The 7th edition of Techtextil India, 2019 promoted a gamut of technical textile solutions from across 13 contingents including India. The event witnessed a strong participation of 192 exhibitors from major countries across the world. It attracted 4,446 quality visitors from major cities like Ahmedabad, Bengaluru, Chennai, Hyderabad, Kolkata, Pune, Raigarh, and Mumbai. Visitors from international countries like Canada, Dubai, Germany, Italy, Turkey, UAE, UK and USA gave the show a global feature.

The fair marked a 17 per cent increase in exhibition space, growing 23 per cent in terms of exhibitors and 25 per cent growth in international exhibitors compared to the previous edition. Smart textile machineries, recycled fibers, industrial fabrics, fire retardants, industry wearables, and other sustainable solutions were among some of the key highlights on the show floor. Among the areas discussed during the B2B event, the exhibition majorly divulged into the subject of recent technical advancements, all-round growth, sustainability, and reusability of materials in technical textiles.

The three-day event attracted media-wide attention, as eminent figures from different sectors, including the government, converged at the venue. Efforts by the ministry into the survey and analysis of problems and challenges ailing the growth of technical textiles in India and various subsidy schemes launched by the state government for the promotion of technical textiles, were a major highlight at the show.

The ongoing global trade war has opened doors for Indian apparel exporters. However, it would require companies to scale up operations. Other necessities would include meeting the rigorous compliance demands of clients and managing strict fulfillment schedules. India still manages to be the world’s second largest manufacturer and exporter of fashion garments after China. The factories within the supply chain alone employ close to 13 million individuals.

Exports to the EU declined between two to three per cent for the first four months of the fiscal year. Key competing countries like Vietnam and Bangladesh have taken advantage of their bilateral trade agreements and least developed country status, respectively, and contributed to India’s declining position in the EU market. Not only have they affected India’s market share, they have gone forward and tapped into the opportunities in China’s declining market share. Indian apparel exports have been suffering but somehow persisted, mainly due to export incentives. In spite of that, there is undoubtedly going to be an impact on margins, as there are several other factors apart from just lower demand that play a vital role in determining India’s place in the global apparel and textile trade. Competitive pressure from countries like Bangladesh and Vietnam persists and raw material costs are rising rapidly.

In 2019, Turkish yarn exports decreased 6.1 per cent. Exports of home textiles increased 1.8 per cent. The share of fiber in total textile exports decreased from 13.7 per cent to 6.4 per cent. Total exports of the Turkish textile and raw material industry in 2019 decreased 5.5 per cent compared to the previous year. The share of textile and raw material exports in total exports decreased from 5.9 per cent to 5.5 per cent. In 2019, the main export market of the Turkish textile and raw materials industry was 28 EU countries. Exports to the former Eastern bloc countries increased 5.9 per cent to 10.5 per cent. African countries ranked third among the biggest export markets. Exports to these countries decreased by 1.7 per cent.

During the year exports of textiles and raw materials to Germany decreased by two per cent. The amount of textile exported to Germany increased by five per cent. The highest increase in exports was to the Iranian market with 10.2 per cent. Woven fabrics were the most important product group of textile and raw materials exports in 2019. Exports of woven fabrics, which account for 23.5 per cent of textile and raw material exports, decreased by 6.6 per cent compared to the previous year.

Chinese manufacturers are selling products to US consumers through Amazon. And they are succeeding since a fair-priced, quality garment appeals to US consumers. The number of Chinese sellers making over $1 million in revenue by selling through Amazon rose from 23 per cent to 45 per cent in the last three years. Orolay sells coats through the Amazon marketplace. Seventy per cent of the company’s overall revenue for 2018 came from US sales and most of those came through Amazon.

But the question remains whether these brands funneling out of Chinese factories will be able to compete with US brands, especially those in the direct-to-consumer space. It is not easy to break into the US market. Marketing is the biggest hurdle when entering the US market. A direct to consumer brand needs a sleek design online and in its marketing, with whimsical logos and a clean photography. Many Chinese brands sold direct-to-consumer from the manufacturer do not have that aesthetic. The product has to resonate with US consumers and has to be sustainable. If the product is coming into the US, it has to abide by the reality of no child labor disputes or issues, and calling out country of origin, and all the requirements for regulatory purposes, as well.

"Sound inventory management is gaining importance as this year around 11 of the 16 major retail companies globally, selling apparel, footwear or accessories, filed for bankruptcy. Majority of companies are dominated by private label products. Poor inventory management is driving retailers to such dire straits who have now pledged to maintain a good inventory hygiene."

Sound inventory management is gaining importance as this year around 11 of the 16 major retail companies globally, selling apparel, footwear or accessories, filed for bankruptcy. Majority of companies are dominated by private label products. Poor inventory management is driving retailers to such dire straits who have now pledged to maintain a good inventory hygiene.

Moody’s recently predicted a 20 per cent decline in the operating income of most department stores instead of its earlier prediction of 15 per cent. Most of these retailers optimised the gains from their operational efficiencies and managed to better match inventories and consumer demand. In October, Moody’s lowered its outlook for apparel brands from positive to stable citing a stronger U.S. dollar.

Inventory growth leads to declining sales

Rating agency UBS also named inventory growth as one of the top reasons for declining sales during the 2019 holiday season. The agency revealed that in September the inventory growth for apparel, footwear and accessories outpaced sales growth for four quarters. This was mainly due to the way apparel is sourced and the priorities of operations teams dictating those purchases, which leads to overbuying.

The importance of demand forecasting, from style to quantity, is increasing in the modern apparel industry with Retailers like Kohl’s and brands like Nike decreasing their lead times leading to a more responsive supply chain and more relevant product.

Need to choose wisely

Above all else, supply chains are optimising costs. Though they face lower risk as the cost of their goods is low but they require larger orders and more lead time which creates an uncertainty in the market. To lift this burden of inventory management, brands should change their method of choosing suppliers by emphasising on speed and flexibility rather than the cost of materials and location.

Sound financial health leads to growth

Omnichannel operations require advanced inventory management skills. Whenever, retailers increase their omnichannel options, they also increase investments in technology and inventory. This leads to stranded inventory and eventually markdowns.

Many apparel sellers still need baseline operational investments to bring their supply chains into the omnichannel age. Brands can neither shift to a more flexible supplier nor can they adopt new inventory management technology without funds. Their ability to change, beyond self-awareness and will, stems from their financial health that runs much deeper than cost of their goods sold.

Representing most exporters in the NCR, the Garment Exporters Manufacturers Association is the biggest association for garment manufacturers and exporters. Nilesh Jindal, President, expounds on the association and current industry in India. 

GEMA is the biggest garment manufacturing exporters’ association after AEPC.  

The association is an amalgamation of the Garment Exporters' Association (GEA) and Apparel Exporters & Manufacturers Association (AEMA) which were earlier two separate associations.  “The association represents the NCR and many of its members are also members of AEPC,” notes Nilesh Jindal, President of the Association. 

The apparel industry is currently going through very bad times.  There was a time when all duty drawbacks such as MEIS, ROSL were granted to exporters. 

“However, the introduction of GST has brought in a lot of changes.  Around 6 percent of these duty drawbacks have been reduced. A lot of exporters’ money has been blocked which has made survival difficult for them.  Neither ROSL nor MEIS has been granted since March 2019. Smaller exporters are facing fund blockages of around a crore of rupees. Their working capital has been reduced to zero which is making their survival difficult,” avers Jindal.

Textiles is the highest employment generating industries in India. “However to generate this employment, we need a fresh capital infusion to spur investments and boost meaningful employment. As investment of one crore in the apparel industry can create around 72 new jobs which is unparallel,” views Jindal. 

Even though Bangladesh is of the size of West Bengal, their exports are almost double than that of India. “Our labour availability is also better. However, we need to prioritise development of the sector and give it the required attention,” adds Jindal.

The global program uplifts to support entrepreneurial start-up and scale-up businesses developing solutions that promote inclusive and positive change in fashion.

The selection of finalists is a next step in the journey to identify and champion innovative opportunities that support the advancement of the industry. On February 13, 2020, the six finalists will visit Tommy Hilfiger’s Campus of the Future in Amsterdam, the Netherlands, to pitch their business concepts to a jury of internal and external business and sustainability leaders at the global Tommy Hilfiger Fashion Frontier Challenge Final Event.

Over a multi-step four-month process, over 420 applicants were narrowed down to six finalists who were invited to develop and refine their business plans with the support of a dedicated team of social entrepreneur experts at the Campus of the Future.

The finalists include Bangladesh-based scale-up, Apon Wellbeing, opens fair-priced shops carrying daily necessities inside factories, with products offered at a 10% discount to external prices and a points scheme that workers collect for free health-insurance and health services.

American scale-up, Stony Creek Colors, offers natural indigo sustainable crops to small and mid-size tobacco farmers who are at risk of losing their income due to falling tobacco sales. The cash crop provided by Stony Creek Colors enables the farmers to retain their livelihood.

Dutch start-up, A Beautiful Mess, runs a creative space to assist refugees in realizing social and economic independence by creating sustainable apparel products.

U.S.-based Start-up Company Lab 141 creates small batches of made-to-fit clothing using 3D printing. Through these methods, Lab 141 is promoting and bringing to life the concept of “sizeless” fashion.

Indian scale-up pajama company Sudara develops professional and sewing skills in women who have escaped from or are at high risk of being sex trafficked.

Hailing from France, scale-up company Constant & Zoe creates functional and fashionable clothing for men, women and children with disabilities.

Designer Priyanka Prasann recently launched Navi Mumbai’s first multi-designer store called Uru. The exquisite store houses remarkable Made-in-India luxury clothes, home décor, stunning furnishings, art, accessories and artefacts, sourced directly from runway designers, artists, expert craftspeople and talent from across the country.

Priyanka Prasann, Owner of Uru said, “Since URU is a display of an eclectic plethora of sustainable, eco and upcycled clothing and accessories along with unique artisanal pieces from the remotest of craft clusters, we’ve tried to maintain that all the designers work with these ideologies. The products have to be affordable, sustainable products should not be overpriced.”

URU offers an open floor featuring modern yet warm interiors along with a dynamic, interactive space apt for pop-ups, workshops, launches, networking soirees and more. The store is a 600 sq ft space of design and art and the aura oozes sophistication and glamour right from the first step in, befitting Navi Mumbai’s evolving tastes like it truly deserves.

Recently URU launched Gauahar Khan’s newest clothing line ‘Gauahargeous’. Talking more about it, Priyanka shares, “Gauahargeous as a collection is true to its name. It makes you feel gorgeous. The entire range of festive clothing is so easy to style and very versatile. You will surely get a lot of use out of each outfit as they can be used as a set and separates too. The collection is made keeping in mind the latest trends and upcoming designs, so we're sure it will be loved by our customers.”

From February 9th to 11th 2020, the UK’s leading premium contemporary womenswear trade show will take place at Old Billingsgate Market in the heart of the City, offering an exclusive edit of forward-thinking designers’ inspirational collections, as well as a partnership with internationally renowned animal conservation charity The Aspinall Foundation to support its mission to halt the extinction of rare and endangered animals.

This season’s colourful campaign image, created by Ratti S.p.A. Como, is inspired by the vibrancy, exotic jungles and ecology of India, as well as Founder Karen Radley’s love of elephants. Featuring a highly decorated Asiatic Elephant, a Royal Bengal tiger, and other animals, the dramatic artwork will feature across the show on posters, show bags, catalogues and Scoop scarves.

Scoop and art coexist symbiotically at the Saatchi Gallery so for AW20 Karen Radley, keen to continue to celebrate art at Old Billingsgate, has invited Ibizan artist Oliver Merlin to install an exhibition of his latest work.

Scoop is renowned internationally for its exclusive presentation and expertly curated edit of fashion designers and labels from Britain and the rest of the world, many of whom select the show as their launch pad. The show welcomes premium department stores from across the globe including Harvey Nichols, Brown Thomas, John Lewis, Voisins, Galeries Lafayette, Beymen and Le Bon Marche as well as independent boutiques such as Aria Boutique, Found, Iris Fashion, Jules B, and Sue Parkinson.

The AW20 edition will showcase Scoop take over the Grand Hall; undoubtedly Old Billingsgate’s largest and most impressive space. The ornate sky-lit ceiling allows for designer collections to be seen in their best light, whilst the architecture and impressive proportions of the space guarantee inspiration and an unforgettable experience.

Paris Menswear Week fall/winter 2020-21 is being held from January 13 to 20, 2020. The show features 53 catwalk shows as opposed to 60 last season. In addition, there will be nearly 20 off-calendar shows. The fashion week's new edition will feature leading labels as well as the major luxury houses. The number of labels vying to show off-calendar is rising exponentially.

Among the names showcasing are Givenchy and Jacquemus. This brand will present the men’s and women’s collections in a single show. This season, the Paris menswear calendar will include four new names: Rhude, Botter, Rochas Homme and Craig Green. Rhude, founded in the US in 2018, is a blend of couture and street wear. Rochas will present its new menswear, styled for the last two seasons by Italian designer Federico Curradi. Designer duo Rushemy Botter and Lisi Herrebrugh, also the creative directors of Nina Ricci, will show for the first time in Paris their label Botter. Casablanca, the label by French-Moroccan designer Charaf Tajer, will show off-calendar. Among other off-calendar shows are those by Kidill, Louis Gabriel Nouchi, Natasha Zinko, Basscoutur, Taakk, Tatras, Boramy Viguier, Klaesi Holdener, Lazoschmidl, Gunther and Geoffrey B. Small.