Greensboro, N.C.-based Cone Denim® has introduced The Cone Collective, a virtual hub designed to showcase collaborations with designers, brands and students. The initiative highlights creative projects using Cone’s fabrics while expanding educational outreach.
“The Cone Collective is a true passion project for the Cone Denim team,” said Caitlyn Holt, director of Sustainable Product Innovation and Marketing. “We have watched on social media over the years as people do truly unbelievable things with denim. We hope The Cone Collective is a space where these voices are amplified and everyone can come for inspiration and community.”
The program also features a brand ambassador initiative, offering select designers the opportunity to work with Cone fabrics and upcycled materials to create products centered on sustainability, innovation and heritage. Creations will be promoted through Cone’s social media channels and website.
France-based DECATHLON has announced a global partnership with England-based materials technology company RHEON LABS to integrate advanced material science into sports apparel. The collaboration grants Decathlon access to Rheon’s full technology platform, including innovations in strain-rate sensitive polymers that adapt dynamically to movement and impact, enhancing comfort, control and performance.
The first product, a KIPRUN running tight, will launch in AW25, with additional developments planned across other categories.
“Decathlon’s belief that innova-tion should serve everyone aligns perfectly with our own,” said Stephen Bates, CEO at Rheon Labs. “Rheon started in elite sport — now, this partnership will unlock that same level of performance for millions more.”
Kontoor Brands Inc., Greensboro, N.C., has completed its acquisition of outdoor and workwear brand Helly Hansen. The move expands Kontoor’s portfolio, diversifies categories and channels, and strengthens its position in outdoor and workwear markets. Helly Hansen is expected to contribute immediately to revenue, earnings, and cash flow.
“[The purchase] marks an exciting step forward for Kontoor as we expand our portfolio of iconic consumer brands,” said Scott Baxter, president, CEO and chairman of Kontoor Brands. “The acquisition of Helly Hansen will increase our growth profile, drive greater category, channel and geographic diversification, and increase our penetration in the attractive outdoor and workwear markets.”
Interstoff Group commissions Svegea EC 200 machines for high-speed production of tubular apparel components.
By Adrian Wilson
Svegea — a member of TMAS, the Swedish textile machinery association — has delivered no less than six of its EC 200 automatic collarette machines to the Bangladesh-based Interstoff Group over the past 12 months.
Interstoff, which belongs to the Pandughar Group, was founded in 2000 as a modest garment factory with just 62 sewing machines.
Today its three divisions — Interstoff Apparels, Interstoff Clothing and South East Textile — have a combined workforce of more than 10,000 people, producing around 72 million fully finished and packaged garments each year.
Recognition
Interstoff is further equipped with the very latest knitting and dyeing and finishing machinery sourced from Europe and Japan to enable a daily production capacity of 30,000 kilo-grams of fabrics. Through continuous innovation in yarns and processes, the company’s fabrics consistently earn recognition for their environmental responsibility and quality. Its fabric laboratory is certified by leading brands such as H&M, Marks & Spencer, Sainsbury’s and Tesco.
Two Svegea collarette machines have now been commissioned at each of the three Interstoff divisions for the high-speed production of tubular apparel components such as cuffs, collars and neck tapes.
Interstoff chose the EC 200 machines over the faster EC 300 model primarily because some of its fabrics include seams. The faster crush-cutting knife system in Svegea’s EC 300 series can struggle with multiple fabric layers or seams stitched with polyester thread since it cuts by pressure rather than slicing. By contrast, the EC 200 uses scissor-action knives — two sharp circular blades with a slight overlap — which function like scissors and handle seams without issue.
The machines run directly from turntables at speeds of up to 40 meters per minute, depending on the fabric width, material properties and optimal settings. They are equipped with Svegea’s standard drive system in an electronic master/slave configuration. Each machine has been specially equipped with a third knife set, enabling the simultaneous cut-ting of up to three bands. This means that total output in linear meters per minute can be significantly higher when cutting multiple bands in parallel.
Efficiency And Fabric Savings
“Advances in automation continue to make the specialized, bespoke machines we engineer more efficient,” said Svegea Managing Director Håkan Steene. “We have enjoyed great success in Bangladesh over the past few years, working with our invaluable regional partner Tech Cell, and have established strong relationships with the leading integrated garment manufacturing operations in the country.”
“We have had a strong relationship with Svegea over the years, and these machines are now helping us to significantly increase production as well as achieving fabric savings and being able to divert manpower to other areas of production,” added Interstoff Apparels director Shaikh Mohammad Ilias.
“Many of the world’s leading fashion brands have chosen to establish operations in Bangladesh, drawn to the country’s efficiencies and highly integrated network of rapidly responding suppliers,” said TMAS Secretary General Therese Premler-Andersson. “Hoping to build on this success, the Bangladesh government has now initiated plans to achieve exports of ready-made garment worth $50 billion by as early as this year — and approaching $100 billion by 2030. Members of TMAS have been very active in the region recently, providing the latest tools for automating textile and garment manufacturing processes — driving both sustainability and competitiveness. TMAS members look forward to meeting up with new and existing customers at the forthcoming ITMA Asia + CITME exhibition in Singapore this October.”
Editor’s Note: Adrian Wilson is an England-based analyst and writer specializing in the technical textiles, nonwovens and composites industries. He is the owner of AWOL Media.
Next-generation materials offer a more sustainable future. (Image courtesy of Modern Meadow)
Next-generation materials are becoming a viable and scalable source for fashion brands that are committed to sustainability.
By Dr. David Williamson
Fashion is, at its core, the business of storytelling. Whether it’s a purse, running shoe or driver’s seat, a true fashion piece is designed to go beyond its function in service of a deeper message. In isolation, Karmuel Young’s four-in-one convertible jumpsuit is just a multi-functional piece for men, one that’s lightweight and soft to the touch. But the jumpsuit’s sustainable material — a high-performance textile comprised of upcycled rubber, plant-derived proteins and biopolymers — along with its brand’s namesake, designer Karmuel Young, transform the jumpsuit into a powerful story-telling device, one that exudes a sense of personal commitment and dedication to building a sustainable future.
Such is the power of fashion and the materials we use to mold it. Every material brings with it unique qualities and a history that designers must learn to wield. Sometimes, as is the case for novel materials, it is precisely the absence of a history that enables designers to focus our attention on the future and the innovations we’ll need to get there.
As the world continues to grapple with global warming, it is not surprising that the fashion industry has increasingly embraced a vision of the future that centers sustainability, in part through the use of next-generation materials.
Karmuel Young’s four-in-one convertible jumpsuit (Image courtesy of Karmuel Young)
Next-Generation Materials Come Into Fashion
On its own, a piece of clothing is little more than a utilitarian solution to a problem. Sweaters can be built with dense wool to keep the cold at arm’s length. But when we see our values reflected in our clothes or when the jewelry we wear says something about who we are and who we want to be, that’s when simple items transform into fashion pieces.
“Fashion doesn’t necessarily mean practical, but it always means emotional,” explained Anna Bakst, board director of the biomaterials company Modern Meadow and founder of sustainable fashion brand WE-AR4, New York City.
Bakst has spent the past 30 years immersed in the fashion industry, helping to mold influential brands like Michael Kors, Kate Spade and now Modern Meadow. Among the many lessons she’s learned, Bakst sees in fashion a universal desire for visual storytelling.
“It’s not just what you wear and how you wear it, but it’s the story behind what you’re wearing and why you’re wearing it,” Bakst reflected. “All of that goes into this form of self-expression. And, increasingly, people are expressing their values around humanity and sustainability.”
Traditionally, the fashion industry has not been considered a sustainable one. The UN Alliance for Sustainable Fashion estimates that 2 to 8 percent of global greenhouse gas (GHG) emissions are produced by the textiles and clothing industries while also consuming more than 200 trillion liters of water per year. Per a Grand View Research analysis, amidst growing awareness of global warming and its devastating effects, consumer demand has grown for sustainable fashion.
“That’s where next-generation materials come into play,” Bakst noted.
Next-generation materials are novel textiles made with biobased or synthetic components whose combination allows for both high material performance and sustainability. Modern Meadow, for example, produces a leather-like material composed of recycled rubber, sourced from used car tires, and a proprietary mixture of plant-based proteins and biopolymers. The combination of protein and recycled rubber affords the company’s primary material, INNOVERA™, high-performance qualities and an aesthetic that is remarkably like other natural materials. And a 2023 preliminary life cycle assessment performed at Salve Regina University showed significant reductions in GHG emissions when producing one square meter of INNOVERA — 7 kg carbon dioxide (CO2) — relative to traditional cow hides — 110 kg CO2.
With many brands in the apparel industry now committed to reducing GHG emissions across the lifecycle of their products, materials like INNOVERA are likely to play a significant role in fulfilling these commitments. However, creating viable next-generation materials requires more than material performance and reduced GHG emissions: they must also be capable of carrying a designer’s message to the world.
For Bellroy’s accessories, next-generation materials represent new mediums for self-expression. (Image courtesy of Bellroy)
Manufacturing Fashion
“Realistically, the fashion industry isn’t going to change its design or manufacturing processes for a material,” Bakst said. That’s because the manufacturing of textiles at scale is far from trivial. “The supply chain in well established brands is sacred. No matter how compelling the next-gen material, if it can’t be implemented with quality at scale, the market will not be able to adopt in meaningful way.”
Many next-generation materials have been developed from sources that range from apple skin to mycelium. The message carried by these materials is powerful and conveys a sense of truly sustainable fashion. Yet, few have found success, in part because they require designers to compromise on product quality, something Bakst emphasizes is a non-starter in the fashion industry. “Designers are absolutely curious and want to try these new materials, however, understand-ably, they won’t compromise on performance and aesthetics.”
Designers need materials that are durable and malleable, capable of being imbued with artistic expression and surviving long enough to let consumers experience it. Too often, sustainability has come at the cost of durability or versatility. Fortunately, advances in next-generation materials may overcome this. Newer leather alternatives, for example, have been shown to be at least as durable, color fast and breathable as natural materials while also providing designers with a broader color palette to choose from.
Even when these qualities are met, however, materials often struggle to penetrate the market due to the requirement for bespoke manufacturing capabilities.
“That’s one of the mistakes I think some of the innovative material companies have made: They fall in love with the material’s benefits and underestimate just how uncompromising the industry is when it comes to performance and manufacturing feasibility,” Bakst explained.
Guidance from Bakst and other in-house experts have led some companies to avoid these common stumbling blocks during material development. The new generation of materials are designed to be drop-in ready, meaning manufacturers can use the material with existing infrastructure and workflows. Tanners can receive such canvases and transform them into beautiful, natural-feeling products using the same processes that convert tanned hides into polished, luxury leathers.
As such, next-generation materials have become a viable and scalable source of fashion, one whose canvas allows designers across industries to convey messages centered on sustain-ability. Already, companies like the carry brand Bellroy are developing luxury items using next-generation canvases, sending a clear message of their commitment to sustainability.
Whether they’re used to build luxury handbags, accessories, durable shoes or comfortable car seats, next-generation materials represent a new medium for self-expression; a way to stand defiant in the face of global warming, and to look good while doing it.
Editor’s Note: Dr. David Williamson is CEO of Nutley, N.J.-based sustainable materials company Modern Meadow.
A concept idea illustrating what an exhibit gallery could look like at the museum.
From curated archives to hands-on training, The Denim Institute & Museum will celebrate denim’s heritage, teach the next generation of makers and champion sustainable innovation.
By Rachael S. Davis, Executive Editor
Denim has long been more than fabric — it’s a cultural touchstone woven into fashion, music, workwear and identity.
Now denim’s story will have a permanent home in Los Angeles with the launch of The Denim Institute & Museum in 2026, a project dedicated to honoring denim’s past, educating the next generation of makers and shaping a more sustainable future.
Co-founders Jonny Saven and Loren Cronk are the duo behind the museum, which was created to preserve denim’s cultural and industrial heritage and will cover more than 150 years of denim history.
Cooperation From Industry Talent, Mills & Brands
Lead Advisor Saven and Operations Lead Cronk have gathered a team of denim industry talent — with experience at brands including Levi Strauss, Ralph Lauren, L’AGENCE, Marc Jacobs, Anthropologie, Benetton, Diesel, Giorgio Armani, DKNY, Calvin Klein, Evisu, Edwin, Gap, Target, Wrangler, Lee — to help them establish this new museum.
The founders also envision collaboration with mills and brands to advance sustainable initiative including low-impact dyeing, ethical manufacturing and fiber-to-fiber recycling.
“The Denim Institute & Museum is the first institution of its kind dedicated to preserving denim’s history,” Cronk said.
The Denim Institute & Museum’s co-founders Loren Cronk (left) and Jonny Saven.
Three Key Pillars
The museum focuses on three key components — preservation, education and innovation.
Honoring denim’s legacy, educating and empowering the next generation of designers and innovating are important cornerstones of the museum.
For The Love Of Denim: Idea Behind The Museum
Cronk is a self-taught clothing designer and when he landed a job at Levi Strauss and was introduced to denim, he fell in love with the fabric. “Designing the style is only part of the process, the life the garment takes on after it’s made is another” Cronk said. “As you work with denim, you know each time it is worn, it alters the look of the fabric. Over time, it takes on new life. It might be the same style of jeans, but each person wears them and cares for them differently. They’re constantly evolving, and that’s what fascinates me about denim.”
From his introduction to denim at Levi Strauss, Cronk has had a deep and involved journey in the denim industry. He learned to take jeans apart to understand how they were constructed, and watched the sewers in some small San Francisco-based factories to better understand how they managed parts of the construction process he considered the most challenging. He had jobs designing for Ralph Lauren, Rocawear and Marc Ecko, among other brands.
In 2010, opened a namesake denim boutique, “Loren” in Brooklyn, N.Y. The denim atelier made custom jeans for customers on site, and also launched a ready-to-wear brand, BLKSMTH, that used White Oak selvedge denim and manufactured jeans in Los Angeles. The boutique’s open sewing space allowed customers to see the designers working, cutting, sewing, making and repairing jeans.
“From time-to-time, we’d get asked if we offered courses — how to hem, how to repair, how to taper a leg and how to make jeans,” Cronk shared. “We didn’t offer courses, but it’s where the idea first started. The seed was planted, and I knew that in the future I wanted to be part of educating and sharing what I had learned.”
From within his small Brooklyn boutique, Cronk hatched the idea for The Denim Institute and Museum over a cutting table surrounding by denim fabric and jeans.
Plans for the museum include galleries, an event space and sewing school.
Cronk’s next career move took him to Los Angeles where he opened a second Loren boutique. Unfortunately, the store didn’t survive the COVID pandemic, but it was in Los Angeles that Cronk connected with his friend Saven and pitched his idea for the museum.
Saven, currently the CEO of L’AGENCE, was on board, and over the past four years, the co-collaborators have refined the idea into an actuality — a denim hub with a short-course denim school and learning center focused on a sustainable future.
“We realized if we’re going to teach denim, we can’t do so without sharing its history,” Cronk said. “Denim has an untold story, a story that crosses boundaries of social, cultural, financial and many real and artificial limits,” offered Saven. “It’s a universal way of representing fashion, media, pop culture, entertainment and more. It has end-less and ongoing dialogue, one that will be told forever and as it continues to evolve.”
The Gerry building in Los Angeles, listed on the National Register of Historic Places, will house The Denim Institute & Museum.
Selecting A Location
As a city, Los Angeles has a long history with fashion and has proved popular with denim brands in particular. “Although denim is global and universal, it’s the right place to be,” said Saven. “The old brands along with the newer brands and the manufacturing history is rooted in this city.”
According to Cronk and Saven, there was an explosion of Y2K denim brands — including Seven for all Mankind, Citizens of Humanity and True Religion among them — that established Los Angeles as a premium jeans city. “We want the museum to be widely accessible, and Los Angeles, known for tourism and laid-back denim fashion style, offers the ideal backdrop to inspire and connect with a global audience,” Cronk said. “Los Angeles is also a cultural hub,” Saven offered. “Music and entertainment share a strong connection to the denim movement and illustrates why this city is idea for the intersection of denim culture and pop culture.”
The Gerry Building, in the heart of downtown Los Angeles’ Fashion District, was selected to house the museum. This landmark location built in 1947 is listed on the National Register of Historic Places and also as Los Angeles Historic-Cultural Monument No. 708. It’s also conveniently placed between the California Market Center and The New Mart — the epicenter of the apparel industry in Los Angeles.
The founders are developing ideas for what the space will look like when it opens next year.
Curating The Exhibits
Denim’s rich legacy will be honored through curated exhibitions, rare archives as well as storytelling, which highlights people, brands and movements behind this iconic fabric.
Over the years, the Saven and Cronk have amassed a significant collection of denim that continues to expand. To further enhance the museum’s collection, the museum will partner directly with brands interested in collaborating. “Additionally, we’re working with private collectors to secure rare and historically significant pieces as part of our broader curatorial strategy,” Cronk shared.
With the exhibits, the museum hopes to tell a story that spans the past, the present and the future. This starts with local and regional production and expands to reflect on denim’s evolution on a global scale.
The museum also will house The Blue Room — a public event space that may be used for expert-led seminars, denim flea markets, collaboration launches and brand takeovers, among other ideas. “Visitors can also enjoy denim art shows, photography exhibits, sample sales, custom chainstitch art shows, and rare and collectible denim auctions, creating a unique space where industry leaders have the opportunity to connect directly with consumers,” Cronk added.
The Institute’s “School of Denim” will offer immersive, hands-on week-long courses to help grow the industry’s workforce.
Training Program
In addition to the curated exhibits, the museum will house a “School of Denim” for immersive and hands on training. Skills including pattern making, sewing and business essentials will be offered to help grow the denim industry’s workforce. The short-courses will provide hands-on training to empower the next generation of denim professionals.
With his self-taught skills, Cronk is especially excited about the training aspect of the museum. “A few brands have already reached out about using our space to train their sewers, which has been incredibly encouraging and confirms that we’re heading in the right direction,” he said.
The school is open to everyone, and the website with more details will soon be live. Cronk and Saven also are in discussions with potential education partners. “We’re speaking with FIT in New York City about sending students to our program for immersive week-long courses,” Cronk shared. “We’re also exploring an exchange program with the Jean School in Amsterdam to facilitate cross-cultural learning. Additionally, we’re in conversation with the Hong Kong Fashion Institute, and we have a European ambassador actively building relationships with fashion schools abroad.”
Cultural Hub, Education Center
As the first of its kind institution dedicated to preserving denim, The Denim Institute & Museum also hopes to play a role in shaping denim’s future. Exhibitions, talks, showcases, and research and development will connect legacy craftsmanship with next-generation innovation. Museum founders also hope to support and drive forward a circular, sustainable future for denim “Through brand activations, showrooms and event programming, we will provide a year-round platform for mills, fiber companies, designers and factories to connect directly with one another and with the public,” Cronk said.
“I’m a designer-maker at heart,” he continued. “I love taking an idea and bringing it to life. My passion lies in creating — not only denim, but spaces that inspire and where I can share not only my own experience and knowledge, but also the collective expertise of our entire team.”
As the museum readies to open its doors in 2026, its founders envision more than just exhibitions. They see a living, breathing space where denim’s heritage meets innovation, where makers and brands connect with students and consumers, and where a timeless fabric continues to evolve. The Denim Institute & Museum promises not only to preserve denim’s history, but to inspire its next chapter.
New York City-based Dreamwave LLC provides character licensed swimwear for children that meet the criteria for The Skin Cancer Foundation’s Seal of Recommendation (See sidebar).
The Skin Cancer Foundation’s Seal of Recommendation presents an opportunity for apparel brands to expand within a growing market.
By Rachael S. Davis, Executive Editor
Much like smoking, sunbathing was once a widely embraced pastime — until science made it clear that prolonged exposure to ultraviolet (UV) rays significantly increases the risk of skin cancer. Today, as skin cancer rates continue to rise in the United States, fewer people view a deep tan as a badge of health or beauty. Instead, many are shifting their focus to sun safety, choosing sunscreen and protective apparel over products designed to darken the skin, and prioritizing long-term health over short-term aesthetics.
The Skin Cancer Foundation: Educating, Safeguarding
The Skin Cancer Foundation was founded in 1979 with the objective of empowering “people to take a proactive approach to daily sun protection and the early detection and treatment of skin cancer.” Through a variety of programs and resources, the foundation educates the public and the medical community about skin cancer and prevention methods. Its Photobiology Committee also sets minimum criteria needed to achieve The Skin Cancer Foundation’s Seal of Recommendation — a stamp of approval that may be earned by products that meet specifications “for safe and effective sun protection against the two types of UV radiation that have been directly linked to skin cancer: UVA and UVB.”
In 1981 when the program was created, a sun protection factor (SPF) of 15 was needed to achieve the Seal of Recommendation. The program was gradually expanded as different requirements were incorporated for a variety of products including textiles; and in 2005, the committee added standards for ultraviolet protection factor (UPF) covering sun-protective clothing, fabrics and outdoor fabrics used for umbrellas and awnings.
The Skin Cancer Foundation’s Photobiology Committee adapts the requirements based on the latest scientific evidence, and this year announced updated requirements for clothing. To earn the Seal today, fabric requires a minimum UPF of 50. Adult hats need a minimum 3-inch brim all the way around, while hats for babies and toddlers need a 2.5-inch brim.
“After extensive research and discussion, we made the unanimous decision to implement new sun protection standards for products that earn the Seal of Recommendation,” said Dr. Steven Q. Wang, director of Dermatologic Oncology, Hoag Family Cancer Institute, Hoag Memorial Hospital Presbyterian, and chair of The Skin Cancer Foundation Photobiology Committee.
“The Committee’s recommendations are always grounded in real-world science. The updated standards we are proposing have been tested over time and have already been adopted by many in the industry. We are committed to staying up to date in our recommendations for the public and are confident that these changes not only will help educate the public, but will guide them to choose products, that, when used consistently and as directed can help prevent skin cancer and save lives.”
Developing The UPF Testing Requirements
In 1998, the American Association of Textile Chemists and Colorists (AATCC) released Test Method 183 Transmittance or Blocking of Erythemally Weighted Ultraviolet Radiation Through Fabrics. This test method, considered the standard methodology for the measurement of UV transmission, has been reaffirmed and revised since its introduction and is the basis used for textile UV labeling.
To develop the test method and standards surrounding UV protection, AATCC Committee RA106 UV Protective Textiles Test Methods worked with the ASTM Subcommittee D13.65 UV Protective Fabrics and Clothing. Challenges considered included how to measure the blocking effectiveness of materials and finishes applied to textiles, the data needed to connect an instrument’s data to human exposure, and how to prepare a sample for testing, while also deciding if fabric should adhere to the existing SPF rating system used by sunscreens.
It was determined that to avoid confusion, a new rating system was warranted for fabrics and clothing when it came to UV protection claims and hence, the UPF standard was born.
The two ASTM committees involved in the discussions also developed two companion standards to the AATCC test method — ASTM D6544 Standard Practice for Preparation of Textiles Prior to Ultraviolet Transmission Testing and D6603 Standard Specification for Labeling of UV-Protective Textiles — which were both published in the mid-2000s.
Not Regulated Or Required
Fabric testing is not required by the government in any way but is required for products to earn the Seal of Recommendation. “Today, the Seal of Recommendation requires a mini-mum UPF of 50 for fabric,” said Dr. Wang. Spectrophotometers are used to measure the amount of UV radiation that penetrates a fabric to determine the UPF. Fabrics are also tested both wet and dry to ensure consistent protection in different use cases.
“If a fabric comes in multiple colors, we recommend testing the lightest shade to show that the entire range meets the minimum UPF requirement of 50,” Dr. Wang said. “A UPF 50 fabric blocks 98 percent of the sun’s rays and allows two percent— or 1/50th — to reach your skin.”
Dr. Wang also offered some additional advice when it comes to creating or choosing a fabric with sun protection in mind. “A tightly woven piece of fabric with smaller gaps between the yarns, like denim, offers more protection than a fabric with a looser, more open weave pattern,” he said. “Next, thicker and darker fabrics are more protective than thin, light-colored fabrics. For example, a bleached cotton offers little protection, whereas a black corduroy blocks more UV radiation.” Dr. Wang also offered that synthetic materials are better for UV protection than natural fibers; and chemical UV absorbers, whiteners or dyes may also improve a fabric’s UPF rating.
The Seal of Recommendation graphic can be used on apparel hangtags to educate consumers about their purchases.
Educating Consumers
The Skin Cancer Foundation notes that its Seal of Recommendation is one of its most recognizable educational initiatives. In 2025, The Skin Cancer Foundation introduced a new design for the Seal featuring redesigned artwork with descriptive language to better educate consumers.
“When a fabric earns the Seal of Recommendation, we provide the brand with the Seal artwork and urge them to display it on the hangtag to help the public make educated and proactive decisions about the products they use to protect their skin,” said Becky Kamowitz, executive director of The Skin Cancer Foundation. “Over the program’s 40-year history, people have come to trust the Seal of Recommendation when they see it on a product because they know it has been medically reviewed by the physicians on our Photobiology Committee who have verified that the product provides safe and effective sun protection when used as directed.”
According to Dr. Wang, unlike the window film and sunscreen industries, there is little in the way of standardization or government oversight for testing and rating SPF fabric. “This is one reason why the Seal of Recommendation is so important in this market,” he said.
For a product to qualify for the Seal, the Photobiology Committee. comprised of board-certified dermatologists, reviews third-party laboratory testing data that is submitted by manufacturers.
“The number of applications we receive for the Seal of Recommendation increases each year,” Kamowitz reported. “The credibility that comes with earning the Seal of Recommendation is increasingly important as we monitor a growing amount of misinformation regarding sun protection circulating on social media,” she continued. “There is a sense of corporate responsibility for many of the companies that apply for review of their products and there is medically backed support for higher sun protection standards in this community. That said, there is always room for improvement. It’s important to continue to educate the apparel industry, and to remind brands that sun-protective fabric isn’t only for swimsuits and outdoor apparel.”
Growth Opportunity
Kamowitz also notes that while there is increasing consumer interest in sun-protective clothing and the market continues to grow, finding UPF-rated, sun-protective clothing can be a challenge for the public. “In 2024, the market size for nanotextiles — where UPF clothing is grouped — was estimated to be $14.8 billion — up $5 billion from 2019,” Kamowitz disclosed. “And Google search data shows a significant increase in the average number of times people search for the terms ‘sun-protective clothing,’ ‘UV-protective clothing,’ and ‘UPF clothing’ in the past two decades.”
Despite this data, availability at retail and online shopping for UPF apparel remains limited. “Less than 50 percent of retailers list UPF-rated clothing on their websites and those that do, offer a limited selection,” Kamowitz said. “Another constraint is that retailers and manufacturers don’t consistently promote that their garments have a UPF rating or are considered sun protective.”
Textile manufacturers have an opportunity to differentiate their products at retail by earning The Skin Cancer Foundation’s Seal of Recommendation. With awareness of the dangers of UV exposure, the Seal of Recommendation is a critical bridge between scientific rigor and consumer trust. By continually updating standards to reflect the latest research, the foundation not only guides manufacturers in creating truly protective products, but also empowers consumers to make informed choices. With public interest in sun-protective apparel on the rise yet availability still lagging, the opportunity for growth in the textile is clear — and so is the need for continued education, innovation, and transparency to ensure that effective sun protection becomes the norm rather than the exception.
Bluey is one of the characters licensed by Dreamwave for its children’s swimwear.
Dreamwave: Stylish, Safe & Seal-Certified
Dreamwave LLC is a Bentex Group company based in New York City. The company has been a go-to resource for children’s swimwear for more than 20 years. Today, the company offers character licensed apparel — including Disney, Nickelodeon, Marvel and Mattel, among other licenses — and private label swim and loungewear to accounts that include Walmart, Target, Kohl’s and Costco. It works with retail customers to build a sales and design strategy for private label design, sourcing and manufacturing.
“We pride ourselves on product quality, product safety and exceeding consumer expectations,” said Joseph Grazi, e-commerce manager, Dreamwave. “Our production is out-sourced, however we maintain dedicated overseas offices for quality control and daily oversight, enabling us to stay closely involved in every stage of production.” In addition, all of Dreamwave’s manufacturing partners go through a vigorous third-party screening process.
UPF requirements are considered all the way from initial design through to final production. “We at Dreamwave take great pride in offering exceptional hand feel and sun-protective fabrics,” Grazi said. “While we continuously refine and enhance our offerings, we consistently maintain a minimum UPF rating of 50+. We have robust testing protocols that our factories adhere to so that we can ensure the fabrics comply with our standards.”
As a result of that dedication, Dreamwave products have earned The Skin Cancer Foundation’s Seal of Recommendation. For the most part, Dreamwave uses a combination of hangtags, stickers and online product descriptions to educate consumers about the UPF benefits of its products. “I believe Dreamwave having the Seal of Recommendation adds validity to our immense focus on sun protection,” Grazi said. “I hope our customers will recognize and appreciate this certificate and feel confident that their purchase is backed up by more than just a statement.”
At its recent General Assembly, the Milan-based Association of Italian Textile Machinery Manufacturers (ACIMIT) emphasized the need to enhance the value of Made in Italy as a key challenge for its textile machinery sector. In 2024, industry production declined 8 percent to 2.1 billion euros, while exports dropped 9 percent to 1.8 billion euros. China, Turkey, India, and the United States remained the main export markets despite weak demand.
ACIMIT President Marco Salvadè said: “U.S. protectionist policies and mounting geopolitical instability risk further slowing global investments in the textile and apparel sector. In particular, any escalation of the trade war would prove even more damaging to the entire supply chain.”
Roundtable discussions focused on priorities for the future including internationalization, innovation, sustainability and promoting authentic Made in Italy.
The assembly also marked ACIMIT’s 80th anniversary. “An important milestone that invites us to look back with pride and ahead with renewed passion and responsibility,” Salvadé said.
It is “… essential to defend and promote true Made in Italy — products designed and manufactured in Italy without compromise, distinguished by the quality and creativity for which we are renowned worldwide.”
Paris-based Lectra has announced that Walters, a New York City-based 85-year-old outdoor furniture manufacturer for architects and designers, has success-fully implemented Lectra’s Furniture on Demand and Valia Furniture platforms to streamline production and order fulfillment. By digitizing its entire catalog with Valia Furniture, Walters has reduced lead times, optimized efficiency and improved customer satisfaction. The digital pattern library replaced physical patterns, eliminating manual searches and ensuring up-to-date versions are always accessible. With integration across the cutting room and real-time analytics, Walters gained visibility into production processes, supporting smarter decisions and continuous optimization.
“Our experience with Lectra, as a first-time customer, has been very positive: everything from presale to the installation to the follow-up support has been nothing but outstanding,” said Adam Schindler, CEO of Walters. “We chose Furniture on Demand because it was the most advanced platform yet very intuitive and user-friendly.”
Crimping is a demanding process, and Oerlikon Textile Inc., Charlotte, N.C., now offers a crimper repair service.
Oerlikon Textile Inc. has launched a crimper repair service at its Charlotte, N.C., site that specializes in Fleissner and Neumag crimpers. Crimping is a critical step in the staple fiber process, and the condition of these components directly affects product quality and production reliability. The Charlotte workshop is staffed with specialists who provide complete overhauls including roller and chamber repairs, as well as inspection of pneumatic, hydraulic and electrical systems. Each crimper is pre-set, tested, and delivered with warranty coverage.
“With this new service, we can work closely with our customers and guarantee the best service with OEM standards and short response times,” said Daniel Möller-Langmaack, team leader, Service Sales Staple Fiber, Oerlikon Neumag.
