To an outsider a print business appears to centre around its print output technology – and what it can produce. Likewise, to the untrained eye it would seem that F1 is all about the car and its engine. If the car/engine/printer is the most powerful on the market, then how can it lose?
Whether in F1 or in print, the recipe for true success is more subtle.
Behind the scenes, digital is perfect for the short runs and fast turnarounds that underpin fashion's just-in-time supply chains. It also slashes brand owners' time to market and, by making it easier to test market new ideas, encourages creativity. Plus it meets those consumer expectations of being able to personalise products and get them quickly over the Internet.
An insignificant player in the industry a decade ago, digital is the technology on everyone's lips. Over the last few years, several reports have predicted dynamic growth in the market for digital printing. Research in 2006 by IT Strategies into garment decoration estimated that the retail value of digitally printed garments would be $12 billion in 2010, fuelled largely by the wider adoption of direct-to-garment (DTG) inkjet printers. These findings are echoed by FESPA Fabric sponsor Kornit Digital, which estimates that DTG has penetrated around 6% of the garment decoration market, with over 10,000 units installed.
Referring back to the fashion trends of 2011, digital print is indeed in demand, and not only for the most 'exclusive' limited edition ranges. While Helena Bonham-Carter wore a lavish digitally printed Vivienne Westwood gown to the Golden Globes in February, Ostwald Helgason's digital print collection is now available online at ASOS.com, and The London Evening Standard recently dedicated a entire feature to the 'wow factor' of digital prints.
Quoting Philip Delamore, director of the Digital Studio at the London College of Fashion, the London Evening Standard article stated, "Digital printing has levelled the playing field...Emerging designers can compete with large established houses without having to have the huge investment required with other techniques." He added, "Printing digitally means the cost of printing one or a thousand colours in an image is no different." Where screen printing and embroidery often have high set-up costs, meaning that short-batch runs are not cost effective, digital print systems enable even sample prints to be produced at a low cost with speed.
Not surprisingly, this promise of digital is already tempting new players in garment decoration to explore the potential for turning a profit from new business models. IT Strategies' research, for example, sees three types of companies investing in direct-to-garment inkjet: screen printers and embroiderers who are already in the direct-to-garment business; T-shirt printers currently using thermal transfer or colour laser printers and copiers, and companies that are totally new to the market, such as internet retailers and photographers. Other potential new entrants include "bricks-and-mortar" retailers, who might consider in-store kiosks.
To find out about the most up-to-date technologies, solutions and techniques for growing and shaping your business, FESPA Fabric is the show to visit this summer. Alongside the technology on show is a packed programme of live demonstrations, technical and hands-on workshops, live demonstrations and seminars featuring industry experts and world-leading garment printers.
To find out more, visit the FESPA Fabric web page at http://www.fespa.com/fabric
Of all the inventions of the last century, the internet must be the one that has most affected our lives. ‘What did we ever do without email?’ we hear asked with certain regularity. Most of us can remember but cannot imagine. The internet has affected every single part of our lives, our communication methods, our shopping techniques and the general way we consume information. So of course, the internet has, and continues to have consequences for the garment supply chain.
On one hand, the consequences for fashion (r)etailers have been positive, with the development of global supply chains and global 24/7 customer bases. The ease of on-line browsing has made high fashion accessible to everybody regardless of location, at all hours of the day and night. On the other, it has forced the industry to assimilate unfamiliar technologies and respond to more savvy consumers who demand more choice, instant availability of garments in a range of styles, and are quick to desert underperforming brands or outlets.
The Internet and digital technology have revolutionised the industry in recent years, and fashion brands and their suppliers will never be the same again. The Internet connects all the players in the industry—consumers, designers, brand owners, clothing manufacturers and printers, and retailers. The ease with which we click and order a new garment is deceptive; upstream and downstream of it are a complex series of interacting disciplines, including creativity, fabric technology, print, e-commerce, inventory control and logistics.
This revolution is propelled by the consumer, whose expectations and habits continue to drive developments. The Internet presents almost unlimited choice from thousands of brands, instant price comparisons, access to peer groups’ opinions on both products and brands, permanently stocked virtual “shelves”, and prompt - often free - home delivery backed by no-quibble returns/refunds policies.
Social media too, is having an effect. In 2010, the Telegraph published its definitive list of top fashion bloggers. It’s no longer just glossy magazines that influence the consumer; now consumers can influence each other, and spread the word speedily round the globe, with the simple use of free blogging platforms. The newest tool to aid in this is the ‘Tweet Mirror’ - the ultimate in word-of-mouth promotion. Recently adopted by the clothing store Pilot, shoppers use the mirror to take pictures of their new outfits, and tweet the results to their followers online.
Internet-fuelled globalisation has made a heavy impression on the market, in much the same way as the fluid fashion trends discussed above. The main result has been an increase in competition. You can bet that, even if a garment is unique to London, if the consumer can find, buy and ship it cheaper from Hong Kong via an online site, they will. This development isn’t exclusive to the end-product either. Suppliers, printers and retailers are all going online in the hope that they can find new customer sources and fend off the competition.
Moreover, some consumers are finding ways to cut out the retailers all together, using the internet as a source for locating clothing designers and ordering items directly from their creator. It’s yet another way for shoppers to state their individualism by rejecting high street and big name fashion lines.
For the garment or fashion textile printer, success comes down to the ability to respond flexibly- and help the retailer respond - to the new demands created by the online consumer.
To find out how you can future-proof your garment printing business, pre-register to visit FESPA Fabric 2011 at http://www.fespa.com/fabric
Fashion is increasingly eclectic and individual, less slavish. The culture of individualism has grown exponentially as celebrities (think Lady Gaga) - and consequently the general public - have become more lauded for their ability to create a unique look, rather than their devotion to mainstream fashion.
The reasons for this are complex. Sources of fashion inspiration have grown; new television channels, celebrity gossip magazines and the internet have all had a drastic effect on consumer behaviour. Add to this the rise in mobile device technology and the launch of the first ever iPad-only fashion magazine- sure to be followed by a host of similar publication-apps— and it becomes nigh-on impossible to guess where the next fashion craze will appear from.
But there's no denying that printed fabrics, regardless of whether they are screen- or digitally printed, are still at the heart of the fashion industry. For spring/summer 2011, Vogue magazine declared that 'printed pantaloons' would electrify the female summer wardrobe. Ted Baker introduced a multi-coloured, digitally printed, sheer jumpsuit to the spring collection, which trendy fashion blog MyFashionLife said was "in sync with an emerging trend of digital prints....A visual sensation of bright bursts of intensely pigmented colour generated by the digital print will see you hitting the mark for next season."
With strong authorities such as these citing brightly printed items as the must-buys of early 2011, there's no doubt that they'll flood the high street market. To meet consumer demands for accessible interpretations of catwalk trends, it's the retailers that are in the immediate line of fire. But ultimately, the entire supply chain is being driven by the need to foresee– and respond to- coming trends, and the high expectations of the fashionista.
Stores have risen to tackle the fast fashion turnover. Offering stocks that change once a month, they transfer clothes from catwalk to shop floor in weeks, if not days. To manage this, buyers have to consolidate their supply chains, cutting out intermediaries and dealing direct with suppliers. On the supplier side, businesses are expanding their services to include textile sourcing, design, product development, stockholding and logistics. And at all stages of the chain, speed to market is essential.
For garment printers, the quickening pace of fashion has created tremendous pressure, with service providers working harder than ever to meet the deadline and quality demands of buyers. It has also opened up a gap in the market for new technologies to come through and make an impression on the apparel industry. Direct to Garment (DTG) printers, from companies such as Israeli supplier Kornit Digital, are increasingly common. With excellent image quality, the printer can transfer ink directly onto material, allowing unlimited colours and shades to be printed. This method is ideal for printing the photographic art and complicated images set to emblazon the t-shirts of 2011.
DTG is also ideal for fulfilling short run orders, meaning you can print one t-shirt or 100 without problems or wastage- ideal for a market where a prototype for each new line is a prerequisite, and new lines are tested with increasing regularity.
The fashion retail brands who are quick to respond to customer demand will thrive in today's extremely competitive market, even with increasing material and manufacturing costs – just look at the phenomenal growth of ASOS.com in an otherwise sluggish retail market. To retain a serious position in the market, businesses must manage brand awareness and loyalty, and all links in the supply chain are involved in supporting that.
If you want to see how innovation in process and materials can help you respond to the demands of fast fashion, visit FESPA Fabric (Hamburg, 24-26th May 2011). To find out more, go to http://www.fespa.com/fabric.
FESPA Fabric 2011 and its event FESPA Digital 2011 carry a theme of ‘Evolution’.
That’s just as evident in the garment industry as in other areas of print. The make-up of the garment decoration industry today is very different to what it was ten years ago, and it continues to evolve.
A noticeable change has been the increase in the number of small but innovative garment decorators. This can largely be traced to the migration overseas of high-volume garment decoration during the 1990s. This drove those remaining behind through a period of consolidation, with its accompanying shedding of staff and closing of plants. That in turn created a pool of unemployed talent—fertile ground in which a new generation of start-up businesses were quick to take root. These businesses are lean, hungry and creative—and perfectly placed to supply fashion houses and retailers with an endless flow of bright new ideas for novelty-hungry consumers.
Innovation isn’t just about men in white coats stuck away in labs inventing and creating. It’s about real people, generating real value and it isn’t just technical. It can be experiential.
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