Taiwan’s textile manufacturing industry has long been prevalent. The sector is the second largest in the country, only surpassed by technology, yet the combination of the two makes Taiwan an attractive destination for global brands seeking specialised materials and technical textiles. It was therefore apt that for this season of Taipei Fashion Week (TPEFW), the use of such textiles became an imperative part of the event.

For the eighth edition of TPEFW, held March 27 to 30, the theme of ‘Full Circularity’ was embraced. With this, organisers aimed to embed sustainable values and promote a comprehensive approach to circularity throughout the programme in the hope of bringing the topic to a wider audience. Not only did the emphasis on advanced materials align with the increased intertwining of sustainability’s presence – the circularity sign having even been infused into TPEFW’s logo – it also served as a continuation of a concept that has now become a mainstay for the fashion week: an Opening Show derived of cross-industry collaboration.

According to Taiwan’s deputy minister of culture, Sue Wang, who has held the task of developing and supporting the fashion week for three seasons, the concept of interdisciplinary cooperation between fashion, culture and other sectors is essential for their collective evolution. This collaborative mindset is already showcased through exhibitions and award ceremonies held across Taiwan, with the AW25 only then amplifying this idea.

Designers and local textile producers partner to embody ‘Full Circularity’

The kick off show, dubbed ‘From Life, For Life’, partnered six designers with local textile manufacturers, each then tasked with creating capsule collections embodying the theme of ‘Full Circularity’. Alongside exhibiting the quality of the textiles in question, as well as the identity of the brands themselves, designers were also required to make at least one look out of an entirely singular material. This approach addressed a core recycling challenge: single-material garments, like those made from 100 percent polyester or nylon, are easier to recycle than those made from multiple components.

OqLiq at TPEFW's Opening Show. Credits: TPEFW.

For OqLiq, a high-end performance label currently stocked in the likes of the UK, US, Japan and the Netherlands, sustainability was already an integral part of the brand. This concept of “full circularity”, however, challenged designers, Chi Hong and Orbit Lin, to go beyond current capabilities and reconsider all aspects of a garment, from closures and clasps right down to embroidery threads, for which they carried out repeated testing with their partnered embroidery factor to ensure quality remained intact.

OqLiq worked with Shin Kong Textiles, which offered a vast selection of high-tech fabrics, including a material made out of recycled garments that retained the colours of its past life. The designers said these fabrics were “transformed into futuristic womenswear, projecting a sense of resilience”. They added: “Our brand makes extensive use of materials from local textile producers because we believe that reducing carbon footprint is also a form of environmental responsibility. Taiwan holds a significant position in the global functional fabric industry, and we hope to act like chefs using ‘local ingredients’ — allowing consumers around the world to discover the rich cultural depth of Taiwan through our designs.”

Elsewhere, Uuin, a womenswear brand with a "long-standing commitment to local cultural values and responsible garment production", partnered with New Wide Enterprise, an official textile supplier to the Olympics, for its runway show. The brand, which plans to expand into Japan due to increased interest from the region, consistently sources textiles from Taiwan, including from new manufacturers specialising in jacquard fabrics, meaning the theme of TPEFW was familiar to designer Tzutsao Liu.

Uuin at TPEFW's Opening Show. Credits: TPEFW.

"Mastering the fabric's properties" is essential to Liu’s design process, which reinterprets local culture and art through a contemporary lens. While the tight schedule of TPEFW presented challenges in "balancing quality and design", Liu finds the sourcing of materials an "exciting process full of surprise". He also acknowledged the crucial role TPEFW has played in the growth of the local fashion industry, especially for a young brand like Uuin.

Textile leaders take on responsibility of education and scaling accessibility

This was further recognised by New Wide CEO, Sunny Huang, who believes leaders in textile have a responsibility in educating the fashion industry on ESG, clean production, and technological advancement, motivating New Wide to partner with TPEFW. Working with smaller-scale brands presents challenges, however. Some may have outdated communication methods, while others lack a sense of urgency or awareness regarding circularity. New Wide wishes to address these issues through education and collaboration with the government and local factories to accelerate the shift towards sustainable, local production.

The Ministry of Economic Affairs is behind programmes supporting the local textile industry, working with the sector to develop and scale particular innovations through to mass or commercial use. And efforts appear to be paying off. GoodPoint Exchange, a producer of yarn derived from pineapple leaves, is now moving into the mass production stage, while Hermin Textile, a producer of banana fibre textiles, has found success in its Banantex material, which is primarily available to luxury brands seeking a premium-level, eco product. The company also specialises in 100 percent recycled polyester fabrics, sought after by global brands.

Weavism at TPEFW's Opening Show. Credits: TPEFW.

Weavism, another Opening Show participant, is where designer Tony Chen, project manager of Hermin and one of a growing number of second-generation leaders in family-run textile companies to establish an associated brand, put the innovations into practice. Chen told FashionUnited that his motivation to join TPEFW was to reframe the eco-textile industry, often largely linked to functional garments. Weavism’s collection brought it into the streetwear lens through a collaboration with the Japanese game, Fatal Fury, still putting to use PET recycled fibres for zippers and fabric straps, natural plant-based recycled materials and more technical fabrics.

Chen recognised the challenges young brands face when entering the local textile market and partnering with local suppliers. To address this, Hermin is working to increase accessibility by standardising materials to meet specific needs. While smaller order capacities remain a challenge for textile firms, some smaller brands are finding ways to overcome it.

Billy Chow, designer and founder of Chow des Homme, for example, sources materials locally despite tackling difficulties in finding ethically-produced fabrics that align with his vision. He added that he was “constantly looking to strengthen our ties with local producers”. Though the brand is still on its sustainability journey, Chow des Homme, one of the six names on the official TPEFW schedule, is taking "intentional steps" towards becoming more eco-minded, including through an ongoing upcycling project focused on repurposing old football jerseys due to be unveiled for SS26.

Chow des Homme at TPEFW AW25. Credits: TPEFW.

This mission reflects Chow des Homme’s founding principles: addressing social issues, as was threaded into the latest collection, ‘Unbroken Formation’. Chow said both the line and the show spoke to the “teamwork and unyielding spirit of youth”, with the football pitch backdrop acting as a “metaphor for the resilience and unpredictability of our generation”. The message, targeted at a consumer who “refuses to be categorised”, extends Chow’s “disruptive and boundary-pushing vision” that he says has been widely accepted on the TPEFW platform, a factor he appreciates.

TPEFW's Fashion Market. Credits: TPEFW.

This support of newer names further fed into the Fashion Market held on TPEFW’s final day. The event served both as an exhibition space and an opportunity for some brands to sell samples and pre-loved garments, once again emphasising the sustainability goals so prevalent in this edition. Free workshops and speeches held by influential industry figures were open to the public, pushing the goal of education the deputy minister of culture, Sue Wang, said is imperative to helping Taiwan’s industry grow in a circular trajectory.

Taipei continues to map out its niche through experimentation

When it comes to the education of designers, Wang believes that before striving for global success, they need to gain a foothold in their home market. "Designers need to first identify their markets and know where their buyers are; otherwise, it will be challenging for us to platform their work and put it into mass production,” she noted. Once designers have established a market foothold, the government can then step in and provide subsidies, including for those who want to participate in international fashion weeks. Each year, the government receives over 20 applications, which are evaluated based on design concept, revenue, and target markets, London and Tokyo being among the most popular regions due to their accessibility and openness to innovation.

When it comes to TPEFW, there are also more things to learn. Wang believes the fashion week should forge its own path, rather than imitating peers in other regions. This involves defining how Taiwan’s history, social structure and culture can play a part in the event’s identity. She added: “Taiwan is a society with a very diverse background, so we are very agile and open to adopting new technology. It is easy for us to work with different fields, so cross-sector collaboration for us is something quite natural. We don’t benefit from huge capital, like other countries, so we really need to find our niche here.”

Cross-sector collaboration may hold the key to future developments in TPEFW, suggested Wang, though plans in this regard are still in motion. If implemented, this would then build on the concepts of previous seasons where designers partnered with the sports industry and graphic designers, for example. Despite the currently unclear bearing, however, the openness to experimentation brings a new energy and sense of discovery as TPEFW continues to orient itself on the global fashion map.