There’s no question that the advancement of digital technologies has empowered a new generation of entrepreneurial design. But, to survive in commercial life you have to be both talented and have a good mind for business. Amelia Graham has both in volume!
Her brand has grown from strength to strength in the years since she graduated from Chelsea college of Art. We caught up with her to discuss her Creative Journey, the importance of Design and Product Diversity and her latest collection for Contract Interiors with Sunbury Design:
What or who inspired you to choose a creative career?
Both my parents had a keen interest in Art and Design, my mother was a brilliant seamstress and my father is an architect, so drawing and making things seemed second nature….
Tell us about your creative journey back at Chelsea College of Art
The staff at Chelsea are amazing. Chelsea was really about learning the process of creating, and exploring that through techniques, while I was there I did an exchange in Sweden, and that speeded up my CAD skills which was really helpful- CAD was quite fledging in those days and the vast majority of the time was spent in the Print Room Screen printing.
I went back recently to do some guest lecturing on the MA course and it was SO good to be back.
What drives your creativity?
I suppose fundamentally its just an urge to create stuff, that pure joy in playing with shape and form and colour, or solving a brief for someone else, that pleasure in delivering something beautiful for someones brand or fashion line, or the challenge of a new situation for a print, how can this work here. Design is a lot about problem solving and I actually find that immensely satisfying. I love sitting down and thinking, “Oh, so how are we going to do this?”
When did you found your studio and own brand and why?
I started being approached for private commissions about the same time I made my first foray into my own product. I fell pregnant and I suddenly had this crazy impetus to get stuff done. That would be about 7 years ago now. I really wanted to carve out my own place, working for Studios was very creatively free, just pure design work essentially but I missed the interaction with the client, and the whole dialogue that goes with that, ultimately also I wanted to come out from the shadows of working anonymously with no credit, and put my name to my work.
What was the biggest challenge in sourcing products back then and how has the industry changed since you began?
Hmmmm… interesting. I’ve actually used the same printer since my Chelsea days so not a lot in that sense. There seems a lot of print on demand surfaces for various products these days which is good from an ecological point of view I guess.
Your Designer brand offers a wide selection of products, do you print and manufacture on demand?
I keep some stock, like scarves but everything else is made to order. A lot of my clients want some sort of customisation, a slight change in colour or scale, a different word on an art print. POD allows me to offer a bespoke service! I print a lot of fabric by the metre for clients, and often people want to customise the colour to match an existing scheme.
Tell us about you most recent Interior Collection for Sunbury Design
There are 3 designs, in 20 colourways, Riley, Gego and Diez, taking their names from prominent artists in the Op Art movement, which was my initial reference.
These are contract furnishing- so it’s designed for the hospitality market, the textiles are hardworking, and designed specifically for a lot of traffic.
What’s next for Amelia Graham?
I’ve got two exciting things which will hopefully drop next year which I cannot say anything about- sorry that makes for boring reading! I’d love to continue to work with other brands and designers, I am actively looking all the time, so do get in touch people!
Finally; How can the academic sector and the Textile Industry do more to support the next generation?
I think the main focus should be on sustainability as the Textile Industry is one of the worst in terms of the environmental damage it wreaks, so the industry and academic sector need to focus on new ways of working, while the general populace need to change their patterns of buying/using etc. My ex tutor at Chelsea Prof. Rebecca Early has just written her inaugural paper on it.
Becky’s lecture looks through the archive of twenty years of remaking second hand polyester shirts, bringing them back to life to discover the new stories we need to write for the industry and a circular society. I recommend a read here!
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.
Friedmans stands as a testament to the power of combining traditional textile knowledge with forward-thinking innovation.
“Operating from their UK headquarters, Friedmans now serves a diverse array of sectors, including swimwear, dance, entertainment, sportswear, interior decor, prosthetics, and even pet apparel. With a strategic supply chain that reliably serves clients worldwide”
Farnham, UK – October 2026 – The Centre for Sustainable Design® at UCA, in association with The British Standards Institution, will host a free webinar on 10th November 2026 to help fashion, clothing and textile businesses understand the EU's Empowering Consumers for the Green Transition (ECGT) Directive (EU) 2024/825 and its practical implications, particularly for small and medium-sized enterprises (SMEs).
Taking place from 10:00 to 11:00 AM (GMT) via Teams, the session arrives as the new rules come into force across the EU from 27 September 2026, placing tighter scrutiny on how fashion and textile businesses communicate sustainability to consumers.
Istanbul – Turkiye - October 2026 – Better Cotton, the world's leading sustainability initiative for cotton, has reaffirmed its commitment to regenerative agriculture following its recent transition to a regenerative standard system.
The announcement comes as Chief Operating Officer Lena Staafgard reflects on the organisation's participation in the International Cotton Association Ltd (ICA) annual trade event in Türkiye, where sustainability and responsible sourcing featured prominently in industry discussions.
London, UK – 15 October 2026 – Canon today announced that it has been named a "Leader" in the IDC MarketScape: Worldwide Sustainability Programs and Services Hardcopy 2026 Vendor Assessment (doc #US54139426, June 2026).
This marks the second time Canon has achieved this recognition, following its first appearance as a Leader in the 2023 assessment.
Falmouth, UK – October 2026 – Seasalt Cornwall today celebrates two decades since becoming the first fashion company to achieve Soil Association certification to the Global Organic Textile Standard (GOTS), a milestone that has shaped the company's approach to sourcing, design and production ever since.
The certification, first achieved in 2005, came at a time when the Soil Association was known predominantly for its work with organic vegetables
Geretsried, Germany –October 2026 – – Rudolf GmbH, a leading innovator in textile finishing solutions, has announced the launch of four new smart concepts designed specifically for the sports and outdoor industry.
The move marks a significant shift from single-product solutions towards holistic, application-driven finishing systems that address the evolving demands of performance apparel.
Tubingen – Deutschland – May 7th 2026 – CHT Group, a global leader in speciality chemicals, has marked World Cotton Day by featuring The WOW Concept by CHT Textile Solutions, a new approach designed to make the dyeing of cellulosic fibres more resource-efficient.
The concept combines BEZAKTIV ONE dyes with selected process auxiliaries to reduce water and energy consumption while maintaining the colour performance the market demands
Valencia, Spain – October 2026 – Canon has joined the Sustainable Print Manifesto as a Development Partner, strengthening a growing coalition of industry leaders committed to making print more sustainable.
The announcement coincides with the launch of an Implementation Framework for More Sustainable Print, unveiled this week at the FuturePrint Packaging, Labels and DTS Summit in Valencia. Other Development Partners include Cimpress, Domino, Gallus, HP, Nazdar and Sun Chemical.
London, UK – September 2026 – New Look, M&S, Sainsbury's, Oxfam and Circle-8 today announce The Circuit, a new collaborative model bringing together retailers, textile recovery partners, automated sorting, recyclers, digital innovators and manufacturers to build new circular textile value chains and transform UK generated post-consumer textiles into future circular raw materials.
The first phase will focus on testing, learning and developing the operational frameworks needed to support future scale-up.
Shanghai, China – August 2026 – Intertextile Shanghai Apparel Fabrics – Autumn Edition 2026 is set to open its doors on 25 August at the National Exhibition and Convention Center (Shanghai), welcoming thousands of global industry players across three days of sourcing, networking, and trend forecasting.
Spanning 240,000 sqm, the edition will feature over 3,500 exhibitors from 30 countries and regions, organised under four key pillars: Fashion Forward, Performance Textiles, Sustainability, and Textile Future.
From 27 September 2026, stricter rules against greenwashing and higher requirements for sustainability labels will take effect in the European Union.
OEKO-TEX® has taken the new provisions as an occasion to further develop its governance structure.
In doing so, OEKO-TEX® not only meets the requirements of the EU Directive on Empowering Consumers for the Green Transition (EmpCo, EU 2024/825) but also prepares itself for future regulatory developments.