Each season, the Sustainable Innovations forum brings together projects that provoke, inspire, and challenge assumptions. This year is no exception, with work ranging from bio-luxury couture to energy-generating textiles and regenerative materials grown from wetlands.

Indigo, a colour with a lot of history, is the main focus of this project. Denim has always meant strength and durability, and its roughness is linked to work and usefulness.

The program is a group of businesses and universities working together to find scalable, bio-based alternatives.

Wijkman’s idea came from a simple but important observation: animals carry seeds across ecosystems in their fur.

Heliotex is basically a way to combine organic photovoltaics with lightweight, flexible fabrics. The result is sunshades and canopies that generate energy and look good at the same time.

People have long praised couture for its ability to shock. But what if fashion didn't just shock people with its looks but also made them think about what it was made of?

Veentjer’s practice has turned her attention to cattails, a plant that grows well in waterlogged soils and has the potential to change both landscapes and textiles.

The mission of Kantamanto Social Club is clear: to empower communities in the Global South. It aims to shine a spotlight on communities, particularly those whose circular and regenerative practices have been undervalued for too long.

The projects I selected this season challenge us to rethink everything from raw materials to end products and production processes, whilst emphasising on sustainability as an ongoing dialogue.

In an industry swamped by fast fashion and ever-changing trends, Oscar Wentz’s AFTERLIFE project has hit the reset button.

Beatriz discovered wool's capacity as a universal language, transcending social, generational, and cultural barriers, and serving as a bridge that connects diverse lives and stories.

Instead of settling for flat, static materials, she’s tapping into cutting-edge technology to create three-dimensional fabrics that push us to reimagine what textiles can do – and what they can mean to us.

In their design process, textile craftsmanship and industrial textile techniques meet, resulting in complex materials that are aimed at unconventional and innovative applications.

Marking a seismic shift from traditional textile creation, Venus In Fury’s approach starts not with a sketch, but with a selection of natural materials like Dutch wool and seaweed.

This season, we're continuing this saga by posing critical questions and embracing a more holistic narrative. It’s less about solutions and more about interventions and transformative thinking.

Suzanne's goal: to push boundaries, experiment, and challenge the way things are done.