This is a story that spans many decades, in an industry that has experienced many ups and downs during that time. Diane has continually adapted her creative skills and her commercial plans to evolve. Ensuring that she is equipped to succeed in the industry she loves…Textiles - English Decoratives
WRITTEN BY FESPA TEXTILE AMBASSADOR DEBBIE MCKEEGAN
Diane Marsland is a British Textile designer with a vast experience of both the design and manufacturing of home furnishings.
Over the years she has created many best-selling patterns for retailers and textile mills worldwide.
In our recent podcast conversation, we explored many topics from design origination - to new developments and applications using digital technologies. We also discover: how she plans to expand her brand English Decoratives. Listen to the podcast here:
This is a story that spans many decades, in an industry that has experienced many ups and downs during that time. Diane has continually adapted her creative skills and her commercial plans to evolve. Ensuring that she is equipped to succeed in the industry she loves…Textiles.
As we approach industry 5.0 - we are fast approaching a new benchmark for design and industrial textile manufacturing, it’s therefore never been more important that we share our experience and knowledge:
Diane when did you get started in the design industry and how has your career evolved?
I started in the late 70s after I cut short my college training in Fashion Design. It wasn’t that I wasn’t enjoying the course, but I wanted to get out there - earning and when an opportunity arose for a design apprenticeship in one of the freelance studios in Manchester I decided to apply.
This decision turned out to be a very positive one. I was not only fortunate to understudy some highly skilled master craftsmen for surface pattern and colour separation, I was also lucky to work in some of the studios in Paris, Como and Krefeld. This was similar to internship of the students these days but quite unusual at the time.
During this time we created collections for UK and International clients. In the early days most of the designs were for bedlinen and quite often panel prints on a large scale or complete design packages where there were different designs for each product. For example, duvet, panel pillowcases, bordered sheets and bedskirts and curtains.
We worked very closely with manufacturing, so the designs were created around the technical restrictions of the machinery. For example: the number of colours and repeats for cutting and stitching purposes.
Over the years my role still incorporated actual design, but I became more involved with the product development side working in the textile mills. In the UK but also in various mills in Southern Africa. I was responsible for overseeing artwork right through to the finished product and became the link between design, manufacturing and retail. Working very closely with the buyers for the big retail groups like M&S, House of Fraser, Debenhams etc. I also had a very brief position of buyer/producer for the Accord brand of bedlinen, which at the time had over 200 concessions in the UK.
When a lot of the UK mills closed, I worked for various Pakistan mills over a 10 year period and lived over there for 2 years where I set up a studio and trained designers for the company.
Returning to the UK, in around 2002, I actually thought the glory days and my career were over. It was a very difficult time for me. The industry and the market were so different. Pattern and colour trends were quite understated, and texture and weave were the dominant themes for fabrics.
I created a huge portfolio with the intention to go freelance but for whatever reason it was not successful. And so, decided to work in Retail selling fabrics, bedlinens and furniture. I also worked on made to measure, while taking a short Interior Design course and made a conscious decision to stay with homewares and interiors while I was in a selling role. I believe that all experience is positive and can add to your portfolio and be useful at a later date. Following on from the course I enjoyed about 4 years working as Interior Designer (or decorator/stylist as I prefer to call it). I loved this job as it enabled me to work with fabrics, wallpapers, paints and help decorate people’s homes. Plus interacting with the clients and trades people.
What excites you about designing for printed applications?
I have an ongoing passion for print which I know is an overused word these days, but it is true. In the early days I loved working out the pattern and colours and then standing by the print machine watching every colour being printed - and the excitement of seeing the finished pattern never disappears.
I am still on a learning curve with regards to digital printing. At first I was disappointed with the results of digital, but now I treat it as another challenge to work out how to design for this printing method. A designer still has to plan a design around the technicalities, digital just requires a different discipline.
When did you decide to set up “English Decorative” and why?
When I was working as interior designer and using all the fabulous fabrics out there, I realised that I was really missing painting and actually designing patterns. Also pattern was back with a bang!
Feature walls were new and customers had become more brave in their colour and design choices. I yearned to get back to the drawing board.
Initially this became another challenge as digital design had overtaken hand painting and digital designing was a skill I had not acquired. Companies seemed to be only set up to work with designs in a digital format. Therefore, I felt that the only direction I could go towards was the top end of the market, creating hand painted artwork for murals, silk wallpapers, and art. English Decoratives became my overall brand.
Can you tell us about your brand and the products you create?
I named the brand English Decorative to encompass all that I believed to be English style, which is a mix of lots of things. Love for nature, historical influences and collecting from our travels. Quite often eclectic and not wanting to be pigeonholed, which describes me as well and the decorative part I guess is my love for all of the decorative arts.
Initially starting off with my hand-painted bespoke collection which includes, silk panels for drapes and cushions, wallpapers, murals, and tiebacks.
I am now developing collections for printed fabrics and wallpaper. Aiming to reach a wider market than my bespoke collection does.
Which industries do you serve and how has that portfolio evolved?
My bespoke collection is on a commission basis, and it is either for Interior Designers or I am commissioned directly from a private buyer.
My collaborations to date have been with fabric suppliers but I am looking at a few other potential collaborations on different products. I have also created a few one off designs for clients based on my styles but it’s not something I intend to build on as I need to do quite a bit of speculative work to showcase which at the moment, I don’t have the time.
RE: Printed - I am hoping to build upon my printed collections with new designs every season. a lot depends on development costs and routes to market. I seem to have gone full circle, back creating for printed fabrics and wallpapers, which I am very happy to be doing.
You offer hand painted alongside printed products – How has digital technology enabled your business to grow?
Digital technology is not really applicable to my hand painted art, but it certainly is for my printed collections.
I still manually do my repeats but then get the design scanned and I use a freelance digital designer to just fill in the joins. As I have already repeated it, it’s just a quick tweak for her to do and then provide me with the files. I then do all the colours myself using pantone references and she just drops them in for me.
This part of the design process is so much quicker now compared to the old days were we physically painted each colour. I can also do a few design alterations if needed where in the past it would have been a re draw. So, I would say digital cuts down time and of course there are no minimums on the printing of fabrics and papers which for small companies would be a major obstacle when building a collection.
What fabrics and papers do you print onto?
I have been printing on lots of different substrates. Poly velvets and Linens as well as natural cottons and Linens. The way forward for me is to only print on natural or sustainable fabrics so I am looking at keeping to Linen, cotton and perhaps a recycled poly. I actually prefer a more natural linen and a velvet and obviously silk, but I need to do a bit more homework on some of the higher end fabrics first. I love painting on silk but understand it’s not always a practical fabric for interiors and some of the poly mixes are actually more hardwearing so it’s a balancing act at the moment.
My wallpapers are still in the development stage but I have printed on to a mica, and a more matt paper. Both paste the wall. I would love to use the sisal and silk to print on but haven’t done so far.
Do you ever use both media together – mixing digital and hand painted techniques?
Not at the moment, but it is definitely something which has been on my radar lately. I have been thinking of buying a Wacom tablet as I would love to try this out as a new tool. I have also been interested in painting over the top of digitally printed wallpapers to create different textures.
What has been your favourite project, so far, and why?
I have to admit that I am a true butterfly (I was once told that I was a typical designer butterfly, meaning I like to hop from one thing to another)
I love working on lots of different projects and they all become my favourites especially if the new project is different to the previous one.
Because of this I would say my favourite this year has been the Peony mural that I hand painted on to a slub silk. It is large painterly flowers with lots of inky textured foliage and I used 24 carat gold leaf.
This was a joy to work on as it was a free and easy technique compared to the highly detailed chinoiserie silks that has been my main styles this year. I also loved it because of the large scale which I prefer to work on compared to small scale.
How do you plan to expand your business in 2022?
I am really hoping that my printed collections take off and I can build upon this. I would also like to add some made up products like cushions as well. Work in progress regarding an online shop and retail opportunities.
I will continue to offer my hand painted art and Interior silks and I am also thinking about limited edition prints taken from this to add to the shop.
My designer workshops have put on hold at the moment while I work on my product developments, but they are still in the pipeline for the future.
I think it is important being involved with designers and sharing my skills, not only because I miss the design studio environment but it’s a great way to interact with younger designers and bounce off ideas.
There are also collaborations with several different companies that I am looking at. So lots to think about for next year.
I think these days businesses have to be involved with several projects to keep going especially when the design market is as saturated with pattern as it is at the moment.
What advice would you give to a young, entrepreneurial designer?
To continue to be entrepreneurial. To continue to be interested in the industry and the market and look out for the changes that will come, either design wise or consumer/trend/marketing wise.
To not be disheartened when changes happens that you have not prepared for (for example your style or product is not selling). Sometimes you have to side- step the industry and change direction a bit. Keep up with the technical aspect of design and constantly update your skills to fit in with everchanging needs…which I’m sure is a song!
Colour Separation: The Craft Digital Textile Design Shouldn’t Forget
Textile designer Stephan Alker draws on more than 40 years in the industry, going back to his start at Transfertex in 1980, to trace how colour separation moved from drum scanners, hand-retouched films and engraved gravure cylinders to fully digital workflows.
He argues that this production knowledge still matters in the age of digital printing, because properly separated designs give brands far more freedom.
The Path Foward: Connect Every Link:
Design, colour, workflow, production, data. Each link now depends on the one before it, and the printers who will lead the market are those who strengthen the whole chain, not just the machinery at its centre.
So, this autumn, ask the bigger question on your own shop floor.
Not "Which printer?" but "How well does my business connect demand, design and production?"
Rebés's story isn't one of nostalgia - It's a working blueprint for how heritage manufacturers can stay indispensable in a market that rewards speed, certification, and specificity in equal measure. Four million metres of stock mean nothing without the digital printing capability to turn it into something distinctive.
A 150-year name means nothing without the R&D discipline to win a tender for antistatic, carbon-fibre-infused uniform fabric on the first attempt.
Image Credit: Tejidos Rebé
What if the next dress you wore never touched the factory floor?
This is no longer a fringe experiment. It is a maturing production model, backed by genuine material science, real circularity, and an AI-assisted workflow that is becoming more accessible by the month.
Her advice to designers and brands alike is refreshingly practical: start small, get hands-on with an accessible 3D printer, and build fluency before the technology becomes table stakes. The businesses that treat this moment with curiosity, rather than scepticism, will be the ones shaping fashion's next decade rather than reacting to it.
The 2027 FESPA Awards are now open for entry, and the message to businesses across textiles, apparel, interiors and beyond is simple: your work deserves recognition. Every gold winner featured here started in the same place every entrant does - with a project they believed was worth submitting.
As the only independent awards programme with 18 categories dedicated to print and signage, FESPA offers a genuinely global stage, with shortlisted entries displayed at FESPA Global Print Expo in Spring 2027.
Colour Is Too Important to Leave to Chance
Print will always be the part of the garment people see first.
But the sum of all parts — the fabric, the trims, the fasteners, the finish — is what determines whether a design actually delivers on its promise. Brands that continue to treat colour as a single creative decision, rather than a coordinated technical discipline spanning their entire supply chain, will keep paying for it in re-dips, delays, and disappointed design teams.
A Century of Textiles, and an Ever-changing World
Few companies can trace their roots back more than a century and still count themselves among their industry's innovators. Texia, headquartered in Monistrol de Montserrat, Spain, is one of them.
But the story of Texia is not simply one of longevity.
It is a story of continual reinvention. As the textile industry has grown more global and competitive, Texia has repeatedly reshaped its business, investing in technology, developing its own brands, and placing sustainability at the centre of its mission. In doing so, it offers a compelling example of how a heritage manufacturer can lead rather than follow through a period of profound industry change. Image Credit: Texia
What are we craving Ultimately?
The instinct to slow down while simultaneously optimising every measurable aspect of life isn't a passing curiosity. It's a structural response to a world that feels increasingly unstable, and it's reshaping what people expect from their homes, hotels, workplaces and healthcare environments alike.
For the design and manufacturing sectors, this means rethinking both product and process.
The Structual Shift is Real and its Already Here
Volumes are moving east, where digital production is accelerating rapidly. Consumer behaviour has shifted.
Demand is now driven by personalisation, shorter buying cycles, and an expectation of near-instant responsiveness. Regulatory pressure is intensifying, with supply chain transparency now a legal and commercial fact in many markets. And margins? They are under sustained, structural pressure.
This is not a temporary disruption. It is a fundamental reordering of how textile manufacturing must operate.
The Challenge: Standing Firm as the Industry Shifts
The wallpaper landscape has changed dramatically. Digital printing has lowered the barrier to entry, spawning countless direct-to-consumer brands and pushing much of the market towards faster, cheaper production.
At the same time, manufacturing in the UK has grown steadily harder - rising minimum wage, national insurance, energy and substrate costs all bear down on margins. Surface Print have embraced all of these challenges - and stand resolutely prepared for the future.
From Helsinki's printing mill to Paris's Le Marais, discover how Marimekko is scaling a design-led brand with purpose, craft, and bold innovation.
But what makes Marimekko's story compelling is not just its aesthetic legacy?
The word "toxic" carries weight. It conjures danger, harm, and things best avoided.
“Yet in the textile industry - Where between 3,000 and 10,000 chemicals move through the supply chain, a reflexive fear of the term is one of our biggest obstacles to progress.”
This article distils the key takeaways and what buyers, designers, and brands should be asking right now.
What Is the Digital Product Passport?
At its core, a Digital Product Passport is a digital record attached to a physical product - For a printed textile product, this means the DPP would capture data on the substrate, inks and dyes used, the printing process and technology, chemical compliance, environmental impact (including water and energy use), supply chain traceability, and end-of-life instructions.
The Market Gap that Changed Everything
Future Fashion was founded in 2019, timed deliberately to coincide with a pivotal moment in global textile technology: the commercial launch of the EFI Reggiani BOLT Single-Pass digital printing system.
The founders recognised that single-pass architecture had fundamentally changed what was industrially possible - and that Pakistan's domestic market had yet to catch up.
Print is no longer defined by the inefficiencies that once characterised it…as advances in production processes and technology have significantly improved its environmental performance.
Taran Rai, Corporate Sustainability Manager at Epson explains why?
The story of what happens when young designers access digital technology is still being written.
What once was a theoretical sustainability goal seems to have shifted into an active regulatory reality.
Is the Textile Market Finally Recovering?
After a difficult few years, there are genuine reasons for optimism. Duncan was candid about the challenges: "The market for textiles has been very difficult over the last three years. I'm not going to hide the truth there. But the tide is turning.“
A profound shift is currently reshaping the sector
Changing consumer expectations demand greater design diversity, faster turnaround times, and sustainable manufacturing practices.
To thrive, interior brands must adapt their supply chains, bringing production closer to the end consumer and moving away from bulk manufacturing.
Digital textile printing offers a definitive solution to these operational bottlenecks.
Digital transformation doesn't announce itself.
It accumulates - one innovation at a time - until an entire industry looks back and realises the ground has shifted beneath its feet. That's precisely where textiles stands today.
The conversations happening now about AI, automation, sustainability, and digital product passports are not theoretical. They are shaping decisions being made on factory floors and in boardrooms right now.
“By leveraging advanced digital textile printing, Marylene Madou has successfully merged traditional craftsmanship with cutting-edge technology. Her approach offers a blueprint for how independent designers can scale their brands globally while maintaining a minimal environmental footprint.”
The textile industry is undergoing a vital transformation. As the insights from Techtextil and Texprocess reveal, the path forward relies on a combination of sustainable hardware, intelligent chemistry, and seamless digital workflows.
From Zimmer's industrial-scale energy reductions and Stratasys's on-demand 3D embellishments, to Kornit's single-step technical printing and the unified digital ecosystems of NedGraphics and Optitex, the tools for change are here. To stay competitive, brands and manufacturers must adopt these innovations, moving away from fragmented, wasteful processes towards a truly connected, circular economy.
Shrewsbury, UK – November 2026 – Big Value Banners, a UK-based manufacturer of custom printed banners and signage, has chosen the Veloblade Nexus from Vivid Laminating Technologies Ltd to support its growing production capabilities. The announcement follows a period of evaluation, culminating in staff training completed today in Shropshire.
Exclusive Mimaki distributor, Hybrid Services will host two Mimaki Technology Taster Days at its Crewe showroom this November, giving businesses the opportunity to explore their next printing investment, diversification or upgrade in a relaxed, informal setting.
Taking place on Thursday 12th and 19th November, from 10am - 4pm, the events are designed for companies at any stage of their research, including those still considering which direction to take. Visitors can explore the Mimaki range, see printed applications and discuss their ideas with Hybrid’s product specialists.
Milan, 4 November 2026 – The 37th edition of Viscom, the international exhibition dedicated to visual communication, has concluded in Milan, debuting its new Exhibition & Conference format at the Allianz MiCo Convention Centre. The refreshed venue and identity reflect the transformations underway across the industry, delivering two dynamic days that brought together 5,189 visitors and more than 90 exhibitors to explore the sector's emerging opportunities.
Wednesday, November 04, 2026 - Aarhus, DK & Milwaukee, WI — To provide the proper level of support for customers in the Americas, Mikkelsen Innovation ApS has registered and started its U.S. subsidiary, FASTSEWN, Inc., located in Milwaukee, WI. In addition to the U.S. sales and management team, Steve Aranoff (Chief Business Officer) and Jim Manelski (Director of Sales, Americas), whom many in the industry already know, industry veteran Ranjan Singh has now joined as COO for FASTSEWN, Inc. Part of the engineering team is also in Milwaukee, bringing the number of U.S. employees to six so far.
Oswestry, UK – November 2026 – China Print Supplies (CPS) has confirmed it can supply ink, spare parts and servicing for Gongzheng printers across the UK, following the voluntary liquidation of Your Embroidery Services (YES) on 15 October. YES notified customers by email on 20 October that it could no longer provide servicing, technical assistance or customer support.
Gongzheng was one of the brands YES supplied in the UK, covering UV flatbed, eco solvent and UV DTF machines. The sudden withdrawal of support has left an unknown number of owners without a clear path to consumables, parts or engineering help, raising concerns about machine downtime across the sector.
CPS already supplies Gongzheng equipment and holds the supplier relationships needed to source consumables and parts for any Gongzheng machine in the country, regardless of where it was originally purchased.
South Normanton - UK – November 2026 - As the out-of-home advertising market continues its rapid expansion, Sun Chemical is driving the industry's shift toward water-based ink technology with its Streamline™ Toccata range, engineered to meet the rising demand for high-quality, durable graphics while reducing environmental impact.
London, UK – November 2nd 2026 – Spandex UK has today announced a new partnership with HP, bringing HP Latex printing technology to its customers across the UK. The collaboration marks a significant expansion of Spandex's large-format hardware offering, giving its customers greater choice across print technologies.
The initial line-up under this partnership will include the HP Latex 630, 730 and 830 series. These additions build on Spandex's existing portfolio, reinforcing its commitment to equipping sign and display professionals with the tools they need to stay competitive in an evolving industry.
Malvern – Worcestershire – November 2026 Vivid Laminating Technologies has announced that PB Signs, a leading UK print and signage specialist, has chosen its multi-award-winning Velobade Nexus for use across its production operations. The decision follows a thorough review of the market, with PB Signs selecting the Velobade Nexus as the finishing solution best suited to its high standards of craftsmanship.
Speciality print leaders from five Southern European countries will meet in Porto next month for the eleventh FESPA Southern European Congress, taking place on 11–12 November at HF Ipanema Porto, Portugal.
The two-day event, which is organised by five FESPA member associations – FESPA France, FESPA Italia, FESPA España, APIGRAF (Portugal) and the FESPA Hellas Association (Greece) – gives members of the community in Southern Europe the opportunity to benchmark their own strategies against peers facing similar conditions, as well as compare notes with neighbouring markets on customer expectations, workforce shortages, investment and new technology.
Batley, West Yorkshire – October 2026 – Roaches International, a member of the British Textile Machinery Association (BTMA), has dispatched its largest integrated order for textile laboratory equipment to date.
A total of 19 testing machines weighing more than two tonnes have been delivered for a new laboratory being established by Indonesia's Alia Digital Printex, underscoring the British manufacturer's capability to supply complete testing facilities rather than individual instruments alone.
Mortsel, Belgium – October 29th 2026 – Agfa Inkjet Solutions has announced Experience Day 2026, a hands-on event dedicated to demonstrating how advanced inkjet printing and precision finishing can work together within a single, integrated workflow.
The event will take place on Thursday, 26 November 2026, from 09:00 to 15:00 at Agfa Headquarters in Mortsel, Belgium.
Developed in partnership with Kongsberg Precision Cutting Systems, Experience Day 2026 will give print service providers a first-hand look at how combining print and finishing technologies can boost productivity, broaden application possibilities, and open up new business opportunities across sectors including signage, display, packaging, and corrugated production.
Balrothery, Ireland – October 2026 – Retink Graphics has added a second Epson SureColor R5000L latex printer to its Balrothery production floor, supplied by digitalprint.ie.
The investment follows strong returns from the company's first R5000L, which the team says paid for itself before they decided to expand.
Tübingen, Baden-Württemberg – October 2026 - The CHT Group has announced the expansion of its dyes portfolio with two new additions: BEMACID Brilliant Blue F-WN for polyamide and wool, and BEZAKTIV Solar Yellow ONE for flexible dyeing processes.
The launch reinforces CHT Group's commitment to delivering high-performance, sustainable colorant solutions for the global textile industry.
Both new dyes address growing demand among textile manufacturers for products that combine color brilliance, process reliability, and responsible formulation.
Staffordshire, UK – October 2026 – Staffordshire Signs & Graphics Ltd has announced the installation of a new DLI-3325 flatbed printer, supplied by China Print Supplies UK Ltd.
The investment marks a significant step forward for the business, enhancing its production capabilities and expanding the range of signage solutions it can offer customers.
The installation follows months of careful planning, with the new machine now in place and undergoing fine-tuning and staff training ahead of full commissioning
Corby – Northants – October 2026 – Keencut Ltd, a leading innovator in the cutting and finishing equipment industry, has today highlighted its Evolution3 Lift & Hover technology, a breakthrough system designed to make material positioning faster, easier and more accurate than ever before.
The new technology allows operators to adjust, align and achieve perfect positioning with precise control, all through simple single-person operation.
By streamlining what has traditionally been a multi-step, often cumbersome process, Keencut is addressing a long-standing challenge faced by professionals across the sign-making, graphics and framing industries: achieving exact cutting precision without compromising on speed or efficiency.
Istanbul – Turkiye – October 2026 – Optimum Digital has announced that Kilim Home, an established Turkish carpet manufacturer serving international markets, has invested in its direct-to-carpet printing technology.
The move strengthens Kilim Home's production capabilities and marks a significant step forward in the company's ongoing embrace of innovation within digital carpet manufacturing.
Frankfurt am Main, Germany – 27 October 2026 – Heimtextil, the international trade fair for home and contract textiles, has announced the launch of the Functional Futures Lab, a new showcase curated in partnership with Future Fabrics Expo.
Taking place from 12 to 15 January 2027 in Hall 4.1, the exhibition will spotlight materials engineered to meet the evolving functional demands of architecture, interior design and hospitality, from thermal regulation to flame resistance and durability.
The Functional Futures Lab will present both visionary prototypes and commercially available solutions, with each exhibit's stage of development made transparent through Technology Readiness Levels
Shanghai, People's Republic of China – October 2026 – KARL MAYER will present a comprehensive portfolio of advanced warp knitting and warp preparation technologies at ITMA ASIA 2026, taking place from 20 to 24 November at the National Exhibition and Convention Center (NECC) in Shanghai.
The company's presence spans two exhibition halls, with warp knitting innovations on display in Hall 4.1, Booth C18, and warp preparation solutions featured in Hall 3, Booth
Bolzano, Italy – 26 October 2026 – Durst will participate as Leading Sponsor at Viscom 2026, taking place on 28 and 29 October at Allianz MiCo Milan.
In the year marking its 90th anniversary, the South Tyrolean company returns to the leading event for the Italian visual communication market with a new format, a new location, and the Italian debut of a new printing technology.
Durst's presence at Viscom underscores the company's commitment to maintaining close dialogue with customers, prospects, and industry professionals.
Clay Cross – UK – July 2026 – Resolute highlights its new DTF Pneumatic Twin Platen Heat Press, a professional-grade heat press designed to help print shops increase output, improve consistency, and reduce downtime across high-volume production runs.
The machine's dual-platen design allows operators to prepare the next garment while the current one is being pressed, significantly reducing idle time and increasing throughput.
This makes it particularly well-suited to print shops running large direct-to-film (DTF) and transfer print operations, where speed and consistency are critical.
Pattern Room Launches New Pattern Room Experience, Making Online Design-to-Pattern Faster Than Ever
Victoria, Australia, 27/10/2026 – Pattern Room, the online pattern-making studio founded by Australian pattern maker Julia Watts, today announced the launch of its updated platform, introducing a new guided design pathway, an in-house sampling service, and an expanded catalogue of styles for apparel businesses worldwide.
The update is designed to make it faster and easier for designers, garment technicians, and manufacturers to move from concept to production-ready pattern, without the friction that has traditionally slowed the early stages of garment development.
Athens , Greece – 23 October 2026 – UFABRIK has extended its European distribution network into Greece with the appointment of TSEKMERES GS, an established supplier to the country's textile, screen and large-format digital printing industries.
The agreement brings UFABRIK's digital textile portfolio to a market where UV and Latex technologies remain dominant, but where dye-sublimation is emerging as a significant area of potential growth.
The partnership will focus on providing high-quality textiles for silicone edge graphics (SEG) applications, alongside a wider substrate offering for the Greek market.
São Paulo, Brazil – October 2026 – FESPA has announced that FESPA Brasil 2027 will take place from 1 – 4 March in the Blue and White Pavilions of Expo Center Norte, São Paulo.
The leading digital printing exhibition will bring together the sector's biggest global players to showcase the latest solutions across packaging, textiles, signage, and personalised products.
As one of the most visited exhibitions organised by FESPA, FESPA Brasil 2027 will give visitors access to complete solutions and technological innovations spanning print shops, packaging and labels, textile printing, personalised products, 3D printing, and signage and wide format, among other sectors
New York City, USA, October, 2026 – NedGraphics, a global leader in textile and apparel design software, today announced the official launch of NedGraphics 2027, a major software release designed to bring creativity, technology, and production closer together through a more connected and flexible digital ecosystem.
At the center of NedGraphics 2027 is OPTINEDCloud, a new cloud storage and asset management environment integrated across key NedGraphics applications.
OPTINEDCloud gives design, approval, and production teams a centralized space to store, organize, visualize, share, and manage product development files.
Mönchengladbach, Germany – Monforts will showcase its latest advances in finishing, coating and energy-efficient processing at India ITME 2026, as the region's textile manufacturers increasingly look beyond volume production towards higher-value fabrics.
The German finishing machinery specialist will exhibit in Greater Noida , India at stand A5 in Hall 1 from December 4-9.
Milan, Italy – October 22nd 2026 – Agfa Inkjet Solutions today announced it will present its award-winning Jeti Bronco H3300 HS live at Viscom Italia 2026, taking place 28–29 October at the Allianz MiCo Convention Center.
Visitors can see the hybrid wide-format printer in action at Stand 8 B17/C20, where Agfa will demonstrate its capabilities for sign and display businesses seeking greater productivity without compromising on image quality.
The 3.3-metre Bronco H3300 HS delivers print speeds of up to 450 m²/h while maintaining high image quality, combining the flexibility to handle both rigid and roll media in a single hybrid platform.
Berlin, Germany – 21 October 2026 – NVIDIA today announced that Europe's leading ecosystem partners are adopting the NVIDIA DSX™ AI Factory Platform to build AI factories that minimise water consumption for cooling and use less power for the same AI output.
The platform also helps partners bring new capacity online faster and adapt workload power consumption to support grid reliability.
NVIDIA DSX is a full-stack AI factory reference architecture, co-innovated with the world's leading infrastructure companies, in which compute, networking, storage, software, power and cooling are codesigned as one system.
East Sussex, UK – October 2026 – Vivid Laminating Technologies has announced that Pureprint Group, a leading print and marketing services business, has selected its multi award-winning Veloblade technology for use across its operations.
The decision underscores a shared commitment to innovation and efficiency within the print industry.
Imst – Ostreich – October 2026 – DyStar, a global leader in textile chemistry and innovative solutions, has announced its pivotal role in helping Textildruck Imst (TDI) achieve successful certification of the German "Multitarn" camouflage print.
The achievement, reached within a matter of months despite an ambitious timeline and exceptionally stringent requirements, enabled production to commence on schedule as part of a strategic collaboration with Getzner Textil.
The certification process demanded rigorous standards across colour performance, durability, infrared signature, and safety compliance.
From the outset, DyStar supported TDI by supplying the necessary products, technical expertise, and hands-on application support required to meet these demanding benchmarks.
Milan, Italy – October 2026– Epson will present its latest advancements in signage, UV printing and textile customisation at VISCOM 2026, taking place at Allianz MiCo Milan on 28-29 October.
Visitors can find Epson at Gate 3, Stand G14, where the company's specialists will demonstrate how its newest technologies are helping businesses expand into high-value applications through superior print quality and precise colour management.
As visual communication and personalisation markets continue to evolve at pace, Epson is positioning itself at the forefront of that change.