The global digital textile printing market had a value of $5.8 billion in 2024 and will grow at a CAGR of 12.7 per cent between 2025 and 2030, according to a recent report by Grand View Research, headquartered in San Francisco, California.

The expansion of e-commerce and fast fashion is driving this growth, with platforms thriving on rapid turnaround times and diverse product offerings.

The US Census Bureau meanwhile reports that the number of e-commerce sites globally grew from 9.2 million in 2019 to over 26.2 million in 2023, while e-commerce in 2023 accounted for 15.6 per cent of total retail sales in the US.

Similarly, the fast fashion sector relies on quick design iterations and frequent product launches, which digital printing enables by reducing lead times and streamlining production processes. As these sectors grow, they contribute significantly to adopting digital textile printing technologies.

Infancy
It is only twenty years ago that digital textile printing was very much in its infancy and at that time it was primarily used for prototyping, sampling and niche applications. While still bringing many advantages, early machines relied on piezoelectric inkjet technology, with print speeds averaging at best 50 square metres per hour and generally much lower – far behind traditional rotary screen printing.

The main advantage of digital printing at this stage was its ability to print intricate designs with unlimited colours directly from digital files, eliminating the need for costly screens. The technology, however, still faced limitations in respect of ink adhesion, print durability and the range of compatible fabrics, in addition to speed.

Advances
By the time of the ITMA 2015 textile machinery exhibition in Milan, substantial advances in the speed and quality of digital textile printing were being demonstrated. New printhead technologies, such as Epson’s PrecisionCore and Kyocera’s industrial-grade printheads featured higher nozzle densities and faster firing frequencies, enabling speeds of up to 300 m²/h for mid-range machines – a significant leap from the previous decade. Reactive inks were particularly favoured for cotton, delivering vibrant, long-lasting prints.

At the same time, roll-to-roll printers, such as those developed by EFI Reggiani and Mimaki, became industry staples, offering faster throughput and improved colour consistency.

Single pass Machines
The emergence of high-speed industrial digital textile printers, however, has only really emerged in the past decade, with companies like EFI Reggiani, Kornit and Durst developing systems capable of printing at speeds of between 500 to 1,000 m²/h and rivalling traditional rotary screen printing for many applications.

Single-pass printing technology has also been a game-changer. Unlike multi-pass systems – where printheads move back and forth – singlepass machines have fixed printheads covering the entire fabric width. This allows for continuous, high-speed printing with systems such as EFI Reggiani’s Bolt and the SPGPrints Pike achieving speeds of up to 1,800 m²/h.

Waterless pigment printing has also gained significant momentum, eliminating the need for water-intensive post-processing.

Digital textile printing has subsequently entered an era of ultra-fast, eco-friendly solutions. Machines like HP’s Stitch series and the MS Printing Solutions LaRio can now achieve speeds exceeding 2,000 m²/h and advanced printhead designs and AI-driven optimisation are further contributing to consistent, high-speed production with minimal downtime.

Wide Format
At ITMA 2023 in Milan, digital printing technologies filled an entire hall and the exhibition’s platinum sponsor was the fast-rising Indian digital printing technology developer ColorJet, headquartered in Noida, Uttar Pradesh.

Founded in 1995, ColorJet has subsequently installed over 6,000 digital printers in 54 countries and demonstrated an extensive range of technologies at the show in Milan.

The company continues to innovate and in 2024 introduced its latest FabJet Pro system designed to meet the demands of ultra-wide format fabric printing, available in widths of up to 3.2 metres.

With a daily production capacity of up to 13,000 square metres, the FabJet Pro can be equipped with either 32 Kyocera or 48 Konica Minolta print heads and its distinctive Sticky Belt System provides a superior grip on lighter weight fabrics to provide unparalleled accuracy and clarity with every print.

DTG
In addition to higher speed machines, the momentum of Direct-to-Garment (DTG) and Direct-to-Film (DTF) digital textile systems – often complementary processes for both printing and decoration – was very notable at ITMA 2023.

DTG allows high-quality, full-colour designs to be printed directly onto fabric using inkjet technology, making it a preferred choice for smallscale production, customisation and high-detail designs. These printers can produce vibrant prints with smooth gradients and a broad colour spectrum, making them ideal for complex designs.

The fabric is given a special pre-treatment solution which helps water-based DTG inks bond with the fibres, improving colour vibrancy and wash durability. A garment is then heat-pressed to dry the pre-treatment and ensure a smooth printing surface.

DTG printing uses water-based inks and results in minimal waste and allows for single item and short-run production without high setup costs, making it ideal for personalised apparel and small businesses.

The ink is absorbed into the fabric rather than sitting on top, resulting in a softer texture compared to traditional plastisol screen prints, and although best suited for cotton, DTG technology continues to advance, allowing for printing on blends and other textiles.

Kornit Apollo
Kornit has been a pioneer of DTG technology and the Kornit Apollo with its integrated curing system is based on years of work to develop the full automation and streamlining of DTG wet-on-wet digital printing.

Also launched at ITMA 2023, the Apollo requires just a single operator to manage an entire digital printing operation and has been highly successful in a very short period.

DTF
DTF printing has meanwhile been the major phenomenon of the past five years. It is now estimated that 50 per cent of all T-shirts produced globally are decorated with it, largely driven by major investments in China. In 2024, this equated to some 7 billion items.

The DTF process also enables bold and durable prints and begins with creating a digital design which is printed in reverse onto a PET polyester film using specialised printers equipped with pigment-based inks, including white ink to enhance opacity and vibrancy. After printing, a hot-melt adhesive powder is applied to the wet ink on the film. The film is then heated to cure the adhesive, preparing it for transfer. Finally, the prepared film is placed onto the fabric and a heat press is used to transfer the design onto the material.

Unlike other methods, DTF printing is compatible with a wide range of fabrics, both natural and synthetic, providing flexibility for designers and manufacturers. It also allows for intricate and detailed designs with a broad colour spectrum, enabling high-resolution prints that are challenging to achieve with other methods.

The resulting prints are durable, withstanding multiple washes without significant fading or cracking, making them suitable for high-use garments and for small-to-medium production runs.

Developments at Shein
Fast fashion giant Shein – which perhaps more than any other brand epitomises the exploitation potential of digitalisation in all areas of its operations – is meanwhile encouraging its suppliers in China to adopt two DTF digital printing methods it has developed in-house.

“We invest in the R&D of advanced manufacturing technology and production processes that have the potential to drive greater efficiencies in our supply chain,” explains Annabella Ng, Shein’s senior director of public affairs. “In 2022, we established the Centre of Innovation for Garment Manufacturing (CIGM) in Guangzhou, China, to conduct R&D in wastesaving and efficiency-optimising technologies and techniques, and to share these with our suppliers. Digital Thermal Transfer Printing and Cool Denim Transfer Printing are two examples of technologies that we have found to be highly efficient in reducing water consumption compared to traditional printing methods.”

Digital Thermal Transfer Printing is another method of printing designs onto thermal transfer paper before using a heat-activated process to transfer the patterns onto the fabric. Over 65 per cent of Shein’s directly sourced prints are now produced using this process.

Cool Denim Transfer Printing meanwhile uses less water and energy compared to conventional denim washing processes. Most denim garments start off with pre-dyed denim fabric which is cut into patterns before being sewn together. Denim wash effects such as whiskering or stone washing are then applied to the assembled denim garments.

Using the Cool Denim Transfer Printing process, denim patterns and denim wash effects are printed onto transfer film as part of a single design and imprinted onto white denim fabric. The patterns are then cut from the fabric and assembled. This process reduces the use of harsh chemicals and requires 70 per cent less water than conventional denim washing methods and is a more efficient way to create trending denim styles without compromising quality.

Challenges
Despite its advantages, DTF printing is not without challenges—issues such as ink sedimentation and white ink clogging can affect print quality and require regular maintenance to ensure consistent performance.

The process also involves multiple steps, including precise temperature and pressure control during the transfer process, which rely on skilled operators to achieve optimal results. Such skilled operators are proving increasingly hard to find.

Aiming to overcome these issues, Mimaki Europe released its first DTF printer, the TxF150- 75, in February 2023 and by January 2024 reported that it had already sold 300 units across the EMEA region.

The rapid adoption of the TxF150-75 demonstrates the rising popularity of the DTF printing method. It was designed to remedy common DTF issues, such as poor ink ejection and white ink clogging, through its built-in circulation system and degassed ink pack. Alongside other Mimaki core technologies, such as the nozzle check unit (NCU) and nozzle recovery system (NRS), the TxF150-75 provides an efficient printing process with minimal need for intervention, filling the gap in the market for a stable, reliable DTF solution.

New From Mimaki
In 2025, Mimaki Europe is launching two even simpler and more compact DTF printers, the Tx330-1800 and Tx330-1800B which can print on a variety of materials.

In contrast to conventional textile printing processes that require pre- and post-processing equipment, the Tx330 Series streamlines production into a more space-efficient solution ideal for users with limited space.

The company will showcase the Tx330-1800 at FESPA 2025 in Berlin from May 6-9 and provide further details of both new printers during the exhibition.

They are equipped with dual ink set capability to seamlessly switch between textile pigment inks and dye sublimation inks, further diversifying application possibilities. Unlike conventional dye inks, these solutions involve a straightforward printing and heat fixation procedure. This eliminates the need for extensive facilities for water supply, drainage and wastewater treatment, as well as the dyeing expertise needed to operate them, making digital textile printing more accessible.

The Tx330-1800 allows for seamless printing on both fabric and paper in one machine—ideal when producing textile signage and interior fabrics. The Tx330-1800B meanwhile uses a space-saving belt conveyor to stably print on stretchy, thick and thin fabrics commonly used for short-run production of varied apparel in small spaces.

On Demand and Local
“Looking at today’s textile market, we anticipate that the demand for textile products produced on-demand and locally will continue to grow,” says Arjen Evertse, EMEA general sales manager at Mimaki Europe. “With this in mind, we are releasing two products which are easy-to-use, versatile and sustainable.

“Utilising textile pigment and dye sublimation processes removes the need for the large amounts of water typically required in post-processing, creating a much more resource efficient process with almost no water used at all, while also significantly reducing energy consumption.”

The Tx330-1800 Series is based on Mimaki’s ‘330 Engine’, providing the same sharp details, smooth colouring and accurate colour printing as other entries in the 330 Series due to smooth gradation expression and high-density printing capabilities.

To accompany the Tx330 series, Mimaki is also introducing new textile RIP software, the TxLink5. This latest version of the TxLink software is designed to further improve the workflow in environments with multiple printers, which allows for users to manage their printing processes more efficiently.

The Tx330-1800 and Tx330-1800B will both be available for the textile and apparel market in June 2025.

SureColor G6030
Epson is also launching the SureColor G6030, its first ever wide-format DTF printer, at FESPA 2025.

Producing full-colour graphics in under nine minutes, its advanced five-colour ink system (CMYK and white) ensures vibrant and durable prints on a variety of fabrics. The compact SCG6030 features a front-loading media design with a 35-inch print width, optimising transfer efficiency and enabling oversized graphic production.

The SC-G6030 requires minimal floor space, making it ideal for businesses with space constraints. Its front-loading design optimises workflow, ensuring ease of operation in compact environments and the 1.6 litre high-capacity ink supply system reduces the need for frequent refilling, making it perfect for high-volume production. A built-in cutter function prevents the film from falling off the printer by using a countdown, reducing waste and improving manual post-processing productivity.

The SC-G6030 is Global Organic Textile Standard (GOTS) approved, guaranteeing that the entire printing process follows environmentally responsible and ethical practice from raw materials to final product labelling. Moreover, the inks are also certified by the OEKO-TEX Eco Passport.

Japanese company Brother will also introduce a further new DTF printer at FESPA 2025.

Home Textiles
Digital printing is also entering new textile fields and at the Heimtextil 2025 show in Frankfurt in January, ColorJet demonstrated a wide range of home décor products including curtains, bed covers, and sofa covers produced with its latest FabJet Pro system, with high-definition prints on a wide range of materials including cotton, viscose, silk and wool.

Kornit meanwhile presented a furniture collection developed with fellow Israeli company Niso Furniture demonstrating the new and practical possibilities of a ‘demand-before-supply’ model for the home textiles market.

The collaboration featured a fully designed living room concept showcasing sofas, armchairs, a dining table and curtains—all created using Kornit’s digital printing systems and demonstrating how they enable designers and manufacturers to transform spaces with infinite customisation options, delivering premium-quality products on demand.

For this market, Kornit’s Presto MAX system can print on any fabric type—from cotton and polyester to denim and leather. The single-step solution is proven to dramatically reduce both water usage and waste. The system is the world’s first to print white ink on coloured fabrics, alongside neon, to extend the colour gamut by as much as 30 per cent. Kornit’s new Vivido inks now additionally offer the industry’s richest, dark black pigments.

Kornit provides full support for a ‘virtualfirst’ supply chain, eliminating inventory and waste by producing only what is needed, when it is needed. The collection demonstrated the flexibility to print on a wide variety of fabrics based on both natural and synthetic fibres and their blends, using a single ink set.

Chris Govier, EVP of strategic growth and marketing at Kornit, stresses that just as digital manufacturing and online retailing is transforming the apparel market, it makes equal sense for home furnishings.

“Both homeowners and interior designers can personalise textile designs to suit their aesthetic preferences, creating bespoke furnishings that match specific themes or colour palettes,” he observes. “This caters to the growing consumer demand for individuality, enabling businesses to tap into niche markets and stand out.”

“Kornit’s demand-before-supply model enables designers and businesses to deliver unique, high-quality pieces while transforming traditional supply chains,” adds Leon Edot, co-owner of Niso Furniture. “Our collaboration reflects a shared vision of combining creativity and technology to redefine furniture design and the collection we created for Heimtextil 2025 represents a new era in home decoration.”

Sustainability
A coincidental but highly relevant development in January 2025 at the time of Heimtextil was the introduction in the European Union of the ban on the landfilling or incineration of post-consumer textile waste with the imposition of an extended producer responsibility (EPR) scheme on brands and manufacturers to pay for its collection and disposal. The European Commission is further calling for all textile products on the EU market to be durable, repairable or recyclable—and to contain a significant percentage of recycled fibres—by 2030. Similar legislation will follow in other parts of the world, beginning with California in the US.

Here too, digital production offers significant environmental benefits. Traditional dyeing and printing methods, for example, often consume large quantities of water and generate hazardous waste. Digital printing, however, can use 100 per cent water-based inks and requires minimal water, reducing the industry’s environmental footprint.

Additionally, the precision of digital production minimises material waste since only the required amount of fabric and ink is used, and errors are less frequent compared to traditional methods.

In 2025, the ‘make-on-demand’ digital model for both manufacturing and retailing appears to be convincingly ticking all the right boxes.

Major Advantages
All in all, digital printing is particularly costeffective for small to medium production runs, since it eliminates setup costs and lengthy processes. In addition, businesses can respond to trends very rapidly due to the shorter lead times.

Its flexibility also allows for quick design changes and customisation while using much less water and ink compared to conventional methods, while minimising fabric waste.

Aligned with online shopping, it is now successfully driving out over-production from established supply chains, while enabling the establishment of final production facilities close to local markets.