information platform proved popular.

For the spring/summer 2015 season the Design Studios, Eco Village and organicselection encouraged interactivity and communication. According to Alex Voigt, sustainability expert at Munich Fabric Start, the sustainability forum enjoyed the ‘biggest influx of visitors for years.’

The season was marked by buyers from well known brands showing a growing interest in sustainably manufactured, high fashion textiles. Buyers were also more focused on the sourcing of prints, silk and linen.

Trend

Haute Sporture – a sense of sporty elegance and nonchalance ranging from calm, light colours to transparency. Think precise cuts, sharp silhouettes and new geometric shapes. High-tech textiles meet minimal style, art meets sporty. The colour palette featured pale pastels, soft beiges and shades of white. Shine is contrasted with matt, super-soft with grainy textures.

Next session July 15-16: The VIEW Premium Selection will offer a first glimpse of fabric collections for autumn/winter 2015/2016.

September 2-4: Munich Fabric Start September 2-3: Bluezone (denim presentation)

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All images courtesy of Munich Fabric Start.

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Colombiatex generates $266.9m of business Tara Hounslea reports from Medellin Colombiatex (January 21-23) generated $266.9 million worth of business, up 75% on last year, according to estimates from the show organisers. Inexmoda, the Institute for Export and Fashion, says this success reaffirms the event as a showcase of the Latin American Fashion System.

Now in its 26th year, Colombiatex attracted a total of 26,149 visitors, including 1,760 international buyers from 41 countries and 9,168 domestic buyers. The 9,600sq m exhibition space was home to 500 exhibitors from countries such as India, Spain, Brazil, Mexico, Pakistan, Ecuador, Peru, Singapore, Italy, the USA, Turkey, Portugal and, of course, Colombia.

The Mayor of Medellin, in partnership with the Chamber of Commerce of Medellin, welcomed a trade mission of entrepreneurs from Colombia’s major cities in a bid to boost domestic consumption. The National Business Meeting is thought to have created $712,000 worth of business opportunities.

The Colombian government is working to protect national interests, extending a

mixed tariff to protect the domestic textile, apparel and footwear industry against imports and unfair prices below normal market levels. When imported garments have a cost up to US$10, the current tariff of $5/kg is maintained, when exceeding $10, an extra fee of $3 must be paid.

Inexmoda praised the Pacific Alliance Latin American trade bloc as a boost to business: “Colombiatex of the Americas confirmed the relevance of the Pacific Alliance for the industry. 87% of the total buyers at the show come from Mexico, Chile, Peru and Colombia,” confirmed Carlos Eduardo Botero Hoyos, CEO of Inexmoda.

“Of all the business expectations generated during the three days, $140 million dollars belong to transactions involving the trade bloc countries. We highlight the important presence of the 149 buyers from Mexico and the 152 from Peru.”

The Fash.Mob 11 catwalk offered designers the chance to present their textiles as a fully fashioned garment, whilst the fourth edition of the Denim Review brought together a host of domestic and interna-

Show organiser, Inexmoda, sought to push the level of design creativity.

The influence of the Pacific Alliance Trade Bloc was much praised.

tional companies.

Visitors were also given the chance to view trends for spring/summer 2014 and check out the Textile and Raw Materials Forum, which featured samples from exhibitors.

Inexmoda hopes to encourage entrepreneurs to push their level of creativity, thereby developing a more competitive textile sector. This year’s theme was to ‘transcend boundaries,’ as Inexmoda looked to find unexpected ways to appeal to consumers.

“We must understand that the shopping experience goes beyond choosing and paying, there are now more involved benefits and added value for the consumer,” said Hoyos.

“Entrepreneurs should join the Fashion System, working and thinking together to promote their initiatives. Giving voice to users, listen to them and make them part of brand building to meet their goals.”

In a further coup for Inexmoda and the country, Medellin will play host to the World Fashion Convention hosted by the International Apparel Federation (IAF) from September 29 - October 1.

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The noblesse oblige Milano Unica continued its reign of quality and inventiveness, pairing sumptuous blends with technically advanced finishings. Collections appealed to tastes East and West. Janet Prescott reports from Milan.

February’s Milano Unica consolidated its position firmly at the top end of the fashion fabric offer. The show’s importance was proven by the number of top couture and design labels doing serious fabric sampling at Moda In, Shirt Avenue and Idea Biella. Milano Unica attracts dedicated teams of buyers looking for various specialist areas where the most innovative and accomplished fabrics can be found. These cloths take their cue from imaginative creation and high quality manufacture.

Figures prove the continuing success of the ‘Milano Unica’ formula, which brings the mystique of Italy to an international audience. This formula includes the ‘intellectual capital’ concept, referred to in the opening conference and symbolically underpinned by a prestigious performance of the opera Lucia de Lammermoor at the sumptuous La Scala.

Quality was the guiding light throughout. Raw materials included Giza and Sea Island Cotton, American

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Supima and Normandy linen for specialist shirting collections, stretching to Como silk, superfine Australian and New Zealand Merino, alongside judicious blends of noble and techno fibres.

Smart Basic, the theme of the trend area, emphasised added value and intellectual capital. Colours were allied to

‘Colours were allied to transparent fine fabrics - important in all areas including very fine worsteds’ transparent fine fabrics - important in all areas including very fine worsteds.

Prints and embroideries favoured small flowers and micro patterns. References to vibrant street art brought brights with dramatic accents and backgrounds.

Continuing technical advances give free reign to new blends, taking advantage of the inherent attributes of yarns which can lend colour, sparkle or drape.

Other important qualities were recovery, stretch and windproofing effects for high value fashion garments. Sophisticated techniques and finishing brought crispy/soft/rough textures, matte/silky surfaces and dry/sinuous handles, with fancy features including the shine of lustrous yarns.

At Idea Biella bright colour accents fed through to woollens and worsteds, with extreme lightness in fine Merino Cool Wool or cashmere blended with silk. Yorkshire’s Alfred Brown developed checks in ten different blue shades for its Merino Extrafine 250gm collection.

Loro Piana’s ultra-light Cashmere Breeze was available at 150g/metre, also in light Super 150s wool with silk.

Dormeuil was another name to present lightweight wool/silk blends.

Special dyes were used to exploit the

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characteristics of different fibres. Blazers came in traditional blues and navy, block or striped, as well as in more feminine colours such as pink, pale blue and green.

Tropical panamas and bleached out fabrics gave a planter look. Colour here favoured the blue spectrum more than usual. Conventional navy or light blue was joined with almost every other shade, including chalk, near black, bright navy and shadowy pale blue in solids, checks and stripes. Bower Roebuck trended with fancy micro versions of classics for wool Super 180’s in a bright blue palette introduced last season.

More adventurous shades like tomato red at Ermenegildo Zegna looked new and clean for unlined summer jackets.

The Trofeo quality in fine weaves of extrafine Australian Merino, sometimes in cross-ply, had a little linen added to give a new handle. Unstructured and unlined jackets, prevalent for all seasons now, need a stable fabric like a double face in wool, mixed this season with a little mohair, cashmere and silk.

Sometimes called English looks, crisp

with the natural features of yarns for jacketings and shirtings.

Micro-designs dominated, some tiny herringbones, very fine stripes or overchecks, elegant form at Reda.

The company in question succeeded in providing confident, urban looks in pure wool and blends, fitting a new frame on classic patterns for the younger generation. Bower Roebuck had many micro versions of classic designs in 2+2s.

Technical content was a major focus.

Launched for winter, Zegna’s Sphere project line continued with the UpwindSphere membrane, which gives protection from cold winds. MicroSphere offers water repellence and stain proofing properties, whilst the KlimaSphere coating is now applied to Zegna’s luxury fabrics for wind-proofing. Zegna has all the bases covered in the construction of a multi-protection jacket.

Loro Piana stressed various finishes, layers, meshes and laminates for protection. Botto Giuseppe’s jersey collections featured blends with rayon, exaggerating the drape. The Elastic

‘Micro-designs dominated, some tiny herringbones, very fine stripes or overchecks’ looking fabrics, which retain their shape through high twists, were seen at Italian mills and traditional Yorkshire weavers.

Lightweight viscose/linen and viscose/ wool was presented by Bottoli. William Halstead introduced more colour than usual into its summer mohair. Twisted yarns and fancy designs like chevrons and stripes met with approval.

Joshua Ellis’ fancy patterns included clever mixes of cotton/wool, wool/silk and linen in pink tones. An attractive linen warp/cotton weft was popular with Japanese buyers. Emphasising its Made in Yorkshire credentials, Dormeuil showed new directions with 3-ply thin and thick constructions. These also appealed to Japanese customers. Wool blends included mohair with stretch, wool, cotton and linen.

Chic Linen was seen at Testa and Marzotto. Bright gingham linen checks for shirtings and dress weights featured apron checks and stripes, from pinstripes to deckchair width. Solbiati’s upmarket linen and summer blends trended pinks and blues. The company also played

Shield finish is designed to give very fine wool water-repellent, stain-resistant creaseproof and stretch properties. This is techno stretch wool.

An air of luxury and old fashion values shows in the names of many collections.

Vitale Barberis Canonico presented its Orient Express range, making a link between concepts of luxury from West to East. This collection includes qualities that appeal to Far Eastern markets of all kinds, with bright finishes and contrasting subtle micro patterns.

Dormeuil’s collections were a case in point, providing luxury alpaca and elegantly simple worsteds in superfine qualities of wool/silk/linen, with extra modern softness, finishes and performance.

Several mills reported a definite upgrade of fabric quality taking place among their regular customers, to which they are pleased to respond. However, price is also key. The emphasis on luxury, with sustainable and localised features, made Milano Unica a show which is patently working in today’s complex market places.

Prints and patterns at Milano Unica.

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Colouring the future The beating heart of fabric for high fashion, Première Vision burst into February in a blaze of yellow, the shade of summer 2015. Full of energy and invention, as ever natural fibres ruled the roost. Janet Prescott reports from Paris.

Première Vision (PV) exploded like a bouquet of spring flowers. It summed up the positive view developing for summer 2015 and there was reason enough for a hopeful outcome.

That Paris is the great meeting place of the top players in the fashion world, is still without question. There might well be larger exhibition numbers in some countries, but at PV the international movers in fashion are building the unspoken consensus to shape the next season. For that reason, companies are keen to launch new ideas and concepts at PV. Trends for summer 2015 majored on linen, cottons and natural fibre blends. Processes were sophisticated - eco finishing, crisp cottons and soft linens. Light quilting effects were seen on synthetic performance fabrics and summer denim, coloured in pinks, blues and greens.

Knitwear was featured in the dedicated flat bed knitting section, Knitwear

British fabrics for summer 2015.

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Solutions. Light, almost transparent linen was shown in delicately fashioned garments. Yellow was an accent colour in weaves and knits, as well as a bright ground for shirtings and dress weights.

Micro patterns were prevalent throughout the various trend areas and collections. Seen for knitwear, jerseys and weaves, micro designs were driving the print mode. Micro checks were seen at Abraham Moon and Paolo de Oliveira, alongside micro patterns at Liberty Arts Fabrics.

Small coloured knops in stylish tweeds at Linton Tweeds and France Tissu Maille showed points of glitter on grey, cream, white and pale blue stripes. Other subtle effects included fancy stitches and marl yarns.

Light wools, mohair and fine suitings came in underplayed, jacquards and shadow designs at the British mills. The UK companies also have the advantage of being able to offer

traditional heavier weights, responding to the opinion that ‘light doesn’t fit all markets.’

Nevertheless, the range of inventive lightweight British fabrics has grown, many displayed on the UK Fashion & Textile Association's (UKFT) stand. The colonial look was strong, in cotton, linen, fine wool and silk. Styles included faded jacketing at J. Clissold. Blazer stripes and regimental colourings, as well as clean bright stripes, were seen at Butterworth & Roberts and Arthur Harrison.

Prints were bright, clean and cheerful, from oversize yellow/black herringbones to micro florals at Liberty Art Fabrics. Large splashy florals were paired with pink, blue and yellow, whilst yachting white showed up against coloured stripes. This is all evidence of the continued rise of digital printing in the luxury area.

Miroglio and Mantero joined forces on a

Textures, subtle and natural tones for the summer season.

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Micro checks for jacketings.

Summer tweeds.

Yellow was the colour of the season.

British fabrics proclaim their origin on the UKFT stand. Lightweights and micro designs on show.

project to produce and distribute hand picked designs from the Mantero archive at Como.

The archive contains artwork dating back to the 18th century and reaching forward to modern art. On show were florals in a photographic style and geometrics inspired by artists Jackson Pollock and Andy Warhol.

Miroglio employed the latest digital printing technology, with a focus on the environment through its E.volution platform, to produce a revolutionary collection for Mantero.

Airy and transparent looks featured everywhere - bubble constructions in polyester and gauzy wools were presented alongside light lace and fancy broderie anglaise. Lightweight, semi-transparent knits were seen at Knitwear Solutions.

Featherweight, superfine wool suitings had a touch of mohair and silk to alter the handle and sheen. Dark blues for summer included shadow blues on dark grey. Residual checks gave almost subliminal jacketing patterns.

Following on from last season, Lenzing restated its prediction that if demand outstrips the supply of long staple cotton, the popularity of cellulosic Tencel is set to grow.

Paired with cotton, Tencel adds stability and improves crease recovery by 40%, compared to cotton alone.

According to Lenzing, Tencel is an

easy care, minimum-iron fabric. In a live demonstration comparing two shirts (one cotton, one Tencel), the cellulosic version required far less ironing. A Tencel/cotton blend (either 60/40 or 40/60) is already being used by major brands such as Hugo Boss Orange and Zegna Sport.

Technical products are increasingly being developed with anti-bacterial and abrasion resistance included, for what is described as a 'marginal difference' in price.

Sustainability was the focus of Saluzzo Yarns' Newlife, which pulled off the coup of exhibiting a bold MaxMara design in Newlife recycled polyester yarn. The labels produced especially for MaxMara tell the story. The garment cuts energy consumption by 60%, showing that consumer choice can have an immediate impact.

CLASS (Creativity, Lifestyle and Sustainable Synergy) was invited to PV to provide buyers with a wide range of fabrics in order to sample innovation in a responsible way.

Lifecycle Analysis charting the full path of fibre and fashion is seen as the way forward.

Linen’s sustainability credentials chime well with current environmental concerns, as it is almost completely usable and recyclable, meaning a small carbon footprint. The new European Flax label, which designates linen

fibre and products produced in Europe, is already being adopted by large chains and manufacturers as a value guarantee.

As the fibre of summer, linen was seen in many developments at CELC Masters of Linen, involving finishes and dyes that cover wovens and the increasingly important knitted area.

Alongside its impeccable sustainable credentials and recycling potential, wool’s technical features are now being emphasised.

As a summer fibre, Cool Wool was seen in many collections. Elegant high twist suitings, complete with water and stain repellent finishes, were characterised by the Hong Kong theme in the Woolmark Company’s Wool Lab trend tool.

Renowned for its refined, top quality suitings, Shandong Ruyi came to PV having newly invested in classy Yorkshire mill Taylor & Lodge. Ruyi showed fine wool worsted suitings for summer, in dark shades and fancier lighter tones, some using recycled elements.

Looking ahead to the autumn, the PV brand is reaching out to Turkey with its debut event in the country, which promises to further consolidate trade through this gateway country into the Middle East and Eastern Europe.

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Mash up!

This season Texworld asked us to change our perceptions, combining different creative forces to take a fresh look at fabrics for fashion. The show also maintained its sustainable focus, encouraging all supply chain partners to consider their impact on each other. Charlotte Rogers reports from Paris.

The ‘Mash Up’ theme of February’s Texworld show in Paris perfectly described the vibrant mixture of sustainable style and technical innovation, as elaborate digital prints and rich embroidery met restrained, naturally dyed shades.

China (284 exhibitors) was by far the dominant force at the 34th edition of the show, which hosted 631 manufacturers from 25 countries. Other key exhibiting nations for the summer 2015 season were Turkey (86), South Korea (85) and India (40). Participation was up 10% on February 2013, including 81 new exhibitors.

The knit sector saw the strongest growth, welcoming 25 newcomers such as the Korea High Tech Textile Research Institute, which is focused on technical knits for casual and sportswear.

For the first time the spring edition of Texworld hosted silk producers from Huzhou, a city renowned for its quality silk production located 100km from Shanghai. The Huzhou silk weavers showcased silk satin, muslin, twill and jersey qualities. In total 30 silk specialists exhibited at Texworld, up 25% on last February. Silk is one of the top three

fabric categories at the show.

As the younger of the two exhibitions, Apparelsourcing Paris has further room to grow. For this session, participation was up 55% on February 2013, totalling 115 companies from 10 countries. As in previous editions China brought the largest contingent, followed by India. There were also new exhibitors from Bangladesh, France, Hong Kong, Japan, Turkey and Pakistan. This list included Osaka based MBC Co, which produces fine knitwear, dresses, blouses and long sleeved tops in quantities of 50 units per style.

Sustainability remained at the forefront of thinking throughout the seminar series.

Wellmade, the organisation working to improve conditions in the clothing supply chain, took attendees through the different components involved in garment manufacture from worker to consumer.

Martin Curley, Wellmade marketing and communication officer, discussed the rights every employee is entitled to, such as freedom from discrimination and exploitation.

Curley highlighted the relationship between brand and worker, and the importance of thinking further up the supply chain. For

Red, blue and yellow: Jiangsu Danmao blends Tencel with Cool Wool for summer shirtings.

Intricate beading and embroidery by India's Exotica Exports.

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example, a late colour change to a garment order might be necessary so the brand does not lose money, but this change would incur overtime and late nights for the worker, potentially contravening their rights. To avoid this situation, Curley encouraged brands to put systems in place to help lessen the impact on the worker, such as giving early notice to the supplier and compensating for any added cost.

The seminars were complemented by the Sustainability Forum, which highlighted organic fabrics, positive factory management and manufacturers that meet social welfare standards. Blends on show typically mixed cotton with cellulosics like Tencel, as seen at Larmatex of Turkey. German manufacturer Lillestoff presented a 95% organic cotton/5% spandex blend for comfortable casualwear.

Natural dyeing artist Betty de Paris was also on hand to show visitors techniques using pomegranate skin, which is warmed to extract the pigment.

Natural dyeing was the order of the day at Visionland. Working on cotton, linen, viscose, wool and silk, this South Korean manufacturer is dyeing with cacao, gallnut, indigo, lac, gardenia, elderberry, grape and

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Scarf specialist S.K. Signature covers a variety of fashion styles for womenswear.

rhubarb to produce a range of shades from beige, brown, yellow, blue, purple and grey.

In the shirtings area, natural fibres were in focus. Dutch linen specialist Northern Linen presented fabrics for summer in a blue and white stripe. Bontex Industriel mixed 52% linen/48% cotton for a more formal fabric with a silver Lurex shine. China’s Shanghai Paradise Bird blended 75% wool/25% polyester in a black and taupe herringbone, experimenting with a blurred over stitch.

Lenzing promoted the easy care benefits of 30% Tencel/70% cotton blend for shirtings.

The addition of Tencel causes fewer, shallower creases when washing, which open up quicker in a wet state than with cotton alone, according to Lenzing.

Tencel was also the fibre for choice for Jiangsu Danmao, in a blend with Cool Wool Merino for lightweight summer shirtings and knitted fabric. The Chinese manufacturer argues that mixing 50% wool/30% Tencel/20% polyester has the feeling of silk but lowers the cost for companies who think pure wool is too expensive. For summer 2015 Danmao is pushing this blend for menswear collections in China, where a ladies' market for this fabric is already established.

High impact digital print was a standout theme at the show. Printing digitally since 2008, India’s Shrijee Lifestyle now creates 4 million metres annually. Shrijee praises the flexibility of the digital technique to select an unlimited number of colours in complicated designs, with no minimums.

Printing on cotton, viscose, polyester and linen, Shrijee Lifestyle has 32 designers working on the collection, with a view to extending into home textiles.

Boasting 1,800 plus designs, Digitex is constantly adding new artwork to its womenswear collections. The perennially popular paisley and florals were on show, alongside plaids and animal skin, digitally printed on polyester, cotton, silk and rayon. Exporting China, the UK, Europe, Australia and New Zealand, Digitex finds

Digitex boasts over 1,800 designs from vibrant pixelated graphics to florals.

Embroidery from Exotica Exports.

‘Visionland is dyeing with cacao, gallnut, indigo, lac, gardenia, elderberry, grape and rhubarb’ the US is a more conservative market.

Turkey was the third largest textile exporter to the EU in 2012, with sales worth $8 billion. An important source of cotton fibre and yarn, Turkey is also the sixth largest apparel exporter globally, generating sales of $16 billion in 2012.

Turkish companies were much in evidence at Texworld, including Ege Tekstil, which presented a brushed, lightweight single jersey 50% linen/50% polyester. Cotton rich blends were seen at Save Tekstil and Armen Tekstil, the latter in 90% cotton/5% Lurex/5% viscose for grey with a hint of golden shine.

In the Denim Trends area 78% cotton/20% polyester/25% Lycra was a common blend. Trend styles included lightweight denim in a blue tie dye and rose blush, dark denim and pink crinkle effects on a purple ground. KG Denim of India favoured 98% organic cotton/2% spandex in a hot peach summer shade. Ying Rui Industries showed a graphic houndstooth and chequerboard effect in 100% cotton.

India proved a hub for scarf manufacturing. Fourth generation family business S.K. Signature prints on cotton, silk,

cashmere, wool and viscose. Women's scarves make up 80% of the product portfolio. The brand USP is design and colour, spanning styles from indigo dyes and shades of green to heritage looks and embroidery. Whilst it supplies to the likes of Marks & Spencer, BHS, Ted Baker and Inditex, the domestic market is a growing area for S.K Signature.

Mangalam (India) Expotex focused on its premium service, specialising in hand woven silk, wool, cotton and linen scarves, stoles, shawls and foulards. Meanwhile, fellow Indian exhibitor R.K. Overseas stressed the advantages of its vertical manufacturing operation, pioneering the use of Modal and Lycra.

A real standout booth belonged to Exotica Exports. A specialist in embroidery for bridalwear and eveningwear, Exotica Exports’ all male team of 500 artisans apply the sequins, beads and feathers by hand. The company is known for its use of fine Chantilly lace, adorned with rich floral beaded designs and delicate geometrics.

As ever Texworld Paris showed its ability to surprise the visitor with a plethora of designs from every corner of the globe.

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SILK

Lovely lotus Myanmar’s indigenous textile producers have a flair for natural fibres from lotus bud silk to luxury cotton. These manufacturers are keen to export their quality, handmade products but are struggling to make an impact on the international market. Jessica Mudditt reports from Shan State, Myanmar.

As Myanmar’s economic and political reforms continue at a steady pace, its indigenous traditional textiles could become commercialised. Myanmar does not yet systematically export its traditional fabrics and there are no official associations to promote the industry. It currently relies largely on tourists for small scale revenues.

However, that could change. Myanmar is unique in the region because its most renowned ‘silks’ are actually not made from silkworm threads, but from lotus buds. The tourist hot spot of Inle Lake in Shan State is currently the only location in Myanmar where lotus fibre is extracted and used to create textiles on any significant scale.

Its soft texture is similar to a mixture of standard silk and linen.

Khine Jiu Jiu Lynn is a sales manager at Khit Sunn Yin, a lotus, standard silk and cotton weaving centre at Innpawkohn village, Inle Lake, Shan State. According to Lynn, product made from lotus bud is seven times more expensive than regular silk due to its many qualities, which include being

naturally stain resistant, waterproof, soft to the touch, breathable and wrinkle-free.

“A single stick of lotus bud costs Burmese Kyat MMK4,000 (USD4.05) and a single scarf requires…20 days’ work, which is why it costs around USD75 [retail],” she told Twist.

While about 80% of scarf purchases are made by international tourists, the majority of lotus products are currently spun into robes for monks and sent to the cities of Yangon and Mandalay for commercial sale.

Although lotus silk is rare and expensive, monks acquire the robes through donations in the Buddhist majority nation.

Myint Thein Htun, the owner of fourth generation family business Khit Sunn Yin, says he is keen to export his products and has the capacity with 120 skilled workers, but fears a lack of quality control could be a problem.

“We can’t export because our products because they’re handmade. Customers want their textiles to be uniform and we can’t guarantee that, particularly for the finishing

A Padaung tribeswoman weaving silk in Bagan city, Mandalay region, Myanmar. Credit: Jessica Mudditt

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and colours,” he explains.

He pointed out small imperfections in scarves, explaining: “A weaver can only use their eyes to see whether a thread has broken. If we were using machines, the machine would automatically stop when a thread breaks. Also, hand woven mistakes can’t be fixed.

“Likewise, because we hand-dye the colours, we can’t ensure the colours are uniform. We could buy machines but this is a local industry and a lot of people would lose their jobs,” Htun adds.

For the time being, he is content to sell to tourists - visiting the beauty spot Inle Lake in increasing numbers since political reforms began in 2011. His business gained international recognition by winning several awards at the ASEAN Silk Fabric and Fashion Design Contest, staged in Bangkok in 2010. “No such awards exist in Myanmar,” Htun laments.

He argues that a significant number of tourists refrain from purchasing indigenous silk products because “they see scarves being

The owner of Khit Sunn Yin, Myint Thein Htun, at Inle Lake, Myanmar. Credit: Jessica Mudditt

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sold on the streets of Thailand and Cambodia for an absolute fraction of the price that ours sell for – but what they don’t realise is that those products are made from polyester.”

An interesting viewpoint on the opportunities for mass exports comes from U Kyaw Aye, a former industry ministry technical planning officer and general manager at the Injynn Development Company, a Myanmar trading company selling garment, oil, gas and telecommunications.

“None of the traditional forms of textiles are mechanical so there’s not much to hope for because it’s so time consuming and output is low. Unlike commercial textiles, Myanmar’s indigenous textiles are not made by the bale of 30 to 50 yards, but rather in short pieces.”

Even so, Aye warns that if the industry was to mechanise the quality and texture would not be the same again.

So the likelihood is that Myanmar fabrics will remain a scarce item, of potential use for luxury apparel brands and manufacturers. That potential is yet to be realised, says Aye: “It’s unlike Thailand’s silk industry, which makes good money selling items such as neckties – Myanmar’s are more of a novelty item which a few tourists and businesspeople take out.”

Nevertheless, Aye stressed the potential.

Production costs in Myanmar are currently low compared to potential competitors in Thailand, India and China.

Furthermore, the diversity of products created in Myanmar is staggering. Each of Myanmar’s 135 officially recognised ethnic groups has its own unique patterns and traditions, and powerful customs associated with various textile products.

In Chin State culture, for example, it is customary for a bride to weave a large blanket with homespun cotton and silk, dyed with herbs and woven in a back strapped loom, maybe containing herbs and leaves.

When one partner dies, the blanket is cut in half and wrapped around the body. The other half is stored until the other spouse passes away – it is believed that the blanket serves to unite the spirits in the afterlife.

As for standard silk from silkworms, much of the silk is grown in Mandalay, with key weaving centres in Rakhine state, based in the ancient capital of Mrauk U. Thandar Win works at a silk and cotton shop in downtown Yangon's bustling Bogyoke Market, selling local handicrafts, gems and artwork.

“Burmese silk isn’t as shiny as Thai silk

The feet are also used to operate looms, making it a highly labour intensive process.

Credit: Jessica Mudditt

An intricate Burmese loom used to create raw silk and lotus silk textiles. Credit: Jessica Mudditt

and much of Thailand’s silk products are made with machines. It’s the same in China.

The Burmese regard the quality of Chinese silk as inferior to ours, which is why we never sell it, even though it’s cheaper.”

As for traditional cotton weaving, there are also regional craft industry centres such as Kachin state, as well as in Rakhine state.

The patterns of indigenous textiles, whether made from cotton, raw silk, pure raw silk and lotus bud silk, differ greatly from one region to the next. Mandalay is famous for criss-crossed designs, which are washed and dyed before spinning to create a softer fabric. Meanwhile, Inle Lake manufacturers are well known for Ikat dyeing techniques used to pattern textiles in a resist-dyeing process similar to tie-dye textiles, initially developed in Indonesia.

Htun explains about the different local varieties. “Before 1932 Myanmar artisans just made plain stripes. My greatgrandfather went to Thailand to learn how

to make Ikat – the Thais had previously learnt it from the Indonesians. And it spread from that moment on.”

Nyan Lynn Aung, director of Fine 9, an advisory firm that connects foreign and domestic investors in Myanmar (most often regarding garments), said he received his first inquiry about importing Myanmar’s indigenous silk products from a buyer in New York in February 2014.

“Myanmar’s indigenous textiles definitely have potential. Of course, like anything, it depends how you sell it and how it’s set up, but much like fair trade coffee beans, buying ‘Made in Myanmar’ indigenous textiles could be seen as very trendy and ethical,” says Aung. He suggests that repurposing traditional textiles into bags and belts could become a boom industry.

However he added that investment, as well as at least some technology, is needed for the sector to properly develop.

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Modern masters A new initiative has been launched promoting the intrinsic value of Modern Thai Silk. Charlotte Rogers finds out more.

Every area of Thailand has its own indigenous silk designs. Silk production in the country can be traced back over 3,000 years to fabric remains found in the ruins of the Ban Chiang archaeological site.

Silk fabrics were first produced within the household for ceremonies and weddings.

Then at the turn of the 20th century, silk usage and sericulture became widely promoted by the government.

Thailand now produces 600 tonnes of silk a year, 500 tonnes of which are absorbed by the domestic market.

Hundreds of people across the country are working in this niche industry, blending silk with other fibres like cotton, linen, nylon and Lycra.

100% Thai silk is characterised by a beautiful lustre. The yarn is hand spun, creating a slubby, uneven surface which offers textural dimension. Thai silk has a fluid texture and is often dyed with natural ingredients such as indigo and lac. In its natural state the fibre is yellow or white and therefore accepts colour well.

Silk produced in Thailand is said to be durable, flexible and resistant to creases.

The fibre absorbs moisture and dries quickly. Thai silk can be used in various weave structures from a light drape to tight, heavy constructions. Traditionally fabric is adorned with the rich, complex patterns of Thai tribes that resonate with the country’s storytelling culture.

Lightweight Thai silk blends on show at Première Vision.

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Despite the fact that Thailand consumes most of its own fibre, demand is by no means assured. The impression amongst the younger generation is that silk is for older people and formal dress. Therefore, there is a need to reposition Thai silk as a modern fibre for everyday use, whilst at the same time building international demand, particularly in Europe.

The Modern Thai Silk brand is the brainchild of the Thai government, Office of Knowledge Management & Development and the Thailand Textile Institute. The aim of the project is to add value to Thai silk, encouraging suppliers, manufacturers and designers to opt for the fibre. It is hoped that the authenticity of the Modern Thai Silk brand will resonate with consumers and fashion brands alike, fostering a culture of sustainability that will ultimately help improve the living standards of Thai silk farmers.

There are four peacock emblems authenticating Thai silk. Royal Thai Silk (Gold Peacock) uses native Thai silkworm breeds for the warp and weft, which are traditionally hand-reeled. The fabric is woven on a handloom and either dyed naturally or with environmentally friendly dyes. Classic Thai Silk (Silver Peacock) differs from the above only in that it uses native or developed Thai silkworm breeds for the warp and weft.

Thai Silk (Blue Peacock) uses pure silk thread for both the warp and weft.

The fabric can be woven on any kind of loom and treated with natural or chemical dyes. Finally, Thai Silk Blend (Green Peacock) uses silk in combination with other fibres, the composition of which must be clearly stated.

Modern Thai Silk is aiming to challenge the assumption that silk is formal and not fashion, modernising the blend to offer contemporary, everyday fabric for all ages.

If this mission can be achieved, the signs point to success for silk.

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CASHMERE

City chic New York is the location of Todd & Duncan’s first boutique, a showcase for the new ready-to-wear collection. This is NYC style via Loch Leven. Charlotte Rogers reports.

Garments from the debut Todd & Duncan RTW collection.

Last year, Todd & Duncan announced its intention to launch a collection of ready-to-wear (RTW) womenswear, marking the Scottish spinner’s evolution into a global luxury brand. This first foray into the womenswear market is to be the cornerstone of a retail strategy, including the opening of two boutiques in the Big Apple.

This may seem like a silly question but, why New York? “New York is one of the top fashion destinations around the globe and we wanted to establish a significant presence in that market,” explains Bruce Cameron, sales director at Todd & Duncan.

“The positive reception the collection has received in that environment is extremely gratifying and validating.”

Brand positioning research showed a void in the American market for a classic/modern brand at the Todd & Duncan price point. The collection is designed in New York by a talented

group of designers, astute colourists who understand how to construct knitwear.

The team work to find the right balance of modern and classic, to chime in with the aesthetic of the collection.

The RTW range may be designed in the US, but it is founded on the banks of Loch Leven and Todd & Duncan’s rich textile heritage. The company prides itself on its unique carding process and spinning on self-acting mules to produce premium woollen spun yarns. Colour is also an important aspect. Todd & Duncan offers over 200 stock colours. The clarity of the shade comes courtesy of sourcing fine, white cashmere fibre from parent company Ningxia Zhongyin Cashmere Company.

Scottish craftsmanship has an enduring appeal for the American market, according to Cameron. “Brand integrity and authenticity is becoming more and more important in the American market. The Scottish heritage aspect of

the brand, a 150 year old tradition of stretching and twisting fibres into the most exquisite cashmere yarn in the world, is both very well identified and well respected there.”

By 2019, Todd & Duncan is planning an international store roll out plan, which will encompass menswear three to five years from now.

Other than tapping into the talent and experience needed to develop a collection of this kind, Cameron argues that branching out into RTW has not really changed the business model.

“The strategic goal is for the RTW collection to create brand awareness and demand for the yarn collection and visa versa. The company’s primary mission is still dedicated to producing high quality, classic, modern products whether they be yarn, knitwear or other types of apparel and accessories.” www.todd-duncan.com

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COTTON

Global cotton market review WTiN analyst Matt Robinson investigates the factors in play undermining the bearish argument for cotton prices.

In an apparent repeat of last season, early widely held expectations of a downward correction in international cotton prices during 2013/14 (August/July) would seem to be yielding to an increasingly firm assessment of the short term price outlook.

So what has happened to undermine the bearish argument for cotton prices?

Comments by Chinese officials from June last year suggested that the government recognised its state reserve policy had distorted the market and that a rationalisation of its stocks was required.

A number of factors underpinned expectations that China’s stocks would weigh more heavily on international prices early this year. The announcement of an early start to state reserve auctions in November, combined with the lowering of the opening price for those sales to 18,000 yuan per tonne and the application (at least initially) of stricter quality criteria for procurement into the strategic stock.

However, the prices offered for state reserve stock have not been attractive enough to stimulate buying and deter mills sufficiently from a reliance on cheaper imports (be that of cotton or cotton yarn).

The massive cotton import figure recorded in December 2013 bears testament to that, even though a large proportion of that cotton may be sitting in bonded warehouses and not yet have been taken up by consumers (i.e. spinning mills).

According to China Customs, the country imported 609,000 tonnes of cotton during December (the highest monthly total since March 2012), as buyers sought to use up 2013 quotas before they expired. Fears were that quota availability during 2014 would be much more restricted.

The cumulative import total for the first five months of the international cotton season (August/July), at 1,400,464 tonnes,

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was 17% lower than the corresponding 2012/13 level. However, a decline of that magnitude was already factored into the market. The fear was that the drop would be still greater.

The December import total seemed to confirm that China’s imports would reach the United States Department of Agriculture’s forecast of 2,395,000 tonnes, given that China is obliged to issue a tariff-rated quota (1% duty) for 2014 of at least 894,000 tonnes under its WTO accession agreement.

Confidence has grown, therefore, that China will absorb the supply surplus in the rest of the world. In other words, while global cotton stocks look set to rise to another record high, the supply of cotton not held in China's state reserve, and therefore available to spinning mills, looks like it will be very tight.

The limited supply situation has been accentuated by the fact that Chinese state reserve policy is stimulating cotton consumption outside of China. Textile mills in that country have turned to importing cotton yarn, which is not controlled by quotas, and of course has been manufactured from raw materials purchased at much cheaper international price levels.

As the accompanying chart shows, since China adopted its current state reserve policy in 2011, cotton yarn imports have soared, rising to 2,099,470 tonnes last year, up by no less than 37.6% from 2012.

The tight supply of cotton outside of China has been especially manifest in the US, where export sales have remained remarkably strong, despite recent strength in New York futures.

Spinning mills requiring ‘contamination free,’

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machine picked cotton for nearby shipment have had few alternatives to US growths.

Moreover, sellers have been incentivised to liquidate supplies sooner rather than later, owing to a large inversion in the New York futures market. This has seen the December 2014 contract (representing new crop prices) trade at a discount of nearly 10 US cents per lb to the July 2014 contract (the final old crop delivery month). US export sales have already surpassed 9.0 million bales (480 lbs), against a USDA estimate for the season of 10.5 million bales.

The USDA currently place US ending stocks at 3.0 million bales, their lowest level since 2010/11. New York futures remain the principal tool for price discovery in the global cotton market. However, they can be at times influenced primarily by US supply and demand fundamentals, as only US cotton can be delivered against the New York futures contract.

A further factor providing support to international cotton prices - one which is rather technical in nature but still significant – is that mills in recent months, anticipating a decline in prices, have tended to purchase their cotton requirements ‘on call.’ A mill can choose to buy at a certain basis level, say 500 cent points (5 cents) above a specified contract month in New York, but only lock in or ‘fix’ an absolute price at a later date. Price fixation typically involves the buying back of a ‘short’ position on the New York futures market.

Peter Egli, a well respected commentator on the cotton market and head of risk management for international cotton trader Plexus Limited, provides a very succinct explanation of the inherent difficulties in relinquishing those 'short' holdings in the current market scenario.

“The futures market is a zero sum game, which means that for every long there is a short. Since index funds occupy a large block of the long position (5.8 million bales), which they roll forward on only four occasions every year, any short that wants to get out has to either find another short to replace it, or a long willing to exit. Since there is hardly any cotton left to hedge on March, May and July, we don’t expect too many new sellers to enter the game. This means that existing shorts will have to rely primarily on longs letting them out.”

In the short term, whether or not the market ‘shorts’ are able to liquidate those positions in an orderly fashion will dictate whether we see a spike in futures in the run up to the March, May and July delivery

periods, such as the ones witnessed a year earlier (see accompanying chart).

Nonetheless, it would be wrong to conclude from the foregoing that the scope exists for cotton prices to rise substantially from their current levels over the next few months. At current levels, fresh mill business (with the exception of recent US sales) has been rather sluggish. Competition from weaker polyester and viscose prices may also provide a ceiling.

Moreover, higher prices may stimulate cotton farmers in India to sell cotton more readily to gins and would perhaps bring China's state reserves ‘into play’.”

The potential (and need) for a substantial downward correction in global cotton prices has not disappeared, but merely become a more distant prospect. In an unsustainable trend, global stocks are still growing and may represent by the end of the season no less than 85% of annual global consumption.

China is still likely in the coming months to introduce measures that will either compel or incentivise mills to purchase from the state reserve stock rather than import cotton. It may also try to stem growth in cotton yarn imports.

However, in the meantime, international cotton prices remain artificially high and may offer farmers in some parts of the world attractive returns vis-à-vis those for alternative crops.

Growers in the Northern Hemisphere are currently making their planting decisions for their summer rotation. If sowing to cotton is stimulated, we may be facing another season when production surpasses demand, adding to an already bloated world balance sheet.

The pent up bearish pressure in the cotton market, far from dissipating, may be growing, it just might not be felt as soon as we had thought.

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WOOL

Hitting its stride Whether 100% Merino or a synthetic hybrid, the influence of wool in performance wear is growing.

Charlotte Rogers checks out the different players in the natural fibre performance market.

Finisterre, Icebreaker, Armadillo Merino, Ibex and Rapha – just some of the names flourishing in the 100% performance Merino market. These premium garments are designed to enhance performance, whether for cold water surfers, hikers, cyclists, marathon runners or professional risktakers.

Take Finisterre. Founded as an antidote to commercial surfwear companies, this Cornish company has made a conscious decision to select quality natural fibres, such as the British Bowmont Merino reared by Lesley Prior of Devon Fine Fibres.

New Zealand brand Icebreaker opts for native Merino for its core production of underwear, base layers, T-shirts and socks for challenging environments from hiking and snow sports to hunting and fishing. The label’s best selling items are its Oasis LS crewe neck base layer and leggings for men and women.

For Mark Koppes, vice president of product at Icebreaker, the growing demand for performance Merino comes as no surprise. “Merino wool really does work as claimed. Soft against the skin, temperature regulating, warm when wet and it truly doesn’t hold odour.

“I also think more consumers are becoming concerned about the environment and

recognise that they can make buying choices that have a positive impact. Merino wool is a sustainable, renewable commodity. When you combine all of that with ethical production it’s hard not to feel good about owning an Icebreaker,” Koppes states.

The autumn/winter 2014 collection is focused on innovation and sustainability.

Highlights include Icebreaker’s ‘warmest ever’ MerinoLOFT jackets, made with recycled fabrics. The brand will also be launching a design collaboration with UK snow artist Simon Beck.

Icebreaker is firmly of the opinion that demand for performance Merino will continue to increase. “The real hurdle is just getting people to try it. The outdoor industry has worked for years to sell the consumer on the value of synthetics. Many people were unhappy with the old woollen products they used years ago. Merino wool is often overlooked by people who’d been convinced that wool isn’t as comfortable.

“Experiencing Merino wool can completely change their perception. Once you try Merino wool you’re hooked,” Koppes says simply.

Ibex selects 17.5 to 24.5 micron wool for its range of base layers to outerwear. The US brand ensures supply chain traceability from fibre provenance to fabric sourcing to

garment assembly. Performance roadwear specialist Rapha was the official clothing sponsor of Team Sky Pro Cycling in 2013.

The brand sells lightweight Merino blend jersey for next-to-skin wear.

Working on the basis that skin is our most important sensory organ, Armadillo Merino is reducing injuries sustained by professional risk takers such as soldiers and police. The base layers and other garments are worn by elite teams of professionals working in dangerous environments worldwide. The company utilises the intrinsic qualities of Merino that synthetic fibres attempt to mimic.

Naturally flame resistant, wool only ignites at temperatures of between 570oC-600oC and even then it does not even melt.

Andy Caughey, founder of Armadillo Merino, has noted recent converts actively sharing their positive experiences of wearing comfortable, well designed Merino garments.

“Especially as the garments overcome many of the negative aspects of wearing synthetics,” says Caughey.

“The discovery of Merino performance garments, which effectively manage heat and moisture while not smelling, can be life changing for many people.”

Armadillo Merino’s Monty shirt is a UBAC (Under Body Armour Combat shirt)

The latest innovations from Icebreaker’s autumn/winter 2014 collection.

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Armadillo Merino’s Monty shirt was named runner up in the DSEi innovation awards.

used by police, fire and military forces. This performance shirt was awarded runner up position in the Innovation Awards at DSEi 2013, the world’s largest military show. In 2014, Armadillo Merino hopes to continue its global expansion by appointing sector specific distributors and agents, as well as building a brand presence by exhibiting at specialist industry tradeshows.

A newcomer to the market is Watson's, a Canadian manufacturer of thermal underwear and cold weather base layers, which recently launched its first 100% Merino collection. The lightweight garment construction relies on superfine 18.5 micron Merino fibre. The fabric will be used for tops and bottoms for men, women and children.

The Merino/synthetic hybrids January’s Outdoor Retailer Winter Market showcased a number of Merino/synthetic hybrids. One such brand was super.natural, which announced its intention to begin distribution of its garments in North America from autumn 2014.

Initially launched in Europe in 2012, super. natural activewear combines Merino with engineered performance fibres. The men’s and womenswear collections include base layer, mid-layer, lifestyle and sportswear apparel, focusing on snow sports, outdoor, fitness, yoga and travel. The technical fabrics are supplied by super.natural’s parent company, Shanghai Challenge Textile Co., Ltd. (SCT), a certified bluesign partner.

Former Polartec president and CEO, Andy Vecchione, and executive vice president,

Jon Adelman, will spearhead super.natural’s efforts in North America. “Having been at the forefront of the outdoor industry for over a decade, I’m excited about what this product is bringing to the North American performance apparel market,” says Vecchione. “super.natural has set new standards in manufacturing hybrid fabrics that are intelligent in performance and comfort.

The balance of natural Merino wool with engineered fibres creates the maximum in comfort, performance and style.”

Not to be outdone by its former executives, performance textiles company Polartec has launched a new fabric collection mixing Merino with synthetic fibres in patented constructions.

Power Wool has a bi-component knit structure, with a polyester exterior and Merino interior. The fabric is available in next-to-skin styles, form-fitting stretch and patented ‘High Efficiency’ grid styles, designed to offer maximum breathability, compressibility and warmth per fabric weight.

Allon Cohne, Polartec global marketing director, argues that the combination of wool and synthetics maximises the potential benefits of both fibres.

Mark Koppes of Icebreaker agrees that there can be some advantage to the Merino/ synthetic mix. “Companies can use other fibres to enhance the characteristics of Merino wool and make it work even better.

We’ve recently developed a yarn that spins the Merino fibre around a nylon core. This keeps Merino next to skin, but significantly increases the burst strength of the fabric, raising the overall durability of the garment.

“Core spinning has also allowed us to

Icebreaker’s MerinoLOFT jacket.

produce an incredibly lightweight fleece. We will continue to develop fabrics in the coming seasons that use fibres that can enhance the amazing characteristics of Merino.”

To incorporate this new technology, Icebreaker has re-engineered its mid-layer sweaters, hoodies and jackets using this nylon core yarn, to offer a warmer, stronger and lighter product.

Andy Caughey agrees that price is a big issue in the choice to blend fibres, although for its specific market Armadillo Merino would not be willing to take the risk. “Merino has always commanded a premium price over synthetics so the blending of the two fibres has been one way of bridging the price differential.

“However for the wearers of Armadillo Merino who operate in high risk environments there can be no compromise to 100% Merino, especially when it comes to user performance and safety. Synthetics are potentially dangerous when exposed to heat and flames because they melt and drip into the skin causing painful and permanent injuries, especially when worn next-to-skin.

“In contrast Armadillo offers a protective layer. The users of Armadillo Merino demand multi-attribute performance clothing so only pure Merino can deliver the levels of safety and performance that they require.”

Synthetics specialists are finding ways to appeal to customers who are becoming increasingly aware of the advantages of natural fibres for performance. These companies are keen to emphasise the benefits of the natural/manmade blend, particularly as such garments give their product portfolio a natural alternative without the higher cost of manufacturing a 100% Merino garment.

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Road to Sochi When it was revealed Ralph Lauren had manufactured the Team USA garments for the 2012 Summer Olympics in China, America was in uproar. Fast forward two years and it was imperative Ralph Lauren secured an all American supply chain for the Winter Olympics.

Charlotte Rogers speaks to wool yarn supplier Jeanne Carver, of the Imperial Stock Ranch in Oregon, about her road to Sochi.

Imperial Stock Ranch - Wagon Sign.

‘We were extremely humbled and honoured to be playing a small part in supplying Team USA with their Olympic uniforms’ Dan and Jeanne Carver.

As the Winter Olympics only come around once every four years it is important to make your mark. Team USA ended the Sochi games fourth in the medal table, having won nine gold medals, seven silvers and 12 bronze.

The athletes were not alone in setting out their statement of intent. US design house Ralph Lauren committed to source domestically for the production of the official US uniform for the opening ceremony of the Sochi games. This decision was important in light of the revelation that Ralph Lauren had manufactured Team USA garments in

36

China for the 2012 Summer Olympics.

For 2014 the commitment was to design, source and manufacture all the official uniforms in the US. The apparel giant worked with approximately 40 US companies to produce 650 Olympic uniforms and 65,000 individual items of clothing for the opening ceremony. The collection included a wool pea coat, fleece jacket, embroidered trousers, limited edition patchwork cardigan, knitted hat and cotton mesh polo shirt.

The Olympic order required 6,250 pounds of wool and 5,625,000 yards of yarn. One patchwork sweater, for

instance, used yarn spun by Kraemer Yarns in Pennsylvania and dyed at Longview Yarn in Hickory, North Carolina. The knitting was carried out

by Ball of Cotton in California. At the heart of the whole operation was the American wool, which was sourced from the Imperial Stock Ranch in Oregon.

Established in 1871, Imperial Stock Ranch has been raising sheep, cattle and producing grains for over 143 years.

Owned by Dan and Jeanne Carver, Imperial Stock is a 35,000 acre ranch located in high desert country in north central Oregon. Whilst the ranch once

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ran for more than 120 miles through central Oregon, today it covers 50 square miles.

For Dan and Jeanne, the journey with Ralph Lauren began in July of 2012, with what has become known as ‘The Call.’ “I was outside in the back yard when I took a phone call and there was a group of sheep on the hillside behind the headquarters,” remembers Jeanne.

“They had come to the spring for a drink and were starting to head out, grazing their way toward sunset. I could see from the number on the phone that this wasn’t a local call and as the gentleman on the other end jumped right in with questions about our yarns, I assumed he was with a yarn store. I asked him which yarn shop he was with and he replied that he was with product development for Ralph Lauren in New York.

“It took me just a few seconds for that to process and then I said, ‘You’re kidding me!’ He said: ‘No, I’m sitting right here on Madison Avenue.’”

The night Jeanne put together samples to send off to New York. A month later and the Ralph Lauren design team were on the ground in Oregon to learn more about the ranch, including the yarns and animals. The Carvers put together small orders of yarn for sample sweaters. Five to six months after the initial call, Ralph Lauren placed a production order.

During the sampling process Jeanne had no idea what the yarn would be used for.

It was not until 2013 that Imperial Yarn Ranch found out the ‘special project’ was the Winter Olympic Games. The Carvers supplied yarn for the patchwork cardigan, worn by the athletes at the opening ceremony February 7.

“We were extremely humbled and honoured to be playing a small part in supplying Team USA with their Olympic uniforms,” says Jeanne with pride. “I don’t think there could ever be a greater honour for yarn than to clothe our best athletes in the most prestigious sporting event in the world.

“Ralph Lauren has been a tremendous partner, reaching out a hand to more than 40 businesses in the US, and connecting thousands of people to our Olympic team in a way they would never have been.

They have led a growing pride across this country and a boost to the spirit of the team itself, knowing all these people are

Landscape with Mt. Hood.

Imperial Stock Ranch - Sheep and Cowboys.

behind them.”

Ralph Lauren’s local sourcing plan has raised awareness of the great qualities of American wool. Sheep have always been the cornerstone of the Imperial Stock Ranch since its beginning as a 160 acre homestead in 1871. The ranch grew to become Oregon’s largest individually owned land and livestock empire by the late 1890s and early 1900s. At that time it was one of the largest sheep operations in western America.

“Running tens of thousands of sheep at the height of operations, it saw a gradual decline in numbers following World War II, with the coming of industriali-

sation, losses of manpower, changes in government grazing lease programmes and a move toward synthetic fibre textiles,” Jeanne explains.

“Throughout its history the Imperial Stock Ranch has produced both sheep and cattle, in addition to grain and hay. All four commodities are still viable today, but sheep numbers are far below their historic levels.”

The Carvers have maintained the heritage of the Imperial Stock Ranch, based on the Columbia sheep breed. The original homesteader, Richard Hinton, was a leader in importing breeding stock in the 1880s and starting the early

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Imperial Stock Ranch - ewe and lamb.

commercial crossbreeding of Rambouillet with other breeds such as Lincolns.

This crossbreeding led to the official development of the Columbia breed under the supervision of the USDA. “The crossbred Columbia heritage has continued throughout the Imperial Stock Ranch’s history. We routinely test and select for superior wool quality along with meat characteristics,” Jeanne explains.

The Carvers’ philosophy is based on living and working in balance with nature, an approach based on careful stewardship of the land and animals.

Once a year the wool is harvested, custom milled and sold across the country. The team inspect, grade and sort the wool at shearing. The fibre is then shipped for scouring, carding, combing, blending, dyeing, spinning and plying.

When the last regional processing facilities closed in 1999, the Carvers needed to find a new way to sell the wool.

“I searched and found small processing facilities as close to our location as possible, and began the journey of creating and selling a value added product – yarn,” Jeanne explains.

“We have grown over the years in this effort, outgrowing and outlasting some of the small processors. Today we are

38

produced wool yarn and eco-chic fashion for retail, part of what it sees as a rural revival taking place in America.

In June 2013, Imperial Stock Ranch was awarded a grant from the US Department of Agriculture to develop a line of women’s apparel. The Carvers are promoting a ‘slow wear’ ranch-to-runway approach, working in collaboration with award-winning sustainable designer Anna Cohen. Launching commercially this autumn, the collection headlined at Portland Fashion Week in 2009 and 2011.

The success of the Imperial Stock Ranch is testament to the rural revival taking place in America. It was imperative that US manufacturing took centre stage in Sochi, showcasing the quality and skills inherent in American textile production.

Jeanne and Dan Carver are as committed to this 143 year old ranch as the founders back in 1871. “With my husband Dan Carver at the helm, Richard Hinton’s dream lives on. Heritage was our motivation and a belief that we are called to honour the relationship sheep have had with man’s survival for thousands of years.”

moving wool through two different woollen spinning mills, as well as two worsted spinning mills, creating a variety of roving and yarn products.”

The Carvers first started selling yarns by ‘word of mouth.’ The ranch worked with regional textile artisans to create custom apparel in early 2002, all made within 120 miles of the ranch. In 2011, we began efforts to sell yarns into the craft market for hand knitting, earning a reputation with yarn boutiques across the US. The ranch sold 55,000 skein of wool yarn last year, stocked by 300 shops.

The ranch has successfully transitioned from selling wool as a commodity to selling ecologically Ralph Lauren patchwork sweater for the 2014 Winter Olympics in Sochi.

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Ramping up the heat Ramtect is a lightweight US wool insulation for outerwear, part of a 100% Made in the USA supply chain from fibre to finished garment. Doug Hoschek, co-owner of the patent pending technology, describes the work carried out in association with Carey Hobbs and the team at Hobbs Bonded Fibers, Texas, to commercialise Ramtect.

What are the attributes of US wool that make it perfect for insulation?

Results of US wool tested by Texas A&M University and American Sheep Industry prove that American wool is superior in loft and resistance to compression compared to other sheep globally. Both of these superior performances are the best means for our Ramtect insulation to provide the long lasting warmth, comfort and durability.

What are the special characteristics of the product?

Ramtect is a fibre based, not a yarn based, insulation which allows the wool fabric to be 75% lighter in weight than wool insulation fabrics made from yarn. The wool does not require quilting like down and synthetic insulations used in outerwear. Therefore, designers can create more fashionable looks, whilst the functionality eliminates

the quilting stitch holes that create cold and allow moisture to chill the wearer of down and synthetics.

Ramtect wool is the only insulation being offered for outerwear that is completely produced in America from fibre to processing, fabric production and garment assembly.

Our wool fibre is the only renewable and biodegradable outdoor insulation material.

Machine washable, Ramtect is easy to care for and will not create odour. The US wool is equal to the weight of down in finished garments with comparable warmth. It also lasts longer than synthetic fibres for insulation in terms of retaining loft, does not create clumps or static.

fabric weight by 75%. Fabric costs are substantially reduced, due to the lighter weight. There is also no need for dyeing and expensive finishing.

The lack of need for quilting cuts costs and allows designers to create unlimited fashion styles, based on functional fit and comfort. Warmth is more consistent due to the compression loft control and moisture is restricted by not adding quilting holes.

The labour savings in compression technology manufacturing and sewing allow the wool fibre to become more competitive than down insulation. These savings in turn help create American jobs for the assembly of outerwear garments.

What are the advantages of Hobbs’ no yarn compression technology?

This patent pending technology is made with fibre, not yarn, thereby reducing the

How does the insulation hold its shape?

The fabric offers stability in width, weight and shape. Ramtect cuts and sews like a yarn based fabric. Through compression

The Ramtect US wool insulation.

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By keeping the fibre, fabric and garment assembly here in the US we have the best carbon footprint to help protect the environment. Our partnership with All Seasons also builds middle class jobs.

technology the insulation keeps the same loft throughout washing, packing and wearing.

Automotive is a potential customer, but no development is planned at this time.

Could Ramtect be used in other sectors, such as automotives?

At this time Ramtect is designed for any outdoor insulated apparel including the military, not just technical outerwear. In fact by reducing the weight of the wool fabric by 75%, the bigger market potential is for everyday garments.

We are reviewing Ramtect for bedding products with key makers in that market.

Hobbs Bonded Fibers is also looking at Ramtect for the home quilter business, which the company presently supplies with a wool insulation we have made for many years.

Can you tell me more about your partnership with All Seasons Apparel?

All Seasons Apparel is one of the oldest outerwear sewing factories in America and was formerly owned by the same owners of Pacific Trail Sportswear. With over 600 sewing machines and other necessary textile sewing equipment, the factory has survived by making military items over the past decade.

Our partnership with All Seasons assures our customers that American wool, processed at Hobbs in Texas, allows the garment sewing to be cost competitive with off-shore production of down and synthetic fibre insulation.

What are the advantages of a ‘Made in the USA’ product?

Jobs, jobs and more jobs! Teaching young people in school that trade jobs requiring skills with your hands are just as important and rewarding as higher tech jobs builds a path out of poverty.

Small business has been the back bone of textiles and wool is particular. Today Ramtect wool signals the return of the ‘Natural Fibre Story.’

Is Hobbs working on any new R&D projects?

Hobbs is constantly innovating new products across its entire customer base from automotive and industrial to textile outerwear, bedding and home quilting.

Right now we have our minds set on selling the new Ramtect wool and building that customer base through innovation in outerwear, designer led apparel. www.hobbsbondedfibers.com/ramtect/

The International Magazine for Luxury Fabrics, Yarns and Fibres

Twist

The international magazine for natural fibres, yarns and fabrics

Twist

Issue 58 January 2014

Get out there Cold water wool

India’s pursuit of luxury Alpaca growers & miners join forces A suit fit for a prince Better Cotton goes mainstream

Twist is the world’s only global magazine dedicated to luxury textiles.

Providing exclusive coverage of luxury fibres, yarns and fabrics, Twist profiles leading companies and independent design talent, reports on the key seasonal trends from international shows and provides in depth analysis on the latest activity in the wool market.

Published by

www.twist-international.com

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Subscribe today to make sure you receive your regular update from the luxury fabrics, yarns and fibres industry.

It’s easy to make sure you never miss an issue.

Call now on +44 (0)113 203 1267 Or email Luke Hanratty at lhanratty@wtin.com

© Copyright World Textile Information Network Ltd 2012. All rights reserved. WTiN and World Textile Information Network are registered trademarks.

Twist is available in printed and digital format and is published 10 times a year.

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Published by

Twist April 2014 © Copyright World Textile Information Network Ltd 2014. All rights reserved. WTiN and World Textile Information Network are registered trademarks.

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US FOCUS

US textile industry comes back to life

By Marsha Mercer, Special to Stateline.

American workers might have made the mop you waltz around the kitchen floor, your favourite bath towel or your facial wipes. Surprised? Decades after many people thought the US textile industry was dead the industry generated $54 billion in shipments in 2012 and employed about 233,000 people.

Business is on the upswing as Southern States, in particular, woo textile companies with tax breaks, reliable utilities, modern ports, airports and a dependable, trained and non-union workforce.

In 2013, companies in Brazil, Canada, China, Dubai, Great Britain, India, Israel, Japan, Korea, Mexico and Switzerland, as well as in the US, announced plans to open or expand textile plants in Georgia, Louisiana, North Carolina, South Carolina, Tennessee and Virginia.

The workers produce yarn, thread and fabric for apparel, furnishings, home products and industrial use. Examples include Huggies and Pampers diapers, Swiffer mops and Pledge furniture wipes, according to David Rousse, president of the Association of the Nonwoven Fabrics Industry.

“Textiles manufacturing – yarn, fabric, woven and nonwoven – is still here and growing,” said A. Blanton Godfrey, dean

of the College of Textiles at North Carolina State University. “We’re selling cotton yarn cheaper than the Chinese.”

True, textile manufacturing in the US dropped precipitously in the 1990s and 2000s as cheaper labour drew jobs overseas. Automation and increased productivity of textile mills also cost jobs. More than 200,000 textile manufacturing jobs have been lost to automation in the last decade.

Textiles, mostly cotton, once dominated the economy of the South. Employment peaked in June 1948 with 1.3 million jobs.

In just one state, North Carolina, 40% of its jobs were in textile and apparel manufacturing in 1940. By 2013, just 1.1% of that state’s jobs were in textiles.

About 650 textile plants closed between 1997 and 2009, draining thousands of jobs and depressing communities.

But rising wages in China and other countries, combined with higher transportation costs and tariffs, have prompted foreign and domestic companies to

consider American manufacturing sites.

Also, with more consumers looking for the ‘Made in the USA’ label, some companies are turning to American goods. Wal-Mart, for example, pledged last year to buy $50 billion over a decade in American-made products, among them towels and washcloths.

Highly automated plants More than a third of all textile jobs were located in Georgia and North Carolina in 2012 and that’s where many of the jobs are being created. The new plants are nothing like the dusty, noisy mills of the past.

These highly automated plants require far fewer — but more tech-savvy — workers who earn higher pay than their forebears. The average textile wage in the US in 2012 was $37,900, compared with $60,496 for all manufacturing jobs. In North Carolina, the average textile wage

The Campaign for Wool is promoting domestic wool textiles for interiors in the US market.

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was $33,219, up from $28,216 in 2002.

“Norma Rae would have trouble getting a job,” said Godfrey, referring to the 1979 movie about a young textile worker who leads a union-organising campaign.

The movie was based on the story of Crystal Lee Jordan, a 33-year-old mother of three who was making $2.65 an hour folding towels at a North Carolina mill in 1973 when she began an organising push.

“But if Norma Rae wants to sit at a computer terminal and programme the robot, that’s different. It’s a very different world,” he said.

Another change in the industry is the growth of nonwovens. Diapers and facial wipes, mops, medical scrubs and all kinds of filters are nonwovens. In the last decade, North Carolina has gained 1,945 jobs making nonwoven products and $719 million in nonwoven factory investment.

“It’s not your grandmother’s textile mill,” said economist Ted Abernathy, whose four grandparents worked in textile mills while he was growing up in North Carolina. The long-time executive director of the Southern Growth Policies Board until it merged last autumn with the Southern Governors’ Association, Abernathy now is a consultant to the governors’ group.

“The good news for the South is that the lowest-end jobs are not coming back,” Abernathy said. “New jobs are in the $35,000 to $45,000 a year range.”

States jockey for jobs

American Apparel proudly emphasises the fact its garments are manufactured in the US.

42

As states compete for jobs, Georgia Republican Governor Nathan Deal touts his state’s top national ranking for business climate by Site Selection magazine, a trade publication. Deal recently signed a law exempting energy used in manufacturing from sales and use taxes, which helps existing and future manufacturing facilities.

Tom Croteau, Georgia’s deputy commissioner for global commerce, said the state’s long history of carpet manufacturing has been essential to growing its textile industry. In 2013, five floor-covering manufacturing companies announced expansions that will add 3,550 jobs to the 22,382 existing carpet and rug manufacturing jobs, and a $815 million in investment in Georgia.

“A primary building block of Georgia’s business climate is our highly skilled workforce,” said Croteau. Helping train

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those workers is Georgia’s Quick Start programme, which began as a modest training programme in 1967 and has since provided customised training to more than 325,000 workers in more than 3,100 businesses and industries.

In October, Shrivallabh Pittie Group, a leading textile manufacturer in India, chose Georgia as the site of the company’s first US-based manufacturing facility, a $70 million cotton yarn plant in Screven County that will hire 250 people.

The firm will locate on an industrial site developed by the state and its workers will receive Quick Start training.

Textile manufacturing culture In North Carolina, nine textile firms announced plans in 2013 to build or expand plants in the state, creating 993 jobs and investing $381 million. Sharon Decker, the state secretary of commerce, cited three factors that helped her state win the new factories: culture, education and a competitive business climate.

“North Carolina has a historically strong manufacturing base, in textiles especially,” Decker said. “The notion of a culture of textile manufacturing – people know it’s still there.”

The state offered grants totalling $4.4 million to the nine textile companies to create jobs. The largest in the group is Gildan Activewear, a Canadian firm that has committed to invest $250 million and hire 500 workers. Gildan received a $3.5 million state Job Development Investment Grant, a cash grant based on actual job creation.

The North Carolina legislature boosted its business climate in 2013 by lowering personal income tax and corporate income tax rates. The corporate income tax will drop from 6.9% to 6% in 2014 to 5% in 2016, a 28% rate cut. Rates could drop further if economic growth yields more revenue.

Meanwhile, the state university’s textiles school works with the business sector to help prepare workers for the new jobs, Decker said.

One challenge these days is getting young people interested in textile factory work, she said. One mill owner has started bringing middle school students in for tours to show them how technologically advanced the facilities are.

The US boasts a network of 18,000 domestic cotton growers.

Filling a crater In Lancaster County, South Carolina, textile mills owned by the Springs family were dominant employers for 120 years, with about 11,000 workers in the 1970s and 1980s. The family sold the company to a Brazilian company in 2005 and the last mill in South Carolina closed in 2007, taking the remaining 3,500 jobs to Brazil.

“It left a crater,” said Keith Tunnell, president of the Lancaster County Economic Development Corporation.

“Then the recession came – a double hit.” Unemployment soared to 18.6% in June 2009.

About 21 months ago, the South Carolina Department of Commerce told Tunnell that a cotton spinning company was looking for a US manufacturing site. “I was stunned,” he said. Even more surprising: the company is Chinese.

Competition for the plant among the states ended in December when Keer Group announced it will invest $218 million to build a 230,000sq ft yarn factory and create 501 jobs within five years in Lancaster County.

“We chose to locate our first US facility in South Carolina for a number of reasons, which include the state’s workforce, proximity to cotton producers

and access to the port in Charleston,” said Keer chairman Zhu Shanqing.

South Carolina gave Keer a $4 million Rural Infrastructure Grant, and the county development corporation offered an additional $7.7 million bond to attract the company. Keer agreed to pay workers at least $13.25 an hour, the average manufacturing wage rate in Lancaster County.

The Keer jobs are nowhere nearly enough to replace the old textile jobs, but are welcome news in a county of 79,000 where the unemployment rate is 8.1%.

Tunnell hopes to attract more Chinese companies. What can he share with other state and local officials?

“If any community that was hit as hard as we were is looking to Washington, D.C., to fix your problems, you’re wasting your time. Tip O’Neill said all politics is local,” Tunnell said, referring to the late speaker of the US House of Representatives from Massachusetts. “I say all economic development is local.”

Stateline is a non-partisan, non-profit news service of the Pew Charitable Trusts that provides daily reporting and analysis on trends in state policy. www.pewstates.org/projects/stateline

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Q&A:

Working Wool Working with South American artisans for four years encouraged Emma Hague to rethink the approach to textiles in the UK. The experience inspired her to found Working Wool, a project aiming to build greater resilience in the British textile industry, creating a resource hub and incubation studio in the South West of England for start up businesses dedicated to knit and weave processes.

Emma Hague.

How did your interest in social entrepreneurship in the textile sector first come about?

I think it’s crazy that too often those who preach local, organic and Fair Trade in terms of their food choices (myself included), still fall victim to the temptations of fast fashion retailers who depend on increasingly exploitative production systems in less developed countries.

The problem is that aesthetics and style matter a lot more than many of us care to admit. Now that high street fashion is led by multiple trends each season, consumerism has become very much about quantity and variety over integrity and quality.

It’s not helped either by the fact that ‘ethical’ fashion for a long time was very ‘hippy’ and not at all fashion forward.

Now things are beginning to change. I'm

44

fascinated by how we can better use the amazing skills and material resources that we have available to us in the UK to create and consume fashion more responsibly.

The Lloyds Bank Social Entrepreneurs Programme has given me the opportunity to start making my own contribution to this sector.

How did your exposure to textile artisans in South America help you rethink the use of raw materials/ production skills in the UK? The spinners, knitters and weavers that I worked with in Peru are lucky in that they work with fibre from their own animals.

They can select their own fibres and have complete traceability, while still using simple yet effective processing methods that are very low-impact – both socially and

environmentally.

This connection with the whole process can still be so difficult to achieve for designer makers and small garment businesses in the UK who are often forced to source materials and labour overseas in order to be economically viable. It is equally disheartening for sheep farmers who care about their sheep and the quality of their fibre to see their wool shipped off to China, blended with inferior fibres and sent back to the UK as poor quality garments. I'm convinced that there must be a better way of doing things.

Why do you think the British textile industry needs to become more resilient?

As it is, the British textile industry is completely unsustainable and founded almost entirely on exploitative, low cost manufacturing facilities in other countries. In turn,

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our buying and wearing habits generate huge textile waste and the majority of it – over 60% – still ends up in landfill, at least half of which is recyclable. Wool is a great starting point for re-thinking our garment industry because we have a renewable supply. It is biodegradable and easy to recycle into new fibres, which creates great scope for more responsible closed-loop production systems.

Can you tell me more about the resource hub/incubation studio you are planning?

I am currently seeking space and investment for a textile studio and co-workspace in the Bristol area. Through the Lloyds Bank Social Entrepreneurs Programme, which provides £4,000 for new enterprises, I am able to begin a pilot project which will be aimed at supporting graduate designer makers, small businesses and start-ups who design, make and produce woollen knit and woven apparel.

They can buy into it on a membership or cooperative basis.

I plan for it to offer access not only to workspace but also to equipment, a photography studio for high-quality product pictures and an online platform and marketplace for showcasing their work. The project will also offer business mentorship and guidance.

I also hope it will become a creative hub for critical engagement between peers who share a similar ethos. Creative people too often end up working on their own from isolated studios, but I think shared workspaces are invaluable for inspiring and driving productivity.

Why did you decide to start in the South West and do you plan to extend the programme to other parts of the UK? I ended up in Bristol by chance because my partner has been involved with various social enterprises here for years. I then applied for the Lloyds Bank Social Entrepreneurs Programme which is available in Bristol as part of the Dartington School for Social Entrepreneurs.

Bristol is the perfect place for something like this. It is very creative, supportive and is fast becoming a centre for sustainable enterprise. Now that Bristol is part of the Sustainable Food Cities Network, and the designated Green Capital for 2015, there is a lot happening around re-localising and strengthening the city’s food systems and other infrastructures.

I feel like textiles and clothing are only a

Emma is working with a local organic sheep farm to hold shearing workshops.

Emma Hague with Awamaki knitters in Peru.

few steps behind and now is the time to get people thinking not only about the food they eat, but also about the clothes on their backs.

Do you see Working Wool connecting with other members of the textile industry worldwide?

I hope so! Working Wool is partnered with Fernhill Farm, an organic sheep farm and eco-venue in the Mendip Hills (Somerset, England) where we are facilitating awareness raising activities and workshops about wool.

I also hope to forge connections with

education providers and industry partners in order to provide immersive learning opportunities for those in the realms of fashion, textiles and design to connect with and better understand wool as a raw material.

I also hope to make use of my connections with textile artisans in other parts of the world to build a knowledge exchange programme into Working Wool, specifically for wool workers to develop their crafts. I hope to launch a pilot project in Peru...but that’s a way down the line! @WorkingWool

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MARKETS

Global wool market review The global wool supply and demand balance

By Matt Robinson

46

Australian Auction Volumes and Clearance Rate Offering

Clearance rate

60,000

100

50,000

95

40,000

90

30,000

85

20,000

80

10,000

75

0 4-Jul-13

%

bales

The Australian wool market has displayed a much weaker appearance since the turn of the year, as larger auctions have encountered a more cautious offtake from traders, themselves facing a weaker export offtake from China.

Between December 12 and February 20, the weekly auction volume has exceeded 50,000 bales on four occasions, having not done so previously this season. The clearance rate during that period averaged 86.5%, compared with 91.6% during the season up to that point.

By February 20, the Australian Wool Exchange’s (AWEX) Eastern Market Indicator (EMI) had declined to 1,074 Australian cents per kilo, clean, a drop of 5.1% since the turn of the year and its lowest level since September 2013.

Many industry participants had anticipated an upturn in prices during January based on historical patterns. Prior to this season, the average value of the EMI during January has only been lower than the average in December on four occasions since 1979/80.

Import demand from China, which had begun to falter towards the end of last year, has continued to fall short of expectations during 2014. Data for the season through to December indicates that total wool exports rose year-on-year by 1.5%, but shipments to the all-important Chinese market declined by 1.3%.

While holiday influences have of course been well to the fore in China during the past couple of months, processors and mills would appear to have been experiencing fairly sluggish downstream sales in certain categories of wool textiles and clothing. Chinese exports of woven wool garments, fabric and yarn declined in 2013, though wool sweater shipments were higher.

In addition, the wool textile supply chain in China is unlikely to have been immune to the effects of the squeeze on credit in that country.

Despite the foregoing, the consensus view among traders appears to be that the downturn in prices has extended beyond what is warranted. Processors and mills are thought to be carrying fairly limited raw material inventories, having adhered to a hand-to-mouth purchasing strategy in recent months. Some pent up demand may therefore exist in the market.

On the supply side, the usual seasnal decline in auction volumes might be anticipated to commence in March and April.

Moreover, production this season may fall below previous

70 29-Aug-13

3-Oct-13

7-Nov-13

12-Dec-13

6-Feb-14

Source: AWEX

Eastern Market Indicator 1200 1150 1100 1050 1000 in A$ cents

950

in US$ cents

900 3-Jul-13 3-Aug-13 3-Sep-13 4-Oct-13 4-Nov-13 5-Dec-13 5-Jan-14 5-Feb-14 Source: AWEX

expectations. According to the Australian Wool Testing Authority Limited, the weight of wool tested during January was 8.1% down on the previous month. The cumulative volume tested during the first seven months of the season (July/January) was 2.7% lower than the comparable 2012/13 level.

The current forecast by the Australian Wool Innovation Production Forecasting Committee places the 2013/14 clip at 345 million kilos, down 2.0% from last season. Some traders have indicated that their production forecasts have been revised downward with the number of sheep slaughtered this season expected to surpass previous estimates, owing to the very dry weather that has prevailed throughout much of eastern Australia.

The profile of the clip also remains an important factor.

Classing data show that the volume of wool testing as 19.6

Twist April 2014

P 46-47 Markets_UPDATED.indd 46

05/03/2014 14:14

MARKETS

bales

Rand cents/kilo

microns and finer rose Cape Wools Merino Indicator by 12.9% through to 12,500 January, while the amount falling into the mid-micron 12,000 wool categories dropped sharply.

11,500 The challenge for 11,000 traders during the latter stages of the season 10,500 will be sourcing wool against specific export 10,000 requirements.

21-Aug-13 1-Oct-13 11-Nov-13 22-Dec-13 1-Feb-14 In contrast to the Source: Cape Wools situation in Australia, Merino wool prices in New Zealand Auction Volumes and Clearance Rate South Africa have ruled Offering Clearance rate 20,000 120% remarkably firm during 18,000 the early stages of this 100% 16,000 year, with the Cape Wools 14,000 80% Merino Indicator hitting 12,000 a new record high of 10,000 60% R120.77 per kilo, clean, 8,000 40% on February 5.

6,000 Unlike the situation in 4,000 20% 2,000 some of the other major 0% 0 producing countries, the 11-Jul-13 29-Aug-13 17-Oct-13 5-Dec-13 5-Feb-14 supply available in South Source: Wool Services International Africa would appear at least on a par with last market have been the two main factors season. Offerings so far in suppressing demand.

2013/14 have reached a cumulative total of Wool Services International’s Coarse 225,895 bales, up from 214,413 bales by the Crossbred Indicator has fallen by around 3% same stage in 2012/13. However, demand since the start of the year. has been robust, with exports during the first Only two auctions have been held in the half of the season rising by 14.8%.

United Kingdom since the turn of the year In New Zealand, a good proportion of the and prices have held about steady. The gains recorded during the early part of the volumes of wool coming under the hammer season have been relinquished during the have remained modest and the clearance past couple of months. As the accompanying rates recorded have been fairly high. The chart shows, the volume of wool available at British Fleece Wool Price Indicator stood at the weekly auctions has picked up consid222 pence per kilo, clean, on February 4, erably since mid-December, at a time when compared with its high for the season (which demand has faded. was also its highest ever value) of 238 A quieter export market and a more pence on October 30. mixed selection of wool coming to

AWEX Eastern Market Indicator Feb 20: 1,074

Australian cents per kg, clean Schlumberger dry

One Year ago: 1,119

Jan 9: 1,131

Opening

High

Low

Season 2012/13

1,077

1,134

932

Season 2011/12

1,305

1,312

1,148

Season 2010/11

865

1,436

865

Season 2009/10

874

881

772

Season 2008/09

874

874

722

Season 2007/08

896

1,045

852

749

1,025

725

Season 2006/07 Highest since 1991

1,436 (June 23, 2011)

Lowest since 1991

381*

AWEX Merino Categories

*Old Wool International EMI

Northern region (Sydney)

QUOTATIONS Bradford Tops

Average quotations (p./kg) in Bradford.

Dry-combed tops.

Botany, fine crossbred and New Zealand crossbred Feb 20

Feb 13

1,020

1,025

110’s (18)

995

1,000

80’s A (19)

940

950

70’s A (21)

870

880

120’s (17.5)

70’s B (21)

860

870

64’s A (23)

845

865

64’s B (23)

725

740

60’s A (25)

640

650

60’s B (25.5)

600

610

58’s super (27.5)

525

530

58’s (28)

490

490

56’s (29.5)

490

490

50’s (34)

455

450

31.5 English

375

380

33/34 English

365

370

British crossbred

British Wools Up to the following prices in pence/kg. greasy.

(BWMB)

Feb 4

Jan 14

Pick and Super Wrs

160

169

Pick and Super Cast

146

150

Halfbred Wrs

174

177

Halfbred Wrs Cast

170

169

Cross Wrs

177

172

Cross Wrs Cast

171

172

Cheviot Wethers

200

191

Cheviot Cast

186

183

Fine Radnor Cross Cast

168

157

Welsh Cast

130

132

Red Kempy & Lt Grey Welsh

127

124

Red Kempy & Lt 113.5 Grey Radnor X

130

NQ

Swaledale & Dalesbred

90

87

74

75

2014 (Feb)

2013 (Feb)

2012 (Feb)

2011 (Feb)

18 microns

1,283

1,377

1,555

2,098

19 microns

1,231

1,325

1,444

1,628

Swaledale Grey

20 microns

1,196

1,244

1,368

1,247

Blackface Carpet White

160

165

Blackface Light Cast

164

161

Indicator

222

223

Twist April 2014

P 46-47 Markets_UPDATED.indd 47

47

05/03/2014 14:14

Directory

Contact: Alex Cooke & James Wilson World Textile Information Network West One, 114 Wellington Street, Leeds LS1 1BA T: +44 (0)113 388 4882 F: +44 (0)113 388 4844 E: acooke@wtin.com - jwilson@wtin.com

Advertisers Index

Alpha Tops SA............................................................................................................................................................... Back Cover American Sheep Industry Association (ASI).................................................................................................Inside Front Cover - 1 Australian Wool Innovations/Woolmark International Pty Ltd........................................................................................................7 Cotton Incorporated........................................................................................................................................................................5 Lanas Trinidad SA........................................................................................................................................................................ 11 Speciality Processors Ltd.............................................................................................................................................................13

W TiN Directory Deadline dates May 2014: Copy: 14th February Published: 18th April June 2014: Copy: 18th April Published: 23rd May To Avertise contact: Alex Cooke & James Wilson

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Issue 54 September 2013

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Adding colour improves your advert

48

Twist April 2014

P 48 Directory.indd 48

05/03/2014 14:51

Events April

22-24

9-11

Peru Moda Jockey Exhibition Centre Avenue Javier Prado Este Lima, Peru Email: buyer@perumoda.com www.perumoda.com

28-30

International Wool Textile Organisation Congress Cape Town, South Africa Tel: +32 2505 4010 Fax: +32 2503 4785 Email: info@iwto.org www.iwto.org

September 2-4

Munich Fabric Start Munich Order Center M,O,C & Zenith Hall Lilienthalallee 40 & 29 80939 Munich, Germany Tel: +49 (0) 89 45 22 47-0 Fax: +49 (0) 89 45 22 47-22 info@munichfabricstart.com www.munichfabricstart.com

9-11

Milano Unica Fiera Milano City, Milan, Italy Tel: +39 2 6610 1105 Fax: +39 2 6611 1335 Email: info@milanounica.it www.milanounica.it

15-18

Texworld Paris Le Bourget, France Tel: +33 472 60 65 55 Fax: +33 472 60 65 59 Email: texworld@france.messefrankfurt.com www.texworld.messefrankfurt.com

15-18

Apparelsourcing Paris Paris Le Bourget, France Tel: +33 472 60 65 55 Fax: +33 472 60 65 59 Email: apparelsourcing@france.messefrankfurt.com www.apparelsourcing.messefrankfurt.com

16-18

Première Vision Parc des Expositions Paris Nord Villepinte 95975 Roissy Charles de Gaulle Cédex Tel: +33(0) 4 72 60 65 00 Email: presse-info@premierevision.com www.premierevision.com

16-18

Expofil Parc des Expositions Paris Nord Villepinte 95975 Roissy Charles de Gaulle Cédex Tel: +33(0) 4 72 60 65 00 Email: presse-info@premierevision.com www.expofil.com

May 21-22

Denim by Première Vision Fira Montjuic, Hall 8 Barcelona, Spain Tel: +33 (0) 472606500 Email: exhibitors@denimbypremierevision.com www.denimbypremierevision.com

June 17-20

Pitti Immagine Uomo Fortezza da Basso Florence, Italy Tel: +39 055 36931 Email: dir.general@pittimmagine.com www.pittimmagine.com

July 2-4

15-17

IBC Events.indd 1

Pitti Immagine Filati Fortezza da Basso Florence, Italy Tel: +39 055 36931 Email: dir.general@pittimmagine.com www.pittimmagine.com SpinExpo New York Metropolitan Pavilion, 125 West 18th Street New York, USA Tel: +852 2824 8580 Email: info@spinexpo.com www.spinexpo.com

Texworld USA Jacob K. Javits Convention Centre 655 West 34th Street New York, USA Tel: +1 678 732 2401 Fax: +1 770 984 8023 Email: bobby.cole@usa.messefrankfurt.com www.texworldusa-us.messefrankfurt.com

05/03/2014 14:15

alpaca • cashmere • mohair Switzerland South Africa South Africa Switzerland South Africa South Africa South Africa Italy, Biella Italy, Biella Italy, Prato Italy, Prato China, cashmere China, alpaca/mohair China, alpaca/mohair China, cashmere

edited Alpha Tops Ad-Twist.indd 1

Alpha Tops SA SAMIL Natural Fibres (Pty) Ltd Trading SAMIL Natural Fibres Alpha Tops SA (Pty) Ltd Spinning Samil (Pty)(Pty) Ltd Ltd SAMIL Farming Cape Alpha Tops Mohair Italia srl Spinners (Pty) Ltd Alpha Tops Italia srl Valerio Meucci Valerio Meucci Alpha Tops, Beijing Office Noblefibres Imp. & Exp. Co. Noblefibres Imp. &Beijing Exp.Co. Alpha Tops, Office

+27 41 22 344 0940 +27 41 486 2430 +27 22 41 344 486 0940 2434 +41 +27 30 +27 41 41 486 486 24 2430 +27 +39 41 015486 34 24 44434 +39 015 34 444 +39 0574 64 32 40 +39 0574 64 32 40 +86 10 8945 1188 +86 512 5832 7870 +86 10 5128945 58321188 7870 +86

+27 41 22 345 0108 +27 41 486 2665 +27 486 1808 +41 2241 345 0108 +27 4141 486 26 2665 65 +27 486 +27 41 486 18 447 08 + 39 015 34 +39 015 34 447 +39 0574 64 32 42 +39 0574 64 32 42 +86 10 8945 1155 +86 512 5832 7872 +86 5832 7872 +86 10512 8945 1155

mail@alphatops.ch sales@samil.co.za info@samil.co.za mail@alphatops.ch sales@samil.co.za sales@samil.co.za sales@capmohspin.co.za alphabi@tin.it alphabi@tin.it valerio@meucci.biz valerio@meucci.biz chris@alphatops.com.cn howard@noblefibres.com howard@noblefibres.com chris@alphatops.cn

07/02/2014 10:51