Like Sweatpants, But Dressy: The Pandemic Rise of Issey Miyake Pleats Please – The Jaguar He Thought Was Gone Forever Turned Up at a Barbecue – Louise Bourgeois, Celebrated Sculptor, Unsung Painter – Altria’s Cigarette Addiction Is Becoming Unhealthier – Here’s how consumers in Asia-Pacific feel about the economy – Decarbonizing the world’s industries: A net-zero guide for nine key sectors

Like Sweatpants, But Dressy: The Pandemic Rise of Issey Miyake Pleats Please – The Jaguar He Thought Was Gone Forever Turned Up at a Barbecue – Louise Bourgeois, Celebrated Sculptor, Unsung Painter – Altria’s Cigarette Addiction Is Becoming Unhealthier – Here’s how consumers in Asia-Pacific feel about the economy – Decarbonizing the world’s industries: A net-zero guide for nine key sectors

Today’s edition of the TextileFuture Newsletter entails 6 features for your readings, it is all about fashion, automobiles, paintings, your health and about consumers in Asia Pacific, and decarbonisation. Thus a fine selection for you again from your TextileFuture team.

The first feature on fashion is entitled “Like Sweatpants, But Dressy: The Pandemic Rise of Issey Miyake Pleats Please”. It stems from the Wall Street Magazine.

The second item will cover automobiles and is entitled “The Jaguar He Thought Was Gone Forever Turned Up at a Barbecue”, an interesting, personalised story on the famous and memorable 1968 Jaguar XK-E with many captions.

The third feature is on an exhibition at New York’s Manhattan Museum (up to August 7, 2022). It bears the title “Louise Bourgeois, Celebrated Sculptor, Unsung Painter”, richly garnered with pictures. It is written by the art critic of the New York Times

The fourth item on health presents the latest facts on the Pressure is building on Marlboro maker to improve smoke-free brands now that spinoff Philip Morris International is eyeing U.S. market. It is entitled Altria’s Cigarette Addiction Is Becoming Unhealthier”, written by Carol Ryan from the Wall Street Journal, including the most recent facts and figures.

The fifth feature originates from McKinsey and will show under the title Here’s how consumers in Asia-Pacific feel about the economy” facts and figures of Australia, India, Indonesia, Japan, Korea, New Zealand and the Philippines.

The sixth item is also from the McKinsey Consultancy, entitled “Decarbonising the world’s industries: A net-zero guide for nine key sectors” pressenting the detals of the nine important sectors with infographics.

We think again, that we made a careful reader’s choice, and please be reminded to call back next Tuesday for the new edition of TextileFuture’s Newsletter. We appreciate!

We wish you a terrific week for your business and private life!

Like Sweatpants, But Dressy: The Pandemic Rise of Issey Miyake Pleats Please

By guest author Rory Satran from the Wall Street Magazine.

All captions courtesy by the Wall Street Journal

For nearly three decades, the Japanese line of packable, washable pleated clothing has had an ardent following. Now Gen Z, eager for ease, has discovered it.

t the Mohawk General Store in the trendy Silver Lake neighborhood of Los Angeles, groups of women in their 20s and 30s congregate around a rack of Issey Miyake Pleats Please pieces at the front of the multi-brand store. Clutching iced coffees from La Colombe, with small dogs or toddlers or bored boyfriends in tow, the women choose from the selection of separates like periwinkle accordion-pleated tank tops for USD 245 and neon-pink shorts for USD 275. More often than not, they are already clad in at least one piece from the 29-year-old Japanese brand. A standby for in-the-know fashion fans since its launch in 1993, the line of uniquely pleated separates is experiencing a pandemic-era resurgence.

“It’s definitely been younger people buying it,” said Mohawk’s creative director Bo Carney, who described an uptick in interest in the brand over the past few seasons. Ms. Carney has been placing larger orders recently to keep up, and she said the bright colours sell out immediately. She’s noticed that while it’s always been popular among “moms and grandmas,” especially in Asia, “the cool fashionable crowd is really into it now.” They’re styling the pants and skirts with crop tops and sneakers, breathing new life into pieces that have been essentially unchanged since they were first worn by artsy women in cities like Tokyo, Paris and New York in the early ’90s.

A new generation is gravitating toward these classic-yet-comfy pleated outfits at the exact moment that many folks are purging their closets and venturing back into the world—but remain unwilling to forsake elastic waists. Pleats Please pieces, with their stretchy construction elevated by smart design, are proving to be covetable post-pandemic garments. Indeed, the privately owned brand confirmed that its business in the United States increased by 50% from 2019 to 2021.

“Now that people are going out, Pleats Please is dressy, even though it’s very comfortable and low-maintenance,” Ms. Carney said. Still, “it’s definitely chicer than just a sweatpant.”

Some women are buying their Pleats Please directly from the brand’s 100-plus stores around the world or its ecommerce site, but many are also buying the pieces secondhand, sometimes for less than USD 100. At resale site the RealReal, searches for vintage Pleats Please were up 310% in January-May of 2022, compared to the same period last year. Noelle Sciacca, the site’s senior manager for women’s fashion, explained, “Between the ongoing strength of the 1990s and 2000s style trend and the emergence of plissé and texture on recent runways, Pleats Please is really relevant right now.”

Plus, you can throw it in the wash, and roll it into a ball to pack. Unlike most fussy designer dry clean-only blouses and dresses, it’s hardy stuff by design.

“I always travel with a few pieces of Pleats Please,” said Julian Paik, 35, a brand and retail strategist in New York, who inherited a wardrobe of the pieces acquired in Japan by her father for her mother in the ’90s. “You can pack it and fold it down, it’ll never crease. It was always easy to wear, which I think was a big thing for my mom and then was passed down to me.”

For Issey Miyake, now 84, Pleats Please was a mid-career innovation. After a retrospective of his prodigious ready-to-wear designs at the Musée des Arts Decoratifs in Paris in 1988, “Issey Miyake A-ŪN,” he worried that he had already accomplished everything he could, so he began looking for a new challenge. Reflecting on the simplicity of one expandable pleated scarf, he began to develop an entirely new line based around the development of synthetic fabrics heat-pressed with permanent pleating.


Working with Makiko Minagawa, a textile innovator for the company since the 1970s, Mr. Miyake painstakingly developed a proprietary synthetic fabric that was the result of multiple steps at multiple factories: in essence, melting down synthetic chips and powder to become thread; spinning the thread at high speeds with anti-static ingredients; knitting the fabric; heat-pressing the pleats. It was and is a highly technical process that befits Steve Jobs’s favorite designer (Mr. Miyake made his signature turtleneck).


Pleats Please became, according to Mr. Miyake in his 2012 book, his “most valuable contribution to design.” Its functionality found new uses, from dance costuming to maternity wear. In 1995, in an incredible coincidence, eight ballerinas from the Royal Swedish Ballet became pregnant at the same time, and they were photographed for the Telegraph Magazine wearing Pleats Please.

The expandable pleats are still ideal for maternity wear. Ms. Paik, who is currently pregnant with a girl, is finding new use for her Pleats Please collection, but fretting slightly at its current ubiquity. But, she said, it’s timeless: “For intellectual girls and guys who get it, it will always be part of their fashion vocabulary.” She’s excited to pass her pieces on to her daughter as her mother did to her. “Hopefully,” she said, “she’ll get it.”


The Jaguar He Thought Was Gone Forever Turned Up at a Barbecue

By A.J. Baime | Photographs by Faith Couch for The Wall Street Journal

Bob Hurt, 78, a government lobbying and marketing executive living in Washington, on his 1968 Jaguar XK-E, as told to A.J. Baime.


When I was 16, I got a summer job as a parking attendant in Atlanta. I was in car heaven. When I graduated college, I got a used 1964 Corvette. In 1966, I volunteered to go to Vietnam. Before leaving, I went to a car show in Atlanta. That’s when I first saw the Jaguar XK-E, or the E Type, as it is more commonly known. It was love at first sight.

I served in Vietnam with the 173 Airborne Brigade and later with the U.S. Army Special Forces. While I was there, I learned that if you were a service member serving overseas, you could order a car through a government-approved broker and have it delivered to a port of entry in the U.S. You could save a lot of money that way. I ordered a 1968 Jaguar XK-E Coupe for USD 5,000, which was a ridiculous amount of money to me. But I made it a priority.

About four months after I returned from Vietnam, in September of 1968, I picked up the car in Maryland. For the next six years, it was my daily driver, first in Atlanta, then in Washington, where I worked as a chief of staff for two congressmen and one senator. This car was something special in terms of performance. It had four-wheel disc brakes, rack-and-pinion steering, independent front and rear suspension, and a claimed top speed of 150 mph, though I never drove it that hard because I could not afford any expensive repairs.

Jag 4

In 1974, I needed a more practical car, and also one that had air conditioning. Through a friend named Jerry Fotheringill—who had been the very first person I met when I landed in Vietnam and remains my best friend today—I met a guy who collected cars, who agreed to buy my Jaguar. I said goodbye with a heavy heart. As it turned out, the Jaguar sat in its new owner’s barn for 27 years.




That is when it hit me. This was my old car.

It turned out, my business partner Frank had found it and, without telling me, had negotiated with the owner to buy it. Frank had even sunk about USD 5,000 to get the car running again and fix a ding on the front end. I had frequently talked to him about how much I missed my old car. Well, there I was in front of his house, staring at it. There are lots of pictures of me looking stunned.

That Jaguar sits in my garage today, looking much better than it did when I sold it in 1974. Over time, I have restored the car and had it repainted, while being careful to keep it as original as possible. Let me tell you, if you ever have a bad day, you can drive a car like this around and watch the faces of people when they see it. The design remains so powerful, even after more than 50 years.


Louise Bourgeois, Celebrated Sculptor, Unsung Painter

A show at the Metropolitan Museum presents us with what is in many ways a whole new artist whose achievement in painting will need to be factored into art history.

By guest author Roberta Smith from the New York Times. Roberta Smith, the co-chief art critic, regularly reviews museum exhibitions, art fairs and gallery shows in New York, North America and abroad. Her special areas of interest include ceramics textiles, folk and outsider art, design and video art.

It is one thing to know that Louise Bourgeois made paintings. There are often a few of them in surveys of her long career as a sculptor, which reached its apogee in the 1980s and ’90s. It is something else to learn that in the 1940s — her first decade in New York — she made more than 100 paintings. Nearly half of them are now heating up a large gallery at the Metropolitan Museum of Art with raw emotion, awkward paint handling and adamantine colors — most often brilliant to dark shades of blue and especially red. In fact, this show is an insightful meditation on the roiling significance of red, whose many associations include blood, passion, love, courage, joy, anger, violence.

Nearly half the works in “Louise Bourgeois: Paintings” are lent by the artist’s foundation; almost a third have not been exhibited in decades, if ever. Together they illuminate some of the recurring themes explored in the sculptures, but also some of the very structures of these works, which began appearing as motifs of her paintings in the mid-1940s.

And yet the show, organised by Clare Davies, an associate curator at the Met, also presents us with what is in many ways a whole new artist and a new kind of artist to contend with, one whose balance of formal sophistication with emotional intensity was rare, especially as it concerned early memories, motherhood, art making and their conflict. These themes are evident in the four “Femme Maison” (Woman House) paintings of 1946-47, which each combine a house with a woman’s body; they would be endemic to 1970s feminist art. But in the 1940s, Bourgeois’s subjects had few precedents in Western modern art. (An obvious exception is Paula Modersohn-Becker.)


Now, Bourgeois’s achievements in two dimensions will have to be factored into the history of modern painting. She was in the heart of advanced art, although, unlike many other women — Lee Krasner, Elaine de Kooning, Grace Hartigan — she was not interested in mastering the Abstract Expressionist style (or scale). But the question remains: Did Bourgeois’s areas of plain saturated color have any effect on this style, or on its dedicated colorists like Barnett Newman and Mark Rothko, who were edging toward maturity during this period? Perhaps Bourgeois’s reds and blues might occupy a position similar to that of Janet Sobel, the Ukrainian-born New Jersey artist credited with making dripped-paint abstractions before Pollock, who had seen her paintings.

Everything happened very fast. In the spring or summer of 1938, she set up a small art gallery in a section of her family’s textile gallery on Boulevard St. Germain. On Sept. 12 she married an American man whom she had met in her shop in August. This was Robert Goldwater, a young art historian, teacher and critic who moved in the upper echelons of the New York cultural sphere, where he was especially known for writing about the relationship between so-called primitive art and the contemporary kind.

At the end of October, Bourgeois was in New York, tormented by guilt for leaving her family so suddenly (father, older sister, younger brother), and also missing Paris where she had been learning to be an artist, working in a representational style derived in part from Picasso’s paintings of Marie-Thérèse Walter.

One of her teachers in Paris was the painter Fernand Léger who bluntly told Bourgeois that she should be a sculptor. Bourgeois seems not to have paid much heed, yet by 1947 odd, spindly, possibly figurative sculptures were appearing in her paintings. By the 1980s and early 1990s, she would become world famous, representing the United States at the 1993 Venice Biennale, and best known for sculptures of gigantic bronze arachnids titled “Maman” (“Mama”). Or as one visitor to the Met’s show explained to her companion, “You know, the big spiders.”

Life in New York, a new city with a rising art scene, must have been a shock. And there were new responsibilities. In 1939 she and her husband adopted a 3-year-old French orphan named Michel. He arrived in the U.S. in May 1940, two months before she gave birth to Jean-Louis. Within 15 months, their third son, Alain, arrived. Luckily, she later said, her husband was a feminist. It is possible that all this newness jolted Bourgeois into a different place in her art, one that jettisoned the niceties of style and paint handling and operated from basic emotional needs. The first painting in the exhibition, from around 1938, is “Runaway Girl,” which may reflect Bourgeois’s sadness about her abrupt departure from Paris. It shows her as a doll-like creature with long blond hair, floating in a clear blue sky above two layers of mountain ranges — one in white paint, one outlined in charcoal. Beyond the sky is an ocean, limned in charcoal and pencil, where a child is swimming; on the opposite shore is a white house that may be her family’s home outside Paris, where they maintained a workshop to restore tapestries.

It is a measure of the busyness of Bourgeois’s life that only a few paintings here date from the early 1940s. Even so, they powerfully reflect her conviction that she has something to say and her own way of saying it. From around 1940, “Confrérie” depicts six dark silhouettes that seem to wander across an expanse of red, looking toward another house. Above it hangs a magical multicoloured cloud, a memory catcher whose flickering colors evoke the painted dome of a church. In “The House of My Brothers” (1940-42), the action moves inside, into a faceted, transparent structure where the rooms and their occupants are visible.

Hereafter there are only a few signs of the natural landscape. The settings tend to be architectural or artificial spaces: rooms, stages, boxes, roofs or courtyards. It becomes clear that the paintings are mostly self-portraits and increasingly sculpture-haunted. In “Self-Portrait” from around 1947, Bourgeois gives herself a purplish wolf man face, which seems an admission of guilt or shame, and a striking black-and-white striped dress whose central feature resembles one of the early sculptures in painted wood that Bourgeois called Personnages.

Other paintings are rather pure expressions of maternal anxiety and loneliness: “Red Night” (1945-47) shows a woman and three tiny faces huddling in a bed floating on a vortical field of red. Opposite is an untitled painting in pink and light blue, a comet with an open maw and tails of long hair swoops into the foreground over a factory with a towering chimney from which three small figures reach toward this terrifying creature. And some of Bourgeois’s paintings refer, intentionally or not, to larger horrors than herself — a woman desperate to be an artist.

“Regrettable Incident in the Louvre Palace” (1947) recalls an event — never divulged by the artist — that took place when she was a docent at the museum. But the building’s stark barrackslike structure can quickly bring to mind the Holocaust or the Soviet Gulag. One of the brightest of the red paintings, an untitled work from 1948, depicts Bourgeois’s first sculpture studio: the roof of the apartment building where her family lived on East 18th Street. Atop this gleaming red structure is a veritable Felliniesque parade of bright, floating forms, perhaps a glimpse of the promise three dimensions held for the artist. And in “Roof Song” (1946-48), a comic image of the endevour.

An earlier version of this review misstated the name of a son of Louise Bourgeois and the year he was adopted. He is Michel, not Alain. He was adopted in 1939, not 1940.

Louise Bourgeois: Paintings

Through Aug. 7, 2022 at the Metropolitan Museum of Art, 1000 Fifth Avenue, Manhattan; 212-535-7710,


Altria’s Cigarette Addiction Is Becoming Unhealthier

Pressure is building on Marlboro maker to improve smoke-free brands now that spinoff Philip Morris International is eyeing U.S. market

By guest author Carol Ryan from the Wall Street Journal

Caption and Graphic courtesy by the Wall Street Journal

For years tobacco companies have been fighting regulators more than each other. That might be about to change, and Altria MO in particular needs a game plan.

If Philip Morris International’s PM USD 16 billion offer for oral nicotine pouch maker Swedish Match is accepted, U.S. cigarette makers will suddenly have a nimble new competitor. Soon after it was spun out of Marlboro co-owner Altria in 2008 to focus on overseas markets, a slowdown in international cigarette volume forced Philip Morris to innovate in smokeless products. Since 2014, the company has built IQOS from scratch—a non-combustible heated-tobacco brand that now generates USD 9 billion in annual revenue.

Based on its own estimate, Philip Morris has captured 59% of the global market for smokeless products, excluding the U.S. and China. Now it is eyeing America. A takeover of Swedish Match gives Philip Morris a U.S. distribution network and a leading position in oral nicotine pouches.

The deal is a wake-up call for Altria, which has a weaker smoke-free portfolio. Marlboro had 43 % of the U.S. retail cigarette market in 2021, but the company has a lower cut of the market for so-called reduced-risk products. Its main interests include a 35% stake in the controversial vape company JUUL Labs as well as its on! oral nicotine pouches. In addition, the number of traditional cigarettes sold is under pressure in the U.S., as higher gasoline prices force some smokers to cut back.

Altria could sell its roughly USD 10 billion stake in Budweiser brewer Anheuser-Busch InBev BUD  and use the cash to buy the rest of JUUL. First, though, the vaping brand needs to get approval from the U.S. Food and Drug Administration to stay on the market. The regulator is currently reviewing all e-cigarette brands after a vaping health scare.

Convincing investors that a full takeover of JUUL is a good idea would be another challenge. Altria overpaid for the initial stake and values it at just USD 1.7 billion, down from a purchase price of USD 12.8 billion in late 2018. JUUL’s internal valuation is a lot higher. To obtain full control, Altria would probably have to pay another USD 7.5 billion, Jefferies estimates.

Altria could also create its own smoke-free products, but its record is weak. Earlier this year, management said that the company is working on new in-house brands. It recently paid about USD 100 million for the intellectual property of heated-tobacco company PODA.

Slowing Philip Morris down could buy Altria some time. The U.S. company has an exclusive licensing agreement with its old subsidiary to distribute IQOS in the American market. The contract is valid until April 2024, when it automatically rolls over for another five years if certain milestones are met. If Altria can hang on to the contract until 2029, it gets the benefits of IQOS sales and some control over how quickly the product cannibalizes traditional cigarettes.

Now that Philip Morris is moving to buy Swedish Match’s distribution network, though, it probably wants to go it alone to capture the full benefit of U.S. IQOS sales rather than just collecting a royalty fee from Altria. The two companies are in dispute over whether targets to extend the contract have been met. Altria’s U.S. rollout of IQOS is on hold because of a patent dispute with British American Tobacco. BTI 

When news broke of talks between Philip Morris and Swedish Match, Altria shares fell nearly 10%. They have gained most of this back as investors pile into value stocks with high dividend yields. Shareholders shouldn’t mistake that as a sign that the pressure on the company is lifting. The Marlboro man needs to play defence, and without repeating the mistakes made with JUUL.


Here’s how consumers in Asia-Pacific feel about the economy

Are consumers in Asia-Pacific more optimistic about the economy since the onset of the pandemic? The answer varies by country, depending on what stage of the coronavirus contagion cycle each country is in. Check out these surveys for the latest insights into consumer sentiments, behaviours, income, spending, market expectations—and what may come next.






New Zealand

The Philippines


Decarbonising the world’s industries: A net-zero guide for nine key sectors

The sectors that produce the majority of global greenhouse-gas emissions face a steep challenge to decarbonize, but our research shows that solutions are within reach. In many cases, a transformation is well underway. This collection draws together articles and reports that lay out a pathway to net zero for nine emissions-intensive industries.


Power |

Oil and gas |

Automotive |

Aviation and shipping |

Steel |

Cement |

Mining |

Agriculture and food |

Forestry and land




Newsletter of last Week

Super-Short Miniskirts: Can Anyone Actually Wear Them? – What Lia Thomas Could Mean for Women’s Elite Sports – McKinsey Quarterly: Marketing in the metaverse: An opportunity for innovation and experimentation – Fashion: Sex, Money and Fashion: Luxury Label Balenciaga Fetishises Suiting at the New York Stock Exchange


The highlights of last week’s NEWS, for your convenience, just click on the feature to read.



Puig to Acquire Byredo

EU Commission clears acquisition of UMAX and ILS by Isuzu and Itochu


Euratex Invitation to the AGM (June 17, 2022)


Mobilize launches Mobilize Driver Solutions: an all-inclusive offer for ride-hailing professionals


BASF highlights progress in enabling plastics circularity at Plastics Recycling Show Europe 2022

Oerlikon to Sell Business in Russia to Local Team

Clariant presents Integrated Report 2021

Joint News Release: Investors including BASF Venture Capital and Inflexor Ventures agree to invest USD 8 Million in a Series A investment round in Bellatrix Aerospace


ICAC: Cotton Production and Consumption Invert as the Season Comes to a Close


Interact with statistics for the European Green Deal

Peer review report on Lithuania now online

Sharp rise in employment and vacancies in Switzerland in 1st quarter 2022

Swiss Gross domestic product in the first quarter of 2022: continued recovery, disparate sectoral trends

Agriculture: EU agri-food trade shows strong growth in first two months of the year

Swiss retail trade turnover falls in April 2022 by 5.1 %

Swiss Consumer prices increased by 0.7 % in May 2022

April 2022: Switzerland reports increasing exports, but sinking imports

Almost a quarter of EU households have children

European Statistics Competition video winners


Meet the Aisle Carpet


ITM in Istanbul: Saurer Spinning Solutions presents innovations in intelligent spinning

ITM: Saurer Twisting Solutions presents twisting and cabling innovations

21st International Economic Forum on Africa Friday, 10th June 2022 – 09.00 CEST

EFI’s Advanced Digital Print Portfolio Leads with Innovation for Customer Success at FESPA Global

Textile Exchange: Updated Information – Material Change: Looking Back, Moving Forward

The European Black Carbon Summit (June 22 -23, 2022) in Frankfurt/M., Germany

Oerlikon Barmag presents innovations at the ACHEMA 2022 (August 22 -26, 2022) in Frankfurt/M. Germany

Smart textiles are in demand

Trützschler at Techtextil 2022


EU and Taiwan hold Trade and Investment Dialogue

EU Temporary protection for persons fleeing the Ukraine


Finland offers sustainable food choices for a modern diet


India’s Tech IPO Market Thaws Out, Just a Little


Forget Twitter. This Musk Is Into ‘Toe Curling Yumminess.’

Intellectual Properties

WIPO -Madrid e-Filing Now Available to Japanese Brand Owners

WIPO: Madrid System: New Guide to the Madrid System


Swiss Empa: A digital twin for citrus fruits -Avatar against food waste


Why Nordstrom Steamed Ahead as Old Navy Sank


With peak carbon behind it, Nestlé zeros in on dairy emissions


Swiss State Secretary Martina Hirayama on a scientific mission to Morocco


U.S. and Central American Textile and Apparel Groups Send Letter to Vice President Kamala Harris on CAFTA-DR Rules and China 301 tariffs

OPEC’s Nod to Biden Will Help Saudis, Not Oil Users

Worth Reading

The Business of Fashion Sustainability INDEX 2022

Demand for automotive technical textiles is growing as new applications emerge and manufacturers strive to increase comfort, improve safety and reduce weight


In Davos,  WTO DG Okonjo-Iweala calls for global solidarity in responding to crises