Why 3D Printing Is About to Rewrite Fashion's Rulebook - with Danit Peleg
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.
Image Credit: 3D Printed Fashion Lab
WRITTEN BY FESPA TEXTILE AMBASSADOR DEBBIE MCKEEGAN
What if the next dress you wore had never touched a factory floor, never been cut from a bolt of fabric, and never left a single scrap of waste behind?
For designer and innovator Danit Peleg, founder of the 3D Printed Fashion Lab, this is not speculative fiction. It is the working reality of her studio in Lisbon, and it represents one of the most consequential shifts the fashion industry has seen in a generation.
Fashion has a waste problem the industry has been slow to confront. Peleg, speaking on our recent podcast a decade after she first picked up a desktop 3D printer, put it plainly: only around 1% of garments are ever recycled. Against that backdrop, her work isn't a novelty act or a fashion-tech gimmick. It is a genuine attempt to rebuild the production model from the ground up, using bio-based materials, AI-assisted design, and on-demand manufacturing that eliminates inventory, cutting waste, and unnecessary shipping altogether.
From a Single Necklace to a Six-Printer Home Studio
Every disruptive idea has an origin story, and Peleg's began not in a boardroom but in a fashion school studio in 2015, sparked by a 3D-printed necklace someone handed her. Trained as a fashion designer with a habit of making her own textiles rather than buying off-the-shelf fabric, she was captivated by the idea that a desktop machine, the kind found in offices and schools, could produce something wearable.
There was no roadmap. No online tutorials existed for 3D-printed textiles at the time, so she taught herself from scratch, experimenting in a small maker space until she found the right settings and materials to coax softness out of a technology built for rigid plastic parts. Eventually, she brought six desktop FDM printers into her home and ran them continuously, producing a single garment in roughly 300 hours.
Nine months later, she had printed the world's first fully 3D-printed fashion collection and shown it at her graduate runway show. The footage went viral overnight, triggering a wave of press coverage, a TED Talk that has since drawn more than two million views and been translated into over 40 languages, and a career that would eventually include a collaboration with Disney Research and a 3D-printed dress worn by Paralympic medallist Amy Purdy at the Rio 2016 opening ceremony.
The lesson here is one every industry leader should sit with: transformative innovation rarely originates in a well-funded lab. It emerges from curiosity, constraint, and a willingness to teach oneself what nobody else has yet documented.
Solving the "Soft Problem"
The most persistent misconception about 3D printing in fashion is that it can only produce rigid, plastic-like structures, entirely at odds with the drape and movement fashion demands. Peleg's response to that challenge is arguably her most significant technical contribution to the field.
Her early work used TPU, a flexible thermoplastic more commonly associated with shoe soles, combined with engineered structures that gave garments controlled stretch, density and movement. Her collaboration with Disney Research pushed this further, exploring algorithmic structures with varying mechanical properties, allowing a single garment to be denser at the shoulder and more open elsewhere, long before generative AI made this kind of complexity accessible.
Crucially, Peleg reached a conceptual breakthrough that reframed the entire discipline: 3D printing does not need to imitate woven or knitted fabric. It is, by nature, a non-woven, layer-by-layer process, and rather than fighting that, she began designing for it directly, creating layered, interlocking, lace-like structures that are simply impossible to achieve with a loom or knitting machine. This is a distinction with real strategic weight. Instead of treating 3D printing as a faster route to a familiar output, Peleg treats it as its own textile language, one with a structural vocabulary traditional manufacturing cannot replicate.
Turning Luxury Waste Into Raw Material
Perhaps the most striking example of circular thinking in Peleg's practice came from an unexpected source: a candid conversation with an executive at a luxury innovation lab, who revealed that the brand was paying rent on warehouses across Europe simply to store TPU waste.
For most people, that would be an anecdote about corporate inefficiency. For Peleg, it was raw material. She began drying and pelletising that waste, feeding it directly into a printer designed to work with pellets, no secondary processing required, and producing new soft textiles from what was previously landfill-bound trash. She extended the approach further with a denim brand, shredding recycled denim fibres and blending them with recycled TPU pellets to create a printable denim-like fabric, generated from a 3D printer in around fifteen minutes.
This is a genuinely disruptive proposition for an industry built on virgin material extraction: waste streams from one supply chain can become the primary input for another, with no intermediate manufacturing step at all.
Bio-Based Materials and the End of Microplastics
Recycled plastic is a meaningful improvement, but it remains plastic. Peleg's more recent work, developed in partnership with Algenesis and ColorFab, pushes past recycling towards materials built from hemp, algae and castor oil, engineered to be soft enough for wearable textiles while remaining toxic-free and free of microplastics.
The sustainability credentials are substantive rather than aspirational: these materials are compostable in laboratory conditions within approximately 220 days, breaking down without leaving harmful residue. For an industry facing mounting scrutiny over synthetic fibre pollution, materials that combine printability, comfort and genuine end-of-life biodegradability represent a serious step forward, not an incremental one.
Combined with print-to-shape production, garments are printed flat with seam allowances built directly into the design, then assembled like a puzzle, and the waste equation changes entirely. There is no cutting waste, because nothing is cut. There is no overproduction, because nothing is printed without an order. There is no unsold inventory sitting in a warehouse, because every garment is made to a specific customer's measurements on demand.
AI as Collaborator, Not Replacement
It would be easy to frame artificial intelligence as the disruptive force in this story. Peleg's account suggests something more nuanced, and more instructive for any business grappling with how to deploy AI responsibly.
She describes her AI agents as something closer to a specialised team than a tool: one agent focused on 3D modelling and development, others supporting pattern-making and workflow management. What makes this collaboration work, however, is not the AI itself but the decade of hands-on textile and pattern-cutting expertise she brings to directing it. Her agents did not arrive with fashion knowledge; she trained them on the methodology she spent ten years building. The output, a full design translated from prompt to printable pattern in seconds, is only possible because a human expert is steering the process at every stage.
This matters for any organisation currently anxious about AI displacing creative talent. Peleg's experience suggests the opposite dynamic: AI expands the bandwidth of an expert who already has too many ideas and too little time, rather than substituting for expertise that doesn't yet exist. As she puts it, creativity remains the most important skill precisely because someone still has to tell the agent what to build.
A Genuinely Local, On-Demand Future
The long-term vision emerging from Peleg's lab is a fundamental reordering of how fashion is distributed, not just how it is made. Because a finished design exists as a digital file, it can be sent anywhere in the world and printed locally, removing the need for centralised factories, international shipping, and the sampling cycles that generate so much of fashion's waste.
Peleg is already testing this model, opening her Lisbon lab to independent designers who send her orders to print on demand for their own customers. Her ambition extends further: a network of local labs in major cities worldwide, each producing garments only when and where they're needed, customised to individual measurements, with zero speculative inventory.
Open questions remain. Scaling beyond flatbed printing, automating assembly, and expanding access to suitable machines and materials are all unresolved challenges. But the direction of travel, towards decentralised, on-demand, waste-minimal production, aligns closely with where sustainability-conscious consumers and regulators are already pushing the wider industry.
The Case for Getting Curious Now
For sports and luxury brands watching this space cautiously from the sidelines, Peleg's trajectory offers a clear signal: 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.
To hear the full conversation with Danit Peleg, including a deeper look at her upcoming on-demand printing tool for designers, listen to the complete episode on our podcast
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”
The apparel decoration industry is decisively moving away from isolated, analogue production tools toward connected digital manufacturing environments.
"Kornit’s unwavering commitment to transformative technology continues to disrupt the status quo. For business leaders and innovators ready to capture the future of apparel manufacturing, the path forward is clear”
The Urgent Need for Sustainability at Scale
The transformation at Coats provides a vital blueprint for the wider textile and apparel sector. True sustainability cannot be achieved in silos. As Dearing emphasised:
“Cross-industry collaboration is the engine of meaningful change. Brands, machinery suppliers, chemical providers, and fibre producers must act as an interconnected ecosystem”
Altstätten, Switzerland – October 2026 – Zünd has announced that it will open its headquarters in Altstätten, Switzerland, on 18–19 November 2026 for Zünd Technology Days 2026, a two-day event dedicated to live technology demonstrations, expert presentations, and an in-depth look at real-world production processes.
Milan, Italy – October 2026 – Agfa has confirmed its participation in Viscom Italia 2026, the international trade fair dedicated to visual communication and graphic arts.
The event will take place on 28–29 October 2026 at the Allianz MiCo Convention Center in Milan, with doors open daily from 9:30 AM to 6:00 PM.
Watford = Hertfordshire- October – 2026 – Epson has announced that selected SureColor printers and inks are now covered by the 3M™ MCS™ Warranty, marking a significant step forward in the company's ongoing commitment to delivering durable, high-performance graphics solutions.
The certification reinforces the longstanding relationship between Epson and 3M, and underscores both companies' shared dedication to quality and innovation in the graphics industry.
London, UK – October 2026 – ARTSTHREAD has today launched the Public Vote for its seventh annual Global Creative Graduate Showcase, inviting audiences worldwide to discover and support the next generation of creative talent.
The vote is now live at vote.artsthread.com, giving the public the opportunity to engage directly with graduating work from across the globe.
Shanghai – China -October 2026 – BARBIERI Electronics, a global leader in professional colour measurement solutions, has announced its participation in ALL IN PRINT CHINA 2026, taking place from 12–16 October 2026 at the Shanghai New International Expo Centre.
The company will exhibit alongside its partner, Beijing Dingli Xintong Technology Co. Ltd, at Booth N2A219, where COO and Co-Managing Director Viktor Lazzeri will meet with customers, partners and print professionals from across the industry
Bracknell – Berkshire - October 2026 - UFABRIK has added IGEPA Hungária to its expanding European distribution network, bringing its digital textile portfolio to customers across Hungary through one of the country’s leading print and visual communications suppliers.
The agreement will see IGEPA Hungária introduce the UFABRIK range to customers from its operations in Budapest and Nyíregyháza, with local stockholding, technical support, and wide-format availability up to 5 metres.
New York – NY – October 2026 – Optitex, a global leader in fashion technology solutions, has announced a significant update to its CutPlan software, introducing Purchase Order (PO) Wise capability as part of its O/26.1 release.
The new feature allows manufacturers to plan multiple Purchase Orders for the same style independently, addressing a long-standing inefficiency within the cut planning process.
United Kingdom – September 2026 – Inkloft, a new specialist digital printing business founded by Gary Weyman and Andy Hancock, has announced its entry into the direct-to-film (DTF) market.
The company has been appointed as a distributor of DuPont™ Artistri® DTF products, including P1600 inks and Artistri Jettable Adhesive JA1100, both now available to purchase online through inkloft.co.uk.
Peterborough, UK – October 2026 – Snuggle Ltd has today reaffirmed its commitment to redefining industrial garment decoration, combining high-volume output with environmentally responsible production methods at its Peterborough facility.
The announcement highlights the company's investment in water-based pigment ink digital printing technology, a move designed to cut the environmental footprint of large-scale apparel decoration without compromising on quality.
At the core of Snuggle's operation is industrial water-based pigment ink digital printing, which replaces the chemical-heavy alternatives traditionally used across the sector.
Manchester – October 2026 – Premier Digital Textiles has today highlighted its 33130 Achill Natural Linen, a beautifully understated fabric defined by timeless texture and natural character.
The luxurious fabric reflects the company's ongoing commitment to quality materials that serve both designers and the environment
Gent – Belgium – October 2026 – Kongsberg Precision Cutting Systems has announced its participation in India CorrExpo 2026, following a successful week exhibiting at PRINTING United Expo 2026.
The company will showcase its latest advancements in digital cutting and routing technology, demonstrating how businesses across print, display, packaging and signage can achieve greater precision, productivity and scalability.
The event will take place from 14 to 16 October 2026 at the Bombay Exhibition Centre in Mumbai, where Kongsberg will be exhibiting at Booth B80, Hall 4.
Konica Minolta Business Solutions (UK) Ltd has reinforced its two‑ decade partnership with Epson by expanding the range of Epson wide format print technologies now available for live demonstration at its UK Client Engagement Centre (CEC) in Dunstable.
The move reflects Konica Minolta’s commitment to supporting the UK commercial print sector with a broader, more versatile portfolio and giving customers hands‑on access to leading solutions.
Coalville – Leicestershire – October 2026 – Innotech Digital & Display has concluded a successful first-time exhibition at The Print Show, held at the NEC over three days, unveiling its new Black Display Hardware Collection and demonstrating its materials in action through a series of industry partnerships.
The event marked a significant milestone for Innotech, offering the company its first opportunity to engage directly with the wider print community on this platform.
Visitors to the stand were able to explore product samples, view the newly launched Black Display Hardware Collection, and speak with the Innotech team about the latest developments in digital and display materials
Las Vegas – Nv -October 2026 – Durst Group AG has confirmed its first US customer orders for the Durst P5 350 CORE, following the system's debut at PRINTING United Expo.
The announcement caps a milestone year for the platform, which launched earlier in 2026 at FESPA Global Print in Barcelona and went on to win an EDP Award ahead of its US introduction.
The P5 350 CORE drew significant attention from attendees throughout the Expo, with interest converting directly into sales as the first American customers placed their orders on the show floor.
Altrincham- Cheshire – UK – October 2026 – Funkifabrics, a provider of fabrics for fashion and design, today highlighted a striking collection of garments created by renowned designer [theofficialglobegirls], which prominently features its textiles.
The collection showcases the versatility and quality of Funkifabrics' materials, reinforcing the company's commitment to supporting bold, creative expression across the fashion industry.
The collaboration, shared across Funkifabrics' social media channels, has already generated significant engagement from the fashion community, with many praising the craftsmanship and visual impact of the designs.
Belgrade, Serbia – October 2026 – Brother Industrial EMEA today announced that its GTX300 digital textile printer has been awarded the prestigious Gold Seal Award at Grafima 2026, the 46th International Fair of Graphic, Paper and Creative Industries, held in Belgrade.
The machine received top honours in the category "Digital Printing Machines for Textile Materials up to 160cm Wide", as judged by the fair's expert panel.
The Gold Seal Award recognises outstanding quality, innovation and professional capability within the graphic and textile printing industries.
Shanghai, China – October 2026 – FabricVision, a global innovator in textile production, has marked the successful completion of its first full year of operations, announcing ambitious expansion plans across both China and Europe.
The milestone was celebrated last week during China Expo in Shanghai, where the company convened with its team at Jinmao to review achievements and set strategic priorities for the year ahead.
The company's first year has been defined by rapid growth and deepening customer relationships, according to leadership.
Rapidity, a nearly 40-year-old London print and communications specialist, needed finishing equipment capable of matching the speed and complexity of its growing client roster, which includes Arsenal, Shell, and Aston Martin.
By partnering with Vivid Laminating Technologies and investing in three Veloblades, two Matrix systems, and an Easymount unit, Rapidity strengthened its production capabilities while maintaining the meticulous quality standards that have defined the business since 1986.
Klagenfurt - Austria – October 2026– Zimmer Austria, a global leader in textile printing and coating solutions, will be at IGATEX Pakistan 2026, one of the region's premier textile machinery exhibitions.
The company will exhibit its latest digital printing, screen printing, and coating technologies from 15–18 October 2026, at Hall 2, Booth F-2-09, in Karachi, Pakistan
Returning for the fifth time to Manchester’s GNCCF (Great Northern Contemporary Craft Fair) are the GREEN GRADS,** 20 of the brightest of the UK’s new wave of eco-activists who have just graduated from universities all over the country, from Falmouth to Glasgow. The Fair runs from Thursday October 15 (private view) to Sunday October 18 (closes 4pm).
GREEN GRADS in the NORTH are taking over the 46 “changing cubicles” with their distinctive framework of blue cast iron, that fringe the gallery of Pool C, in the splendid Victoria Baths, Manchester. There is also a shop, curated by Laura Wigham, GREEN GRAD of 2024, with exclusive arts and crafts by GREEN GRAD makers from previous years.
Crewe, Cheshire – October 6th 2026 – Hybrid Services Ltd, the UK and Ireland distributor for Mimaki, has announced three dedicated demo days at its Crewe showroom, giving businesses a further opportunity to see the latest Mimaki machines in action.
Running from Tuesday 13th to Thursday 15th October, the drop-in sessions follow the machines' debut at The Print Show 2026 at the NEC Birmingham and are designed for those who missed the event, or want more time to explore the technology at their own pace.
Chesterfield, UK – October 2026 – Resolute DTF, a leading provider of direct-to-film printing solutions, has concluded its participation in The Print Show, last week, with an overwhelmingly positive response from attendees.
The event gave the company an opportunity to showcase its latest innovations in DTF and UV DTF printing technology to print businesses from across the industry.
Visitors to the Resolute DTF stand were given hands-on access to the company's expanding product range, including its R-JET PRO DTF and UVi-3D UV DTF printers, alongside its portfolio of inks, films, and finishing equipment.
Capurso, Italy – October - 2026 – Agfa Inkjet Solutions today announced that Digibux Print, an Italian digital print specialist, has invested in the Jeti Bronco H3300 HS, a 3.3-metre wide-format hybrid UV LED inkjet printer.
The investment marks a significant step in Digibux Print's evolution from digital print specialist to industrial production powerhouse, as the company expands its production capabilities to meet changing customer demands.
London, UK – 25 September 2026 – Sanderson Design Group PLC (AIM: SDG), the luxury interior furnishings group, today announced a 10-year licensing agreement with Dunelm for Designers Guild, the luxury interiors brand acquired by Dunelm in April 2025.
Under the Agreement, Sanderson Design Group has been granted the sole licence to design, manufacture and sell Designers Guild wallpapers, fabrics and paint worldwide.
The Agreement grants Sanderson Design Group access to Designers Guild's extensive archive design library, alongside the opportunity to create new designs under the brand, in exchange for a royalty fee paid to Dunelm
Zoetermeer - Netherlands - October 2026 – Papergraphics has announced that its Netherlands branch is now an accredited partner for Canon printers, bringing the acclaimed GP and PRO series to Dutch customers for the first time.
The accreditation builds on Papergraphics' long-standing Canon partnership in the UK, extending the same calibre of large-format printing hardware to the Dutch market.
Neuss – Germany – October 2026 – B-FLEX Italia has announced a partnership with Epson Deutschland GmbH to showcase the future of direct-to-film printing at the Epson Production Days event in October.
The collaboration will bring B-FLEX's DTF film and hot-melt powder together with Epson's SureColor G9000 printer in live, twin-roll demonstrations designed to show how materials and machinery combine to maximise both quality and output in real production settings
Las Vegas – NV – October 2026 – Greentex, a leading supplier of sustainable textiles for apparel, home goods and sportswear, successfully concluded its participation at Printing United 2026, where the company connected with customers, partners and industry professionals to showcase its latest eco-conscious fabric solutions.
The event brought together key players across the printing and textile industries, offering Greentex the opportunity to demonstrate how sustainable materials can meet the rigorous demands of modern digital printing and textile customisation.
Attendees had the chance to see live demonstrations of Greentex's fabric offerings, including its recycled polyester and BCI cotton ranges, both designed to reduce environmental impact without compromising on performance or quality.
Birmingham – UK – October 2026 – China Print Supplies UK Ltd has concluded a successful three-day exhibition at The Sign Show, where the company showcased its latest range of printers, cutting tables, and equipment bundles to industry professionals and visitors.
Throughout the event, the China Print Supplies UK team engaged with attendees, delivered live demonstrations of its machinery, and discussed how its growing product range can help signage and print businesses stay ahead in an increasingly competitive and sustainability-conscious market.
“We were thrilled with the turnout and engagement at this year's Sign Show. Conversations with visitors reinforced the direction we're taking as a business — one that puts innovation and responsible manufacturing at the forefront," said China Print Supplies UK Ltd.
Dorking – UK – October 2026 – FESPA has announced that its 2027 edition in Munich will bring together five specialist events into a single destination, offering exhibitors an unprecedented opportunity to reach audiences spanning print, signage, merchandising, wrapping and textiles.
The consolidated event reflects the increasingly interconnected nature of the speciality print and signage industries, where brands and suppliers are seeking more efficient ways to engage with buyers across multiple disciplines.
By combining five dedicated events, FESPA 2027 will enable exhibitors to showcase their offerings to a broader and more diverse audience, all within one venue
Leicester, UK – October 2026 – De Montfort University Leicester (DMU) will open a landmark exhibition celebrating the work of fashion icon Dame Zandra Rhodes, following her decision to donate a significant part of her personal archive to the university.
Zandra Rhodes: Archive Unfolded will showcase highlights from a donation spanning six decades of Rhodes' career, from 1964 to 2025, featuring thousands of objects including licensed work, press cuttings, film, opera material and colour transparencies.
The gift follows Dame Zandra's Honorary Doctorate of the Arts from DMU in 2023, when she announced her intention to place a key part of her archive with the university's Special Collections.