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Digital Colour: Part 2 – Aligning People, Process & Technology

by Michael Ratcliffe
written by Michael Ratcliffe

Introduction

In a recent virtual panel discussion, we tackled one of the most persistent hurdles in digital product creation for fashion: digital colour accuracy. While in Part 1 we explored its technical underpinnings and how to overcome those challenges, in Part 2 we addressed a broader, more systemic challenge: how to ensure alignment across people, processes, and tools when implementing scalable colour workflows.

Moderated by Michael Ratcliffe (PI Apparel), the session featured Christoph Bergmann (natific AG), Luca Pascucci (Bestseller), Elizabeth Reeds (ex-Old Navy/GAP), Matt Swartz (Patagonia), and Ryan Stanley (PVH) – five specialists shaping the operational and strategic frameworks behind colour management, digital transformation, and cross-functional alignment in fashion.

The panel explored six core questions from the biggest barriers facing effective cross-team collaboration, through to how to build trust with customers and internal teams when selling collections digitally.

🎥 Watch the full video below!
Don’t have time to watch the full video? Scroll down for a summary of key takeaways and noteworthy quotes.

🔑 Key Takeaways

🧠 1. Education (Not Just Tools) Drives Collaboration

A spectrophotometer is only useful if people know how to use it. Many bottlenecks occur not due to a lack of tech, but a lack of hands-on understanding – particularly across design, development, and manufacturing. Education at the layman’s level is key.

🕓 2. Time Pressures Undermine Good Process

From design to sales, teams are under extreme time pressure, often reacting to issues instead of preventing them. Brands that invest time upfront in building trust, clarity, and process consistency see fewer downstream issues.

🔗 3. A Shared Language Starts With Standards

Digital palettes, CSS files, and consistent lighting/render settings all create alignment, but only when everyone from design to marketing to suppliers is referencing the same standards. Tools like sRGB colour chips and shared render settings can make or break visual consistency.

🔁 4. Operational Efficiency Unlocks Creativity

Designers shouldn’t be spending weeks chasing down the 55th shade of navy. When workflows are streamlined and feasibility checks are automated, teams can focus on what really matters: innovation. Colour data isn’t restrictive – it’s freeing.

⚡ 5. AI & Metadata Can Boost Speed—With Guardrails

AI is helping streamline workflows through predictive rendering, material pairing, and digital collection building. But trust and validation are still needed. Metadata (e.g. dye formulas, reflectance data) remains essential to ensure output matches expectations.

🛍️ 6. Trust is Built Internally Before It’s Sold Externally

Customer confidence in digital samples hinges on internal buy-in first. Baby steps, like showing key colour samples during internal line reviews, help sales teams understand and translate digital intent into real-world context.

🎓 7. Training Must Be Hands-On, Practical & Celebrated

From certifying suppliers to amplifying great internal behaviours, training isn’t just technical – it’s cultural. Recognising and rewarding best practices helps teams absorb and apply what they’ve learned. Success metrics must go beyond the lab to measure what customers actually receive.

📏 8. Measurement Must Reflect End-to-End Impact

Colour isn’t just a design issue; it’s an end-to-end experience that touches everything from ideation to post-purchase. Metrics that track what was actually delivered (vs. what was intended) help brands close the loop and continuously improve.

💬 Noteworthy Quotes

💚 Christoph Bergmann (natific AG)

“You can have a spectrophotometer and still not use it properly. It’s not just about the tools—it’s about what you do with them.”
“Trust and confidence are built when people understand what they’re asking for—and what they’re getting back.”

💙 Ryan Stanley (PVH)

“Colour is an end-to-end experience—from the first brain fart to the consumer’s 100th laundry cycle.”
“Operational efficiency unlocks bandwidth. Until you get your process under control, you’ll spend all your time fighting fires instead of preventing them.”
“Colour by numbers works. The problem is most people don’t trust the numbers.”

💛 Elizabeth Reeds (ex-Old Navy)

“We created a system where every process defaulted back to the standard. That made it idiot-proof, and it made everyone’s lives easier.”
“Helping teams understand colour through analogies—like a small box of crayons vs. the whole rainbow—really helps with buy-in.”
“I amplified great behaviour whenever I saw it. That reinforcement made a huge difference.”

💜 Matt Swartz (Patagonia)

“I went rogue. I approved colours digitally, never saw a lab dip, and then showed everyone the results. They were shocked—and convinced.”
“Sometimes, to build trust, you have to lead by example—then invite others to review the outcome.”

🧡 Luca Pascucci (Bestseller)

“We started small—just a few key colours physically shown—and slowly built trust. Now, the sales reps ask not to use physical samples.”
“Getting markets like Italy and Denmark on the same page meant calibrating every screen the same way. That made all the difference.”

A huge thank you to all of our panellists for taking part in such a great and important conversation.

This DPC topic and more will be discussed IRL at this week’s PI Apparel EU event, as well as our upcoming PI Apparel NYC 2025 event in June. Click on the image below for more info about the NYC agenda, speakers, and to claim your early bird rate!

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DPCPeople & LeadershipSupply ChainTechnology

Digital Colour: Part 1 – Why is Accuracy Still a Challenge and How Can We Fix It?

by Michael Ratcliffe
written by Michael Ratcliffe

Introduction

In a recent virtual panel discussion, we tackled one of the most persistent hurdles in digital product creation for fashion: how to achieve accurate and consistent colour across the supply chain, from screen to sample to store.

Moderated by Michael Ratcliffe (PI Apparel), the session featured Olaf Koelling (DMIx by ColorDigital), Sylwia Szymczyk (FashionINSTA.ai & Former Timberland), Michaela Jauk (Odlo), and Gabrielle Shiner-Hill (Bureau 555), four experts deeply embedded in the world of DPC, colour data, and material digitisation.

The panel explored six core questions shaping the future of digital colour accuracy, from the root causes of colour mismatch between digital and physical products, through to AI-driven colour correction and real-time rendering.

🎥 Watch the full video below!
Don’t have time to watch the full video? Scroll down for a summary of key takeaways and noteworthy quotes.

🔑 Key Takeaways

🎯 1. Colour Accuracy Depends on a “Single Source of Truth”

The foundation of digital colour consistency is accurate data. Without a precise, standardised starting point – often defined by spectral measurements or LAB values – brands risk misalignment across photography, 3D renderings, and physical samples. One trusted, calibrated environment is essential.

💡🖥️ 2. Display Technology & Lighting Still Skew Perception

From uncalibrated monitors to unpredictable daylight shifts, colour perception changes drastically depending on the viewing context. Even with well-managed data, brands must account for the human and hardware variables that distort how colour is seen at different points in the value chain.

📊🌍 3. Spectral Measurement Enables Remote & Reliable Approval

Using spectral data for colour verification allows teams to reduce back-and-forth sampling, approve materials remotely, and ensure consistent outcomes across global suppliers. The technology is now precise enough to trust over subjective visual checks, but adoption still requires a cultural shift.

🤝 4. Cross-Functional Alignment Is Crucial

Designers, DPC teams, eComm, fabric technologists, and manufacturers all interpret colour differently. Without clearly defined ownership and shared standards, brands face breakdowns in communication. Successful companies are assigning colour ownership, often to colour designers or technologists, and formalising approval workflows.

🧵 5. Material Simulation Affects Colour Representation

Accurate colour in 3D design depends not just on the colour data itself, but how materials behave under lighting. From roughness and reflectance to transparency and specular maps, every channel influences the final look, making lighting setups and consistent rendering environments non-negotiable.

⚙️ 6. AI Has Potential But Isn’t a Silver Bullet Yet

While AI is showing promise in areas like image enhancement and lighting simulation, it’s not yet a reliable fix for accurate colour transformation or correction. However, panellists agreed the space is evolving rapidly, and success will depend on large, diverse training datasets.

➡️ 7. Change Management Is the Biggest Barrier

Technology isn’t the issue—people are. Long-established habits, siloed teams, and lack of visibility into successful case studies are the real obstacles to progress. Teams must invest in onboarding, communicate value clearly, and create feedback loops that reinforce adoption.

💬 Noteworthy Quotes

💚 Olaf Koelling, ColorDigital GmbH

“If your data’s not right, you can adjust what you want but it’ll still be a mess.”  
“Sometimes we had four different versions of a single colour, depending on who viewed it where.”
“You can produce the same fabric in Turkey or Vietnam—but only if your colour data is standardised.”
“AI is improving quickly, but right now, algorithms are still better for colour control.”

💛 Sylwia Szymczyk, fashionINSTA.ai

“The questions we had about colours and calibration most often came from the eComm team. They wanted the 3D colours to match the ones from the photoshoots. But the photos were edited, not true to life. So we had to reverse-engineer things in Lightroom to get them closer.”
“Companies are gatekeeping their success stories. That’s holding the industry back.”
“Everyone who worked digitally had this huge PDF that explained exactly how assets had to be delivered. It didn’t matter who created them—freelancers, suppliers—everything looked the same. That consistency made a huge difference.”

💜 Michaela Jauk, Odlo

“Material simulation isn’t just texture – it’s about how the surface reacts to light.”
“We realised that if we gave the retoucher the 3D render, the physical sample, and the photoshoot image all at once, it was actually the render that aligned most closely with the real product. The photos were often heavily edited, and lighting conditions varied, but our render pipeline was consistent. That’s when the team began trusting 3D as a reliable reference—not just a visualisation.”

💙 Gabrielle Shiner-Hill, Bureau 555

“We couldn’t control every screen, so we controlled the capture process instead.”
“It took three months to set up the spectral colour measurement system, but once it was running smoothly, the colourist said, ‘I’d never go back.’ He was finally able to approve colours remotely without endless physical sampling — it completely changed his workflow.”

A huge thank you to all of our panellists for taking part in such a great and important conversation. We look forward to meeting some of you in person at next week’s PI Apparel Europe 2025 event on Lago Maggiore, and on that note, if you are yet to grab your ticket for our 12th European edition, you can do so now by clicking on the image below!🥂🍕

Part 2 – How Do We Better Align People, Process, and Technology to Tackle Limitations & Misconceptions? – coming soon! 🔜

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3DEducationInterviewsSupply ChainTechnology

Empowering the Digital Workforce: Interview with Shimmy, 2018 3DRC Grand Challenge Winner

by Michael Ratcliffe
written by Michael Ratcliffe

Introduction

The 3D Retail Coalition (3DRC) Grand Challenge, established in 2018, is an annual competition that recognises innovators leveraging 3D technology to transform the retail and apparel industry. Organised in collaboration with the IEEE Standards Association (IEEE), PI Apparel and Kalypso, the challenge provides a platform for start-ups, researchers, and technology pioneers to showcase solutions that enhance digital product creation, automation, and consumer experiences. The challenge has played a crucial role in accelerating industry adoption of 3D, offering winners visibility, mentorship, and credibility to scale their innovations.

As we head into its 7th year, in this series we interview past winners and explore where they were then, where they are today, and how the challenge helped them scale for success.

2018 Grand Challenge Winner

Today,  we sit down with Sarah Krasley, Founder & CEO of Shimmy, as she shares her journey from leading emerging technology at Autodesk to pioneering workforce upskilling in the apparel industry. Sarah won the 3D Grand Challenge in 2018 with a ground-breaking SaaS-based training platform that leverages 3D models and AI-driven education to train factory workers. 

🎥 Watch the full video below!
Don’t have time to watch the full video? Scroll down for a summary of key takeaways and noteworthy quotes.

🔑 Key Takeaways

🧬 1. Sarah’s Background

Sarah has built her career at the intersection of digital transformation and manufacturing. Prior to founding Shimmy, she led an emerging technology group at Autodesk, where she focused on applying 3D modelling in innovative ways across various design and manufacturing sectors. Recognizing that the apparel industry was only just beginning its digital journey, Sarah saw a unique opportunity to bring her expertise into a space ripe for transformation.

🥊 2. Challenges in Industry Adoption

While many brands were already struggling to get their vendors to adopt 3D modelling software, Sarah recognized that the deeper challenge lay in scaling digital literacy among factory workers. Without the skills to operate advanced tools, meaningful adoption would always lag. She also pointed out how the industry’s traditionally slow pace makes it especially difficult to convince decision-makers to invest in new technologies, even when the long-term value is clear.

🏆 3. Winning the 3D Grand Challenge

Sarah and her team entered the challenge with a solution that focused on leveraging existing 3D garment models for workforce training. Their idea was simple yet powerful—if a digital model already exists, why not repurpose it to train workers more efficiently? Shimmy’s approach aimed to make training more cost-effective, adaptable, and scalable, especially in an industry where traditional methods were often manual and inflexible.

📈 4. Shimmy’s Growth & Impact

Shimmy began with early pilots, experimenting with AI-driven and touchscreen-based solutions designed to make training accessible to low-literacy workers. Since those initial trials, the platform has expanded significantly—training nearly 12,000 workers across 25 factories. The impact has been far-reaching: workers have gained promotions, paid off debt, and secured new job opportunities; factories have reported up to a 20% boost in efficiency, delivering major cost savings; and outdated training centres have been able to modernize their methods, helping bridge the digital skills gap across the industry.

🧭 5. Lessons from the Journey

Sarah built Shimmy without the backing of venture capital, instead relying on customer revenue and strategic opportunities for exposure. Competitions like the 3DRC Grand Challenge played a crucial role in establishing early credibility and opening doors to key industry connections. Throughout the journey, Sarah has emphasized the importance of long-term thinking—particularly in industries like apparel, where adoption of new technologies tends to move at a slower pace.

💡 6. Advice for Start-ups & Innovators

For innovators entering the space, Sarah encourages applying to competitions like the 3DRC Grand Challenge, which offer vital visibility and connection to industry decision-makers. She also stresses the importance of being genuinely passionate about the problem you’re solving—because in a slow-moving industry like apparel, lasting change takes time and long-term commitment. Finally, her journey is proof that success doesn’t always require outside funding; by focusing on customer-driven growth, companies can bootstrap their way to meaningful impact.

🗣️ Noteworthy Quotes

🛣️  On the journey:

  • “It’s a difficult go-to-market in this industry. You have a new idea that will save people money, but convincing decision-makers to take that first step is the hardest part.”
  • “We’ve only grown through customer revenue. We’re not venture-backed, and that has shaped our approach to scaling.”
  • “Our work has helped factories achieve 20% efficiency gains and given workers the skills they need for better jobs and promotions.”
  • “It’s been eight years, and this is still the problem I love to think about every day with my team.”
🏆 On the 3DRC Grand Challenge:

  • “The competition was so helpful in the beginning to give me visibility and get in front of the Jami Dunbars and Alexis Kantors of the world to share my perspective on what the industry needs.”

  • “We weren’t venture-backed, so the challenge gave us an opportunity to be seen, to get on stage, and to connect with decision-makers in the industry.”

  • “IEEE is an amazing stamp of credibility. Being recognized by such a respected scientific and technical body helped us gain trust and opened doors for new opportunities.”

  • “The Grand Challenge was invaluable – not just for the exposure, but for the mentorship and the validation that we were onto something real.”

  • “It was a leap of faith to put our thesis in front of that audience, but the response was overwhelmingly receptive. It helped us build relationships that I deeply treasure.”

  • “If you’re considering entering the challenge – do it. It’s a long road to change this industry, and visibility is everything.”

To find out more, connect with Sarah Krasley directly here.

The 2025 Grand Challenge is now LIVE!

The 7th Annual 3DRC Grand Challenge is back with a bold new theme for 2025: harnessing the transformative power of data-driven AI and 3D technology to revolutionize the product development lifecycle.

This year, we invite visionary minds to push the boundaries of innovation and reimagine how retailers and brands discover, design, make, and sell products! 

Want to know more? Click on the image below…

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Editors' PickManufacturingSupply Chain

Is Global Fashion Ready for a Trade Realignment?

by Michael Ratcliffe
written by Michael Ratcliffe

The Bloomberg Economics forecast of trade impacts from proposed US tariffs presents a stark picture of potential disruption, particularly for North American trade partners.

With Mexico and Canada facing potential export declines of 35% and 32% respectively to the US, the ramifications for the fashion industry could be profound. These projections, based on assumed tariffs of 60% on Chinese goods and 20% on other countries, suggest a fundamental reshaping of global trade patterns.

 

Understanding the Extremes

The most optimistic scenario sees a significantly moderated approach to tariff implementation. Under this vision, the Trump administration would likely take a more surgical approach, targeting specific sectors rather than implementing broad-based tariffs. This could involve careful negotiation with key allies, particularly Mexico and Canada, to preserve crucial trading relationships while addressing specific trade concerns. 

A measured approach would allow the fashion industry to adapt through gradual supply chain restructuring, rather than facing sudden disruption.

However, the pessimistic scenario paints a more challenging picture: rapid implementation of full tariffs to fulfill manifesto promises, combined with aggressive retaliation from trading partners, could create immediate and severe disruption across the industry. Without adequate transition periods or exemptions, companies would face immediate pressure to raise prices or absorb significant costs. This scenario would particularly impact smaller fashion brands, which typically lack the resources and flexibility to quickly restructure their supply chains.

The Politics of Trade

Several factors suggest some moderation of the initial tariff proposals is likely. The business community, particularly retail and consumer goods sectors, has significant political influence and has already begun voicing concerns about potential economic impacts. The administration will need to balance campaign promises against practical economic considerations, including the impact on consumer prices and key constituencies. International diplomatic pressure, particularly from allied nations, may also influence the final policy approach.

Industry Impact and Transformation

The fashion industry’s structure makes it particularly vulnerable to trade disruption; fast fashion, with its reliance on rapid global supply chains and thin margins, could face significant challenges. The mid-market segment, already squeezed between premium and value offerings, would struggle to absorb additional costs without losing market share. Small independent labels, lacking both scale and negotiating power, might find the new landscape particularly challenging to navigate.

These pressures could accelerate several transformative trends within the industry. Regional manufacturing hubs would likely gain importance, as companies seek to produce closer to their end markets. 

This shift could drive increased investment in technology, automation and local production capabilities, potentially creating new opportunities in regions previously seen as too costly for manufacturing.

The industry might also see a fundamental shift in how supply chains are structured. 

Rather than the current model of global optimization for cost, companies might move toward regional networks that prioritize flexibility and resilience. This could lead to the development of new collaborative models between suppliers and brands.

Consumer Behavior and Market Evolution

The impact on consumer behavior could be equally significant. Higher prices might accelerate the trend toward quality over quantity, potentially benefiting premium brands that can justify higher price points through superior quality or brand value. The second-hand and rental markets might see accelerated growth as consumers seek alternatives to full-price purchases.

These changes could have interesting implications for sustainability. Regional supply chains would naturally reduce transportation emissions, while pressure to optimize operations could drive improvements in resource efficiency. 

The need to justify higher prices might also accelerate the trend toward more sustainable and transparent production methods.

Looking to the Future

The fashion industry appears to be approaching a transformative period. While tariffs could create significant short-term challenges, they might also accelerate necessary changes in how the industry operates. The shift toward regional supply chains, combined with technological advancement and changing consumer preferences, could create a more sustainable and resilient industry structure.

However, this transformation will not come without costs. The transition period would likely see significant disruption, particularly for smaller players and those heavily dependent on affected trade routes. 

Success in this new environment will require not just operational adaptation but potentially fundamental business model innovation.

The geographic diversity of impact suggested by the Bloomberg data presents both challenges and opportunities. While some regions face significant export declines, others might find new opportunities in the reshaping of global trade patterns. 

Companies that can effectively navigate this changing landscape, building flexible and resilient supply networks while maintaining strong consumer relationships, will be best positioned to thrive.

The immediate challenge for many suppliers will be responding to inevitable pressure from retailers and brands to help offset tariff impacts. This situation will test the real meaning of partnership in industry relationships. The longer-term challenge lies in repositioning global footprints to capture growth in emerging regions while maintaining effective service to traditional markets. 

As the global fashion industry continues to evolve, the ability to balance these competing demands will likely determine which companies emerge as leaders in the new trade landscape.

We’ll be discussing the prospect of tariffs and their impacts on the fashion industry at the PI Apparel Supply Chain Forum in Berlin in December. Do join us – link via the image below!

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Minimizing the need for metal tooling is more sustainable and saves money
AIManufacturingSupply ChainSustainabilityTechnology

Reimagining Footwear Creation – Technology, Mindset & Disrupting the Status Quo

by Michael Ratcliffe
written by Michael Ratcliffe

Get ready to dive into the future of footwear with Nicoline, the driving force behind Footwearology! From early trend forecasting for top sneaker brands to launching a footwear innovation platform that’s shaking up the industry, Nico shares her journey and vision for sustainable, localized, and tech-forward footwear production. Join us as we explore how she’s inspiring brands to rethink everything from design to supply chain. This is a conversation you don’t want to miss!

Hello Nicoline and welcome to Seamless – it’s lovely to be catching up with you today! For those in our community who don’t know you, please tell us a bit about who you are and about your professional history to date.

Thanks for having me! Well, my name is Nicoline – though most people call me Nico – and I’m originally from the Netherlands, though I’ve been based in Barcelona for the past three years. It’s safe to say that I’m a true footwear fanatic! My passion for shoes started when I was younger and worked in retail; I was assigned to the footwear department and something just clicked for me there that shoes were my calling. At the time, there weren’t any formal footwear programmes in the Netherlands, except for traditional shoemaking, which didn’t quite match my interest in machine-driven processes. So, I took matters into my own hands; I studied Apparel Technology & Engineering but focused all my coursework on footwear, eventually inspiring a specialised footwear study track for myself and others with the same interest.

Nico van Enter
Nico van Enter

At the beginning of my career, I dabbled in journalism and always had a love for writing and communication. By chance, I landed in trend forecasting, leading a government-supported institute in the Netherlands. This was in the early 90s, and at that time, sneaker culture was just beginning to rise; I was the first to do trend forecasting for sneakers, which quickly drew the attention of some of the American brands with headquarters in the Netherlands, including Nike, Reebok, and K-Swiss. This led to me establishing my own forecasting company in 2000 and I eventually landed a consulting role with Timberland.

Working with Timberland’s Sustainability and Innovation department was an eye-opening experience. They were pioneers in sustainable footwear, and it was there that I first saw a 3D printer in action back in 2001, which was unheard of at the time. This led to my interest in new technologies, and I began forecasting tech trends and working closely with innovation teams to visualise samples.

From there, I started doing more work in Asia – first in Korea, then Japan, Hong Kong, and China. I found myself increasingly drawn to the manufacturing side of things, which eventually led me to work with companies in developing new production technologies. My first teaching role then came when I was invited to lecture at Hong Kong Polytechnic University; I enjoyed it so much that I eventually shifted more of my focus to education and, later, started my own Master’s program in the Netherlands dedicated to footwear innovation. It was an intensive course across the Netherlands, Italy, and China, and it became well-regarded for preparing students for roles in top companies, including Nike’s Innovation team.

However, the programme faced challenges due to its location in a small town, where there was resistance to the international influx of students. Sadly, after a few years, I decided to close the school and, in 2017, launched what was initially called Footwearists, now rebranded as Footwearology. Though I had planned to move and open a branch in Vietnam, with the COVID travel restrictions in place at the time, Barcelona made more sense. It’s close to several key manufacturing areas, and we received a lot of interest there from companies seeking support to localise production and  to adapt their designs for local manufacturing. So, for now, Barcelona is home, and it’s proven to be an excellent base for me to continue my work!

SLEM - Nico's School in the Netherlands
SLEM - Nico's School in the Netherlands

Quite the journey so far! Can you share a little more with us about what you do at Footwearology?

Yes, of course: Footwearology is an innovation platform, first and foremost. Though many see it solely as a school, training is just one part of what we offer. In fact, around 60% of our work is dedicated to our own R&D and consulting projects, which often operate under NDAs, so they aren’t always publicly visible. This R&D and consulting work forms a significant portion of our business and allows us to drive forward our mission: transforming the entire footwear supply chain from the inside out.

Our core mission is to reimagine footwear production from beginning to end, with a focus on making it more sustainable, localised, and adaptable. 

We aim to shift the model toward on-demand, local-for-local manufacturing with options for customization, and to integrate end-of-life systems into footwear designs from the very start. This approach enables a more circular and responsive supply chain, one that’s ready for the challenges and expectations of the modern consumer.

To achieve this, we work across three main areas: consulting, in-house R&D, and education. Our consulting and R&D projects allow us to develop innovative solutions directly with brands and manufacturers, while our educational programmes focus on professional training. It’s important to note that our education isn’t for students just entering the field; we work exclusively with professionals – those already in the industry or who have completed their studies elsewhere and want to deepen their expertise. Through this combination we aim to help shape the future of footwear in a practical and impactful way.

Course participants working at the Footwearology Lab
Course participants working at the Footwearology Lab

A big and important mission! Given your experience, what have you found to be the 3 biggest barriers the industry stumbles over when it comes to meaningful innovation and sustainable action?

The first barrier is mindset, wherein lies a fundamental misunderstanding. Many in the industry view sustainability as a materials issue, focusing on low-carbon or plant-based materials while keeping the rest of the supply chain the same. But the real issue lies in the supply chain itself. 

For example, companies may produce mushroom-based materials locally, only to ship them to Asia for production, which largely offsets any sustainability gains. 

True innovation would involve rethinking the entire supply chain, end to end.

The second barrier is the industry’s obsession with “newness”. When companies ask me about the most sustainable material, my answer is always the same: it’s the material you already have. Many brands are so focused on creating new designs each season that they overlook the potential in existing materials and resources. A powerful example of this is a sustainability training I conducted with PVH, where I challenged the designers to create a collection without opening any new molds. They discovered they could achieve a fresh look by simply adjusting colours and uppers, resulting in significant cost savings and a lower environmental impact. 

This shift away from constantly creating “new” requires a change in how brands think about design and innovation, allowing them to channel saved resources into sustainable materials instead of new tooling.

The third barrier is around durability expectations and the disconnect with a product’s actual lifespan. Often, new bio-based or biodegradable materials face scrutiny because they don’t meet traditional durability specs, like lasting for a decade or being 100% waterproof. But many fashion products are discarded within a year, so demanding that sustainable materials meet these specs is often counterproductive. For example, natural latex may degrade after a few years, which is actually a benefit – it’s compostable. But we need to change the narrative around these materials, especially with investors and consumers, to align expectations with realistic usage durations rather than forcing products to last far longer than their intended lifespan.

And I know you only asked for 3, but here’s a 4th for fun: the biggest hurdle is the industry’s outdated business model. Everything is set up for large-scale production, primarily in Asia, where products are made in bulk and sold from stock. This model doesn’t work if we want to avoid overproduction and embrace on-demand manufacturing. Technologies like 3D printing and knitting are ready to support on-demand production, but the infrastructure for retail and distribution is not there yet. 

Without a shift in the business model toward on-demand and local production, even the most advanced sustainable technologies will struggle to gain traction. Sadly, too many big players are invested in the status quo, making this a challenging change to drive across the industry.

Video: Nike embracing 3D printing with Zellerfeld

Flipping that question on its head, what are 3 ‘low-hanging fruit’ actions a Brand could take NOW to become more responsible in the short-term?

The first is to establish a policy change within the design process. Surprisingly, many brands don’t have a mandate requiring designers to first evaluate existing resources – whether that’s tooling, lasts, or molds—before creating something entirely new. 

Making it standard practice to check if existing assets can be repurposed is a simple procedural shift, but it can have a huge impact on reducing waste and saving costs.

Second, brands can adopt modular tooling. In footwear, tooling, especially for soles, is a major investment both financially and environmentally. A modular approach – designing molds that can be adapted to create multiple sole variations – allows brands to get more creative use out of a single mold. Imagine having a mold that can be rearranged to produce several distinct sole designs simply by changing colours or minor elements. This approach extends the lifespan of tooling, enabling brands to create diverse collections from a single mold and reduce their environmental impact significantly.

Lastly, diversifying production locations is a practical move not only for sustainability but also for risk mitigation. For example, if another pandemic or a geopolitical issue disrupts supply chains, brands that have established production options closer to home will be in a better position. However, this shift also requires a mindset change in design; products meant for local production need to be adapted for those conditions to remain cost-effective. When brands attempted to move production from Asia to Portugal during COVID, for example, they often found the original designs weren’t optimised for the higher labour costs in Europe. So, designing with local manufacturing in mind – streamlining to minimise labour-intensive steps – is key to making this a viable option.

These three steps, I believe, are low-hanging fruit that can make a significant impact on a brand’s sustainability and resilience.

Minimizing the need for metal tooling is more sustainable and saves money
Minimizing the need for metal tooling is more sustainable and saves money

We love a bit of practical advice here at Seamless – I hope the readers are taking note. You are always vocal about the need to push boundaries in design and manufacturing – what are some of the most boundary-pushing projects you’ve been a part of?

There are a couple of standout projects that come to mind that truly embody innovation in design and manufacturing.

One of the most exciting projects I’ve worked on is with a company called ‘What the Future’, based in Amsterdam. They’ve developed a groundbreaking machine that combines 3D printing and vacuum technology to create a unique molding process. On top of that, they specialise in natural rubber chemistry, creating new plant-based compounds that make fully sustainable, locally-produced footwear possible. Together with them and a company called SYOU, we developed a sandal that can be manufactured entirely in Amsterdam. This project represents a major leap forward in sustainable, local production, but it’s also a reminder of the time and dedication these innovations require. We started collaborating on this in 2016, and developing a new process from scratch can take years to refine. 

That being said, it’s important to remember that it took a century to optimise traditional molding, so a decade to perfect a new technology isn’t surprising.

Another boundary-pushing project I’m deeply invested in is NEFFAs Mycotex technology, a personal initiative. With Mycotex, we’re creating 3D objects entirely from bio fabricated materials – think mushrooms, algae, and collagen – all produced through a robotic system. This method allows for fully 3D, seamless, natural products that require no traditional assembly, fundamentally disrupting the supply chain in the best way. It’s incredibly rewarding to see a project that reimagines the entire manufacturing process with sustainability at its core.

These two projects are not only technologically advanced but also signal a shift toward more responsible, localised, and sustainable manufacturing practices, which, as I’ve mentioned, I believe are essential for a more responsible future for our industry.

Video: The sandals fully made in Amsterdam for SYOU with 3DTI technology

We’ve touched upon this a little, but I’d love to know which technologies you think have the most immediate potential to better the footwear value chain? And on the flip side, which you’re less enthusiastic about, and why?

This is an exciting time for technology in the fashion industry, and I see several innovations with immediate potential to improve the fashion value chain. At the top of the list is AI, which has massive potential but also comes with significant risks. AI, if leveraged correctly, could connect multiple data streams – from foot scans and consumer preferences to supply chain data and material inventories. This level of connectivity would enable brands to better understand customer needs, optimise fit, and make smarter, more sustainable decisions based on real-time data. 

However, there’s also a danger with AI being used to push fast-fashion models further, speeding up production without necessarily addressing the underlying sustainability issues. Simply generating designs and producing them quickly doesn’t solve the larger problems; in fact, it may exacerbate them.

Another promising area is automated manufacturing with liquid materials, especially in footwear. We’re seeing exciting developments with thermoplastic polyurethane (TPU), which can be extruded into different forms – yarns, filaments, and liquid compounds for injection. Machines that can handle various forms of these materials could open up endless design possibilities while also supporting recyclability and reducing waste. Projects like Neri Oxman’s PHA shoes, which use extrusion to create both the yarn and outer shell, show just how powerful this approach can be. 

Liquid materials and automation, when combined, could reshape manufacturing and allow for more flexible, localised production.

On the other hand, one of my biggest concerns with these technologies is the impact of patenting. Larger companies are patenting methods broadly, often without using them, effectively blocking others from innovating. For example, companies are patenting processes like direct 3D printing on textiles or socks, which limits access for other creators and stifles progress. The power of large corporations to control entire manufacturing methods through patents is a serious barrier to innovation. If this continues, we risk limiting the creative potential of new technologies, especially in areas like automated manufacturing with liquid materials.

Ultimately, I believe the true potential of these technologies will only be realised if we can create a more open, collaborative landscape where innovations aren’t monopolised. 

To move forward, the industry must adopt intelligent systems and automation responsibly, focusing on true sustainability and inclusivity rather than just speed and scale.

Video: The Oᵒ PHA shoes by Neri Oxman

Well said! Do you think that since COVID restrictions were lifted, investments in innovation and digital initiatives have seen a decline?

Ah – sadly, yes! But look, it’s a pattern we’ve seen before; when financial pressures hit – whether from a recession, inflation, or post-pandemic recovery – companies often view innovation as an extra rather than essential. Many firms, particularly outside the largest players, don’t even have dedicated innovation departments. Often, innovation or sustainability is left to a single person, which makes it difficult to drive meaningful change, especially when budget cuts hit.

The unfortunate reality is that many companies only prioritise innovation under extreme circumstances, like legislative pressure or a disaster. 

We’re seeing this play out now in Europe, where regulations like Extended Producer Responsibility (EPR) are pushing companies toward more sustainable practices. But without that kind of external push, companies tend to revert to business as usual, as we’ve seen historically. I’m not optimistic that the majority will pursue innovation unless it’s absolutely necessary.

However, I do think there’s potential for innovation from outside the traditional industry players. Tech giants like Amazon, or Alphabet, with their financial resources and access to data, could potentially bring fresh innovation to fashion, particularly in digital and data-driven areas. 

Additionally, manufacturers and machinery companies are showing promising signs of innovation. Companies like DESMA, a major player in footwear molding machines, have been exploring how to enable more localised production. For them, it’s about expanding their market and building resilience; they suffered alongside brands during the pandemic due to lower machine sales, and they now see the strategic benefit of localising production.

In my view, the most impactful innovation will likely come from collaborations between material suppliers, software developers, polymer specialists, and machine builders. 

These players hold the keys to developing technologies that could transform manufacturing, enabling local, efficient, and sustainable production. So, while yes, it might be that traditional brands are pulling back, there’s still exciting innovation happening among those with the tools to truly reshape the industry.

Video: New molding technologies, like What the Future´s 3DTI, make tooling faster, cheaper and circular

We’ve talked a lot about the need to change up business models and I wanted to get your views on what Shein is doing. They get a lot of grief for the way they operate, but I see there being a lot others could learn from them also. What’s your take?

I’m wearing a Shein top as we speak – haha! Look, I have mixed feelings about Shein’s approach. On the one hand, I understand why they receive criticism, and in many ways, I share those concerns. The low prices they offer make it nearly impossible to prioritise durability, non-toxic materials, or ethical production standards. However, as a consumer myself, I also see why people turn to them. Personally, being tall and curvier, I often struggle to find trendy, streetwear-inspired clothing that suits my style from sustainable brands. I’d happily pay more for higher quality and better-made options, but those choices just aren’t widely available in sustainable fashion.

One thing Shein does exceptionally well, which other brands could learn from, is their use of data. They understand what consumers want in real-time, analysing buying patterns to fine-tune product offerings. 

They also recognize that fashion isn’t just for younger demographics – people of all ages want access to modern, stylish clothing. I think this insight is particularly strong, especially when so many brands still cater to narrow ideas of what consumers of different ages should wear.

Another smart move they make is producing smaller runs and then scaling up based on demand. This approach minimises overproduction and waste, something that would benefit many other companies if applied thoughtfully. 

Their model of iterating based on immediate consumer feedback is incredibly responsive and could help reduce the industry’s overall waste if adapted responsibly.

But as I said, where I think Shein falls short is in their insistence on ultra-low pricing. This pricing structure fundamentally limits their ability to produce responsibly. If they were to invest in better materials, ethical labour practices, and sustainable production methods, I think they could keep their innovative business model and truly lead the way in the industry. In fact, if Shein approached me to help them improve their practices, I’d be open to it – there’s a lot of potential in their model if they’re willing to make some changes.

Ultimately, while Shein’s model raises concerns, it also highlights gaps in the market. Their data-driven insights, responsive production, and broad consumer appeal are things the industry could learn from, but only if paired with a commitment to ethical and sustainable standards. In the right hands, this model could actually drive meaningful change.

Full 3D Upper Made in Mycotex
Full 3D Upper Made in Mycotex
The Mycotex uppers can be glued to a sole
The Mycotex uppers can be glued to a sole

As you’ve said is the case with AI, there is a lot of powerful and sustainable potential there, it just needs to be deployed responsibly – thanks for your take! I recall at a past PI Apparel event, you coined the phrase ‘produtainment’ which has always stuck with me. Can you elaborate on what you meant by this and is this still a focus for you?

I’m glad I made a lasting impression! The concept of “produtainment” has actually evolved for me over time. I first discussed it in Hong Kong, drawing on an idea introduced by Christian Decker, the CEO of Desma. He and I have always had an ongoing debate about what produtainment should mean. For him, the concept was about making production visible and engaging in-store – essentially bringing the factory floor to the consumer. But I always felt there was more to it. Simply watching a product being made might intrigue consumers once, but over time, they may find it less impressive, especially if they realise the process is highly automated and quick.

One example is the Yeezy 450, a shoe that takes only 16 minutes to make from start to finish but retailed at $200+. While seeing a rapid production process might fascinate a consumer the first time, it may raise questions later about the product’s value and the labour that goes into it.

Time and value are inherently linked in consumers’ minds, so it’s essential to add entertainment elements to enhance that experience.

This could mean adding storytelling, design customization, or interactive elements, rather than just showcasing the raw production process.

I’ve recently seen the produtainment concept applied in interesting ways, like ON’s live spray-painting installation for their shoes. While this is exciting and innovative right now, it could easily lose its appeal once the novelty wears off. Long-term, I believe we need to look beyond in-store manufacturing and explore how to make local factories engaging, attractive workplaces. For example, I once visited Variant 3D’s knitting factory located on a beautiful ranch in Malibu. Imagine how appealing such a setting could be for potential workers, offering an inspiring environment while maintaining the functional aspects of manufacturing. If we want people to embrace local manufacturing jobs, these places need to be inviting and dynamic spaces.

I also think produtainment has untapped potential in the entertainment industry. We’re only just beginning to explore how media channels like YouTube, TikTok, and Netflix can promote, educate, and even directly sell products. In the future, I can see a much deeper connection between local manufacturing and entertainment, creating unique consumer experiences that blend production, storytelling, and retail.

In retail specifically, there’s still so much room for improvement in making the shopping experience more engaging. For instance, I believe robot arms used for in-store production could be programmed to perform multiple roles – like, I don’t know, building a shoe one minute and playing a tune the next – creating a more captivating atmosphere. If we want physical retail to compete with online shopping, we need to offer consumers something truly memorable and immersive rather than just a basic display of the manufacturing process.

Ultimately, produtainment is about making production processes more interactive and enjoyable for consumers and workers alike, whether that’s through local manufacturing or transforming retail spaces into engaging experiences.

Vans' Customization Tool
Vans' Customization Tool

As an avid brick and mortar shopper myself, I’m a big fan of introducing more in-store experiences; I find the whole thing feels like a chore a lot of the time. I remember you also talking a lot about customization; do you see that still being as popular now as it was maybe 5+ years ago?

I think there’s a lot more nuance to customisation than many brands realise; I’d love to see some solid research in this area. We often assume that customised products lead to greater attachment, and therefore, people keep them longer. But we don’t actually have strong data to support that. Plus, the type of customization on offer matters a lot. Many companies seem to approach it in a very limited way, assuming that true customization requires direct interaction with the consumer, like letting them design or personalise the product themselves.

In my view, it doesn’t need to be so literal. I see a lot of potential in what I’d call “generative customization” or “each-one-unique” design. For instance, Nutella’s campaign where every jar had a different label is a brilliant example – it added individuality without requiring consumers to customise anything themselves. At Footwearology, we tried something similar by creating a unique booklet for each event visitor using AI-generated suggestions. Similarly, luxury brands could offer slightly varied design elements within a product line, so each item feels unique without deviating from the brand’s core aesthetic. Imagine a classic Gucci loafer where each pair has a subtly different metal accent – consumers love the idea of exclusivity, especially in luxury, but they still want that recognisable brand look.

Another great example is from Vans, which I remember speaking to Safir Bellali about at one of the PI Apparel events years ago. Vans allowed customers to print anything they wanted on their shoes, and they quickly discovered that personalization often just meant adding images of pets, partners, or personal slogans. This kind of customization felt more like a gimmick, and it lacked the cohesive brand style. Vans later refined their approach by curating options, allowing consumers to adjust elements like colour within a specific palette. This ensured that the final product still looked polished and true to the Vans brand, but gave customers the satisfaction of making it their own.

I think that’s the direction brands should be moving in – offering curated customization that gives consumers a sense of ownership while maintaining brand integrity. 

Most consumers aren’t looking to design from scratch; they simply want something that feels unique to them without all the hassle. I also see promising potential for customization when it comes to fit, especially as we collect more data on sizing and body types. However, we’ll need more than just a foot scan to get it right. There’s a lot of room to explore this further, but it’s clear that customization should be more about making products feel personal and tailored rather than asking consumers to do the heavy lifting themselves.

Sadly, we are out of time so I’ll end with this: I am so excited to be attending your Footwearise 2024 event in Barcelona in December. Can you tell our audience a bit more about what you have planned?

Absolutely – this event has quickly become a significant milestone for us at Footwearology. We initially started it last year with a focus on 3D printing for footwear, but the demand and interest grew so rapidly that we expanded it to cover a wide range of forward-thinking technologies across the industry. It was clear that there was a real need for an event dedicated to new innovations and technologies that traditional trade shows weren’t covering – particularly in Europe, where existing shows often overlook areas like advanced printing, digital knitting, and sustainable material sciences. Our inaugural event was a huge success, selling out with over 300 attendees, and this year we’re excited to grow even further.

Footwearise 2024 aligns closely with our mission to revolutionise the footwear supply chain from end to end. This year’s event will feature experts across the entire lifecycle, including automation, material innovation, and end-of-life solutions. We’re thrilled to host a dynamic mix of companies – both well-known brands, as well as high-tech startups and independent designers. 

What makes Footwearise unique is its focus on community and collaboration. 

This isn’t a traditional trade show where people hand out brochures in stark, white booths. Our setup is much more vibrant and open, designed to encourage real conversations and connections.

A key aspect of Footwearise is our daily networking sessions, where we pause the exhibitions and encourage everyone to step up and connect. This setup fosters valuable interactions not just between exhibitors and visitors, but also among exhibitors themselves. Many of the partnerships that emerged last year, such as the Future Footwear Department project, were born from these interactions. That’s exactly what we aim to facilitate: an environment where attendees can spark new collaborations, share insights, and explore potential partnerships that extend far beyond the event.

At Footwearise, our focus isn’t on sheer visitor numbers, but rather on the quality of connections made and the long-term results. We actively introduce attendees, knowing their backgrounds and needs, and work to help people find those perfect connections. Our goal is to accelerate innovation, creating an atmosphere that encourages genuine collaboration and tangible results. By the end of the event, we want to see relationships forming that will lead to meaningful projects and advancements in the industry.

It’s incredibly fulfilling to see Footwearise evolve into a place where ideas come to life and real change is set in motion. I can’t wait to see what this year’s event brings, and we’re excited to welcome everyone who’s joining us in Barcelona! Tickets are still available too, so if you fancy a trip to Spain in December, come along!

Thank you so much for your time today Nico and I look forward to catching up with you in Barcelona in a couple of weeks! For our readers, Nico will be attending and presenting at our inaugural Footwear event, Stride 2025, in Portland next year, about which you can find more information via the image link below 🙂

Stride - 11-12 March 2025

Have any questions or comments? Pop them in the comments section below and we’ll come back to you!

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Fashion Supply Chain in 2024
Supply Chain

13 Supply Change Challenges for 2024

by Editor
written by Editor

As the world strides towards 2024, the fashion supply chain unfurls a tapestry of challenges, each with its own complexities and opportunities. While not unique to now, here are the 13 supply chain challenges that we feel are most pressing for a fashion industry in flux:

1. A Paradigm Shift Towards Sustainability and Ethical Production

Have we hear this before? Absolutely, but sustainability isn’t just a buzzword; it’s a clarion call for the fashion industry. The pressure mounts for brands to demonstrate a commitment to ethical production, from the harvesting of raw materials to labour practices. Yet, achieving sustainability comes at a price, often at odds with the traditional business model that prioritizes cost efficiency. To transition effectively, the fashion industry must innovate, finding new materials and processes that satisfy both ecological and economic demands. (See From Overproduction to Optimization: Fashion’s Tech-Driven Transformation)

2. The Crystal Clear Demand for Supply Chain Transparency

Modern consumers are not just shoppers; they’re conscious citizens who increasingly are demanding visibility into the product journey. Transparency has thus become a non-negotiable aspect of the fashion business model. Brands are expected to disclose their supply chains, from the sourcing of raw materials to the manufacturing of the final product, often in real-time. However, achieving such transparency requires robust traceability systems and can significantly impact operations and cost structures.

3. The Fickle Nature of Consumer Behaviour

Consumer preferences are as changeable as the seasons, and the fashion supply chain must be just as dynamic. The shift towards e-commerce and the preference for comfort wear during the pandemic necessitates an agile response from retailers. Brands must forecast trends accurately and adapt their supply chains to meet these evolving demands, balancing inventory to avoid obsolescence and waste.

4. The Digital Fabric of the Future: Technological Integration

AI, IoT, and blockchain are no longer futuristic concepts but necessities for a responsive supply chain. These technologies offer predictive analytics for trend forecasting, real-time inventory management, and secure tracking of goods. The challenge lies in the implementation—upgrading systems, retraining staff, and the initial investment can be substantial hurdles for established players and newcomers alike.

5. Crafting Resilience Amidst Risks

The vulnerability of global supply chains was laid bare by the COVID-19 pandemic. Political tensions and economic instabilities add to this fragility. Building a resilient supply chain now requires diversification of sourcing and manufacturing bases, as well as inventory and distribution strategies to manage these risks effectively.

6. The Quick and the Timeless: Fast Fashion vs. Slow Fashion

The fast fashion model is under scrutiny for its environmental impact, giving rise to the slow fashion movement which emphasizes quality and sustainability. The dichotomy here is between consumer demand for the latest trends at breakneck speed and the call for durable, timeless pieces that reduce fashion’s ecological footprint.

7. The Rollercoaster of Cost Volatility

Fluctuating costs for materials and logistics are a perennial challenge. Economic unpredictability affects pricing strategies and can squeeze margins to the breaking point. Brands must be nimble, adjusting pricing, sourcing, and even product offerings to remain viable.

8. The Labyrinth of Regulatory Compliance

Compliance with international labour laws, import/export restrictions, and environmental regulations presents a complex web for fashion companies to navigate. With each country presenting its own set of rules, compliance can be an expensive and time-consuming affair. (See Digital Product Passport (DPP) – What is it and what does it mean for the fashion industry?)

9. The Global vs. Local Debate

While global sourcing can lead to cost savings, there’s a burgeoning trend toward local production to reduce lead times, increase supply chain agility and ensure greater certainty. This shift could result in a more balanced approach, blending global sourcing for cost-effectiveness with local manufacturing for speed and flexibility.

10. The Hunt for Skilled Artisans in a Digital Age

As technology and sustainability reshape the industry, a new skill set is in demand. Finding talent that can navigate the latest digital tools and understand sustainable practices is critical. This requires significant investment in training and education within the industry. (Apply to attend the HR in Fashion Forum in Palm Springs if this is an area of interest)

11. The Digital Transformation Imperative

The rise of e-commerce necessitates an effective digital supply chain. Data analytics must be harnessed for accurate demand forecasting and inventory management, creating a seamless transition from the digital cart to the physical doorstep.

12. The Waste Not, Want Not Philosophy

Overproduction is fashion’s Achilles’ heel, leading to significant waste. On-demand manufacturing and leaner inventory models can help address this excess, but they require a rethinking of traditional production cycles and demand planning strategies.

13. The Shadow of Inflation and Economic Uncertainty

While inflation – at time of writing – has come down in most Western economies, it’s still higher than most finance ministers would like, and the threat of an economic downturn remains real, which would in turn lead to reduced consumer spending. Fashion brands must navigate these economic headwinds with care, balancing cost pressures with the need to invest in new technologies and sustainability initiatives.

Despite the challenges, there are reasons for optimism. Technological advancements offer unprecedented opportunities for efficiency and insight. Furthermore, the rise of the slow fashion movement suggests a growing market for sustainable products, which could drive innovation and new business models.

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Stanley Szeto, Lever Style @ PI Apparel Hong Kong
Supply Chain

Proven by Zara and now Shein: Speed and Versatility Trump Cost

by Editor
written by Editor

In this talk, recorded at PI Apparel Hong Kong, Stanley Szeto, Executive Chairman of Lever Style Inc., shares his insights on the paramount importance of speed and versatility over cost in today’s apparel industry. Here are key highlights from his talk:

  1. He introduces Lever Style as a one-stop apparel supply chain platform, emphasizing its role in offering flexibility in terms of lead times and order sizes rather than competing on the lowest labor costs. This approach aims to help brands reduce inventory risk, showcasing a shift from traditional cost-saving measures to a more dynamic, responsive strategy.
  2. Stanley highlights Lever Style’s evolution from a shirt manufacturing company in 1956 to a modern, asset-light supply chain platform. The company’s strategic shifts, including horizontal integration and expansion beyond China, illustrate its adaptation to the changing landscape of apparel manufacturing and distribution.
  3. The talk underscores Lever Style’s collaboration with premium fashion labels and digitally native brands, stressing the significance of speed and flexibility in catering to the needs of a diverse clientele. Examples include working with Stitch Fix on a private label program that leverages quick response to consumer demand, significantly reducing inventory risk.
  4. Stanley explains Lever Style’s ability to manage high mix, low volume production, which is crucial for brands seeking to offer a wide array of SKUs and sizes without the burden of excessive inventory. This capability enables brands like Bonobos and Third Love to offer extensive sizing options, enhancing customer satisfaction through better fit and variety.
  5. The presentation delves into the financial and operational benefits of prioritizing speed and versatility, including minimizing stockouts and working capital needs. Szeto uses comparative analyses to demonstrate how this approach can lead to higher gross margins and profitability, contrasting traditional models that rely heavily on deep discounting to clear excess inventory.
  6. Lever Style’s success and the broader industry implications are discussed through comparisons with companies like Gap and Zara. Szeto points out the stark differences in market capitalization and efficiency, attributing Zara’s success to its fast-fashion model that emphasizes quick turnaround times and responsiveness to market trends.
  7. Finally, Stanley touches on the challenges and opportunities presented by companies like Shein, which have taken the principles of speed and versatility to new heights. He acknowledges the controversies surrounding such models but advocates for the adoption of their efficient supply chain practices, tailored to support sustainable, quality-focused brands.

The session illustrates the shifting priorities in the apparel industry, where speed, flexibility, and responsiveness to consumer demand are increasingly becoming key determinants of success.

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Supply Chain

UFLPA and a new Era of Forced Labor Enforcement

by Editor
written by Editor

In this session, recorded at PI Apparel’s Supply Chain Forum in New York in 2022, we hear from Amanda Levitt, Partner at Sandler, Travis & Rosenberg, where she talks about the Uyghur Forced Labor Prevention Act and its implications for the industry.

The newly effective Uyghur Forced Labor Prevention Act (UFLPA) is extensive in breadth and establishes a rebuttable presumption that the import of any goods, wholly or in part, from the Xinjiang Uyghur Autonomous Region (XUAR) of China are prohibited from entry into the United States.

There is no de minimis requirement in these restrictions – if a single thread of rayon from XUAR makes its way into the lining of a jacket, for example, that finished product will not be allowed into the United States.

As we have seen an unprecedented amount of detentions by CBP in recent years under Withhold Release Orders (WROs) and the UFLPA, it is prudent for any company with a global supply chain to deepen their visibility into their supply chain and enact supply chain controls to minimize risk of detention or non-compliance with U.S. forced labor laws.

This discussion walks through the legal authority and best practices for companies to consider in this new era of Forced Labor Enforcement.

Topics discussed include:

  1. An Overview of the Uyghur Forced Labor Prevention Act (UFLPA): the newly effective UFLPA, beginning with general U.S. forced labor laws and then diving into the specifics of the UFLPA and its processes.
  2. Historical Context and Enforcement Mechanisms: Amanda explains that U.S. forced labor laws, in place since the 1930s, prohibit imports made with forced, convict, or indentured labor. She discusses the primary enforcement tool used by Customs, the Withhold Release Order (WRO), and how it has been increasingly applied since 2016, especially concerning the genocide in Xinjiang.
  3. Scope and Impact of the UFLPA: The UFLPA, effective June 21st, presumes that goods made in whole or in part from the Xinjiang region of China or by listed entities are made with forced labor. This presumption affects a wide range of commodities, emphasizing the significant scale of Xinjiang in global supply chains, especially for apparel.
  4. Compliance Strategies and Best Practices: She advises companies on compliance strategies, emphasizing the importance of gaining visibility into their supply chains. She suggests mapping the entire supply chain, maintaining a thorough document trail, and securing attestations from manufacturers that goods were made without forced labor or materials from Xinjiang.
  5. Detention Notices and Exclusion Notices: Explaining the practical aspects, she describes how detention notices are issued by Customs and how companies can respond. She highlights the importance of providing detailed documentation to rebut the presumption of forced labor and discusses the process and implications of receiving an exclusion notice.
  6. Global Enforcement Trends and Future Outlook: She mentions that U.S. Customs is receiving increased funding for forced labor enforcement and anticipates more stringent enforcement in the future. She also notes that forced labor is becoming a global focus, with the European Union proposing similar import bans.
  7. Recommendations for Companies: To prepare for heightened enforcement, she suggests companies should know their suppliers thoroughly, conduct risk assessments, update their terms and conditions with suppliers, and ensure their import documents are comprehensive and transparent.

A full transcript of this session can be found here.

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GAP Inc - PI Apparel SCF 2022
Supply Chain

How the Apparel Supply Chain is Evolving

by Editor
written by Editor

In this session, recorded at the PI Apparel Supply Chain Forum in New York in 2022, Alex Thomas, the VP Global Quality at GAP shares his perspective on the supply chain disruption experienced in the last few years, what this means for GAP and what the future holds.

  1. Global Presence and Brand Portfolio: Alex Thomas introduces Gap Inc. as a $16 billion holding umbrella with four key brands: Old Navy, Gap, Banana Republic, and Athleta. These brands collectively serve over 55 million customers across Asia, Europe, and the US.
  2. Massive Scale of Production and Supply Chain: He outlines the vast scale of Gap Inc.’s operations, including producing 156 million tees, 73 million denim bottoms, and sourcing from 25 countries annually. This highlights the extensive global supply chain and production capabilities of the company.
  3. Supply Chain Challenges and Adaptations: Thomas discusses the significant disruptions faced in recent years, such as factory and port disruptions, geopolitical trade factors, and fluctuating raw material costs. He emphasizes the need for agility and resilience in the supply chain, including strategies like regionalization and vertical integration.
  4. Shift to Omnichannel and Sustainability Focus: The presentation covers the shift towards omnichannel retail in response to the pandemic and consumer trends, as well as the importance of sustainability, transparency, and customer centricity in their operations.
  5. Leveraging Industry 4.0 and Predictive Analytics: Alex highlights Gap Inc.’s focus on leveraging Industry 4.0 technologies and predictive analytics to improve efficiency and decision-making in their supply chain.
  6. Voice of the Customer and Continuous Improvement: He emphasizes the importance of customer feedback in shaping product development and continuous improvement, using specific examples of how customer data influences changes in product design and quality.
  7. Company Culture and Future Direction: The talk concludes with insights into Gap Inc.’s company culture, focusing on innovation, agility, sustainability, and the importance of partnerships in the supply chain. Thomas also discusses the future direction of the industry, with an emphasis on technological advancements and digital transformation.

A full transcript of this session can be found here.

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