MADE IN PROPOSTE
Before giving you the report from Germany, here are another few anticipations for 2020…
While waiting for the final press release that will sum up the 50th edition of Heimtextil, to be used to draft our own report on the event, on the exhibitors and on the collections seen, let us talk some more about the companies that have described their trends by anticipating their collections for the year that has just begun. In this article we have photographed some new creations of the Italian firm Lodetex, of the Indian firm G.M. Syntex and of the Turkish weaver Vanelli. These three firms are all located in geographically distant locations but perfectly illustrate how Proposte is truly the global synthesis of the best firms in terms of furnishing fabrics and curtains. And this is the real success of this event: without anticipating anything, I can say that I have heard the opinions of several prestigious visitors of both Heimtextil and Proposte, and the opinion that the event in Cernobbio is truly the synthesis of what is tops in the global production of home textiles is not just common, it’s unanimous.
This said, here is the story behind the pictures. Let’s start with the Lodetex creations. The company, located in the environs of Varese, in creating its new 2020 collections intended to meet the rising demand of its Contract and home clientele for environmentally friendly fabrics. With this in mind, the company invested significant resources in researching ‘green’ raw materials (antimony free, recycled, etcetera) and increasingly energy-saving production processes. It followed the same strategy in its search for dyeing and finishing products having the lowest environmental impact possible. All this is based on the consideration that sustainability concepts are now considered to be vital and that over the next 5 years their importance will continue to rise. It is not just a question of production process sustainability however. The aspect on which Lodetex is focusing is that which will allow to recycle the products at the end of their useful life (cradle to cradle).
In terms of trends, the company makes weighted and distinct choices. For the collections dedicated to the Contract world, the aesthetic and colour choices fall on blue indigo hues and intense colours that integrate the more neutral and classical colours, while for the lines developed with the textile printing and home interior sectors in mind, the colours become softer, starting with the whites, the beiges and ending with the more sophisticated blush pink, mauve and classic blue. In general, Lodetex’s research in yarns and weaves has aimed at obtaining innovative fabrics, with special focus on feel and on more special looks: weaves and materials that guarantee three-dimensional effects, unusual cuttings aimed at obtaining new transparencies and finishes capable of creating soft embossing and well-being. In order to illustrate these indications, we have photographed two new products: the curtain fabric Star Light White, made of 100% Trevira CS (width 310 cm) featuring a jacquard pattern with a delicate vertical design on a base of light gauze, and the fabric Est 3, also made of Trevira CS, a decisively heavier jacquard, suitable for decoration (width 320 cm) with a complex abstract design and nuances of colour that are alternated with small white insertions.
From the environs of Varese we can imagine taking a long trip to reach India and the G.M. Syntex textile factory that, in a little more than twenty years – from the production of women’s clothing collections, just in 1999, it changed to home furnishing textiles - , has become a top player on the international scene with a powerful verticalized structure based on 300 looms and two thousand employees. G.M. Syntex’s trends, veritable moods, for the 2020 collections focus on soft tones and on Nature as the evoking element that links together the various decorative proposals. The keywords of the collection are simplicity and craftsmanship, in search of an immediate and instinctive tactile and visual contact with the cloth using floral patterns, natural textures, animal and abstract decorations. The colours play with the white, camel and beige hues as well as varying shades of terracotta and browns. In general, warm colours sometimes blended with soft greys.
To support this description we have photographed two cloths. The first is called "Cosa" and is a 54% cotton and 46% regenerated wool jacquard mix, intended for decoration and produced in 140 cm wide bolts, with a delicate flora/tropical pattern on a solid colour background, available in various soft colour versions. The second is called "Chico" and is a cloth made on a flax and viscose base (width 140 cm) with an all-over cotton embroidery and overall delavé effect. This creation has a rather evident and three-dimensional pattern with a highly pleasing final effect.
A few thousand kilometres in reverse and we stop in Turkey, in Bursa to be precise, where we find another international leader in furnishing textiles: Vanelli. Once again, a verticalized business that manufactures textiles starting from the yarns, then weaves them and produces collections for all kinds of applications, from home fabrics to Contract clients with collections that include flame retardant fabrics made of Trevira CS (it has been a "Gold" member of the Trevira CS Club since its creation). We have photographed two fabrics of this major Turkish manufacturer too. The first is an open weave fabric for a medium weight curtain – shown here in white – 65% of which made of regenerated protein fibre and 35% recycled polyester FR. The cloth weighs 790 g per metre and is made available in 300 cm wide bolts. The second cloth, that is heavier and more opaque (955 g/m), is a jacquard made using a complex mix: 70% polyester, 25% linen, 4% viscose, 1% chlorofibre. The result is a cloth that has a very soft and enveloping feel, featuring a pattern with a vertical striping ‘linked’ by horizontal threads that evoke a traditional manual weaving effect. This artisanal effect is also supported by natural and raw colours.
World Fabric Outlook
Sustainable textiles? Can do!
Speaking of sustainability, the big risk is that everyone gets all worked up and emotionally involved but ends up trapped in the abstract realm of ideas with nothing concrete in their day-to-day lives, except perhaps when a big event occurs, almost always having to do with the climate. Environmental issues remain relegated to a sort of abstract haze in spite of the fact that it is quite easy for any of us to look around and see how terribly concrete the problem is. Forget the disaster-movie images of a smog-orange Beijing, just look at how much disposable plastic we use every day and it will be clear that we are facing a question of vital importance.
Likewise—let’s be honest—in our industrial world we pay a lot of lip service to sustainability, but almost as a bothersome yet inescapable imposition when we compose any collection to offer our customers. Costly and taxing, something that has to be planned for, but we do it mainly to survive on a competitive market rather than to continue breathing!
For example, I believe that in textile manufacturing, this happens mainly due to a lack of information, because of ignorance of the true figures regarding the environmental impact of the daily production processes of textile companies. Once again, generalized data are useless: saying that world textile production is second globally among industries that have an environmental impact is pointless because textile manufacturing clothes and upholsters billions of people, houses, cars, etc. And so sustainability becomes mainly a high priority marketing topic.
We have to hand it to Confindustria Moda and Sistema Moda Italia (SMI) for giving the topic the attention it deserves during a conference last October 4th in Milan, where two systems for assessing the environmental footprint of a product or process were presented: Product Environmental Footprint (PEF) and Organization Environmental Footprint (OEF). Credit for this effort goes principally to the SMI Sustainability Commission, chaired by Andrea Crespi, president of the SMI Sustainability Committee and CEO of Eurojersey. The Lombard company is a world leader in the production of warp-knit technical textiles, but, most importantly, it is the first textile company to begin addressing the issue of organizational environmental impact, this back in 2007. It is thus a case history to be studied with particular attention, both by companies seeking to understand what it means to dedicate themselves to a project of this nature, and by customers so that they can be duly aware of the manufacturer’s efforts to effectively assess the sustainability of its actions. The figures might seem boring, but in this case they are the best way to get a real sense—beyond marketing claims—of an organizational plan that is truly more sustainable.
Eurojersey has implemented a unique and virtuous industrial model to promote a set of practices and technologies to reduce the consumption of water, energy, and chemical products, and the production of wastes. Manifesting its concern for the environment through a verticalized, completely Italian-made production cycle, it controls the entire production process, constantly monitoring the results of its environmental commitment.
It is obvious that such an effective project can only optimize its outcomes with vertical management of the various production processes. This is a condition that is rarely observed in the furnishing sector because the industry is increasingly organized on the basis of a network of specialized companies. However, this matters little because what we want to highlight here is precisely how a virtuous industrial model not only brings advantages in terms of respect for the environment—and all the positive marketing outcomes that cynically derive from it—but also concrete cost savings with clear benefits for the income statement.
So let us have a look at these numbers, which are the fruit of the study that has prompted the Lombard company to certify its environmental footprint using the PEF method, with the PEF 019/19 certification obtained from Certiquality in April of this year.
There are two clear keywords in the company mission statement that express the basic concept behind this project. First and foremost the noun “reuse”, a key term in water savings that has led to reduction of an impressive 30 million liters of process water over the past year and translated into energy savings of over 200 TOE (tons of oil equivalent). Additionally, thanks to the latest efficiency enhancements, the company has reduced its consumption of natural gas by some 350,000 cubic meters, corresponding to 700 fewer tons of CO2 emissions. The other keyword—in this case a phrase—is “massive wastage reduction”, meaning reduction in production scrap, optimization of dyeing and printing methods, and careful management of packaging. This has all contributed to the achievement of significant results, such as yearly savings of 4,000 meters of plastic wrap and 9,000 cardboard tubes.
With its PEF certification, instituted in 2013 by the European Union’s Joint Research Centre (JRC) as a recommendation for all European companies, Eurojersey assesses the environmental footprint of its entire production process, measuring 16 indicators, including the amount of energy consumed to power the production process, the carbon footprint, the water footprint, eco-toxicity, eutrophication of fresh and salt water bodies, acidification, and human toxicity.
The water footprint—the consumption of water resources caused by a given human activity in a given geographical area—of one square meter of dyed Eurojersey fabric has been assessed at 1.3–4.1 cubic meters, and 3.01–15.42 cubic meters for one square meter of printed fabric. Considering that the water footprint for one 0.75-liter wine bottle (non-sparkling) is 1.27 cubic meters of water, its impact can be compared to one meter of fabric. The carbon footprint, representing the emissions of greenhouse gases responsible for global warming, shows that one square meter of dyed fabric produces an impact of 1.01–2.77 kg of CO2eq, and a square meter of printed fabric produces 1.43–6.71 kg of CO2eq. The footprint of one kilo of pasta is 2.11 kg of CO2eq. Eurojersey’s energy footprint has revealed that one square meter of dyed fabric produces 17.28–47.07 MJ, and a square meter of printed fabric 23.69–112.82 MJ. This impact is comparable to an automobile in the Euro 5 class, which travels 10 km producing 49.1 MJ.
What environmental cost is hidden behind the economic value of a product? Eurojersey has calculated this value, accounting for the damage caused by carbon dioxide emissions throughout the product lifecycle, at 0.30 euros per square meter of dyed fabric and 0.70 euros per square meter of printed fabric. These costs have been calculated using the cost factor provided by the United State Environmental Protection Agency (USEPA Technical Support Document: Technical Update of the Social Cost of Carbon for Regulatory Impact Analysis – April 2016).
So we have attempted to make our reasoning on sustainability a concrete reality. The awareness that the textile industry exerts an environmental impact and that this impact can be reduced can become a criterion in the customer’s future choices: the price may be important, but with the right amount of rhetoric and pride, doing good for the planet is everybody’s business and we Italians can take the lead in virtuous behaviors, proving once again that we are characterized by excellence in this realm as well. As Andrea Crespi said, “Measuring the environmental performance of the entire production cycle and taking subsequent action to improve it is now a strategic asset for companies in the Italian textile industry and represents a competitive edge on the international textile market.”
OUR SOSTAINABLE PROCESS (file .PDF)
MADE IN PROPOSTE
A first glance at 2020: newly arriving textiles...
How easy (but how monotonous) it would be if the talk of upcoming collections had a clear theme, one that were easy to identify and illustrate. It is no coincidence that, in reality, the famous “trends”, beyond the obligatory poetry to justify the effort, for years now have been nothing more than a reshuffling of all the principal colors, simply reassembled in different arrays with very imaginative titles. But beware: saying “everyone does everything” is a simplistic and superficial interpretation. It is more correct to say: “at the fair you can find everything” because the range of offerings is so broad that you will find pretty much all the possible solutions in terms of aesthetics, materials, stylistic inspiration, and decoration. But this broad range of solutions hides—albeit not very successfully—an extreme amount of specialization by each firm, whether the specialization is a question of market strategy, history, company personality, or something else. There are weavers or drapers that still try to cover every segment, however small, of customer demand in the hope of remaining a key landmark on the buyer’s map, within a rationale of partner more than simple supplier. But business seems increasingly to be moving toward a blend of the two trends: seeking a partnership approach but starting from an increasingly specialized position and thus specific reliability.
And this is precisely what seems to be the most common behavior among the companies taking part in Proposte. This is partly because, according to the comments we have collected, there are few who believe in the possibility of opening new markets in the very short term; everyone is opting for a period of consolidation, of strengthening existing relations. So it is smarter to invest in improving on what one already knows how to do well.
Investments are made in compositional materials and combinations of fibers according to the designs to compose (Luna Home/Clerici & C.) for increasingly challenging and exciting weaves/patterns. Those who are already going strong with natural fibers (Nelen & Delbeke) tend to refine their established materials and experiment with new ones (hemp is increasingly in vogue…). Vivacity of color in any sort of media is the distinctive trait identifying the personality of some (Ratti). And an emphasis on using recycled materials and thus being solidly in the field of eco-sustainable production is one of the most respected approaches (Cavelli).
There are many who talk a lot about this last topic even though—and this must be said—not all are convinced that it is such an important matter for home furnishings customers. Unfortunately—and we say “unfortunately” because we were hoping that the high end of home fabrics and drapery consumption was somewhat above the tactics of an all-out price war—the thing underscored by everybody is the fact that the price variable is what consumers watch and consider most closely. A heavy disincentive to any form of investment in research and development of new products.
If we take a good look, things have not changed substantially with respect to past years: nevertheless there is more focus on the difficulties. There is a vague sense that it will inevitably become increasingly difficult to survive in this market. We will see if this impression is borne out after the fairs. We dearly hope not!
So let us begin to take a look at the fabrics we will see this coming year.
We will start with Cavelli. The Lombard draper puts the accent on two themes: the prominent use of recycled materials and fibers, and a collection using the trendiest natural material, hemp. Very similar in effect, weight, and degree of transparency to pure linen, hemp is offered in eight natural colors and distributed in a width of 310 cm (Photo 1). The other two creations are blends of polyester with a high percentage of recycled material—more than 50% overall. One is a heavier version, at 160 grams per square meter and a width of 300 cm in a jacquard weave (Orvieto collection) and five colors (Photo 2). The other—Ravenna—is lighter, 85 grams and 330-cm wide, available in sixteen different solid tones (Photo 3).
Moving on to the colors and prints of Ratti—and others as well, as we shall see—the producer from Como proposes a trio of very different creations that still bear some kinship to one another in the undeniable power of their colors and decorative motifs. We start with a medium-weight (615 grams) jacquard velvet in a viscose-cotton blend (64%-36%) offered in the classic width of 140 cm (Photo 4), made using a screen printing technique (combination of metallic pigments and reactive dyes) and with an excellent Martindale score (50,000 rubs). Next is an elegant and refined fabric known as Toro, a decoupé jacquard in 100% polyester, rather lightweight (324 grams per linear meter) in a width of 150 cm (Photo 5). The last novelty we mention from Ratti is a fabric with very vivacious colors and decorative motif that hews closer to the the company’s traditional products: a pure linen cloth weighing 340 grams per linear meter, sold in a width of 140 cm and characterized by a digital print (Photo 6).
Let return to the realm of jacquards to admire a fabric named Vintage presented by Clerici Tessuto & C. in its Luna Home collection: a full weaving width jacquard measuring 140 cm from selvage to selvage. The design is a contemporary CAD-interpretation of a 1970s-style decorative theme exhibiting a faded pattern that enhances the overall effect. A proposal for upholstery is the decoration in 81% cotton and 19% polyester, weighing 449 grams per linear meter (Photo 7).
We conclude this first taste of what’s in store for 2020 with a look at the creations of a grand European producer that has always worked with the most refined and sophisticated natural fiber: linen. We are talking about the Belgian Nelen & Delbeke, who are introducing two weaves having different weights but both heavy and meant for use as upholstery. They are both rather grossier flatweaves exalting the three-dimensionality of the linen fibers. For the coming year, the firm from Kruisem will present three searchable color proposals for their linen fabric: earth tones (from natural to rust and brown earths), deep, rich colors (green, dark blue, ochre, brick), and vibrant colors such as purple and turquoise. The two fabrics in Photo 8 are a “Dark Green” weighing 1,100 grams per linear meter (width 140 cm) and a “Faded Natural” weighing 940 grams per linear meter (width 133 cm).
Trends, design and distribution
ICE–Agenzia, an invaluable partner. Handbook for optimum use.
Over the past decade, and perhaps longer, the Italian Trade Agency (Istituto per il Commercio Estero – ICE) has witnessed intense development, achieving a level of efficiency that is fully comparable to that of other similar European agencies. Not everyone knows this, but it has become an invaluable tool for Italian companies. Specifically, it can provide solid support for a manufacturing segment composed of small and medium businesses that have to distinguish themselves on the global market, but alone do not have sufficient means to undertake the research investment necessary for successful entry into new and unknown commercial territory. And, something that is equally important, ICE–Agenzia can be a reference point for distant international customers/operators who would have difficulty getting to know all the producers and operators in Italy, because the industrial textile brands do not have the marketing power and visibility that Italian fashion or design brands can wield.
For this reason, we have chosen to provide some information about an organization that can be a real booster for our companies’ export business and for their existing or new customers. There are a number of questions we would like to ask ICE–Agenzia, which is represented by Ines Aronadio, Director of the Made-in-Italy Promotion Coordination office.
Q – Ms. Aronadio, how does an Italian company in the home textiles market get in touch with ICE–Agenzia if it wants to enter new markets? We are thinking of producing a sort of handbook for businesses that contact you for the first time…
A – Let me begin by saying that ICE–Agenzia promotes Italian economic relations in the world, helping SMBs in particular to learn about, enter, and position themselves in foreign markets. We work in close collaboration with other institutional actors promoting the internationalization of the Italy System. The website ice.gov.it is the first information channel that can be consulted by companies. Organized by section, it provides a series of direct and free online services that are indispensable for a company in its first approach to key markets or industries.
We offer a range of services including training, information, and support and consulting services that are all part of a single customer-oriented catalogue. These activities are performed by our offices throughout the world, and all our analysts are all able to provide bilingual support, as a minimum. The ICE–Agenzia network consists of 64 offices and 14 correspondence points in 66 countries around the world. The offices are run by Italians, but all employees are local analysts: we thus guarantee excellent knowledge and reliability of the information regarding every business area in which we operate.
The first step is to take advantage of our free services: we provide orientation information on individual nations to assess the possibilities for internationalization and access to a given market. This first phase is followed by custom, in-depth plans. We create a service profile with the companies that turn to us and prepare a composite information dossier, a system of concepts and in-depth knowledge constructed using a platform created by the Ministry of Foreign Affairs and International Cooperation with the collaboration of ICE–Agenzia, ENIT, and the Italian Chambers of Commerce abroad. This information collection is performed by our branches in the various export markets, but this is only part of the work we do. There are many initiatives that may be organized into a sort of program of ongoing assistance and promotion performed by the local personnel, who organize the participation of the company in tradeshows, seminars, independent exhibitions in the fashion sector, averaging more than 40 initiatives per year, with an annual budget of some 30 million euros. A successful example of what we do is Moda Italia, which we have staged in Japan for more than 20 years now.
Q – How do you help a foreign customer in the textile sector who is not familiar with the Italian business community find a partner in Italy?
A – Contact with the foreign office in the customer’s country is essential in this case. We have to create a sort of profile with indispensable information in order to provide the most complete and tailored service to a customer seeking an Italian partner. We have to know the area of activity, as much information as possible on the product or services that the company intends to offer, and the URL of the company website. The company must also provide brochures or other promotional materials, either printed or digital, illustrating what the company does, and clearly state its objectives and target markets and/or the ideal characteristics of a potential partner. Each foreign office works in constant contact with local operators and associations interested in developing or maintaining economic relations with Italy, which greatly facilities the initial meetings and development of relations. Furthermore, the ICE–Agenzia website provides an English version of the two sections “Find your Italian partner” and “Business opportunities”. The former provides a showcase of the individual Italian companies allowing the foreign company to seek and contact the most suitable commercial partner, while the latter allows the foreign company to post its proposal for partnership with an Italian company.
Q – What tools do you make available to the Italian company to allow it to analyze the various markets in which you operate and thus choose which one best meets its interests?
A – As I mentioned, after the free services that constitute the initial contact between a company and ICE–Agenzia, there is a complex range of more specific instruments which are offered on the basis of specific cost estimates to provide specific support in devising strategies for penetrating and consolidating a position on a given foreign market. First of all, we produce product data sheets with statistical analyses and graphs that describe the trend in world demand for over 330 products. For each of these, we indicate the most relevant markets, Italy’s position in them, and a focus on the main competitors. The sheets also include the destination markets for Italian exports and Italy’s main foreign suppliers for each product. We also have “your product on the market”, a dossier illustrating the potentials of a given product or service in a given market and including such information as: the state of the economy, trade with Italy, local suppliers and foreign competitors, consumption trends and target users, contract, customs, taxes, and technical information, and main tradeshows and media. We also offer profiles of foreign businesses in the various target countries with information on the local business climate. Another key service regards confidential information on foreign and Italian companies provided as a report with up-to-date information (the availability of which may vary from one country to another) on a business of interest, such as principal contact information, legal status, constituent data, financial status, and a concise general assessment of its financial standing and solvency. There are also personalized market studies conducted directly by the foreign office or via a specialized agency. They include notes on the economy and finances of the country of interest, analysis of demand in the target market, the distribution of Italian products and competitors, opportunities and critical points, and information on the main local trade fairs and other events for the sector. Lastly, on request, by means of profile matching, we perform searches for customers and/or partners who are potentially interested in establishing business relations with the Italian firm, provide documentation and/or product samples from the company doing the search to selected target companies, perform a telephone follow-up to verify interest in the proposal, and prepare a final report on the results, with a list of the businesses interviewed and their comments.
Q – Generally speaking, what other forms of business and professional-relations support and assistance does ICE–Agenzia provide to Italian companies that export their products or services, or to the foreign customer who is seeking a supplier in our country?
A – There are many relational activities that take place continually on our calendar. First and foremost, we organize business meetings in the local context and prepare and organize bilateral meetings both with economic operators selected by our foreign offices and with operators specified by the Italian client. The meetings may take place at our facilities, in the offices of the potential partner, or at third-party facilities. And again, as a service to operators in foreign countries, we organize incoming missions to Italy for the main tradeshows for the sector (for textiles: Milano Unica, Pitti, Milano Moda Uomo, Altaroma).
Q – So your consulting services are not limited to providing answers to individual questions. I seem to understand that they may continue for the entire duration of a company’s market penetration plan…
A – Absolutely. That is actually one of the key features of our mission. We may provide ongoing assistance, offering more personalized, practical instruments regarding legal, customs, and tax matters, applying on the client’s behalf for local tax reimbursement, providing support in making investment abroad (that is, a service consisting of a preliminary analysis of the state of the economy and the legislative framework in the foreign country), searching for partners/suppliers and leading negotiations with those that are selected, completing the paperwork required by local laws, and searching for local personnel and real estate to implement the activity. It is also possible to use ICE–Agenzia facilities in the target country. The service may include use of telephone and postal contacts, secretarial services, the provision of fully equipped workstations, and other services that may be agreed on a case-by-case basis. We also provide publicity in the media in the target country: here we propose various solutions that range from a single newspaper ad to the design of personalized advertising campaigns in the most pertinent media.
Q – As regards the new forms of communication via Internet and social media, do you have special initiatives to support businesses on the international market?
A – We are active in these new and indispensable forms of commerce. We have agreements with such e-commerce platforms as Yoox, Alibaba, Amazon, WeChat, and others. With Alibaba, for example, we have a specific platform under development known as “Made in Italy”, and we are working with WeChat—which is now a central player in China—to do something similar. In any case, we also organize workshops and training on this topic for small businesses in our offices in Italy, to develop the right initial approach to the various forms of e-commerce.
AGOSTINO IACURCI FOR PROPOSTE
After years in which the Exhibition collaborated with representatives of the design world, this year Proposte asked illustrator Agostino Iacurci to design the 2020 image.
Agostino Iacurci, a multidisciplinary artist of Italian origin who lives in Berlin, is famous for his synthetic and surprising shapes and multi-level narratives.
"Fabric and drapes change the home. They create a narrative and describe stories and feelings. They transform spaces and reveal moods in everyday life," explained President Piercarlo Viganò. "Starting from this absolute concept, this year we wanted to entrust an artist with the task of describing and promoting the fundamental importance of the fabric and drapery industry in interior design from a perspective and with a language different from that of design, because illustration is the warmest and most engaging visual communication system in existence. In Agostino Iacurci we found the ideal exponent of this world to synthesize, in an exemplary way, what Proposte 2020 represents."
Today the result of this collaboration is a vibrant and lively new advertising page.
"When I was imagining the Proposte 2020 poster," explained the artist, "I thought of fabrics as a story-telling tool, due to their ability to transform spaces and objects. While I was pondering this idea, I remembered Poltrona di Proust (1978) by Alessandro Mendini and the re-design concept at the origin of that project. I therefore imagined placing at the center of the scene, theatrically crossed by two curtains held open with tie back braids, a classic armchair in which each element – the armrests, back and seat -- had a different fabric and decoration that helped generate the international, multicultural and open identity of the object and the event."
MADE IN PROPOSTE
Our "News": an ongoing contribution to the culture of the sector
The thirtieth anniversary of Proposte is just around the corner and things, in these three decades, have changed quite a bit. No one, when we thought of an Italian event that brought together the best of furnishing fabrics and curtains, could imagine that communications and information would travel at the current speed and on platforms available 24 hours a day to everyone. This real revolution in the way people relate to people, businesses to businesses, puts into circulation a quantity of information that was not even imaginable when our event was born on the shores of Lake Como.
A change that, obviously, affects even the way of putting together a fair and, first and foremost, makes the banner of the event no longer just the organizing brand of an episodic yearly event, but the management of a real repository of sector-specific information and culture that unfolds throughout the entire year between one event and another. All this, of course, mainly through our website – www.propostefair.it – and newsletters, which our company regularly sends to the large specialized community brought together from around the world around our fair brand and our event dedicated to quality furnishings fabric and curtains.
An event, I repeat with pride, that is unique and original in the world.
To keep it that way, the entire system that revolves around Proposte must be kept up to date and relevant and, for that reason, we decided to add an important piece to our work alongside exhibitors and the sector: our website will accept the challenge of no longer being just a repository of information about the existing event but, in its “News” section, it will become a space where articles, interviews, product trends and presentations of collections will be gathered, as well as, of course, written and photographic reports from our spring event. All of this, coordinated and put together by a journalist specialized in the field, will be available on the website but will also reach our readers through our newsletters, in order to provide expert, prepared and up-to-date information on our field of work.
The job of a trade fair is to promote business first of all, but also to create sector-specific culture and knowledge. Today, the tools of the web allow us to do this quickly and efficiently and all this adds one more piece to being a “year-round fair” dedicated to you, who are the soul of the sector all over the world.
So enjoy reading the new “News” on Propostefair.it.
PierCarlo Viganò
President of Proposte Srl
World Fabric Outlook
Paccanelli: “New customer profiles to revitalize exports”
Taking stock of the market situation in our sector, thinking about what actions to carry out and plan in order to be competitive internationally, tackling the challenges of the near future that affect all industrial systems. Issues that make hands tremble and that, if you wanted to dive in deeper, would require a sort of “reflective retreat” that could last several days. We don’t have all that free time and space but we couldn’t resist the temptation to seek out a summary, to establish some set points, from which then to start a comparison and elicit a reflection. Who better then to involve than the manager who represents Italy in the most important European textile forum? So we picked up the phone and called Alberto Paccanelli, CEO of Gruppo Martinelli Ginetto Spa and, most importantly, president of Euratex, or rather the European confederation into which all the national associations of our continent that deal with textile-clothing and home/furnishing textile converge. Being the president of such a body means defending the interests of the sector against the European Union and international organizations; coordinating a team of specialists in the stipulation of international free trade treaties, taking on innovation and training in the sector, planning the future with regard to the sustainability of manufacturing processes and final products. In a nutshell, understanding perfectly the issues that relate to the global textile supply chain, in every detail. We wanted to ask him “everything”, but we started with a few questions to take stock of a delicate situation and of its future: that of furnishing and home textiles.
Q. – A few days ago Claudio Marenzi, president of Confindustria Moda, presented the sector’s numbers for the first half of 2019. All in all positive: exports are growing 7.2% compared to an internal demand that dropped by a couple of points. Obviously the pull effect of the fashion giant is dominant in the good export trend. And the current state of textile arts and furnishing curtains, in the first six months of this year, both in terms of numbers and in terms of effectiveness and consolidation in international markets, from the unparalleled vantage point of Euratex, is what?
A. – I would like to point out an important aspect first of all: the export numbers to which you refer are “pulled” by the clothing/knitwear sector. If we look at the cotton supply chain, in reality the entire textile sector is suffering. In the first seven months of this year the export of furnishing/home textiles decreased by 4.7% overall. But if we read the data in depth we find that the Bed and Bathroom/Kitchen segments are suffering a lot, while there is slight growth in the Table and Furniture segments – in this last “item” there are highly varied products, curtains, rugs/tapestries, carpets, various articles – so, once again, there is no general reason to rejoice but our sector, small compared to our older cousin clothing, is experiencing softer and slower dynamics. It is clear that the situation is not rosy: textiles produce and distribute durable goods, and like all these kinds of products, when there is uncertainty and insecurity in the markets, consumption slows down or even stops. But keep in mind that the particular structure of the downstream supply for the manufacturing of furnishing fabrics and curtains – so articulated and complex – somehow slows down the trends compared to those who, for example, work on the finished product like sheets and directly interact with distribution and consumption. As far as Italy is concerned though, the problem is always the same: competitiveness. The battle, at the level of international markets, plays out increasingly around price and our manufacturers pay for delays in terms of cost competitiveness. I’m not saying anything new but the issue is becoming, as price becomes the most important distinction, urgent because it erodes the essence of the good performance of any company, the right profit margin. Then, in reality, we still have plenty of cards to play: our creativity sustains us, the value chain of our products holds up because they are still coveted and recognized, but the high consumption ranges are a bit squashed and this can’t help but be reflected in the total numbers. Of course, a little more peace and tranquillity on the international stage would certainly help. However, to finish the summary, we can say that the first half of 2019 was not positive but we have the tools to withstand the economic situation.
Q. – Competition on the global market is an indispensable necessity for all companies in the home textile supply chain: what, in your opinion, are the actions that still need to be carried out by the Italian and European industry, to strengthen themselves worldwide?
A. – Placement at the medium/high-high ranges of consumption is increasingly ours, there are no alternatives. We cannot budge from there. As a textile supply chain we must stand our ground in rich markets because that is where we can find our reference clientele and do business with the most adequate earnings possible (even though price is an increasingly important variable, as I said before, and the question of margins must be handled with particular attention) and be present in expanding markets to stand our ground in them and gain new ground. I realize that saying it like that may seem like a simplification, but that is what macro-strategies are. More specifically, I would like to state that as an Italian and European home/furnishing textiles supply chain we must multiply our efforts to expand the type of clientele we reach, find new outlets, make our services and efficiency even better. We must realize that the profiles of the users of our products change constantly, are renewed and diversify. We must be hyper-aware of these developments: more than facing the markets in territorial and geographical terms, I believe they should analyze the types of customers and of opportunities and behave accordingly.
Q. – What can Euratex do, and possibly already does do, to promote and support the Italian and European furnishing fabric supply chain?
A. – Let's do an introduction. Euratex is the synthesis of all the national European textile-clothing associations. It cannot therefore deal with the particular national issues that are the purview of the associations of each country. Sistema Moda Italia is the Italian association associated with Euratex that represents bodies in Italy, which has the most important textile-clothing sector in Europe. The work of Euratex is necessarily European and global and this means that its job is, in the world market, to “lobby” and thus facilitate international trade and thus worldwide consumption of our products; supporting the European Union in the stipulation of free trade agreements with nations and aggregates of nations in every part of the world – an example is surely Canada with which we signed an agreement that cancelled the existing duties. In general, there are three main headings we work under: free trade agreements and the creation of a "free and fair" global market, then there is the topic of innovation that we develop through the European Technology Platform for Textile and Clothing and the third heading concerns sustainability. A team of ten people works on these issues in Brussels, so we do a lot on topics that are crucial but which, perhaps, are not perceived as immediate by individual companies. Yet in reality they are decisive for the future in the short, medium and long term.
Q. – We live in an age of social media and extreme exposure and visibility. Lots of communication, marketing and product promotion takes place through these channels. How up-to-date are the companies in our supply chain and how much work do they still need to do on this topic?
A. – This question is now vital and there are no alternatives. On social media and on the web either you’re there or “you're nothing”. Having a presence on the web is now no longer a question, it is not even conceivable not to have a website, but equally clear and indispensable is being present on social media. Companies of all sizes must realize that the new communication channels continue to be “new” only to us, in Italy in particular. In the world they are now well established and refined systems. In China, for example, people almost don’t use emails anymore, everything happens on “We Chat” the equivalent in that country of “Whatsapp”. And I'm not just talking about personal contacts, I’m think of marketing and business promotion. It’s clear that planning and carrying out a precise strategy that, obviously, then leads to e-commerce, is not easy and involves investments of time, money and human resources. But there is no alternative. The Italian production chain in our sector is quite late to the game and must act. Above all it must change its cultural attitude towards this topic: this is not a painful, annoying but necessary cost, but one of the most important investments in the future of a company. If that’s not your starting point, you won't go far.
Q. – And also on this issue, what is the current role of sector trade fairs?
A. – Let's start by saying that the role of a fair is still crucial, I would say fundamental. The world changes and evolves, but a moment of collective engagement like a fair is currently irreplaceable. Obviously the event must act in an unequivocal sense to promote research and the opening up of business opportunities. It is the same strategy that I mentioned before for companies: it’s not a question of a geographical vision in dealing with international markets, but of opportunities and chances, searching for different and new profiles of hypothetical customers. What Proposte did with the calendar shift towards the Salone de Mobile is perfectly consistent with this idea of a fair. Find new potential stakeholders. If the fair behaves like this it offers an indispensable service to the sector.
Q. – At the beginning of October Sistema Moda Italia organized a conference in Milan that talked about “sustainability” and about measurement systems suitable for tracing and showcasing the quality of textile apparel processes and products (PEF and EOF). Where does the furnishing fabric and curtain supply chain stand on this issue, in your opinion? And how much does this issue matter in our sector?
A. – The issue is fundamental but also undervalued. I don’t believe that the furniture/home textile supply chain has particular problems, at least in terms of process, since the national and European legislation on the subject is already very stringent. From this it follows that it could tackle the measuring procedures mentioned by SMI without any particular difficulty. The real question is another one, in other words the forest of certifications that is upstream of our work starting from yarns, semi-finished and raw materials. There is a complete confusion that is really difficult to untangle and this generates difficulties and often also scams and fakes. Finding order in this becomes indispensable, but our little supply chain does not have the strength to impose such important actions. I therefore believe that home textiles should follow the lead of their older cousin, clothing, in this case. However, the fact remains that the issue is essential and represents an opportunity for distinction and quality assurance that can offer us further opportunities on an international level.
FOREIGN TRADE OF THE TEXTILE-FASHION INDUSTRY (file .PDF)
Trends, design and distribution
In curtains the textile editor is still the absolute touchstone
The challenge is a really hard one. Outline a profile, as true to life as possible, of the various downstream figures in the production chain of furnishing fabrics and curtains. Hard but exciting. You could almost say indispensable, otherwise you’d be missing the basis for starting any discussion about how the future of the sector could evolve; for customers of the industry, for the customers of customers and, finally, also for the perception that the final consumer has of the upholstered fabric or of the curtain. In such a complicated field, we seek out a slightly easier approach and therefore we start from the curtain, in other words from the product sphere that, in the world of furnishing fabrics, is more recognizable, is in some way traceable and perceptible by the final consumer almost as a finished product, an element apart, with its own profile and its own personality in the world of room furnishings. Let's be clear, personality that undoubtedly fabric also has but that, as we will examine later, gets hidden, almost dispelled by the “arrogance” of the furniture or design element. Something that on the other hand for curtains, unequivocal filters of ambient light, and the biggest surface available in the home for textile decoration, doesn’t happen.
Let's start with curtains then, and to accompany us on this first introductory round we have chosen Diego Vercellino, managing director of Sirio Tendaggio and president of the Consorzio Tendaggio Italiano, one of the founding and sponsoring members of Proposte.
Q. – The curtain, among furnishing fabrics, is the product that moves down the distribution chain, all the way to final consumption, almost unchanged. That is why the channels that distribute it are easier to read, but also more “ruthless”. For example, the major DIY chains, with their big curtain departments, create a lot of confusion in the market. Do you agree?
A. – Only with the first part. It’s true what you say about the fact that the curtain, among textile furnishing products, is the one most similar to the finished product. Even if the intervention of those who suggest or create pairings – usually textile editors or interior designers – and then of those who install, often and willingly change the profile. While I absolutely don't see the “do it yourself” chains – obviously you mean importers – as competitors. That type of competition takes place on the low end of the spectrum, which is certainly not ours. More than competitors, I see them as important opportunities. Opportunities how. Because precisely the big chains we are talking about tend, especially abroad, in countries where firms have already evolved to be more organized than in Italy, orientate their focus towards increasingly more stratified consumer targets and think about the higher range of these, which given the volumes we’re talking about, could carve out an important role in the landscape of interior furnishing textiles in the future, skipping over the intermediate links in the supply chain. But even if they didn't skip them it would still create a market and, consequently, opportunities for us producers.
Q. – Ok. So the overall landscape is coming into focus. There are the classic textile editors that are still the boss and then the reality of these large-scale distributors. You also mentioned installers, are they still an important reality?
A. – They are an evolving reality. Abroad the installer is always more tied to a major distribution firm – and we return to large-scale, because it's not all “do it yourself” when you go up in consumer targets – so maybe they are independent but they work for third parties. In Italy, on the other hand, the installer is often still the owner of a brick and mortar showroom, so the classic craftsman/merchant. A figure that is still important in our market, but I believe with a future in decline. Or rather, in transformation; as happens abroad, they will increasingly be someone who executes by following the indications of an interior designer, an interior decorator or a large-scale distributor that provides both services. Let's also not forget e-commerce. I believe that this channel will soon wreak havoc even in our sector: I’m already hearing talk of tons of curtain samples being sent to people’s homes.
Q. – In any case, is the trend intermediary, the mediator between production ideas and market demands, still the textile editor?
A. – Absolutely, and that is why they remain our touchstone customer. Take for example our company: textile editors represent 80% of our business. I do not foresee any major changes to this customer channel structure. The percentages may vary a little, also depending on the markets we target, but this is our outlook. But so far we have talked about residential, what I really believe will grow will be contract. In that world, really large numbers are at play and the supplier/customer relationship could even develop without intermediaries.
Q. – Would you say that European curtain manufacturing exists, or is Italy the only place left with a strong manufacturing presence in the sector?
A. – We have to agree on the concept of Europe. If you’re talking about the current geographical composition then I find it hard to still think of “European curtains”. There are good companies in Spain, Belgium, France, in the characteristic and particular world of German curtains, but the truth is that Turkey has taken on a very big role due to its ability to respond to the requests of customer partners. We Italians are still the most creative and ingenious but they are much more structured in terms of size and very aggressive.
Q. – A nod to the global market. Where are curtains done well and where could the future be?
A. – Today markets are relatively simple to read. Europe, the United Kingdom and the United States are where it’s at. In Russia the geopolitical situation is a challenge and then it’s a market that is not very reliable. China was everyone’s great hope but it turned out to be disappointing and very difficult to follow. The only possible condition is to find a local partner and stand your ground in that market for the long-term. What’s left is Asia and Australia: interesting markets with good potential, but far away, complex and very expensive to deal with. But we should get there. Fortunately, more or less in a general sense, I can say that everywhere people have understood that the unbridled battle over price, on this product range, does not pay in the end. It is an attitude that is changing: whatever your target market is, if you want to do high-end editing, you must have different, original, creative and difficult to imitate products. All that has a cost.
Q. – Last question. There is a lot of talk about sustainability. In early October Sistema Moda Italia held a conference on the subject in Milan presenting important initiatives underway in the related clothing sector. Do you think it's also an issue for curtain customers?
A. – I am absolutely certain of it. In my experience major editors are starting to look for collections that carry guarantees and certifications in terms of sustainability, both for the products and manufacturing. It will be an increasingly important topic, even becoming an indispensable condition for working in a certain range of consumer and of sensibility. It is definitely demanding and expensive for manufacturing, but I am convinced that it is indispensable and even in the rather short time.
Trends, design and distribution
A conversation with the designers: which fabric for which environment
The designer is not a mythical figure, a totem, a presence to be evoked. And yet, in the world of furnishing fabrics, often they are treated exactly like that: a sort of capricious divinity who doesn’t really love fabric, they love other materials, they could be the harbinger of great successes if fabric were (or became again) one of their favourites, but that is not the case. In any case, an entity that you have to deal with, but that it’s unclear how to approach. We’re joking of course, but not entirely. The issue starts with the fact that this creative figure is a sort of shape-shifting entity, especially in Italy, which passes with seeming levity from the creation of an object, to the design of a textile collection, to the creation of the indoor or outdoor furnishings of a building. In short, designer, architect, interior designer, graphic designer ... all that matters is thinking about form and substance. Now, in the somewhat square and rational universe of textile manufacturing it becomes difficult to relate to creatives like this. Not that there is a shortage, in the sector, of ingenuity and inventiveness to be clear, but such an exercise must somehow be “inside” the sector, emerge from within, invoking the need for (real, we agree) very deep technical, material and process knowledge. However, the question arises: when Vico Magistretti designed, in 1960, his first piece of furniture, the Carimate chair for Cassina, we didn’t believe he was a great carpenter. Why then should we expect a designer to know exactly how a jacquard loom works? Can’t their creative contribution be mediated and guided by those who are experts in the production process in question, exactly as happens in clothing, in furniture or wherever there is something “technical” to know?
The issue is very complicated and still deserves a lot of reflection, but we mustn’t miss the opportunity to start a dialogue, to understand the reasons, the desires and the needs of the design world to try to bring it closer to us, to make it more contiguous with the fabric sphere. So what better opportunity than to ask the opinion of two young Italian designers who at Proposte were in charge of the visual identity and staging for the 2019 edition and thus were able to live and breathe textiles perhaps like they had never before? We are talking about Vittorio Turla and Gabriele Rigamonti who, with Carla Scorda, form Studiocharlie, one of the most important Italian design firms (honourable mention at the Compasso d'Oro in 2004 for the Csuni typeface and Compasso d'Oro in 2018 for the Eclipse faucet by Boffi) that also works in the world of fabrics with collaborations with Il Lanificio Leo and Torri Lana, just to name a few. From the answers, in our opinion, real and possible opportunities emerge, the important thing is not to think of the designer as some sort of mythical unicorn anymore.
Q. – Let's get right to the heart of the matter: summarizing the experience gained at the last edition of Proposte, which fabric for which environment, from the point of view of style, dominates – if, anything dominates – the event?
A. – In some respects it is easy to answer – Vittorio Turla is speaking – and in others it is difficult. Let’s say that the most immediate feeling is that today furnishing fabrics respond most of all to the needs of classic environments, maybe updated and not necessarily traditional, but “classic” in their soul and setup. This inclination however is not absolutely unequivocal, it looks more like a proportionate response to the demands of customers, of the market. In short, we did not get the impression that the manufacturing sector is lagging but that, except in rare cases, it’s the sector in general that asks this of furnishing fabrics. Therefore it is easy to identify the classic as the primary field of activity for furnishing fabrics but much, much more difficult to identify the innovative potential that fabric can offer as a furnishing component.
Q. – Can you explain that a bit more: it’s not clear how much fabric can innovate, or how it can foster this change ...
A. – Traces and signs of how it can change the appearance of a furnishing object, and consequently the whole environment, there are aplenty – it’s Gabriele Rigamonti who answers. After all, the simple variation of fabrics in the home can radically change the aesthetic approach of all the furnishings. The most macroscopic and immediate signal is colour: already just with the power of the latter you can change any characteristic but also, I would even say, a general style approach. More difficult, on the other hand, to identify – because you need certain training in the field – are the material and manufacturing aspects that can make fabric more of a protagonist: we noticed a greater diffusion of bouclé as a way to highlight workmanship, yarn and in general the materiality of the fabric. All that without screaming an evident or difficult design, staying within the lines of the minimal simplicity of the uni or the faux uni, but it gives greater aesthetic weight to the fabric covering. Let’s say that the classic is the most evident territory in which fabric moves, but there are valid reasons to believe that, outside of that safe realm, it could without difficulty even prove itself with more revolutionary projects. What’s needed is more courage, on the part of manufacturers and on the part of the market. Let's say that, from this perspective, designers could bring the right dose of freshness and boldness.
Q. – So far, you have only talked about fabric. Yet curtains are a fundamental component in the world of furnishing a room. They determine the light that illuminates everything and they practically make up a sequence of tapestries repeated in every room. But you seem to me to be far removed from these fabric objects, you barely see them. Am I wrong?
A. – No, unfortunately that is correct. It's a difficult concept to explain. I recognize their importance, but I have the feeling that as a product they have a more defined personality, which is simpler to read. Therefore they are more difficult to consider in a design phase, while much more immediate to put in the final refinement of the furniture. Curtains don’t blend in with other furniture elements, they shouldn’t echo their shapes. Their contribution is purely aesthetic, not really material, so our intervention and our sensibility as designers is required less. Having said that I absolutely do not want to deny weight or importance to curtains, on the contrary. I concede everything that you wrote, it’s just that I think of them as part of the sphere of intervention that comes after the process of aggregation of the furnishing elements.
Q. – So, in general, we might see designers who work on fabric but probably not on curtains?
A. – I did not say that. They are two very different types of intervention: with fabric the designer plays a creative role but also brings together different elements and combines different materials together, while in curtains their role would be more extreme, or more upstream – in the design itself of the curtains from a decorative perspective – or further downstream by intervening on the accents of almost complete room furnishings. I admit though that we, as a cultural inclination, are very minimal in our conception and therefore often the curtains, if considered, have to follow this aesthetic tendency that you could call “evanescent”.
Q. – So, I’ll summarize, you see a lot of the classic in today’s fabrics, but they could also play well in the realm of the future in your opinion. It seems that, all things considered then, the event allowed you to form a precise opinion of the sector. But, ultimately, what more should the sector and the exhibition give you designers?
A. – Fewer products and more personality – answers Vittorio Turla, with conviction. We saw stands with thousands of swatches that in the end all looked the same, but we struggled to learn about the histories, the cultures and the stories of the various companies. What’s missing a bit is the story, there’s no room for imagination and company charm when actually, and we are well aware of this, behind every fabric company there are beautiful stories. Longstanding clients are already perfectly aware of the characteristics of each supplier, so there is no need to be redundant in the presentation of what’s new, while the creative figure or the different kind a customer who doesn’t know you wants to be, in an almost shapeless ocean of swatches, attracted and won over by a story. From this perspective there is a radical difference with the world of furniture, where today history, the narrative, are fundamental.
PROPOSTE 2019
PROPOSTE 2019 – FINAL CONSIDERATIONS
The twenty-seventh edition of Proposte has just closed with an increase in visitors and the satisfaction of the exhibitors.
A very large number of operators, especially on the first day, visited the event in Cernobbio to discover the excellencies in the fields of furnishing fabrics, curtains and trimmings.
There has been a +3.5% increase in foreign visitors who represent over 70% of the total turnout. There have been significant increases in the number of operators coming from the United Kingdom, Japan, Russia, The Netherlands, Switzerland and China. The number of North American clients has remained stable, while that of Italian clients has slightly shrunk.
MEETING WITH THE PRESS
On the morning of Tuesday the 16th, at the press office, a conference was held in which the President of Proposte Mauro Cavelli, the Director Massimo Mosiello and the Director of ITA Italian Trade Agency Roberto Luongo, met with the Italian and foreign journalists who showed special interest in the environmental sustainability feature of the fabrics. Indeed, most of the enterprises exhibiting at Villa Erba presented new “green” products this year.
THE GALA EVENING
The traditional gala evening was held on Tuesday 16th. In view of the success enjoyed last year, the format has remained the same: a dinner with swing music in the background followed by a DJ set and a light-installation created by Olo Creative Farm, all set against the wonderful ambiance of Villa Antica.
WOVEN STORIES
Great acclaim for the project created by Studiocharlie for the 27th edition of Proposte. The installation, that pervaded the entire exhibition centre, narrated the unique story of furnishing fabrics through the voices of its operators, the Fair’s exhibitors.
SPECIAL THANK YOU TO ITA
Our special thank you goes to the ITA agency for - once again - organizing the large and important delegation of 11 foreign journalists coming from United States, Ukraine, Turkey, Germany, Russia, Spain, Arab Emirates, Hungary, Japan and Mexico.