2021年7月23日
行業報導 - 2021年7月23日
1、胡志明市防疫隔離 申洲越南產出劇減
藍籌紡織及製衣股申洲國際（02313）昨晚公布，因越南政府即將在胡志明市及西寧省實施14日社會隔離措施，集團在當地的布料生產基地及製衣工廠，即日起最多只能按正常產能約30%營運，部分更要暫停運作。申洲估計，每受措施影響14日，將降低集團布料和服裝的年度總產能約2%和1%。
申洲目前工廠主要位於中國內地、越南及柬埔寨，各佔公司整體產能約60%、23%及17%。事實上，今年4月申洲在柬埔寨的廠房，亦曾因當地疫情惡化及收緊防疫措施，要關廠十多天，對集團整體年度總產能影響不足1%。
集團昨晚披露，鑑於近期越南疫情變化，越南政府由不遲於7月19日起14天內，在胡志明市及西寧省實施社會隔離措施。為配合有關政策，集團即日起位於西寧省的布料生產基地，將按正常產能約30%水平營運，該省的製衣工廠更要暫停營運；而位於胡志明市的製衣廠，亦要按正常產能的33%水平運作。不過申洲強調，受影響期間，公司將調度內地和柬埔寨的產能以支援有關缺口，確保交付訂單能力，把對客戶的影響降到最低；綜合以上各項因素，目前越南的產能缺口對整體運作及財務狀況並無重大影響。公司又稱，將以保障員工的健康和安全為首要任務，密切關注事態發展，積極評估疫情對營運造成的影響，有需要會再適時公布。
申洲在發出上述公告前，昨日股價微跌0.4%，收報166元。
資料來源：信報財經 (2021年7月20日)
2、紡織外貿又遇“攔路虎”，出口要徵收碳邊境稅
“很多人不知道，外貿出口至歐盟的商品是需要交‘碳稅’的，中國生產型外貿企業正面臨前所未有的挑戰。”7月17日，全國碳排放權交易市場開啟的第二天，國內首場關於碳中和服裝出口的發佈會在無錫舉辦，中國紡織服裝行業正推進產業零碳目標的實現。
隨著歐盟委員會7月14日公佈碳邊境關稅政策提案，計畫向他國徵收碳排放進口關稅，中國生產線外貿企業正面臨著新的國際貿易環境，尤其是對於服裝製造企業，綠色數位化產業改革迫在眉睫。
“我們將從供應鏈、生產、運輸、運營四個方面推進碳排放的改革，用數位化推動服裝行業在碳中和上的進步。”紅豆集團董事局主席周海紅在7月17日的發佈會上表示。“長三角碳中和服裝供應鏈聯盟”在會上正式成立，據悉，這個聯盟的成員正達成一致意見，為服裝供應鏈的零碳排放貢獻力量。
碳邊境稅的挑戰
“碳邊境稅”一詞，最早源于歐盟委員會主席烏蘇拉·馮德萊恩德的提議，為了給那些在本土生產過程中產生較少碳排放的歐洲公司創造一個公平競爭環境，擬徵收碳邊境稅，進口鋼鐵、鋁及其他產生碳排放製品的進口商將被要求購買碳津貼。
服裝行業也被列入首批名單之中。根據法國生態轉型署公佈的資料，時尚服裝業是世界上僅次於石化工業的第二大污染產業，佔據全球碳排放量的10%，每生產一件T恤平均耗費2700升水，每生產一條牛仔褲需要消耗11000升水。
當前製造業生產者需要將更多的考量置於環保因素上，因為碳排放量逐漸顯現出潛在的巨大成本。中國作為服裝製造業的大國，在追求規模優勢的背景下，出口的紡織品碳排放量達到1.54千克/美元，而歐盟的出口紡織碳排放量僅為0.24千克/美元，兩者相差6倍之多，這也意味著中國紡織出口在未來需要付出更多碳稅。
中國擎天軟體科技首席運營官吳炎算了一筆賬，如果以年銷售額2億美元的紡織品出貨量為例，以0.24千克/美元碳排放量乘以2億美元，按照目前市場的碳價計算，那麼中國的紡織出口企業每年要比歐盟多支出330萬美元的碳排放稅。
碳邊境稅的直接成本還不是影響最深遠的，更深層次的還有全球競爭上的間接成本。全球“碳中和”背景下，中國紡織出口企業要考慮的是如何更好參與競爭，當下國內企業在參與全球製造的競爭上，已經從低成本製造向品牌優勢轉型，一旦被歐美國家貼上“不環保”的標籤，勢必對品牌資產造成損失。
以亞馬遜、蘋果等國際化品牌企業為例，其供應商的“碳中和”標準的要求正逐漸走高。亞馬遜為了在2040年達到七個碳中和的要求，實施了一個流量扶持計畫，凡是被貼上“氣候友好型”標籤的商品，將被亞馬遜官方優先在首先進行推薦，獲得免費流量扶持；同樣，蘋果提出了2030年實現碳中和目標，對所有供應商提出了具體的要求，不符合的將被剔出供應商名單之列。
一條“零碳”產業鏈
今年全國兩會，“碳達峰”“碳中和”被首次寫入政府工作報告，成為當仁不讓的熱詞。
正因如此，國內的服裝品牌正在掀起一場新的產業改革。特步、太平鳥、探路者、李寧等國產服裝企業已經推出不少環保綠色的新產品，但似乎無法從產業鏈上對“零碳”概念下功夫。
“碳中和是需要企業倒逼自身由內而外進行改革。”東南大學長三角碳中和戰略發展研究院院長朱曉明在會上表示。
紅豆集團的“零碳”轉型或可提供一種借鑒。會議現場，紅豆股份發佈了首批帶有“碳中和”標籤的出口產品。一條從“搖籃到大門”的核算邊界形成，每個消費者都可從手機端上小小的二維碼上，追蹤到產品的碳足跡，包括生產、加工、運輸耗費了多少碳，全部數目一目了然。
在生產端，紅豆股份正打造5G+紡織服裝工業互聯網智慧工廠，引進APS、MES、CAD等生產軟體，依託自動化、資訊化和數位化，實現車間設備和現場人員的優質管理，提升生產效率，構建5G智慧服裝聯盟。
在服務端，紅豆股份拓展銷售管道，由線下轉線上，改坐商為行商，多維度開發小程式電商、直播電商、團購內購等多種銷售方式，多觸點連接消費者，提升用戶粘性。
周海紅表示，紅豆股份正積極踐行綠色發展的理念，帶頭履行社會責任，帶領長三角產業鏈企業共同行動，以綠色、低碳、可持續引領服裝製造高品質發展。
資料來源：mp.weixin.qq.com (2021年7月21日)
3、秋季廣交會 首次綫上綫下融合舉辦
【本報訊】被視為中國外貿晴雨表的「中國進出口商品交易會（簡稱「廣交會」）」，今年第130屆首次採綫上綫下融合舉辦，將於10月15日至11月3日在綫上綫下融合舉辦，總展期20天。
為期20天 設鄉村振興特色展區
商務部官網公告，本屆廣交會將按16大類商品設置51個展區，並在綫上綫下同步設立「鄉村振興特色產品」展區。
其中，綫下展按照慣例分三期舉辦，每期展覽時間四天，總面積118.5萬平方公尺，標準展位約6萬個，將重點邀請境外機構、企業駐華代表、採購商等參會。綫上展將增加開發，適合綫下應用場景和綫下引流的功能。
廣交會號稱是中國歷史最長、規模最大、商品種類最全的綜合性國際貿易盛會。
因應新冠病毒疫情防控，上一屆廣交會採網上舉辦，境內外參展企業近2.6萬家，共有來自加拿大、巴西、韓國等28個國家和地區的340家企業參展。商務部表示，本屆廣交會適逢第130屆，又在中國共產黨成立100周年之際舉辦，意義重大。商務部將與廣東省人民政府共同抓緊完善展覽組織、慶祝活動、疫情防控等各項方案，更好發揮廣交會全方位對外開放平台作用，鞏固拓展疫情防控和經濟社會發展成果，服務構建以國內大循環為主體、國內國際雙循環相互促進的新發展格局。
資料來源：香港經濟日報 (2021年7月22日)
4、香港溢達集團就子公司被列入實體清單一案 向美法院申臨時禁制令
香港紡織服裝生產商溢達集團（Esquel）周二（20日）表示，美國商務部早前將旗下子公司昌吉溢達列入實體清單，集團已就商務部有關決定，向美國哥倫比亞特區地方法院申請臨時禁制令，要求立即終止此事對集團造成的經濟和聲譽損失。
溢達集團稱，在特朗普政府執政期間，美國商務部在未有提前告知、且無證據支持的情況下，將昌吉溢達列入實體清單，對集團造成「不可估量的聲譽損失及經濟損失」。
集團亦稱，自去年9月以來，集團一直有積極、透明地回應有關指控，並向美國商務部最終用戶審查委員會（The End-User Review Committee）提交多份商業文件，以證明有關指控不實，但美國政府一直未有對此作出任何實質回應，或提供相關證據，支持將昌吉溢達列入實體清單的決定。溢達集團稱，集團別無選擇，只能訴諸法律途徑，儘早結束該失實指控對企業所造成的損害。
就美國商務部的制裁，溢達集團在今年7月6日，正式向美國哥倫比亞特區地方法院提出訴訟，要求對集團造成的經濟和聲譽損失尋求法律濟助。
資料來源：香港經濟日報 (2021年7月20日)
5、Bangladesh begins inoculating all-important textile industry workers
Authorities Sunday began vaccinating workers from the export-oriented textile industry, the leading foreign exchange earner for Bangladesh, as the country struggles to contain a new wave of the coronavirus outbreak that has dented the economy.
The vaccination program began in textile hub Gazipur, near capital Dhaka, where authorities expected to vaccinate 10,000 workers on the first day of the drive.
“Vaccination program for industrial workers has started today. Bangladesh will ensure vaccination for all workers and staffs,” Gazipur administration chief Tarikul Islam told EFE.
Bangladesh Garment Manufacturers and Exporters Association (BGMEA) welcomed the move.
“We already spoke to the health minister to give the workers priority as frontline people. Vaccination is better than lockdown. It is a good initiative,” BGMEA vice-president Shahidullah Azim told EFE.
“All workers will get vaccinated in phases. We estimate this figure will be around four million. The duration of the program will depend on the availability of the vaccine,” he said.
BGMEA member Hanifur Rahman Lotus said all workers 18 and above would be eligible for the vaccination.
“We have been assured by the (health chief) of Gazipur that all 2.5 million workers of the area will be vaccinated. We expect the program will be extended in others areas soon,” he said.
The textile sector contributed 81.16 percent or $31.45 billion to the national exports of $38.75 billion in the 2020-21 fiscal year, which ended in June.
The sector posted 12.55 percent growth in the fiscal year, despite the Covid-19 pandemic, the data by the Bangladesh export promotion bureau showed.
Bangladesh’s overall export grew by 15.1 percent during the period, the data showed.
Bangladesh allowed all industrial units, including textile factories, to stay open during the recent lockdown to keep the economy rolling.
The country has recorded over 17,000 deaths from Covid-19 and nearly 1.1 million cases since the pandemic in March 2020.
Over 15 percent of deaths and cases came in the past two weeks, the worst phase of the pandemic when the country logged an average of 10,000 infections a day.
Authorities relaxed a nationwide lockdown until July 22 for Eid-ul-Adha, the second-biggest Muslim festival but vowed to enforce harsher restrictions after that.
Source: www.laprensalatina.com (18 Jul 2021)
6、Apparel-producing areas in Asia will be underwater by 2030 unless they relocate to higher ground, study warns
● The analysis warns that the problem of rising sea levels is receiving little attention
● Smaller-scale suppliers would be most affected, the paper said, highlighting the example of Bangladesh
Large swathes of apparel-producing areas in Asia will be underwater by 2030, an analysis released on Friday showed, threatening thousands of suppliers with submersion unless they relocate to higher ground.
The analysis, which overlaid maps of rising sea levels onto factory locations, warns that the problem of rising sea levels is receiving little attention from those leading sustainability efforts in the sector. The analysis was produced by two Cornell researchers as part of a paper commissioned by the International Labour Organization (ILO).
“Rapid increases in sea level rise and heat that will affect many of Asia’s apparel workers directly have received little attention,” authors Jason Judd and J. Lowell Jackson of Cornell research centre the New Conversations Project wrote.
“It appears some of apparel’s production centres representing a significant percentage of current output will not escape the projected acceleration of the climate crisis.”
While larger, transnational suppliers might be able to shut down facilities in vulnerable areas and consolidate production on higher ground, smaller-scale suppliers would be most affected, the paper’s authors said, highlighting the example of Bangladesh, the second-largest apparel exporter.
“We’re worried. This is a real threat. More and more factories are going greener. Still our factories could go underwater,” Shahidullah Azim, vice-president of Bangladesh Garment Manufacturers and Exporters Association, said of the findings.
“But we can’t move our factories to a higher location overnight. We are already passing through an unprecedented time due to the pandemic. Where will we get money? Who will pay us?”
The analysis, which covered Jakarta in Indonesia, Phnom Penh in Cambodia, Tirippur in India, Dhaka in Bangladesh, Guangzhou in southern China, Columbo in Sri Lanka and Ho Chi Minh City in Vietnam overlaid a map of factory locations from open-source factory database the Open Apparel Registry onto data from United States climate change think-tank Climate Central on where elevation will fall below the level of a coastal flood on average once per year by 2030.
Climate Central’s data is based on projections from global data sets published in peer-reviewed science journals, according to its website.
The overlaid maps paint the gravest picture in Ho Chi Minh City and Guangzhou where an estimated 50-60 per cent of factories will be below the level of the average annual coastal flood by the end of the decade.
“This calls for urgent action at the global level to both reduce emissions to limit warming while also providing funding for the workers to adapt to the adverse impacts of climate change,” Saleemul Huq, Director of the International Centre for Climate Change and Development at Independent University, Bangladesh, said of the findings
Source: www.scmp.com (17 Jul 2021)
7、3D Knitwear: How 3D Printing Is Revolutionizing the Fashion Industry
In recent years, 3D printing has become growingly everpresent. From medicine, aerospace, to design, and construction — every day there’s news about breakthroughs, innovations, and developments in the additive manufacturing industry. However, in one particular industry, it’s still pretty quiet regarding developments around 3D printing. We’re talking about the fashion industry. It cannot be denied that the first experiments and advances in 3D printed clothing have only been recorded relatively recently. Yet, if you have followed these developments in fashion a little more closely, you may have noticed that these are high-end fashion, i.e. clothing created for the runways and red carpet and not for everyday wear. The reason why the combination of 3D printing and clothing seems so difficult is quite simple: The materials used in 3D printing, mostly plastic, and metal, are not flexible enough. To counteract this problem, some fashion and 3D enthusiasts have been looking into suitable options and ultimately honed in on one solution: 3D knitwear. But, what exactly is 3D knitwear? How does its production method differ from additive manufacturing and conventional textile production? Will 3D knitwear be available as ready-to-wear for ordinary consumers in the near future? We got to the bottom of this topic in more detail and we clarify all of these questions with the help of various expert opinions from the industry.
In order to understand the principle of 3D knitwear and its differences and similarities to 3D printing, it is first necessary to take a look at the definitions. Gihan Amarasiriwardena, co-founder and CEO of the Ministry of Supply, defines 3D printing as follows: “In 3D printing, molded products (such as plastics) are produced by adding a layer of material (often plastic or synthetic) according to a given digital Design is ‘printed’.” Rosanne van der Meer, designer and founder of New Industrial Order, offers a broader definition: “3D printing is the production of a three-dimensional shape on the basis of a filament that is formed by a machine.“ In fact, 3D printing is all about computer-controlled machines creating three-dimensional objects and building them up layer by layer. The question now remains whether 3D knitwear is made according to the same principle.
Production of 3D Knitwear
The manufacturing process of 3D knitted fabrics is quite similar to other 3D objects. Both begin on a computer: CAD software is used to create the design and ultimately to obtain a programming language. The digital codes are then forwarded to the machine, which then begins the manufacturing process. However, the machine used is where knitwear and traditional 3D printing diverge. The primary difference from additive manufacturing is that the machine is not a 3D printer that processes filament or powder through extruders, rather, a knitting machine that can produce a three-dimensional garment in a single pass by uniting it thread by thread. Consequently, it should be noted that the principle is essentially the same both are based on software and are additively manufactured, but the material creates a big difference between the two methods.
Therefore, it is hardly surprising that industry experts agree in saying that 3D knitted goods are not manufactured using 3D printing, but rather, 3D knitting is a technology in its own right. Gerard Rubio, co-founder, and CEO of Kniterate, a company that sells 3D digital knitting machines, adds the following about his company’s machines and the use of the word 3D in connection with the production method: “These machines are capable of 3D knitting. But these machines are not necessarily 3D knitting machines.” This is because flat, single-layer garments like scarves can also be printed with a Kniterate machine, which eliminates the additive manufacturing aspect. Rosanne van der Meer adds that she deliberately uses the term ‘3D printed knitwear‘ for her products in order to make a clear distinction between 3D knitwear and conventionally produced knitwear.
Compared to Conventional Textile Production
Now that the differences and similarities between 3D knitwear and 3D printing have been outlined, the question remains whether and, if so, why 3D knitwear should be preferred to traditionally manufactured clothing. In order to provide a reasonable answer to this, conventional textile production must first be examined more closely.
This is still a touchy subject, with so few companies keeping their value chains and production methods transparent. Obvious and ongoing issues such as child labor, low wages, and inadequate protective measures in low-cost manufacturing countries are joined by the astronomically negative impact the industry has on the environment. From the cultivation of cotton, whereby both the use of pesticides and an enormous waste of water are recorded, to transit once the material has been broken down, and shipped to be processed into yarn and ultimately fabric in another country — this phase alone requires much examination for improvement. Then, we have the woven fabric being sent back to be bleached or dyed at another factory. The harmful substances used in this process mostly end up in the wastewater, which in turn leads to the pollution of rivers and oceans. Lastly, the garment is sewn, knitted, and finished again in a different facility, with a large amount of material being wasted in the manufacturing process. The finished products are sent to the various branches around the world. The unbelievably long transport routes, which significantly increase Co2 emissions, rounds out the disadvantages of conventionally produced clothing. Although there are of course also smaller manufacturers who pay attention to sustainable, fair, and regional production, large-scale fashion producers that use traditional production channels still dominate the clothing market.
These social and environmental problems are primary focuses for CEOs Gerard Rubio, Gihan Amarasiriwardena, and Rosanne van der Meer, which is why they all pay attention to sustainability in the development of their companies and in the manufacture of their products. Awareness begins with the procurement of materials: While more than half of all clothing is produced using man-made fibers, mainly polyester, but also nylon, elastane, and acrylic, which are obtained from fossil fuels and therefore have a negative environmental impact; new industrial methods use merino wool which is obtained sustainably and as a natural fiber which generally has a smaller footprint compared to synthetic fibers.
Rosanne van der Meer also adds that she relies on high-quality yarn in order to achieve the best possible results and in order to not run the risk of the thread breaking in the middle of the knitting process and thus having to restart production. A special feature here: even if the thread were to break, the half-finished knitted part could be recycled since the knitwear is designed in such a way that it can be separated again. This means that the material used can be recovered — another sustainability factor. As far as the material is concerned, large savings can be made using 3D knitwear, as the machines produce additively In just one pass and therefore only requires the threads that will be used, thereby eliminating numerous production steps and saving a lot of time and costs. Gihan Amarasiriwardena confirms this statement: “With 3D-printed knitwear, only the required fabric is used. This results in approximately 30% less material waste”. Sustainability also plays a role at Kniterate. Gerard Rubio relies on plant-based yarns, which can be recycled, so items of clothing that are no longer wanted can be disposed of properly and not end up in a landfill.
Since 3D knitwear is on-demand production, problems such as overproduction and inventory waste can also be avoided. Large-scale fashion producers are not able to react flexibly and quickly to changes in the market mainly due to long supply chains, which results in overproduction and overstocking. This is a fatal flaw in today’s fast fashion industry, where new collections and goods hit stores nearly every week. And where should the “old” items of clothing go that have not been bought? These resource and energy-intensive manufactured textiles mostly end up in the garbage or are partially incinerated. On-demand production that takes place on-site/in-house could be a solution here. Not only are transport costs and emissions saved as a result, but practically significantly less waste is produced.
This goes hand in hand with Rosanne van der Meer’s motto: “The starting point for a better climate balance in the fashion industry is less consumption. If you have timeless clothing that fits you really well, you will also consume less.” Thanks to 3D technologies, it is also possible to personalize 3D knitwear. Since the designs are created digitally and every needle stitch is equivalent to a pixel, patterns can easily be modified and adapted to customer requirements, which allows a lot of freedom. A special program from the start-up Shavatar also helped New Industrial Order to improve the accuracy of fit of their 3D knitwear without a 3D scanner – an essential aspect when it comes to buying clothes. With the help of the open-source system and the knitting machine from Kniterate, users are obviously also open to all creations and personalizations. Last but not least, the typical problems such as the exploitation of workers through in-house, regional productions are also eliminated.
Challenges of 3D Printed Clothing and Predictions for The Future
After explaining the numerous advantages offered by 3D knitwear, the question now remains as to why it is not yet increasingly available in stores. What are the current challenges and what improvements may still need to be made? Will 3D printed clothing and especially 3D knitwear be the future of the fashion industry?
Indeed, additive manufacturing of apparel faces a number of challenges. As mentioned earlier, the material is probably the biggest obstacle – which is why 3D knitwear is being resorted to. When a closer look is taken at previous projects involving 3D-printed clothing, such as products by fashion designer Danit Peleg, it quickly becomes apparent that the options are limited: The materials compatible with a 3D printer are mostly plastics such as ABS, PLA or the currently very popular and very flexible TPU. Although the latter can be used to create stretchy, movable 3D objects, it doesn’t begin to compare to the soft, comfortable texture of fabric. Although it could now be argued that the majority of conventionally produced clothing is also made of synthetic polymers, i.e. plastic, the problem lies with the texture. It makes a big difference what form the material is in: Fibers and threads have a filigree, elastic and flowing state, whereas filament has a comparatively thick, hard and rigid state.
Furthermore, most 3D printers cannot produce fine enough details. Unlike 3D knitting, where the moving threads are processed by many small needles, the extruders of a 3D printer cannot produce anything comparable. The structure and texture of 3D-printed clothing is heavy and pitted, and the surface texture is likely to be quite cold and unpleasant. Gerard Rubio agrees, saying, “At this point, the materials are not developed enough. However, I strongly believe that 3D-printed clothing will be the future.”
With regard to 3D knitwear, other problems are encountered. Rosanne van der Meer particularly emphasized here the difficulty of creating the digital codes for the knitting machine. That is why she relies on extensive databases, suitable non-fiction books and an open-source system. The latter should support New Industrial Order’s goal of creating a workflow that makes the codes for 3D knitwear accessible to all those who show interest. Gerard Rubio echoes this sentiment. He, too, describes developing the right parameters as a major challenge. The road from the prototype to the final, commercializable Kniterate machine, which is very complex, was long and difficult, according to him. Referring to the future, however, Rosanne van der Meer sees no problem in this regard: “The technology is already established and ready to function, but the current system works completely differently.”
This is because on-demand production, which is the principle of most current 3D knitwear manufacturers, completely contradicts the market flow. The current fashion market is based on mass production and mass consumption. Changing long-established systems and breaking habits is extremely difficult, which is why more sustainable companies specializing in on-demand production and customization face a major hurdle in entering the market. Also, in terms of production costs, 3D knitwear cannot compete with conventional clothing due to low market compatibility. Therefore, the current products from New Industrial Order and Ministry of Supply are still rather in the luxury segment in terms of price, within the framework of which customers are willing and able to spend a lot for personalization, sustainability and quality.
However, the experts are confident that 3D printing will play a greater role in the fashion sector in the future and firmly believe that novel technologies will revolutionize it. Rosanne van der Meer summarizes: “Changes in the textile industry are slow. Yes: in the future we will find more additively manufactured clothing, but how far this progress is in the future cannot be said.”
Source: www.3dnatives.com (22 Jul 2021)
8、FashionTech Timelapsed: The Changing Fabrications in Textile Design Exhibition
FashionTech Timelapsed is a physical and online exposition jointly organized by the ITC Store and Fashion Gallery. It is developed to present and demystify the evolution of fashion technology from traditional hands-on craftsmanship to emerging digital methods. FashionTech Timelapsed forms a dialogue about the essence of the ever-changing technologies in product development for both the designer and the wearer through a storytelling approach. It features three groups of selected textile designs from ITC scholars, Dr Lushan (Sarina) Sun, Ms Jackie Leung, and Dr Tsai-chun Huang. Each group represents a technology genre that reveals textile design processes, material behavioural manipulations, and fabrication methods.
The event highlights the complementary natures between the seemingly dichotomous fashion technologies in traditional and modern design environments. Ultimately, it aims to raise awareness of the potential advantages, challenges, and impacts of the wide range of fashion technology integrations in the modern industry. As a part of the exposition, a series of complimentary webinars/workshops are developed to provide further discussion and education on fashion technology with students, experts, and industry professionals.
Date: June 18 - September 30, 2021 @ ITC Store (Block HJ Room HJ211) and The Fashion Gallery (Online), PolyU
Opening Hours: 11am – 7pm
Venue: ITC Store, Block HJ, Room HJ211, The Hong Kong Polytechnic University
Further information is available on the Fashion Gallery’s website, please click here.
For onsite visit, please make an appointment with ITC store by email to itc.store@polyu.edu.hk.
Source: www.fashiongallery.hk (22 Jul 2021)