“The archive was originally founded by Tony Hutchinson as “Charlton Fabrics” in 2015. Now rebranded as “Mallion and Knowles” this extensive archive serves as a reference library for their customers. Going further, their design studio can also adapt artwork to meet client specification: scale, colour and style. With a large selection of furnishing fabrics available, designs can be infinitely customised and custom printed to meet client specification”.

“Testing, inspection, and certification services helps manufacturers ensure that their products conform to technical safety and quality related standards and regulations, which in turn increases the marketability of their products and reduces the pre-production cost of textiles. Certification of textile services provides confirmation of test or inspection done against governments and international standardisation institutions’ set of pre-defined standards”.

“As we move towards a sustainable future, each and every product we consume has an environmental impact. Every choice that we make as designers and printers matters and collectively, we can make a significant contribution to the environmental impact of the products we create across all commercial sectors. Together we can drive effective change for a sustainable future.” Watch This Presentation Here >>

“In our recent conversation with Phil Oakley UK&I Country Manager at Kornit Digital, we primarily discussed the apparel DTG manufacturing sector to learn more about the key technologies that address these key market shifts. And we discover the tools and strategies that must now be applied to address the challenges of on-demand production and the global fulfilment of retail sales, online and off.”

“Aiding the CMYUK graduates on their creative journey will be a group of industry mentors that include: world class fabric printer, Standfast & Barracks; decorative printing software specialist, AVA CAD/CAM Group interior design duo, Brennan & Burch; CAD for fashion training facility, Erica Horne; pattern cutting and samples studio, The Pattern Room; and decorative interiors designer, Freya Richmond.”

“It’s a tribute to the early vision and Ellebi’s management team and their pioneering innovation, that the company are now perfectly placed to serve the ever-evolving textile marketplace. With an esteemed knowledge and textile legacy, their production facility now manufactures some 12,000m of printed textiles per day. The factory has evolved with digital technology, and the ancillary machinery (pre and post-production) required for volume production has been adapted and developed over the years to assure technical efficiency.”

“Rapid developments in digital printing coupled with its rising penetration in the textile industry is anticipated to drive the market growth. Developments in consumer buying patterns, pertaining to the usage of printed fabrics, are also likely to have a positive impact on the product demand over the forecast period.” FESPA

“Choosing to purchase their own machinery and not to outsource the manufacture of their products will give them absolute control of their supply chain, removing the requirement for stock. And importantly, giving them the freedom to listen to their consumers and create the designs and products that their loyal customers love.” The African Print Company

“The Interior décor marketplace offers a sector of unlimited opportunity for the industrial print industry. As a sector - its growth has continued throughout the pandemic as consumers re-focussed attention and expenditure on their interior environments during lockdown. As technologies have advanced so has the demographic of this expansive market. What was once a sector of mass-production led by designer brands and large retailers, the interior industry is now democratised. And that’s largely due to the applications and availability of digital printing technology”.

Creazioni Digitali recently partnered with Kornit Digital to add a new production capacity to their expansive technology base - installing the Kornit Presto S, permanently in Como. Inviting designers and fashion brands to Italy in October, the CreoSphere event offered visitors a unique opportunity to experience the latest production technology offered by Kornit Digital. Technology which delivers the potential - to make a digital transformation - and importantly, the manufacturing resources to unlock the supply chain…

“As we move towards a sustainable future, each and every product we consume has an environmental impact. Every choice that we make as designers and printers matters and collectively, we can make a significant contribution to the environmental impact of the products we create across all commercial sectors. Together we can drive effective change for a sustainable future”.

“We started printing many years ago and have a strong tradition. We began as traditional printers and then 10 years ago we implemented digital printing - our experience in the field grew from there on. Today our collaboration with Epson is fundamental: We consider ourselves atypical printers because at Eurojersey we use this technology on our Sensitive® Fabrics to enhance the fabrics features. Therefore, after undergoing this high-technology digital printing process, the fabric has a different appearance and different properties with respect to our plain colour products.” commented Andrea Crespi, Managing Director – Eurojersey S.p.A.

Forming the perfect partnership - Epson who manufacture innovative digital textile printing technology and textile innovators LABELEDBY. have created the “Epson Design Awards powered by LABELEDBY.”. Fabienne van der Weiden, co- founder LABELEDBY. commented: “It was amazing to collaborate with Epson in order to create a show that is, not just focused on the end result, but is focused much more on the design and production process.”

“This was a unique opportunity to bring together a panel of experts - all of whom hold many years of experience in the printing industry. Their insights signpost new customer behaviours and a new heightened focus throughout the Interior Industry and the wider textile/print industry on environmental, efficient and responsible production -manufacturing technologies and materials”. - Debbie McKeegan - FESPA Textile Ambassador

“Digital textile printing machines require a higher investment than conventional printing machines. When comparing the total cost of ownership (water, energy, operators, service costs, ink, post-treatment of the fabric, etcetera) between conventional printing and digital printing, printing one meter of fabric with digital fabric printing costs around 1,5 times more than with conventional printing.” Jos Notermans - SPGPRINTS

“The future of fashion production demands a new era of collaboration and knowledge sharing. Only by bringing all stakeholders together can we truly reinvent the apparel supply chain. We need to form new allegiances and partnerships and together invest in a new vision and a new future for fashion design and production. In the hands of the creative technology is powerful, and the quality and extraordinary creativity witnessed in LA didn’t disappoint. Pushing boundaries to explore new opportunities and production techniques each collection delivered a majestic display of unbridled creativity”.

“The fashion industry offers graduates an exciting career path in a market sector that is becoming increasingly digitised as the industry switches to meet market demands. To ensure that graduates are educated in the application of new technologies MMU has invested in a HP Stitch S300. The purchase ensures that the digital textile printing department offers the latest technology, and that graduates are equipped with the skills the industry desperately needs to adapt to a digital future”.

“At the start of a design process, I like to collect, search and then compose ideas and I always go very widely. I prefer working in series. At the moment, I am mainly busy with graphic design, designing patterns that are suitable for very large surfaces - such as high walls. Graphic can sometimes be a bit strict, but I want to keep it colourful and playful”. Irene Van Ophoven

“Even though more mills are embracing digital printing workflows, many still underestimate the value of fabric preparation. As is the case for traditional dyeing and screen printing, fabric must be clean and free of impurities like oil, wax and any sizing agents used during weaving. But digital printing also requires additional steps to achieve the best end result.” HUNTSMAN

“The digital textile printing workflow demands a comprehensive understanding of the textile printing process. Each unique combination of design, substrate, ink type, print process and post finishing makes a cumulative impact on final printed output. To get the best out of technology all factors must be considered, and equipment aligned.” EPSON