Digital Printing
The evolution from analogue to digital printing and its benefits for sustainability and efficiency
By Phil McMullin, head of sales commercial and industrial printing, Epson
traditional production processes. Its sustainability track record is increasingly under the spotlight and pressure is growing for urgent change. Research shows the industry is
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responsible for 20 percent of industrial wastewater worldwide, while up to 35 percent of all materials in the supply chain are scrapped.
Recent pan-European research has brought the issues into sharp focus. According to the study commissioned by Epson, 35 trillion litres of water, the equivalent to draining the River Thames fi fteen times over, is needed to produce the combined number of clothes in UK wardrobes. In fact, 634,510 litres are required, across production, fi nishing and dyeing, to create the garments owned by the average British consumer.
Clearly, these issues create some major sustainability challenges. Among the areas where environmental performance can be signifi cantly improved is printing, which plays a fundamental role in transforming raw materials into fi nished products. More specifi cally, traditional analogue printing relies on costly plate-making and frequent washing between print runs, which generates large volumes of wastewater, consumes excessive energy and involves chemicals that can harm the environment. Plates and screens are often discarded after use, contributing to landfi ll or incineration waste, while the process itself lacks the fl exibility needed for short runs or design changes without signifi cant retooling.
These issues have contributed to a growing disconnect between production practices and modern environmental expectations. The industry’s reliance on analogue techniques has also attracted the attention of governments and regulators which, backed by consumer action and innovative brands, is accelerating the pace of change. The shift from analogue to digital printing is a
20 April 2025
he textile industry faces an urgent need to fi nd alternatives to
by up to 97 percent, representing a potentially important contribution to the reduction of industrial wastewater.
major driving force towards better sustainability and effi ciency. In particular, modern inkjet technologies can print directly from digital fi les onto fabric, using advanced techniques that can deliver the combination of precise colour gradients and subtle tones the textile industry demands. In addition, unlike the dyes commonly used for analogue or screen printing, which may require further rinsing and steaming, the pigment-based inks used for digital printing require no post-processing.
The environmental dividends of this approach are enormous. Printing with digital printers that use pigment inks, such as Epson’s innovative Monna Lisa, can reduce water consumption in the colour printing stage of clothing production
Digital print technology is also much more suited to on-demand requirements. Irrespective of whether the manufacturer, brand or retailer needs large or small quantities, they can be very specifi c about production runs while also benefi tting from fast turnaround. By manufacturing only what is needed, when it is needed, organisations can operate with smaller inventory levels without losing the agility to meet fl uctuations in demand. This not only saves money but also helps address the signifi cant environmental impact of producing, storing and then wasting what can become unsold stock.
SUSTAINABILITY MEETS CREATIVITY For the textile industry and its various stakeholders to more widely embrace digital printing technologies, however, there are some other fundamental issues to address. High on the list is whether digital print can support the scale, fabric versatility and colour durability required for commercial production without compromising quality or creative freedom.
Far from acting as a limitation, however, digital printing is unlocking new levels of creativity in textile design by allowing for high-resolution, complex patterns and colour gradients that are difficult to achieve with traditional methods. For example, its inherent tech-led flexibility gives designers greater freedom to experiment across a wide range of fabric types and produce vibrant, complex visuals without relying on fi xed screens or plates. A great example is the work of renowned fashion designer Yuima Nakazato, whose Autumn-Winter 2024–25 collection at Haute Couture Week in Paris combined pigment inkjet printing with an alternative textile made from 85 percent cotton and 15 percent Brewed Protein fi bre. Developed through a fermentation process using plant-based ingredients and microbes, the material off ers a way to create high-quality textiles without relying on traditional animal-derived fi bres.
www.convertermag.com
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