"Although many fashion and apparel companies have adopted tools, such as Adobe Creative Suite and PDM systems within their product development process, the implementation of 3D virtual prototyping tools have been met with resistance. The reasons vary from company to company but they must be addressed as the immense number of physical samples that are produced and shipped across the globe during the product development process, necessitates new, sustainable practices based in innovative tools."

Although many fashion and apparel companies have adopted tools, such as Adobe Creative Suite and PDM systems within their product development process, the implementation of 3D virtual prototyping tools have been met with resistance. The reasons vary from company to company but they must be addressed as the immense number of physical samples that are produced and shipped across the globe during the product development process, necessitates new, sustainable practices based in innovative tools.

3D virtual prototyping for apparel design and product development offers the opportunity for fashion and apparel companies to streamline their current process. Moreover, it provides a means of communication centered around a single, digital asset that can be used by all departments, vendors, and manufacturers. Even with these benefits, there are common points of resistance that exist in the fashion and apparel industry that hinder the adoption of 3D virtual prototyping:

3D not a gimmick

While 3D modeling is standard practice within creative departments in automotive, aerospace, architecture, and industrial design, 3D modeling is stereotyped as a tool specifically for computer-generated imagery. It is frequently associated with video games and animated films, inciting negative reactions when proposed as a tool for the fashion industry.

Yet, if we examine the evolution of 3D modeling, specifically 3D cloth simulation, garments in recent video games and animated films are intricate, drape dynamically, and animated characters wear multiple outfits made of different materials throughout an entire film. Even in films with human actors where 3D garments are used, it is difficult to tell when the garment is real or digital. 3D cloth simulation has come a long way over the past decade, and when paired with the right hardware, accurate virtual representations of designs can be achieved within a matter of minutes.

3D is not a gimmick. Even though 3D cloth simulation is used by other industries, when this technology incorporates features that can translate a virtual prototype into physical reality, designs can be clearly communicated, the number of physical samples per style can be greatly reduced, and more time can be spent on designing better, more creative products for your consumers.

Fear of change

Considering 3D virtual prototyping often elicits negative feelings from those involved in product development and design. It is a technology that challenges their current day-to-day process, and the change that comes with adopting this type of innovative technology can be extremely daunting.

This fear or resistance is rooted in a lack of trust in 3D technology — believing it cannot be applied to visualise a variety of garment categories, fabrics, or design details. In addition, new technology is generally applied towards the end of a product’s lifecycle. It is now common to experience retail environments where augmented reality and virtual try-on mirrors are being used. This ultimately overshadows the benefits of 3D technology and how it can innovate the entire process, beginning with the design phase.

Indeed 3D garment simulation has improved tremendously and is reliable in visualizing designs before a physical prototype is made. The technology has reached a tipping point where the virtual expression of various garment categories, design details, and fabrics is no longer limited. It can be used to create highly realistic images that can extend to marketing and e-commerce.

However, rolling out 3D virtual prototyping does not have to be an abrupt, sudden end-to-end change. Focusing on a few garment categories or styles can be a great way to prove that 3D works for your company. This can be achieved by working with a technology partner to complete a proof of concept, or with existing vendors and manufacturers to pilot a new 3D process around a small, but specific number of styles. The most important thing is to start in the early stages of apparel design and product development and grow the 3D ecosystem from there. Many manufacturers have already adopted 3D virtual prototyping tools as well, and they can play a key role in easing your company into a product development process that includes 3D.

No Time to learn new software

The fast-pace of the fashion calendar coupled with the demand for shorter lead times makes it difficult to set aside time to incorporate new technology. The work hours of those involved in product development process are spent chasing samples, attending multiple fit sessions for numerous styles, and constantly updating flat sketches and tech packs.

Although many have come to understand that 3D can drastically change the way they work, the current state of the product development process makes it difficult for them to dedicate even a fraction of their work hours to learning and applying 3D.

There are a few options available that have been put into practice by companies to address this issue. Certain companies have opted to establish teams that specifically create 3D garments, as well as investigate other technologies that will improve the overall product development process. Academic institutions are also a great resource for new talent, and many schools are beginning to incorporate 3D solutions into their design courses.

Another option would be to find the right people within the company who are open to 3D, reassign some of their tasks, and provide the time and space for them to develop their skills in 3D, within a manageable timeframe.

Resistance to implementing 3D virtual prototyping exists within the fashion and apparel industry, but many companies are adopting 3D and reaping benefits. They utilise 3D garments generated from 3D virtual prototyping tools to increase speed to market and obtain valuable consumer data analytics. Sample accuracy has increased with their network of vendors and interdepartmental communication has improved. Ultimately, 3D is a tool that serves to innovate how design is communicated across all stages of a product’s lifecycle — a clear visual representation of silhouette, drape, and design.

USA based fashion technology provider Tukatech recently appointed Chris Walia as its Chief Operating Officer (COO). Walia joined the company in 2017 as the head of its Global Operations.

Walia will continue to oversee implementation of Tukatech’s suite of software solutions such as TUKAcad, TUKA3D, and SMARTmark for product development and manufacturing products such as plotters, automatic cutters, laser cutters, and fabric spreaders.

Additionally, he will work on the overall strategy and operations of TUKAgroup, which consists of TUKATECH, TUKAweb, and TUKAcenters.

Prior to joining Tukatech, Walia held senior level positions for prominent apparel and IT solution companies. He has over fifteen years of experience in various aspects of the garment industry.

Founded in 1995 by Ram Sareen, Tukatech offers innovative tools for the apparel industry, maximising productivity from the pattern room to the cutting floor. The company’s solutions include TUKAcad (an award-winning pattern making design software), TUKA3D (a 3D virtual fit and design suite), TUKAcloud (an online collaboration platform), SMARTmark (a powerful marker-making program), and automatic computer-aided machinery for plotting, spreading, and cutting fabric.

Exporters of Tirupur are apprehensive that the 25 basis points hike in the repo rate will have a detrimental impact on knitwear exports from this region.
They feel the repo rate increase will further impact their business, particularly as they operate on wafer-thin margins.

Also interest rates are high when compared to rates prevailing in the international market. Orders are taken in advance and they are not in a position to revise the price. This will impact small and medium enterprises as there is stiff competition and they are already losing out to competing countries.

The Interest Equalisation Scheme had provided for three per cent interest subvention to compensate for the high rate. But this three per cent is seen as inadequate.

Exporters have appealed for a two percentage point increase in the Interest Equalisation Scheme (from three per cent to five per cent) with immediate effect to compensate the 25 basis point hike in repo rate.

They further want banks to take a lenient view while extending credit to small and medium enterprises.

Knitwear exporting units have been under pressure since the implementation of GST. Knitwear exports from Tirupur slipped to Rs 24,000 crores during the last fiscal against Rs 26,000 crores in 2017-18.

A number of textile dye and chemical companies have signed an open letter to the Stichting ZDHC Foundation discussing their concerns for the textiles value chain, which are proving an obstacle to the overall goals of the elimination of hazardous chemistry from within the textiles supply chain.

The companies – Archroma, Colourtex, DyStar, Huntsman, Jay Chemical, Protex, Pulcra, Rudolf, and Tanatex –expressed their concerns regarding additional financial burdens being placed on the industry by brands who seek to differentiate their offering on the basis of an additional modified “individualised” Manufacturing Restricted Substance List (MRSL).

The signatories also acknowledged that in order for the ZDHC to function efficiently, a mechanism must be in place to ensure that funds are available.

Stichting ZDHC Foundation was formed in 2014, to change the funding of the collaboration to a multi-stakeholder approach.

Previously the initiative’s internal activities had been primarily organised and funded by the ZDHC member brands.

The International Conference of the European Industrial Hemp Association (EIHA) will be held from June 12-13, 2018 in Cologne, Germany.

Around 350 participants from 40 countries are expected to participate in the event that will discuss the latest developments from all areas of the hemp industry – from seeds to the end product. Around 20 exhibitors will present their latest technologies and products in the event.

A major highlight of the conference will be an innovation award for the Hemp Product of the Year, presented for the first time ever. This award will honor three products – each from the areas of food, cosmetics and biocomposites. Participants will select the winners per category based on a short introduction of the products. The award winners will then be announced during the dinner ceremony.

The event will be organised by the German nova-Institut in close cooperation with the European Industrial Hemp Association. The day before the conference, EIHA will host expert workshops for members, meet representatives from Canada, USA and China.

‘Savers’ released its third annual State of Reuse Report, which reveals that while people consistently state they are donating or finding ways to extend the life of their items, 60 percent of North Americans shop secondhand only once a year or less.

Each year, the world consumes 80 billion new pieces of clothing, and 26 billion pounds of clothing and textiles go into landfills — 95 percent of which could be reused or recycled. Around 46 percent of them felt they had way too much stuff and 53 percent were driven to give items away because they had accumulated too much clutter.

‘Savers’ found that saving money is the primary reason for 57 percent people who shop second hand. Around 69 per cent of them felt that buying pre-owned goods was like finding hidden treasure and 77 percent have been surprised by the great pre-owned items they’ve found.

Bulgaria, Romania and other countries in the Balkan region have established a foothold in the luxury market and fashion houses from Paris and Milan are quietly building a bigger presence as they feed demand for a quicker turnover of styles.
More affordable labels have long produced bags, scarves, clothes and shoes in southeastern Europe, but margins are becoming slimmer as Balkan companies jostle for that business with China, Turkey and, increasingly, Africa.

The luxury sector is expected to grow up to five per cent this year, outpacing fashion as a whole, encouraging southeastern Europe to focus its efforts on attracting more upmarket clients alongside competitors such as Portugal.

Factories near the Danube are positioning themselves to help top brands adjust to faster fashion cycles.

Orders and enquiries from top brands are increasing and they have invested in machines to do the specialised stitches, buttons and ironing they demand alongside hand sewing, which is sometimes done through contractors.

For the brands, the cost advantage of nearby countries with the lowest wages in the European Union is not the only factor in an era where word of lapses in quality or poor working conditions spreads fast.

While top French and Italian luxury houses have experimented with manufacturing outside their home base for years now, it is often for more basic garments such as branded T-shirts.

But the need for small batches of work, done fast, to exacting standards, is growing.

According to a research report, the opportunity in the global luxury apparels market will be worth US$60,793.7 million by the end of 2024 from US$1,8842.69 mn in 2015.

Between the years of 2016 and 2024, the global market is expected to expand at a CAGR of 13.2%. The increasing affordability of luxury apparels is attributable to the mass production of goods, which has transformed the 19th-century ways of dress making.

The luxury apparels market boasts of an esteemed clientele comprising the high net worth individuals.

However, over the years several designers and fashion brands have started reaching out the broader range of customers through affordable products.

Big brands such as Louis Vuitton, Prada, and Versace are expanding to developing economies, which has not only improved their geographical reach but also won them a newer consumer base.

Lenzing Group has launched Veocel, a new nonwoven specialty brand which provides the nonwovens industry with fibres that are specialized clean and safe, biodegradable, from botanic origin and produced in an ecologically responsible production process. It will further support Lenzing’s shift to become a true specialty player in the botanic materials market derived from sustainable wood sources.

Veocel a key milestone of Lenzing’s new brand strategy to transform from a business-to-business (B2B) fibre producer to a business-to-business-to-consumer (B2B2C) brand. Veocel will enable Lenzing to shift its focus beyond fibre types to product application and build a relatable and emotional connection with consumers with thecontinuing co-branding, joint marketing and brand education creativities conducted with customers and brands internationally.

International fashion label from Pakistand, Khaadi has its debut store in Scotland. Located at Silverburn shopping centre in Glasgow. The 2,700 square foot store’s interior features key design elements from the east and west.

The new store opening, which was previously slated to take place this spring, sees Khaadi open its seventh store in the UK. The strong reputation of the centre in Scotland gives a firm foundation to build the presence in a new UK region.

Silverburn’s reputation as the region’s leading retail and leisure destination has led to numerous retailers launching their brand at the centre, including Flannels and Tim Horton’s most recently.