Kingpins: networking under a blue-grey cloud

The fashion industry is facing challenges. Geopolitical tensions are creating obstacles that initially affect suppliers and ultimately impact brands. This situation also applies to the denim sector. Designers, business developers, R&D experts and even salespeople, who are expected to maintain a positive outlook, confirm this. Nevertheless, the spring edition of the Kingpins denim trade show in Halfweg is filled with happy denim enthusiasts dressed head to toe in blue. Their outfits are carefully considered, serving as a business card at the event. Kingpins is the place where professionals meet twice a year to celebrate and advance their favourite topic: denim. This includes raw and extravagant styles, commercial pieces and museum-worthy creations.

Strange atmosphere

The same strange atmosphere found at other major fashion trade shows and on LinkedIn prevails at Kingpins. Following import tariffs, the US further compromised supply chains by engaging in a conflict with Iran. The situation escalated this week when the US, following Iran's lead, began actively blocking the crucial sea route along the Strait of Hormuz. Consequently, almost no ships sailing to or from Iran can pass through.

Not everyone at the trade show is willing to be candid about the consequences of the conflict in the Middle East. In conversations with FashionUnited, salespeople predict a swift recovery that will usher in a new era of innovation for denim. The diverse offerings on the trade show floor seem to support this. However, conversations reveal an underlying sense of unease.

Uncertainty

Alberto De Conti, who works in business development at Officina39, identifies the core issue: “It is obvious that the geopolitical situation is not helping. It is becoming exhausting when you consider we first had the pandemic with its financial consequences, and now this conflict. Companies are constantly firefighting, which includes making strategic production changes. This distracts from the core business.”

He believes general uncertainty is the main culprit. “You can anticipate bad news with a plan B, but without a clear outlook for the near future, planning becomes impossible and paralysis sets in.”

The conflict in the Persian Gulf is already beginning to affect Officina39, De Conti admits, as part of the chemical supplier's production is based near Dubai. No new deliveries can be made there, so production has been temporarily halted. “For now, we have to move everything back to Italy. Hopefully, this situation will not last much longer.” Freelance denim designer Sina Steidinger also senses this uncertainty in the tense atmosphere at the trade show. “There is a lot of discussion about what lies ahead, and the outlook is not positive. People are particularly concerned about the financial repercussions.” According to Steidinger, the industry is consequently playing it safe. “Many brands are no longer willing to take risks. In terms of design, they are opting for a copy-paste approach.”

She hears nothing about sustainability, a buzzword that has dominated the trade show for years, not even during the trend forecasts on the main stage. “I find that sad. Ten years ago, everyone said sustainability was a trend, whereas I believed it was the future. Perhaps they were right after all.” Kingpins is also a social event, a place for people to connect. Designer Maria Gunnarsson senses this conviviality despite the underlying panic: “I feel good and am particularly enjoying the social aspect. Since I do not have to present anything myself this time, I have plenty of time to see friends and find new inspiration.”

Rigid becomes drapey

Despite the unrest, suppliers continue to innovate. There are several new catwalk trends that need to be addressed. Tensions exist between these trends, each demanding unique interpretations. Currently, this is seen in the rise of raw Japanese denim versus the Y2K look from the noughties. The latter trend requires extreme fabric transformations, such as flocking for a velvety texture or mud washes for a weathered look.

What are retailers looking for? “Three years ago, jeans were made from performance denim, which are stretch fabrics,” explains Carolina Wilches from fibre producer Naia. “Now, denim is returning to its original form: rigid, Japanese cotton denim.” Wilches describes dry denim as an intermediate stage. She sees fashion already moving towards what she calls 'drapey qualities', which are fluid silhouettes far removed from classic, stiff jeans. These variations require less elastane. Working with natural blends of linen or more sustainable viscose also makes the fabric easier to recycle.

For denim blouses, Wilches sees another trend emerging: 'fake denim', a fabric with a silky sheen that resembles viscose. In terms of finishes, customer demand is insatiable. The sourcing expert receives many requests for custom treatments, such as painting techniques and laser prints. Florals and the 'splatter' paint look have also made a comeback.

Vintage look 2.0

At Isko, one of the larger Turkish fabric producers, the Y2K look is seen to be maturing. A heavy stonewash was sufficient in previous seasons. Now, brands are requesting that the worn-in look be recreated with more technical detail. This can only be achieved with a good 'rope dye', explains R&D expert Asli Can. This dyeing technique keeps the core of the yarn white. Through wear or artificial treatments like a stonewash, the white core is exposed. This creates the sharp contrast that is particularly sought after by young consumers. In addition to the white core, Isko is now using brown base tones beneath the indigo dye. During the washing process, these layers wear away. This allows the underlayer to show through the blue, creating a different kind of faux-vintage look.

'Ring slubs' also contribute to this look. These are yarns with thick and thin white worn spots that create a grainy effect. However, an authentic vintage look remains difficult to replicate. Can believes brands must consider the significant growth of the vintage market. “We see many well-worn styles in fashion, such as old Levi's and Wrangler pieces. The best examples develop character over the years. Simply wearing raw denim creates a natural high-and-low contrast. A naturally worn garment has its own unique quality.”

Movement in the fabric

According to Can, after a period of ‘clean’ denim, there is now ‘movement’ in the fabric's texture. De Conti also demonstrates this at Officina39. Among the new finishes is a laser print using red paint that can be precisely burned onto the fabric. The excess washes away during the cleaning process.

Chemicals can also be used to alter the fabric's handfeel. De Conti highlights two contrasting approaches. Treatments with gels result in a smooth, classic Californian denim look. In contrast, using powders gives the fabric a stiff, lived-in texture.

He adds that not all brands are open to such innovations. Designers refer to his showroom as a ‘candy shop’. However, translating these ideas into commercial projects remains a challenge. De Conti sighs, “When I look in stores, I see very little innovation in aesthetics.”

When large innovation budgets are put on hold, the focus shifts to details. This includes bucklebacks, which are waist-cinching buckles on the back of jeans that replace a leather belt. Steidinger makes an interesting observation about pockets. They are becoming larger and more prominent. She believes that standard pocket sizes no longer suit the new, baggy silhouette.

Art

The future has to be bright; trade shows like Kingpins are designed with this in mind. To provide inspiration, art projects are set up to offer some reassurance to visitors. For example, on the top floor, there is a workshop for the denim community. Here, attendees can create a self-portrait from fabric scraps and pin it to a notice board to affirm their membership.

In the corridor leading to the white hall, creative looks inspired by artists from participating mills are on display. Sharabati paid homage to Pablo Picasso with a heavily treated, loose-fit outfit sprayed with vibrant colours. The fabric composition includes regenerative cotton and hemp. Artistic Fabric Mills chose Banksy as its muse. Their look features shades of grey, with a bomber jacket paired with a print of the brick walls synonymous with his work.

Archive pieces on leather

Another highlight is the project by recent graduate denim designer Layla-Rose Stone, who travelled from London for the trade show. She completed her fashion degree at the Ravensbourne BA Fashion course, specialising in menswear, leather and print design. She proudly stands by a rack of wearable wide-leg and straight-fit styles. It also features creations with deceptive denim prints on leather, reflecting last season's trompe-l'oeil trend.

Her collection, ‘Thought Puppet’, is a collaboration with The Vintage Showroom in London. Stone used their archive, which includes workwear from the 1940s, as the basis for her prints. She scaled these designs to her own patterns and developed a technique to transfer a weathered denim look onto deadstock leather. Stone is optimistic about her future, partly because the archival trend benefits denim. “I see denim as the backbone of fashion. It is essential to continue referencing its history.”