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VESTIR · Nº 74 · MODATEX · Professional Training Centre for the Textile, Clothing, Apparel and Wool Industry · December 2015 · Biannual Publication · Free Distribution

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Editorial Note SÓNIA PINTO · MODATEX MANAGER

The challenges and opportunities created by Portugal 2020 are marking this year and will also be decisive for the textile and clothing industry and, in relation to training, present a huge challenge.

Quality training, lifelong learning and the commitment to certification are among our principles and the articles published in this magazine show well that Modatex has been at the forefront in the way it faces and develops the training process. The international recognition of our trainees and former trainees, who have been selected and awarded in the most important events of the national and global fashion (from London Fashion Week to World Skills, passing through Portugal Fashion or Fashion Clash), shows that we have gone the right way.

But the requirement for accuracy and excellence is not limited to what we teach: it starts in our day-to-day, as shown by the BSC management model, explained in this edition by Dr. Fernando Rodrigues.

The internal organization of an institution like Modatex is essential not only to give trainees all the tools so they can build a solid and successful career, but also for companies and the textile sector partners to have qualified human resources, able to contribute so that in 2020 Portugal occupies the deserved place in the global textile sector. A textile sector still marked by concerns such as shortage of labour force, as revealed in the interview with the president of ANIL but that, simultaneously, has benefited from innovative projects as Formar para Empregar (Train to Employ) that, in 2015, continues to create jobs and meeting the needs of companies.

The year 2020 may seem far away, but the future starts being built today. And in this edition of Vestir, looking into the present, we realize we are taking the right steps so that, within five years, we are even more proud of our path.

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TECHNICAL FILE · Property MODATEX – Professional Training Centre for the Textile, Clothing, Apparel and Wool Industry Rua Professor Augusto Nobre, 483 4150-119 Porto geral@modatex.pt www.modatex.pt Register at ERC Register Nº 113412 Editor MODATEX – Professional Training Centre for the Textile, Clothing, Apparel and Wool Industry Diretor Sónia Pinto Technical coordination Sónia Pinto, Rosário Araújo, Ricardo Moura and QI-Porto de Ideias Editorial Board José Manuel Castro, João Costa, José Robalo, Jaime Regojo, Américo Paulino Writing and Publicity QI – Porto de Ideias Graphic Design Ricardo Moura Collaboration QI – Porto de Ideias, CENIT, ANIL, Fernando Rodrigues, Ana Rita Gaspar, Patrick de Pádua, Carla Pontes, Ana Marques, Joana Cardinal, Tiago Silva, Sara de Sousa, Helena Quinan, Oleksandra Voloshchuk, Ana Catarina Garrudo, Antonina Buhryk, Kátia Costa, Hugo Courinha, Joana Caetano, Vânia Fraga, René Alan, Lurdes Alves, Rogério Martins and Modatex Technicians.

Publication Periodic Periodicity Biannual Print run 3000 Copies Printing Greca Artes Gráficas Rua do Tronco 984, Armazém A 4465-274 S Mamede de Infesta

Centro de Formação Profissional da Indústria Têxtil, Vestuário, Confecção e Lanifícios

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LATEST Training and implementation of the BSC methodology · 4 Interview with José Robalo, president of ANIL · 12 Portuguese foreign trade in textiles and clothing · 16 Training of Modatex conquers Europe · 18 European Enterprise Promotion Awards · 24 Train to Employ continues to grow · 28 · INSPIRATIONAL Portugal Fashion International · 30 ModaLisboa: “Sangue Novo” with Modatex brand · 33 Fashion Editorial: Supersurfaces · 36 Intercolor Spring/Summer 2017 · 48

www.modatex.pt

TRAINING AND IMPLEMENTATION OF THE BSC METHODOLOGY FERNANDO RODRIGUES Guest Associate Professor of the Higher Public Education President of ABPMP Portugal Chapter INA Trainer in Strategic Management and BSC Project Manager in the areas of Administration and Management

What are the stages of the BSC model implementation process?

How did the process develop?

The stages of the process have gone through a successful formula of the business performance. First, it was defined a planning adjusted to the organization involving all the collaborators. In a universe of 100 professionals, with roles and profiles as diverse, performance analysis in operational, tactical and strategic level have been included. The general goal was to add value to the final result of the training that took place over three months.

In short: Planning + Performance = Results

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The strategy, though defined by the Board of Directors, was clearly unknown by the vast majority of the collaborators, as in most organizations. The organizational culture that was identified was aligned with the purposes of the Executive Board. The necessary alignment to the strategy had to be enhanced with the headships involved, being determinant their inclusion in the working groups as mere participants. The pilot projects weren’t led by any headship. This governance model implied risks but the final results were excellent.

In practice, the cornerstone of successful implementation of the BSC model was due to a strong innovation management at the level of the group works, particularly due to an involvement of all the collaborators above all initially created expectations. In terms of operation, 29 pilot projects were accomplished spread over three locations; Lisbon, Porto (integrated the centres of Barcelos and Vila das Aves) and CovilhĂŁ.

Within the BSC methodology, the process was developed covering the traditional stages that some collaborators, in theory, already dominated. The semantic and the technical terminology have been worked by all collaborators, since the profiles found in classroom environment, despite the enormous professional experience they hold, were quite out of line with the rules and the fill grids. Practical examples: knowing that there is a SWOT analysis is different from knowing how to work it individually and collectively. A PEST analysis is of importance in an organization under public supervision as MODATEX. It should also be noted that the sharing of knowledge was widely discussed and generalized, regardless of level of education, low education, secondary education or higher education that each collaborator has.

All gave their best in a collective effort of organizational improvement and innovative learning. To illustrate the procedure for applying the BSC model, it is presented below a modelling held in BPMN notation:

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IMPLEMENTATION PROCESS OF BSC METHODOLOGY

FULLY INTEGRATED

MISSION, VISION, MOTTO, VALUES

ORGANIZATIONAL DIAGNOSIS

FORMULATION OF THE STRATEGY

FO R TH MU E LA ST T RA IO TE N GY O F

REDRAFT STRATEGY

PARTIALLY CONSOLIDATED

This modelling summarizes the implementation process of the model in which the following stages were validated: i. Reshape and propose, pilot to pilot, a freely renewed strategy and targeted to business; ii. Review the Mission, Vision, Motto and Values of the Organization, from the perspective of the collaborator: These reformulations, collected proposals, reviews and rethinking of the existing strategy led to contributions that have greatly exceeded the initial (mis)understanding of such obligation.

The high levels of satisfaction and general motivation in the workplace reversed in practice in several benefits to the organization itself. All in a clear way, with a simple and at the same time engaging language.

The refreshing of the model culminated in an explosion of creativity. iii. Validate the organizational diagnosis oriented to technical analysis unknown by the majority: In this area, when teaching in practical terms the construction of grids to support a stakeholders analysis, SWOT analysis and PEST analysis, what is important to work are the actions to be taken and the improvement opportunities that the organization is going to consolidate. The big questions which are a source of generalized concern are related to the following assumptions: 路 What we want for us is the same that we ask the others; 路 How can the coopetition (cooperation and cross competition) go hand in hand?

For example, by being identified weaknesses, strengths, threats and opportunities, of course there will always be conflicts in the groups. It has never been easy to live in society, family, in group. Balancing selfishness-competition and solidarity-cooperation is not a simple task. iv. Anticipate the critical factors of success, also ignored by the vast majority of collaborators: In advance, when evolving the project, some elements that may generate constraints should be worked. We should always be aware that the human being is not easy to convince. The introduction of this condition was important to ensure that the implementation project will be successful. Moving from the analysis and design

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phase to the transformation of the business processes is the key to a new management system oriented to new challenges.

It’s important to clarify the control points which can determine the success or failure of any project. Many experts recommend a necessary “Change Management”.

Yet the success of a BSC project lies in the ability to deal and work with people. v. Design the strategy formulation, create strategic vectors, goals, figures and initiatives The process developed based on a white A4 sheet.

Regardless of the goals are defined, some collaborators know in detail the indicators and metrics that support their assessment; the design of the strategic maps was one of the most exciting moments that were recorded.

Some rules were defined at the outset. For example, why can’t the collaborators be treated as mere production machines? What is the importance of differentiating satisfaction of motivation?

It should be noted that the final result of 29 initial pilots, partially consolidated, was translated into only 6 BSC pilot projects to consolidate/implement, fully integrated. vi. Define the strategic follow-up – indicators’ map, initiatives and consolidated.

A new strategic management model is yet consolidated. The collaborators gave the maximum of their availability and contributions to the organization. They got a more strategic thought, came out of their operational zone (and of comfort), looking for more appreciation by their ideas and accumulated knowledge over the time, instead of their ability in completing tasks, action, execution (legwork).

Thus, old stigmas have been replaced by enlightened collaborators – becoming recognized as knowledge workers.

What was the receptivity by the collaborators involved?

Initially several questions were placed in the search of a general understanding of the importance of a project of this size. The early strengths in commitment and dedication to work were quickly overcome.

Although reactions and communication problems have been registered, there was an effort to improve personal perception over social awareness, empathy, service orientation and even the management of existing relationships.

Some examples worked: ·· The headships don’t have a clear notion of the division and assumed responsibilities of their collaborators; ·· There are no incentives to improve the performance of collaborators and teams; ·· Many collaborators don’t fulfill their responsibilities or when something is requested to them; ·· The decisions taken are subjective and are based on intuition or hunch; ·· Integration (lack of communication) between the departments of the organization does not exist or is reduced; ·· Some collaborators were / are placed in tasks for which they don’t show skills.

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Managing all these emotions can be considered an impossible task. However, MODATEX culture superimposes itself, based on an enormous generosity among people, in the daily intercourse verified, feelings as compassion, sensitivity and kindness. Some situations of little openness to the opinions and ideas of others were worked. There was also a balance between personal and professional life.

The salary question emerged as a key factor in the arguments, as it was being asked to all, without exception, productivity increases.

Fundamental question: What is the fair value of my cooperation towards the organization, after a lifetime with dedication to the cause?

This apparent responsiveness boycott of the involved collaborators was focused on satisfaction and motivation for the work. It’s about distinctive aspects and have different backgrounds in the organizations. The satisfaction – or dissatisfaction - is

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related to factors linked to the working conditions.

What was demonstrated by the implementation of the BSC model (though it might have generated doubts to the most pessimistic on its future implementation) was the fact that motivational factors involving the content of the work, the exercise of individual responsibility, the growth opportunity, the recognition for work well done, the pride and sense of prestige that MODATEX develops, are actually the sense of collective achievement of something important.

This understanding gave rise to a clear general responsiveness, as it was defined that work is work. Doing the same thing every day, but in a more efficient way, are the rules of the game. Either driving a screw, serving a coffee, draw up a report or making a public presentation, it’s a self-fulfillment that creates bonds, in different types of personalities, in which the most important is team work and collaboration.

The final result can be debatable. Communicate effectively is an area to work. To be a participant in a working group and share common goals was more important than reaching the maximum of individual goals. Negotiating, understanding the chance, creating and implementing a plan, defining tasks, empowering, motivating the people, overcoming resistance are other imperatives to keep in mind.

What are the greatest challenges found?

To begin with, time management. An individual questionnaire to 100 collaborators was carried out. The collected answers aren’t configured in a simple reading, as constructive as possible, and didn’t even run out in considerations that could be done about the matter. They were addressed for the sake of the attention that the time management science deserves from all of us. Diagnosed topics: ·· ·· ·· ·· ·· ·· ·· ·· ··

Do you care about the management of your time?

Are you punctual?

To whom do you give priority in the management of your time?

To what component of your day-to-day do you dedicate more attention?

To what kind of issues and tasks do you give priority?

Do you plan your life?

What are, for you, priorities? , Are you satisfied with the management you do with your time?

When you are performing a task and someone approaches, requesting you to another subject, how do you act? ·· When planning tasks, do you sort them by priorities? ·· Do you respect the priorities set previously?

“The time you enjoy wasting is not wasted time”. This was the quotation by Bertrand Russel, with which the document was ended.

This challenge was launched to the teams justifying its importance by the fact that the project has had a break between Christmas and New Year, dates that traditionally deter people from working and professional commitments. Anticipating the resumption of weak inspiration, progresses in the development of the pilots which had timings, it was created through this instrument, an environment of oriented support.

Another challenge that was worked since the beginning is concerned with the System of Quality Management.

The enormous benefit that MODATEX has working, with permanent audits of various existing business processes, was highlighted whenever the (dis) credit of the obligation to comply with the regulatory was overlapped to the new management tools.

It was clearly transmitted to all collaborators that the implementation of the BSC methodology would not nullify, replace or follow an alternative path to ISO/IEC 17025 implemented.

While it is true that all operating rules are documented and accessible to the personnel who applies them, including the Board of Directors, which is obliged to meet the requirements inherent in customer satisfaction, regulations when applicable, in

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the definitions, guidelines and in the management and technical procedures that the requirements demand to be met, the BSC will not be redundant.

The joint monitoring of the BSC and ISO is guaranteed in the 2nd phase of the project. Its dedicated and personalized follow-up is essential to be created a Case Study at MODATEX. To what extent can this management methodology be applied to a public institution? Does the process of development of a BSC for performance assessment of an institution like Modatex have similarities to what is applied to business management?

Understanding the strategy is the starting point. Even the existence of a strategic plan is no guarantee of success. Either it is a public or private institution, it lacks the communication of goals to those involved.

In the great majority of cases, the poor time management is responsible for the failure of the plans. Many plans (especially in private companies) involve data analysis of little or no relevance. It turns out that, concerned with the growth and expansion, the companies develop several tactics without coming to a plan that deserves to be called strategic. Specifically, few managers include a strategic component in their processes.

But it gets worse. The expansion plans of the organizations might result in losses, instead of generating the expected return.

The strategy is about ensuring that the business gets where it is intended at a given time.

As top managers, we need to know which are the good strategies and understand how they can be used for the future of our teams.

The BSC methodology is based on a strategic map that is no more than a visual representation of the strategy of an organization. It illustrates how that organization plans to accomplish its mission and vision through a value chain related to continuous improvement.

For a private company, the strategic map shows the long-term business plan or the competitive strategy to achieve a higher profitability.

For a public or non-profit organization, it illustrates the plan by which the organization intends to improve the performance of its mission. In either case, it characterizes the relations of cause – effect between different strategic goals and its measures, or key performance indicators (KPIs) that are included in the BSC methodology.

A reference worth mentioning for the performance assessment of an organization like MODATEX, whose resemblance to what is applied to business management, can be given in detail in the four known perspectives: Financial, Customer, Process and Learning.

In a Financial perspective, while in private organizations this perspective contains the financial results, as profit, return on equity, cash flow and margins, in a public or non-profit organization it describes the tax revenue or rates obtained directly from taxpayers, attracting investment from sponsors, cash flow, results of cost control, among other sources of funding, such as vocational training.

From another perspective, the Customers, the customer/user/citizen is concerned with factors such as time, quality, performance and service, price or the rate in force.

One of the most important, the Process perspective, that in the case of MODATEX, is more relevant for its involvement with the Quality policy, involves process management operations, customer management processes, innovation processes, the social component and regulatory processes.

Some examples worked: ·· Develop and maintain relationships with suppliers; ·· Design new training contents and services; ·· Increase the actions of public marketing and international visibility; ·· Manage risks, among other mechanisms of management control.

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In the fourth perspective, consensually defined as Learning (Growth) and Innovation, the inclusion of four capitals is crucial for a good definition of priorities. ·· Human Capital – are the people, the human resources; ·· Information Capital – handles information, support applications and backend infrastructures; ·· Organizational Capital – includes the levels of motivation, leadership, among others; ·· Infrastructure Capital – are the physical infrastructures.

In the modern business management, it makes sense to record a very brief introduction to an area of economic theory which, in the 1950s, sought to analyze the trends to selfishness or cooperation. It’s the known Game Theory, created by the Hungarian Mathematician John Von Neumann (1903-1957).

The most famous example of that theory is the well-known “Prisoner’s Dilemma”. It’s about a story that can teach a lot about cooperation between people from the same organization. Currently there are numerous variations of these examples. Let’s focus our attention on one of them.

Two suspects in a theft, subject A and subject B were arrested and kept in solitary confinement with no means of communicating with each other. There was no evidence against them and the only way to incriminate them was leading them to incriminate each other. If none of them confessed the theft, they would be released. Questioned separately, both received the same offer. The offer made to the suspects was as follows: ·· If one of them betrays the other and turns the other in, besides freedom, he wins an award for his collaboration with justice. The other is arrested (the temptation is to betray). ·· If both betray each other, the penalty for both is one year of detention (punishment for mutual betrayal) ·· If none of them confesses, both are released (reward for cooperation) Applying the Game Theory to MODATEX, it is recommended that everyone should concentrate most of the natural competitive spirit in order to ensure the organization’s survival within the market wild environment. Cooperate internally to compete externally.

What are the main conclusions resulting from this process?

Changes within an organization are not easy. We have to work against habits and behaviors that have been formed over a long period of time… and that involves people. It turns out that being a high risk factor, a supported and properly communicated “Change Management” doesn´t have to be difficult.

There are five conclusions from this process (organizational change) to be shared: # 1: Communicating is an imperative need for the change If people understand that communicating is a problem and that there are objective reasons not to continue in error (because it has always been so) the great majority will accept the need for change. # 2: Involving the people to suggest and make changes One of the worst things that could be done is make people feel how change is being done for them. If we want to align people with the organization we should make everyone believe in change.

Involving collaborators with new ideas and solutions. Let people present their concerns. # 3: Being prepared to adjust our own plan based on feedback It’s especially critical to get feedback from those closer to the operational area. The headships make a huge effort with their teams to better understand the real problems and the impact of any change. We should understand the feedback and not be afraid to adjust our plans based on new information.

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# 4: Committing the organization to change through actions and not only words Making the change evolve within an organization goes through, essentially, replacing old habits by new ones.

Think of how difficult it is to follow a diet or how easy it is to disrespect an obligation to do daily exercise. Changing individual behaviors within an organization is a challenge. # 5: Waiting for the organization to have its time Ultimately, despite the changes observed, we can find people who still do things we do not believe that they are still done. The intention with which they do so, results in a pattern of behavior that is rooted. Even small changes can take some time to be filtered and really adopted. The keywords are: people, organization and reputation.

How was the concertation of the projects submitted by the various teams and the implementation of the Strategic Plan of Modatex defined for the triennium 20152017 made?

The overall goal of the concertation of the projects submitted by the various teams was fulfilled.

The creation of an adaptable model from any source of data and existing information that supports MODATEX within its fulfilment processes and its new initiatives and needs – an assessment and performance towards excellence, presupposes the MADRE®.

MADRE® - “Modelos de Avaliação e Desempenho Rumo à Excelência” (Models of Evaluation and Performance Towards Excellence), makes it possible to implement various methodologies, techniques and of course, the defined Strategic Plan of MODATEX. It is thus possible to create a single vision over one or several models of performance management which, after the characterization of the status of knowledge and the context of the organization, allows top management to select the best strategic solution (bringing together the mission, vision, values, confidence and personal and professional development expectations of its collaborators) for decision making.

The local, regional and national credibility is strengthened, being the international visibility increased in a highly competitive sector where MODATEX operates.

Whatever the methodologies implemented in the organization, the model allows bringing together all the existing management tools, combining in a unique vision, goals, indicators, initiatives, regardless its origin or data structure.

It’s an innovative approach, independent from the technology that supports it, in an orientation to Business Process Management, being transversal to the entire organization.

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MADRE庐 路 MODELS OF EVALUATION AND PERFORMANCE TOWARDS EXCELLENCE

BSC ISO

METRICS

ANALYSIS

PERFORMANCE

RULES (BUSINESS)

REDESIGN

EXECUTION

EXCELLENCE

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Interview with JOSÉ ROBALO, president of ANIL — National Association of wool manufacturers

“ TRAINING IS ESSENTIAL IN THE RECOVERY OF OUR SECTOR” The wool sector, which represents about 10% of the national textile exports, is still struggling against the consequences of the crisis caused by the opening of the European market for Asian products and with the shortage of qualified labour force. The difficulty in keeping young people in the interior of the country is still huge, but José Robalo, President of ANIL — National Association of wool manufacturers, believes that if political and economic measures that require a just and fair trade were adopted, and if vocational training in the interior was a priority”, the future could bring good prospects.

What’s the importance of the wool sector within the national textile industry?

The Textile Industry can be divided in several sectors, on the basis of, in some cases, the raw materials worked (wool, cotton, etc.) in other cases, the final market of its products (home textiles, hospital textiles, etc.) and, in still other cases, the classification is done by the type of article it produces and which operations are performed (automotive textiles, apparel industry, etc.).The wool industry is therefore a sector of the Textile Industry which is characterized by using wool as raw material, either in articles in which the wool is the only raw material or when it is mixed with other natural, artificial and synthetic fibers.

Its assembly line ranges from the washing of the wools to weaving, through carding, combing, spinning, dyeing and

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finishing. It’s therefore, a very important sector of the Textile Industry, with great added value of its products, use of a skilled workforce and with the constant need of innovation, both in fashion as in the type of raw materials used in its collections, presented every six months. This sector represents almost 10% of the Portuguese Textile exports.

Being the main industry of the Central Interior region, the direct and indirect jobs created by it are essential for the development and social cohesion of these areas.

What’s its weight in exports? Has that value grown? What are the main destination countries?

In 2014 the Wool Industry has exported about 300 million Euros. This value represents about 70% of the sector’s turnover. The main destinations of our ex-

ports are Spain, Germany, France and Italy. The European Union represents about 80% of our total exports.

Did the companies of this area feel the crisis of recent years? To what extent?

Like the Textile Industry in general, the Portuguese Wool Industry has entered in a deep crisis with the unregulated opening of the European market for Asian goods. This unfair competition caused the closure of many companies and the reduction of the number of workers in those that manage to keep on working. The turnover in 2014 is still lower than in the early 2000s.

What have you done to overcome those difficulties?

The Wool sector had to become more competitive by increasing its produc-

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tivity, making the quality of goods and services an asset and innovating, both in articles as in the methods of production and minimizing waste. There has been an investment in the renewal of the technical staff, in applied research into products with new features and ecofriendly in order to differentiate products from the competition. It has been important the interaction with research centres and universities.

How important has training been in the requalification of the human resources in the wool industry?

The competitiveness of our Industry is based on several pillars, being the training of human resources one of the most important. Training is essential in the recovery of our sector.

To what extent has Modatex contributed to this requalification?

Modatex is the body which has the skills needed to train and retrain the workers for the Wool Industry. The work of Modatex has been crucial in the revival of the Textile Industry in Portugal.

By continuing the work of CILAN (Vocational Training Centre for the Wool Industry), the importance of Modatex in Covilhã can’t be neglected in any way, being necessary to continue investing in the human resources in inland regions in order to contribute to the development and reducing regional imbalances.

Is there a propensity on the part of the youngest to make their professional career on this area?

Despite the economic crisis in which we are immersed, the Textile Industry has been one of the few national economic sectors that has created jobs. By improving its image as a sector with innovation and future, it has been able to attract the young people to renew the sector.

Can the wool industry create jobs and keep young people in the interior of the country?

The capacity to create jobs that the Wool Industry has had in recent years is not enough to keep young people in the interior of the country. That goal can only be achieved with the imple-

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mentation of political measures by the Portuguese Government. Some measures in order to make it attractive to invest in the inland, such as the exemption of IRC (Corporation tax) and a differentiation in the IRS frames (tax on the income of a singular people), for example, could be a contribution to a solution. Investments in education, health and culture are also priority. The issue of transportation would also have to be considered. Without these social measures, it is increasingly hard to go against this aging trend of the interior of the country.

Do the entrepreneurs of the sector feel the so called “weight of interiority”? To what extent?

As the majority of the Wool Industry is geographically located in the interior of the country, it’s natural that we are the most affected companies by the weight of interiority. The weight of interiority manifests itself at various points ranging from the lack of young and skilled workforce to the rising cost of transport and energy, etc.

How did the Wool Industry adapt itself to new technologies and production methods?

The adaptation has been an ongoing process and that has become a competitive advantage since Portugal opened its borders. As I’ve mentioned before, the investment in R&D has been highly valued. What has negatively affected the Wool Industry has been the unfair competition that our companies have been submitted to by companies, mainly Asian, that don’t meet the most basic social, environmental and trade rules.

technologies, transforming and adapting themselves to the new challenges that globalization and scientific and technological innovation have brought.

What are the prospects for the future of this industry?

We are aware that the future of the Wool Industry isn’t easy, but we also know that we are recovering from an economic crisis that has negatively conditioned our activity. Thus we believe that the future can be better and more favorable for the development of the Wool Industry. But, for that, it is essential that the Textile Industry isn’t again given as bargain chip in the negotiations at the World Trade Organization, and that our competitors comply with the rules that are required, and rightly so, for European Companies. I’m referring primarily to working conditions with labour force remembering the times of slavery and child labour, to the observation of the most basic rules of environmental protection and sustainability, to the economic devices so as not to subsidize companies exporting to Europe, etc. We don’t want protectionist rules of our industry, but it isn’t permissible to turn a blind eye to all these breaches of which the EU and Portugal are responsible. I have no doubt that if political and economic measures that require a just and fair trade are adopted, and if vocational training in the interior is a priority, the future of our industry can be bright.

How is it possible to conciliate a sector seen as traditional with those new technologies?

With the entry of Portugal in the European Union some political leaders announced the end of the traditional economic sectors, which, according to them, would be replaced by new technologies. It was created a stigma on traditional industries which has negatively affected the image of our sector. Obviously, those gentlemen were wrong, and what it turned out was that traditional industries have incorporated new

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“ The work of Modatex has been crucial in the revival of the Textile Industry in Portugal.”

ANIL

“ Despite the economic crisis in which we are immersed, the Textile Industry has been one of the few national economic sectors that has created jobs.” “ I have no doubt that if political and economic measures that require a just and fair trade are adopted, and if vocational training in the interior is a priority, the future of our industry can be bright.”

A HISTORY THAT STARTED IN THE 19th CENTURY ANIL – National Association of Manufacturers of Wool is an association that represents all the textile companies which carry out their activities under the sub-sector of Wool in Portugal. The first association of the sector was born in 1820 with the designation of Guild of Covilhã, although the headquarters was in Lisbon. In 1889, it led to the Industrial and Commercial Association of Covilhã, where the first Industrial School in Portugal was created, which for about 80 years trained technicians for the wool industry. In 1936 it led to the National Federation of Manufacturers of Wool that, among other things, created the Industry Pension Fund of Wool Industry, was responsible for the construction of a social housing estate for the workers of the industry and of a building for storage, wool conditioning and other testing laboratories. ANIL appeared in 1974 and is headquartered in Covilhã.

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PORTUGUESE FOREIGN TRADE OF TEXTILES AND CLOTHING May/2015 CENIT

Textiles and clothing, in 2014, accounted for a ratio of 10% of the total Portuguese exports of goods, valued in up to 4,62 billion Euros. Despite the recovery that has been recorded in the value of textiles and clothing exports, the share in total exports of goods has decreased, having been verified a breach in relation to the 19% from 2000 and 13% in 2005. It should be noted that the total exports of goods grew 54,7% between 2005 and 2014, while textile and clothing exports rose 12,7% in the same period.

Textiles and clothing exports According to the data of the INE (Statistics Portugal), the value of Portuguese textiles and clothing exports showed a rise of 7,7% in 2014 over the previous year. This result comes after an increase of 8.0% in the exports to the Intra-EU markets, while exports to the Extra-EU markets have registered an increase of 6,2%. The analysis of the data for bulk exports reveals a rise of 4,7% in the volume of textiles and clothing exports in 2014 over 2013. The exports to the Intra-EU market have accounted for 82% of the exported value, being valued in 3,81 billion Euros, while exports to the Extra EU-market have accounted for 18% of the exported value and went up to 0,81 billion Euros. The value of Portuguese textiles and clothing exports has registered a positive growth in the first quarter of 2015, showing an increase of 2,0% over the same period of 2014. This result comes after an increase of 1,8% in exports to Intra-EU markets, while the exports to Extra-European markets increased by 2,6%. Please note that the data analysis for bulk exports shows a decrease of 3,7% in the volume of the exports of textiles and clothing in the first

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quarter of 2015 compared to the same period of 2014.

Looking at developments over 2014 in the two main categories of products (with a joint share close to 60% of exports) it can be seen that the knitted garment exports (category 61) grew 7,8%, while clothing exports excluding knitting (category 62) rose by 10,8%. In the case of knitted garment, the Intra-EU market increased 8,4% (represented 93% of the total of exports, valued in about 1,70 billion Euros) and the Extra-EU market increased 0,7% (represented 7% of the total valued in 0,13 billion Euros) in 2014 compared with the previous year. The clothing exports excluding knitting to the Intra-EU market grew 11,3% (represented 87% of the total, valued in 0,82 billion Euros), while exports to the ExtraEU market grew 7,5% (represented 13% of the total, valued in 0,12 billion Euros).

Regarding the performance of the two major categories in the first quarter of 2015, there was a decrease of 3,1% in exports of knitted garments (category 61), while the exports of clothing except knitting increased 8,0% compared to the same period of the past year. In the case of knitted garments, the Intra-EU market registered a downfall of circa 2,1%, while the Extra-EU market fell 14,7%. The exports of clothing except knitting to the Intra-EU market rose 9,3%, while exports to the Extra-EU market decreased 0,7%.

With regard to exports of other manufactured textiles (category 63, third leading with a representativeness of 13% of exports), which include the large portion of home textiles, a rise of 3,8% was recorded in 2014, resulting from a 5,8% growth in the Intra-EU market (represented 69% of the total, valued in about 0,41

billion Euros) and a decrease of 0,5% in the Extra-EU market (represented 31% of the total, valued in 0,18 billion Euros. Isolating the four subcategories of products associated with home textiles (i.e. 6301 to 6304), we could verify that the increase was of about 4,5%.

During the first three months of 2015 the exports of other manufactured textiles (category 63) showed a loss of representativeness in all the textiles and clothing (12% of the exports) showing a growth of 5,0%, resulting from an increase of 5,3% in the intra-community market and of 3,9% in the extra-community market.

In addition to the three main categories of products, it stands out, among the categories with higher representativeness (share about 3% of the total value of the exports of textiles and clothing), the performance of pulp, felt, nonwovens and cordage (category 56) with an increase of 12,5% in 2014 (+ 6,9% in the first quarter of 2015); of impregnated and coated fabrics (category 59) with a rise of 8,8% in 2014 (+ 8,6% in the first quarter of 2015); of cotton products (category 52) with a rise of 6,8% in 2014 (- 11,5% in the first quarter of 2015); of synthetic and artificial fibers (category 55) with a rise of 6,1% in 2014 (+ 5,0% in the first quarter of 2015); and of knitted fabrics (category 60) with a rise of 0,4% in 2014 (+0,5% in the first quarter of 2015).

Main target markets Considering all the Portuguese exports of textiles and clothing, it appears that the main target market is Spain with a ratio of 31,4% in 2014 and a value around 1,45 billion Euros. In second place there’s France with a ratio of 13,6% and a value of

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about 0,63 billion Euros. In the following positions are the United Kingdom with a ratio of 9,2%, Germany with 8,6% and the USA with 4,9%. It should also be noted that among the 10 main destinations of the Portuguese exports of textiles and clothing, only two are extra-community markets: USA (5th position) and Angola (9th position).

The listing of the top destinations of textile exports is headed by Spain, followed by France, USA, Germany, United Kingdom, Italy, The Netherlands, Romania, Angola and Belgium. In terms of changes among the main destinations of the Portuguese exports of textile products, the focus is on the achievement of position by Angola (up from 21st position in 2005 to 9th position in 2014) and of Romania (up from the 17th position in 2005 to 8th position in 2014). It is also important to note the fall in the case of Sweden (from the 8th position in 2005 to the 13th position in 2014).

The list of the main destinations of the Portuguese clothing exports is also headed by Spain, followed by France, United Kingdom, Germany, Italy, the Netherlands, Sweden, Belgium, USA and Angola. Among the changes, there is the rise of France to 2nd place and the fall of Germany to the 4th position since 2012. Also noteworthy is the gain of representativeness of Angola (from the 17th position in 2005 to the 10th position in 2014).

Textiles and clothing imports The Portuguese trade balance is traditionally in surplus in textiles and textile works, presenting in 2014 a coverage rate of 128%. It should be noted that over 2005 to 2014, the coverage rate in textiles and textile works registered the

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minimum in 2010 (112%) and maximum in 2005 (136%).

According to INE data, in 2014 there was a rise of 8,1% in the value of the Portuguese imports of textile products and clothing, being valued in 3,61 billion Euros. This growth resulted from the increase of 8,9% in the imports from IntraEU origins (78% of the total, valued in 2,83 billion Euros) and the increase of 5,2% in the imports of Extra-EU origin (22% of the total, valued in 0,78 billion Euros).

The analysis of the data for bulk imports shows a rise of 4,0% in the volume of imports in the year 2014 regarding the registered in 2013.

In the period from January to March 2015 there was a rise of 0,6% in the value of Portuguese imports of textiles and clothing, joint result of the growth of 2,3% in the intra-community origin imports and the decrease of 5,3% in the extracommunity imports. The data analysis for bulk imports shows a decrease of 7,8% in the volume of the imports of textiles and clothing in the first quarter of 2015 compared with the same period of 2014.

The representativeness of imports in 2014 and in the first quarter of 2015 was composed, in descending order, by the following categories of products: clothing excluding knitting, with 25,7% of the total value of imports in 2014 (27,3% in the first three months of 2015); the knitted garment represented 24,5% in 2014 (23,5% in the first three months of 2015); the cotton products represented 13,7% in 2014 (12,5% in the first three months of 2015); synthetic or artificial filaments represented 9,3% in 2014 (9,8% in the first three months of 2015); and synthetic or artificial fibers represented 6,9% in 2014 (7,2% in the first three months of 2015).

Main source markets The three main sources of the Portuguese textile imports remained unchanged between 2005 and 2013, with Spain in the first place, followed by Italy and Germany.

In 2014, the next positions among the main source markets of the imports of textiles were occupied by India, the Netherlands, China, Turkey, France, Pakistan and the United Kingdom. The highlight over the period from 2005 to 2014 goes to the conquering of position by India (evolved from 10th place in 2005 to 4th place in 2014), the Netherlands (evolved from the 7th place in 2005 to the 5th place in 2014) and China (evolved from the 11th place in 2005 to the 6th place in 2014).

Among the falls the focus is on France (fell from the 4th place in 2005 to the 8th place in 2014) and the United Kingdom (fell from the 6th place to the 10th place in 2014).

The three main sources of the Portuguese imports of clothing were the same between 2005 and 2014, with Spain taking the lead, followed by Italy and France. In the fourth place there’s Ireland highlighted, which evolved from the 29th place in 2005. The next places are occupied by China, Germany, the Netherlands, Belgium, Bangladesh and India.

Among the changes in the main sources of the clothing imports the gain of representativeness of Bangladesh is highlighted (evolved from the 12th place in 2005 to the 9th place in 2014).

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Photography cedidas por Carla Pontes

Modatex conquers Europe The name of Modatex has already surpassed geographical boundaries and the training given at the Centre already has international recognition. The prizes and awards to trainees and former trainees come one after another, also contributing to the Portuguese Fashion to conquer a place of prominence worldwide. Carla Pontes, Patrick de Pádua or the duo Marques’ Almeida, constituted by two former students of Modatex, are some good examples of this recognition.

Graduated in Fashion Design by Modatex, Carla Pontes has done a successful path, having already showcased her work at fairs and showrooms in London, Paris, Copenhagen and Shanghai and also at Portugal Fashion. In February this year she was the Portuguese winner of the European competition For Young Designers Porto Fashion Show 2015, thus adding another award to her curriculum. “After all the journey of defending and presenting each work, it turned up being unexpected, but it was also very rewarding to feel the recognition, especially when we recognize talent in the remaining competitors”, she admits, giving also compliments to the other national competitors: “Both Mafalda Fonseca and Cristina Real have a well-developed and supported work, so I knew that the Portuguese prize would always be well awarded.

After accomplishing her training at Modatex, in 2012, Carla Pontes completed her final course internship at Nuno Baltazar’s Atelier, starting to be part of his team as Junior Designer until the end of 2013. Still in 2012 she has participated for thefirst time at BLOOM space / Portugal Fashion and was also at Matadero Madrid, within the Young Designers Fashion

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Show. In 2014 and 2015 she exhibited in London during the London FW, integrating the group of designers who represented Portugal at the Internacional Fashion Showcase.

Carla Pontes acknowledges that Modatex had a key role so that she could assert herself in the world of fashion:“Modatex introduced my entrance at Portugal Fashion with the presentation representing the training school. And then, in the edition that followed I was selected to present a mini collection in a competition format. This competition had as a goal attracting young designers to integrate the BLOOM platform and since then I regularly present there my collections”. Being at Nuno Baltazar’s Atelier was another step in a path that now knows new challenges: “At this point I’ve decided to grab the challenge of industry, invest more in my personal project and I’m back to Modatex, now as a trainer”.

The balance of recent years has been extremely positive and the fact of presenting regularly her collection in national and international platforms is contributing decisively to the development of her career. “No doubt that the competitions and the already regular presentation of my collections at Portugal Fashion have been a great lever for promoting my personal project. If in my life I didn’t come across these opportunities, at this time of my life I wouldn’t for sure be dedicating myself to a project in my own name. It has always been a goal, but I didn’t imagine it for my first years after the training”, she admits.

These regular appearances in Fashion events in Portugal and abroad have also been crucial to reach international markets.

“The internationalization of my career is already happening

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through the brand and the feedback has been very positive”, she says. And the next months promise to continue to bring good news: “The summer collection is already for sale in Paris and we are working in order to be able to reach more international cities with the winter collection”.

“ The training at Modatex came after an academic training and proved to be an important complement, especially for giving me great assets in the technical and practical component. Conceptually I balance the influence of the degree in equipment design with the training in Fashion Design at Modatex.

However, when I move to creation, I feel that Modatex left me all the tools I need to explore, develop, innovate and create consistent and physically real collections. I feel that Modatex, Citex still in my time, also brought me the primacy for the accuracy and exigency, which I apply every day in the different aspects of my profession”.

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Modatex, symbol of supremacy for the accuracy and excellence In the future Carla Pontes intends to continue to make her brand grow and, above all, continue to learn: “My professional goals go through keep on believing in the growth of my personal project, which I intend to solidify both in the domestic and international market. I also intend to explore more the areas of the new textile technologies and bring that knowledge to my project as to new challenges that may come”.

First as a trainee and now as a trainer, Carla Pontes turns out being one the symbols of success of Modatex, recognizing that the knowledge acquired in the Centre was crucial not only in technical terms, but also with regard to the way of addressing each challenge: “The training at Modatex came after an academic training and proved to be an important complement, especially for giving me great assets in the technical and practical component. Conceptually I balance the influence of the degree in equipment design with the training in Fashion Design at Modatex.

However, when I move to creation, I feel that Modatex left me all the tools I need to explore, develop, innovate and create consistent and physically real collections. I feel that Modatex, Citex still in my time, also brought me the primacy for the accuracy and exigency, which I apply every day in the different aspects of my profession.”

Patrick de Pádua, who also accomplished the Fashion Design course at Modatex, has also been highlighted, having been chosen to participate in the Fashion Clash, held in Maastricht, the Netherlands, on 12th and 13th June. The young Portuguese also received the Kaltblut Magazine award for best designer of the event.

The news that he had been selected to be present in the Netherlands was a moment of great emotion, as he confessed to VESTIR: “It’s a feeling that can’t be explained! If I am to describe the moment it looks like it was taken from a movie. The preparation for a catwalk collection is always very emotional, it involves a lot of work, a lot of time and is an investment in all ways. We have already showcased the collection, we were already tidying the things when I hear: ‘Patrick! You have to go!’

In the moment I didn’t think about anything and I didn’t even know what I was getting into. The only thing we remember comes in frames”, he recalls, adding: “It’s great when our work and effort are recognized positively and it’s better yet if we are given strength and courage to continue”.

Patrick de Pádua has learned a lot with the participations at ModaLisboa. In his opinion “it’s the opportunity that young designers have to show their work”. “It’s a fashion platform very well achieved and that gives us not only tools but also the means and mechanisms to show our work and what we are able to do. No one gets a career in fashion if they don’t start by doing collaborations and integrating, in some way, platforms like this one”.

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Photography cedidas por Carla Pontes

Photography cedidas por Carla Pontes

We learn above all that having a structure and a method of work is what allows us to move on. Plan, check options, and dedicate all we have for the 8-10 minutes of the fashion show.

There are more opportunities to see the collection afterwards, but those 8-10 minutes are the most important”, he stresses.

And the presence at Fashion Clash was another important stage for his growth as a fashion designer: “Going to Fashion Clash is another ladder climbed. It’s a platform similar to ModaLisboa, but outside the country and therefore, it gives us more visibility and allow us to see the work of other people, other methods, materials. Working in fashion is definitely a continuous work and study. That’s for sure”.

Photography ModaLisboa

Photography ModaLisboa

“The training is never finished”

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In his opinion, the years spent at Modatex were essential for him to create safe foundations for the future: “Modatex was the physical space where all the resources could be found. It’s an essential part of the training to know how to use the creative process also as a problem-solving process. Create, in design, is above all ‘mix business with pleasure’: we create something beautiful, lovely, which later could be saleable. This last part is very important”, he says.

However, Patrick de Pádua argues that even after the training is finished, it’s necessary to continue learning and that only this attitude will allow him to evolve: “It’s as if the training is never completed. That’s my daily slogan. We can’t understand that everything is granted, we have to run after what we want, we need to be aware that the investment is ours: Personal investment, hours of work, in research, creation, monetary investment, etc. In Portugal, unfortunately, we still don’t have a market that wants new creators, allowing them to launch themselves with some background manoeuvre, but everything is being accomplished hand in hand. The most important is understanding that nothing is achieved alone, we have to be always updated and understand that we have to be willing to make sacrifices and invest. The rest is vocation and a bit of luck”.

His future can go through internationalization, although he admits that this is a path that has to be done slowly: “Nowadays, and throughout all our training, we realize that if we are able to launch our product internationally, things work in a better way.

There are European countries and American cities in which there is a range of tools and market. Entering the market is the most difficult in a short term, after that, the challenge is to stay on the market – at a positive level, of course. All the opportunities are positive and we should take everything, with due measure and we must be able to say it won’t be possible when it really isn’t”.

His goal for the future is, above all, sustainability”: “Positioning my brand, bind my concept. I don’t want to be known or earn lots of money, I want people to associate my brand to a trusted brand, within my style, to follow my work, my path…and stay around for a long time and with quality”.

“Above all, the brands or who is trying to create a brand, has to show consistency. I don’t expect everyone to like my clothes or the way I work. If that happened, possibly I would be doing something wrong. I want to continue showing my work, showing what I’m capable of and sharing my vision with others. To go through all this path, allows me to gain experience in order to, in a few years, be able to give a bigger jump and land safely.

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DUO MARQUES’ALMEIDA WINS MORE AWARDS The duo Marques’ Almeida, constituted by two former students of CITEX (former name of Modatex), won the international LVMH award in May. Paulo Almeida and Marta Marques, who work in London were chosen by a jury composed by names like Karl Lagerfeld or Marc Jacobs and other creative directors of the brands Louis Vuitton-Moet Hennessy. Besides the 300 thousand Euros award, the two national creators will also be monitored for a year by mentors of the group LVMH. In December last year Marques’Almeida had won the award of Emerging Talentwomenswear from the British Fashion Awards. After the training at CITEX, the two creators continued their training at Central Saint Martins. They were for the first time at the London Fashion Week in 2012. With creations in which denim predominates and inspired by the “grunge” aesthetic, they have also created a capsule collection for Topshop.

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“TRAIN TO EMPLOY” Is the second best Portuguese project IN THE EUROPEAN ENTERPRISE PROMOTION AWARDS 24

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The project “Train to Employ” promoted by Modatex ran for the European Enterprise Promotion Awards, an initiative of the European Commission which aims to enhance the dissemination of activities recognized as good practices within the promotion of entrepreneurship in Europe, having obtained the 2nd place nationally in the respective category.

The announcement of the national winners happened on 15th July at IAPMEI’s headquarters, in Lisbon. Among the winning projects of each category, two are selected that will represent Portugal at European level. The classification obtained by Modatex is an excellent recognition of the importance of this project, which was really close of representing Portugal in the international competition.

Modatex ran for these awards in the category Responsible and Inclusive Entrepreneurship, taking into competition the “Train to Employ”. This project was launched by Modatex in 2012 and records employability rates higher to 90%. This bet on “tailor-made training” performed in working context has contributed to the success of the initiative, which has already spread to several Portuguese municipalities, covering all the textile industry in areas such as sewing, apparel manufacturing, weaving and printing.

INSPIRE ENTREPRENEURS

These awards were launched in 2005 by the European Commission and are run by DG Internal Market, Industry, Entrepreneurship and SMEs, in partnership with national coordinating bodies in each Member State. IAPMEI – Agency for competitiveness and Innovation, I.P. is the coordinator of the initiative in Portugal.

The European Enterprise Promotion Awards aim to identify and recognize the most successful promoters of enterprise and entrepreneurship. They also aim to showcase and share best entrepreneurship policies and practices, raise public awareness concerning the role of entrepreneurs within society and encourage and inspire potential entrepreneurs.

The initiative emphasizes the role of the public sector at local, regional and national level to create a favourable environment for business development and entrepreneurship, through projects or initiatives that have already been developed or that are under development. The project should exist at least for two years and can be funded by European Union funds. The awards

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are open to public bodies in the European Union and to a set of associate countries, such as Iceland, Norway, Serbia and Turkey.

The participation is open to national organizations, municipalities, regions and communities as well as public-private partnerships among public bodies, entrepreneurs, educative programs and business organizations.

The projects presented should be included in one of the following categories: promoting the entrepreneurial spirit, investing in entrepreneurial skills, improving the business environment, supporting the internationalization of business, supporting the development of green markets and resource efficiency, responsible and inclusive entrepreneurship.

It was in this last category- that covers initiatives at a national, regional and local level that promote corporate social responsibility and encourage entrepreneurship among specific segments of the population, such as unemployed, legal migrants, disabled people or ethnic minorities- that Modatex participated with the project “Train to Employ”. Its implementation allowed the creation of jobs and the qualification and requalification of labour force, meeting the human resources needs of the companies. Working together with the employment services of the IEFP at a local level and with local authorities, Modatex promotes the return to the work market of a segment of population which, without the proper training, would have difficulties in returning to the active life.

In Portugal almost a hundred projects have been awarded.

In the last three years several national initiatives won European awards in various categories. In 2012 and 2013, the projects “Douro Boys” and “Portuguese Shoes – The sexiest industry in Europe”, won in the category Supporting the internationalization of business, two initiatives aiming to promote the internationalization of Portuguese wine and footwear.

In 2014 there were more Portuguese projects among the European winners: the project “AMS – Thinking Ahead”, a partnership of AMS-BR Star Paper with AICEP, got the first prize in the category Supporting the development of green markets and resource efficiency and obtained a honorable mention for the contest “FAZ – Ideias de Origem Portuguesa”, developed by the Calouste Gulbenkian foundation, in a partnership with the Ministry of Foreign Affairs. Portugal was also the winner of the first edition of the competition in 2006, with the award for best European project in the category “Red Tape Reduction”.

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“TRAIN TO EMPLOY” CONTINUES TO GROW

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T

he project “Train to Employ” created

by Modatex at the end of 2012 continues to grow, with an increase in the number of training actions performed, certificates issued and in the level of employability. The most recent data show that the actions that finished in the first six months of this year have a level of employability of 93,4%.

The goals that led to the creation of “Train to Employ” are being successfully accomplished. This project, as the name indicates, intends to provide training that leads to employability, has been growing, becoming a textbook example of the fight against unemployment and the needs of enterprises with regard to human resources.

In the first two years of the implementation of the project, 615 training certificates were issued (303 in 2013 and 312 during 2014), which led to the professional integration of more than 500 trainees. The employability rate has been increasing: in 2014 it reached 90% and the actions accomplished in the first months of this year reached very encouraging figures, over 93%.

In 2015, 91 training certificates were already issued in areas, such as clothing sewing and industrial apparel manufacturing, thus contributing to the creation of jobs and to the professional qualification of the textile and clothing sector. The project which started in Barcelos, has since been extended to municipalities, such as Viana do Castelo, Oporto, Póvoa de Varzim, Braga, Vila Verde, Vila Nova de Famalicão, Guimarães, Vila Nova de Gaia, Lisbon, Viseu, Seia, Covilhã and Castelo Branco, covering the whole textile industry.

The requests by companies have also increased, and that’s why it is expected that the “Train to Employ” can grow in all indicators, also extending its geographical scope.

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THE REASONS OF SUCCESS

The success of this project can be explained by its innovative character, but also by the pragmatic way it is implemented and developed on the field. The “Train to Employ” can be seen as a “tailor-made training”, created to meet the companies’ human resources needs. The current recovery context of the textile sector, in which we are witnessing an increase in orders for domestic consumption and export, is also marked by a shortage of qualified workforce, so it’s increasingly important to give adequate answer to the specific needs of each company or geographical area. Modatex, through this project, is filling this gaps, matching the supply and demand, betting on a customized training oriented to employability.

After the request by companies, the technicians of Modatex perform the diagnosis of needs of each company and prepare the training plan able to respond effectively to those needs.

The selection of candidates is done together with local units of the IEFP and each training action has own characteristics, adapting itself to the needs of the company, the context in which it is inserted and the place where the training is going to be accomplished. These training actions have a 320 hours duration and are performed in the workplace and at the end of the training the certificates are issued. So, after the training, the trainee is fully prepared to assume his /her workplace.

He/ she knows perfectly the tasks to perform, the company and the employer, so the integration in the professional life is greatly facilitated.

The “Train to Employ” has also contributed to the requalification of professionals, attracting to the textile and clothing sector professionals from other areas who find in this training project a way to return to active life. Besides that, it can also be a starting point to new training paths which allow a career development.

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MADRID, PARIS AND LONDON SAW PORTUGUESE FASHION Photography Portugal Fashion

The Portuguese fashion continues to be showcased in the main European capitals, which in February and March this year saw catwalk shows with the proposals of national creators for fall/winter 2015-16.

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to create “Paris n.º1”, that the fashion designer defines as “a couture silhouette with a subversive tone”, creating a “severe but stylized look, which takes us back to the science fiction movies” and marked by sharp shoulders, defined waists and exaggerated hips. Bordeaux, black, navy blue, Riviera blue , tile red and white were the tones chosen by the young designer who bet on materials, such as silk, Mikado, brocade, devoré velvet, wool or silk crepe.

Fátima Lopes presented “Black Rainbow” at the Eiffel Tower. A collection marked by architectural silhouettes, deconstructed, asymmetrical and curvilinear, with a bet on the combination of noble materials (leather, silk, cashmere and lace) and in deep purple hues, dry and delicate green and organic blue. The stylist also bet on the overlapping of parts, with dresses overlaid on pants and the jackets on dresses, with capes used on the shoulders, short pants and semi-long dresses. A collection in which Fátima Lopes wanted to honour the “female paradox”, simultaneously marked by strength and weakness.

Paris was also stage of a more trade component of the dissemination of the national fashion. Luís Buchinho, Susana Bettencourt and the Klar brand attended the Tranoï Femme, while Carla Pontes, João Melo Costa (both graduated at Modatex) and Daniela Barros integrated the showroom of the Paris Fashion Scout platform.

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efore the presentations made in Porto and Lisbon, the Portugal Fashion travelled to Madrid, Paris and London, integrating the proposals of national creators in the respective Fashion Weeks.

On 7th and 8th March, Luís Buchinho, trainer at Modatex, and the stylist Fátima Lopes returned to the catwalks in an event that also saw the debut of Diogo Miranda in the French capital.

The Bibliothèque National de France received COMICS, the collection marking the 25th anniversary of Luís Buchinho career: “this collection celebrates my 25-year career, revisiting the reasons that led me to choose the profession – something that started with my early obsession with comics, illustration and graphic design”, he says. “The way how we can tell a story graphically was the base concept for all this collection, through techniques used all over my path, such as the mixing of several materials, the use of color blocks and an unusual color palette”, he explained.

Black and white are the dominant colors of the proposals of Luís Buchinho for fall/winter also marked by strong and affirmative silhouettes and by the return of mohair, together with wool in different textures and densities, appearing mixed with leather, silk, double-sided cotton jacquard and a variety of accessories in knits, material that constitutes the brand image of the creator.

Earlier, the same space had been stage for the catwalk show of the collection of Diogo Miranda, who got inspired by his Parisian debut

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LONDON: JOÃO MELO COSTA AMONG EMERGING TALENTS

Modatex was also represented in London by Carla Pontes (trainee) and again by João Melo Costa (trainer and former trainee) who along with Hugo Costa, Mafalda Fonseca and the Klar brand participated in a venue designed for the IFS 2015, which had as curator Miguel Flor, coordinator of the Bloom project of Portugal Fashion. This passage by the British capital was also marked by the presentation of the collections of João Melo Costa and Daniela Barros, two young designers who saw their work showcased by the Fashion Scout platform, a project dedicated to finding emerging talents in the fashion industry.

The catwalk shows took place on 20th February at Freemasons Hall and were another excellent opportunity to showcase the new talents in national fashion. Daniela Barros presented the “NKA_002” collection, defined by the creator as “a journey into the unconscious”, translated in men’s classic elements, reinterpreted and deconstructed and disrupted and oversized silhouettes.

Wool, silk, fish skin and technologic materials are the materials used in this collection, also marked by neutral colors enlightened by white.

João Melo Costa presented in London “a collection in which the image goes beyond the words and the brand identity is confirmed”. The designer has been usual presence in the initiatives undertaken by Portugal Fashion in London: the debut took place in September 2013 in a catwalk show held at the Embassy of Portugal. He returned in February and September 2014, part of the Fashion Scout platform. The work conceived for the IFS venue was based on the association of “different species of plants”, conveying the idea of “preservation not only of species and shapes, but also of moments”.

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established NAMES IN THE 30TH ANNIVERSARY OF THE MADRID FASHION WEEK

Photography Portugal Fashion

The European “tour” of Portugal Fashion began in Madrid and featured three renowned names of the Portuguese fashion. Portugal was the guest country of the 61st edition of the Mercedes-Benz Fashion Week and was represented by Miguel Vieira, Júlio Torcato and Anabela Baldaque.

This was the 10th time that the Spanish capital received Portuguese designers and Miguel Vieira, who has already been present at the première, which took place in 2003, returned to Madrid to showcase a collection “minimalist and luxurious, in which the inspiration comes from the fabrics themselves and other materials and from its implementation process”. The proposals designed by Miguel Vieira for fall/winter have an artisanal basis and present a clean cut, which is the work meticulously made by tailors with the most noble fabrics, such as rich technical fabrics, jacquard with geometrical motifs, tooled leather and bicolor sequins. The apparent simplicity of the pieces has as counterpoint details used in previous decades and sporty details, but always with a classical base. A collection for men and women, complemented with handmade shoes in which the dominant colors are beige milk and coffee, Bordeaux wine, brown coffee liqueur, Limoges blue and charcoal black.

Júlio Torcato, who made his debut in Madrid, presented “TWO (2) COLLECTION”, a work “about the duality and duplicity, about us and the other, about differences that approach, as an energy (positive/negative) which associates seemingly opposing concepts: light/ dark, tradition/modernity, classical/street”. The materials, the shape and the textures are the key to the concept of a collection in which cropped trousers and long jackets, false fur, velvet, leather and 100% wool are highlighted. The dominant colors are black, navy, Bordeaux and grey.

“Teatime” marked the debut of Anabela Baldaque in the Spanish Capital. The designer bet on a “story of images” about what she found when she entered the dressing room of a museum during a winter day. The collection aims to be “a romantic rock mixture with a graphic audacity”, having as key-pieces coats and shirt scarves in fabrics as brocades, silk, lurex, wool, jersey, knits, fantasy and plain. The silhouette is long and fluid and the colors chosen – beige, green, orange, blue and black – evoke the fall.

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MODALISBOA: NEW BLOOD WITH THE MODATEX BRAND Modatex was represented at Sangue Novo or New Blood in the last edition of ModaLisboa by Cristina Real, Rúben Damásio and Patrick de Pádua, all former trainees of the Fashion Design courses.

CRISTINA REAL, who accomplished her training at Modatex Porto, was for the second time at ModaLisboa with a collection on her own name. Mineralis was a concept which came from the impact of rocks and minerals – such as tourmaline and pyrite – in the environment around them. With a palette composed by colors like black, grey, blue, green, beige, brown, boudreaux, bronze or gold, her proposals for fall / winter are also marked by voluminous shapes, with a contrast between rectum and the refined, between the square section of pyrite and the oval and irregular shapes of tourmaline.

The materials chosen represent the several layers and particles of the stone: suede, silk organza, leather, varnished leather, cloth, felt, velvet, denim, neoprene, the fur and accessories of metallic pipes and mesh yarns.

PATRICK DE PÁDUA presented “Promises” at Pátio da Galé , a male collection that explores the protection in which promises involve the individual and the comfort given, until the moment those promises are broken. In this return to ModaLisboa the

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young designer graduated at Modatex bet on oversized silhouettes and on the overlapping of parts as symbols of protection, of suffocation and states of mind caused by broken promises. The collection combines a line openly streetwear with more traditional elements, such as the perfecto or the trench coat, which are reinvented with military details. The black, white and grey contrast with shades of green and orange.

Rúben DAMÁSIO returned to ModaLisboa, but this time “solo” with “Mist”, an urban collection for men and women inspired by the natural phenomenon with the same name: “The greyish look of the air, formed due to temperature inversions caused by the condensation of water vapor, served as the starting point for choosing the color palette”, explains the descriptive. Combining a sophisticated design with innovative details, “Mist” is marked by a great textile variety, in which wool cloths and cotton come to life in classical and sober pieces that contrast with streetwear details in jersey, polyester and other fibers.

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Patrick de Pรกdua

Photography ModaLisboa

Photography ModaLisboa

Photography ModaLisboa

Cristina Real

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Patrick de Pรกdua

Photography ModaLisboa

Cristina Real

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Photography ModaLisboa

Photography ModaLisboa

Photography ModaLisboa

Ruben Damรกsio Photography ModaLisboa

Cristina Real Ruben Damรกsio

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Ruben Damรกsio

Super surfaces Photography: Rogério Martins Makeup: Ana Cláudia Production: Isabel Marcos Production Assistants: Helena Quinan e Cristina Models: Tayla du Mont e Svala Lind L´Agence Thanks to: Tryp Hotel Lisbon Airport Triângulo das Bermudas Cruzeta Torcida

Designer: Helena Quinan Shoes: Eureka/Cruzeta torcida

Designer: Oleksandra Voloshchuk Shoes: Eureka/Cruzeta torcida

Designer: Ana Catarina Garrudo Shoes: Dkode /Tri창ngulo das Bermudas

Designer: Antonina Buhryk Shoes: Dkode /Tri창ngulo das Bermudas

Designer: Ana Marques Shoes: Dkode /Triângulo das Bermudas

Designer: Kátia Costa Shoes: Eureka/Cruzeta torcida Glasses: Vonzippen/ Triângulo das Bermudas

Designer: Sara Sousa Shoes: Eureka/Cruzeta Torcida

Designer: Hugo Courinha Shoes: Dkode /Tri창ngulo das Bermudas Glasses: Vonzippen/ Tri창ngulo das Bermudas

Designer: Joana Caetano Shoes: Dkode /Tri창ngulo das Bermudas

Designer: V창nia Fraga Shoes: Dkode /Tri창ngulo das Bermudas

Designer: Ana Rita Gaspar Shoes: Eureka/Cruzeta torcida

Designer: Ana Marques Shoes: Dkode /Triângulo das BermudasÂ

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INTERCOLOR PORTUGAL PRESENTED IN SWITZERLAND THE COLOR PROPOSALS FOR THE SEASON SPRING/SUMMER 2017

T

congress of Intercolor, which brought together experts in colors and trends from 15 countries took place on 28th and 29th May at the Textile Museum of St. Gallen in Switzerland. Gathering about 40 guests of the textile and clothing sector, the meeting aimed to discuss and present proposals on color trends for spring / summer 2017.

ANIVEC/ APIV is the exclusive representative of Portugal and MODATEX was appointed executing entity, so it develops the Portuguese proposal and represents ANIVEC/APIV in these meetings.

The projection of Intercolor results from the consultation of the proposals of all member countries and is based on an analysis of the macro contexts and of each country, values, lifestyles and cross environments to the different realities and markets.

The meetings of Intercolor, taking place twice a year, are organized on a rotational basis among member countries and constitute a discussion forum for the fashion industry and design.

In the opening of the congress, Peter Flückiger, director of Swiss Textiles welcomed the visitors: “I am very pleased to welcome our guests in such a traditional textile environment, but with a perspective of the future and an exchange of ideas to set the trends of colors and materials for the next two years”.

Swiss Textiles, which hosted this congress is, along with France and Japan, one of the founding members of Intercolor, an organization that currently also includes Portugal, China, Germany, Finland, United Kingdom, Italy, Switzerland, Spain, South Korea, Thailand, Turkey, Hungary and the United States.

The stay of the guests also included an internal perspective about the local textile sector, such as a visit to the company Forster Rohner AG, which supplies embroidery for renowned designers and that also invests in textile innovation.

The first part of the congress focused on the presentation of the proposals of the members of Intercolor. After the individual presentation by each country, trends were discussed, followed by an analysis of common points between the several proposals; these trends will then be filtered and compiled into a color card, which will be the basis of inspiration for the collection Spring / Summer 2017.

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The Portuguese proposal

The Portuguese proposal for the summer 2017 proceeds the search for post-crisis solutions, introduced with the concept of “Reconciliation” (Spring/Summer 2016), passing to the concept of “Do It Yourself” (Fall/Winter 16/17).

According to the authors, “we are currently in the place of all the uncertainties and the future seems not to be happening”: The future is portrayed in the theatre play “the end of possibilities, written by Jean-Pierre Sarrazac and world premiere at “Teatro Nacional São João”, as a parable, a series of parallel paths that will make reference to each other successively.

This future accommodates cultural, artistic and scientific themes which announce new realities, exorcising the idea of a present in which we are closed on ourselves. An allusion to the times of crisis we are experiencing, but whose true meaning of the message is the opposite.

So, this could be the time to “put all in question, discuss and open new ways to: The masculinity as a social reconfiguration of male and female genders. It means the opening of the references; The timeless is the true meaning of the word permanence; It’s the unchanging properties of the Things, the values that persist and fit any reality.

The inconsistency means assuming that the only stable thing is instability itself.

The change of linear trajectories to oscillating trajectories is imperative.

The natural seems like a theme repeated to exhaustion, but it’s inevitable to bring it always to discussion.

Do not select exclusively from the Nature but everything that is innate and natural.

INTERCOLOR MEMBER

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Ana Marques Tiago Silva Sara de Sousa Joana Cardinal

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