“Winning the award for “Best in British Product Design” were Charlotte Raffo and the team at the Monkey Puzzle Tree for their unique Metamorphosis linen union. Metamorphosis was created in collaboration with artist Kirsty Greenwood and is a fantastical large-scale design on a natural undyed and unbleached linen union fabric.”

“Facilitating savings in a whole line of resources, from physical storage and production space to time and energy, micro-factories ultimately have the potential to significantly increase profitability for garment manufacturers, with the additional benefit of being easily scalable as production increases.” Mark Sollman - Mimaki

“When we all talk of nearshore or close proximity production, there is always an unspoken truth. Sewn manufacturing (or CMT to those within the industry) – and its local availability. Textiles once printed, are always cut and sewn into a final product. Supply chain challenges of the last two years have exposed a sewn skills gap, and further highlighted a significant lack of manufacturing knowledge readily available here in the UK – making the reshoring of sewn goods in any volume a difficult proposition.”

“Luxury is our one and only reference market. ISA collaborates with brands that are positioned at the top end of the market, and our strategy is to provide exceptional service, quality and innovation with no compromise. All of which demands very high-quality prints and high-performing fabrics”

“The projects aim was to deliver a learning experience where the graduates would benefit from practical learning, expert tuition, hands-on access to digital equipment and the full support of the CMYUK team alongside industry mentors and peers. The graduates have also benefited from the combined efforts of the sponsors application specialists who have visited the site to share their expert knowledge and training.”

“A number of industry practitioners from across Europe joined the webinar to share their inspiring case studies and their knowledge and practical experiences. Representing a huge variety of high value applications for public spaces, like offices, hotels, retail food environments and other décor applications.”

“If we look at the fashion sector, the most common reason for return is incorrect sizing. The second is poor colour and that’s what we will focus on today. The impact of poor colour management must be addressed and resolved if we are to really switch to on-demand manufacturing and accurately replicate the digital twin.” FESPA

“The HP Stitch technology offers a high-quality finish with a straightforward user interface, allowing students to use it independently. The machines capacity to perform a lot of its own maintenance means that in a busy workshop with many processes, the HP Stitch could be added as a new machine, without compromising the running of the rest of the equipment” - Katherine Wibmer | Cardiff University

“It’s well documented that fashion waste is a problem and that a move towards more sustainable practices is warranted, especially since the worldwide revenue for the fashion industry is predicted to grow to $712.9 billion by 2022. But how many fashion retail companies are taking real, measurable steps to improve their environmental footprint?”

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

“Printing on Demand is a new concept for the interior design community. Digital printing has existed with products such as wallcovering and privacy screens or printing on panel systems, but that is usually in the hands of the manufacturer to determine what to print because often the product was sold with the print. Now, the designer can determine what to print and on which product to print.” Kristen Dettoni - Design Pool

“Our valued customers expect and deserve excellent service. The only true way to guarantee total control over artistic interpretation and commercial and reliable delivery lead times is to back your beliefs and invest. The installation of our own in-house digital printing facility was a natural and logical progression to support the creative development process of our fantastic Design team.” - ART OF THE LOOM

“For us as a brand it's really important that all our prints have consistency, and they're accurate to what we see on the screen. I think the uniform way in which the Epson printers print the fabric allows us to use it not only for show samples, but for production as well. I started using Epson technology as a student and continued using Epson’s technology when I founded my brand. It's always been a strong partnership and one that has grown alongside my business.” - Richard Quinn

“For the creative, CorelDRAW offers a myriad of tools that speed up the design process. Sketch, Power Trace, Colour Harmonies, Palettes and Colour management to name just a few. Plus, the ability to connect directly with your clients via the cloud for design approval – all of which deserve further exploration.”

“It has been an honour to work with Robin East and the CMYUK team to formulate and deliver a program that places four talented creatives into a syllabus designed to share expertise and impart practical learning. The four creative graduates are employed via the governments Kick-Start scheme and are working through a six-month syllabus.” Debbie McKeegan | TEXINTEL

“Meet Textile Designer Lucy Swann. Lucy has been designing beautiful surface patterns for the Fashion Industry and has an extensive knowledge of the sector. She is living the dream - and doing what she loves. Having recently diversified to launch her own scarf collection, here she shares her inspiring creative journey and what the future holds!….” Lucy Swann

“Robustelli was founded by my father and his two brothers in 1950. My father originally began his engineering business producing parts and accessory for machine tools in particular precision grinding machine. But because he was located in Como, in the textile area, he saw an opportunity and started to produce printing equipment, rotary printing machinery and flatbed printing tables. He began with hand printing carriage’s and then progressed on to develop automatic machinery. To support the industry, my father also developed and sold engraving machinery for rotary and flatbed production”. Sandro Robustelli

“This new method stimulates brands to speed up their distribution model significantly. To keep up with the fast-fashion manufacturing trend, brands don’t have to decide which design to produce. They simply produce smaller amounts of each design and rapidly produce more of it when a certain piece of clothing is selling very well. That way, brands can more easily respond to the market’s needs and make sure they are not left with large amounts of unsellable clothing at the end of the season.” Jos Notermans SPG PRINTS