Sustainable Innovations

KnitForm+ by Jeanne Mora - SUSTAINABLE INNOVATIONS

KnitForm+ by Jeanne Mora

When Knitting Becomes Structure, Not Surface

SUSTAINABLE INNOVATIONS

20. January 2026

KnitForm+ is not a new yarn system or surface innovation. What makes it different is its use of knitting as a structural design method, where form, volume, and stability are generated directly through textile construction rather than imposed through frames, padding, or rigid supports.

Developed by designer Jeanne Mora, KnitForm+ positions knitting as a construction language. Stitch architecture, tension, and machine constraints become the primary drivers of form. Instead of treating these limitations as technical problems, Mora treats them as design parameters that actively shape behaviour. The result is a series of knitted structures that fold, compress, inflate, and expand through their own material logic.

Material origin is intentionally secondary to structure. KnitForm+ is not presented as a fibre innovation, but as a system for working with knitted behaviour across different material bases. What matters is how the textile responds: how it regulates volume, distributes pressure, and transitions from flat to three-dimensional states. Process transparency is embedded in the methodology itself. Each form emerges through iterative sampling, structural testing, and machine-based experimentation rather than decorative finishing.

“What matters is how the textile responds: how it regulates volume, distributes pressure, and transitions from flat to three-dimensional states. Process transparency is embedded in the methodology itself.”

Scalability is addressed through adaptability. KnitForm+ is currently a research and design framework, not a product line. Its logic can be applied across furniture, interiors, and spatial design contexts, but requires collaboration with industrial knitting environments. The work is therefore scalable in principle, but intentionally not simplified into ready-made typologies.

Performance is defined through behaviour rather than comfort claims. The knitted structures demonstrate controlled flexibility, compression, and deformation. In pieces such as the inflatable knitted seat developed with TextielLab in Tilburg, the textile regulates volume and pressure through stitch construction alone. The trade-off is clear: these systems demand precise machine control and deep material understanding, but in return they reduce the need for secondary construction layers.

Within the wider industry context, KnitForm+ challenges the separation between textile design and product engineering. It positions knitting as a tool for structural problem-solving, not surface styling. For furniture designers, textile developers, and manufacturers, it suggests a shift from textiles as coverings to textiles as frameworks.

KnitForm+ does not claim to optimise production or solve sustainability through material substitution. Its contribution is more fundamental. It proposes that textiles can be active construction systems, capable of shaping form, behaviour, and function directly.

For Jeanne Mora, success is not measured in product replication, but in establishing knitting as a structural design discipline with industrial relevance. KnitForm+ is less about what knitting looks like, and more about what knitting can do.

WEBSITEIG: jeannemora_LINKEDIN

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by Chantal Graeff

RETRAKT - SUSTAINABLE INNOVATIONS

RETRAKT: From Circular Ambition to Operational Reality

SUSTAINABLE INNOVATIONS

19. January 2026

RETRAKT is not a new material, fibre, or fabric system. What makes it different is more fundamental: it is a research-based transformation framework designed to help textile and apparel companies actually implement circular economy requirements inside day-to-day operations. At a time when circularity is becoming mandatory under EU legislation, RETRAKT focuses on the gap most companies struggle with: translating regulation into workable processes across design, sourcing, production, and data management.

Developed as part of the research project “Resilient Transformation Management for the Circular Economy in the Textile Industry”, RETRAKT addresses circularity as a socio-technical challenge, not a purely technical one. Its core innovation lies in combining product compliance management, resilience engineering, and employee-centred process design to help companies shift from linear to circular value creation in a structured, realistic way.

“Performance, in this context, is measured by organisational resilience. RETRAKT applies resilience engineering to help employees anticipate, monitor, respond to, and learn from complex and changing requirements.”

Rather than making sustainability claims, RETRAKT starts with regulatory facts. New EU textile legislation, including requirements linked to the EU Textile Strategy 2030, will make circular design, transparency, and traceability legally binding. RETRAKT systematically analyses these laws and translates them into concrete tasks for companies, from material selection and design decisions to supplier communication and data documentation.

Compliance is treated as the backbone of circularity, not an afterthought. Therefore, traceability within RETRAKT is approached through process transparency rather than labels. The project develops methods to document workflows, responsibilities, and decision paths inside companies, supported by a planned Digital Cooperation Platform. This platform is intended to support collaboration across international value chains and to prepare companies for future requirements such as the Digital Product Passport.

In terms of scalability, RETRAKT is not a lab experiment but a practice-oriented research project running from 2025 to 2028, implemented directly within partner companies from the textile and apparel industry. Its scalability lies in its transferability: the procedures, tools, and methods developed are designed to be adapted by other companies and, in the longer term, potentially by other industries facing similar regulatory pressure.

Performance, in this context, is measured by organisational resilience. RETRAKT applies resilience engineering to help employees anticipate, monitor, respond to, and learn from complex and changing requirements. This human-centred approach recognises that circularity will only work if people inside companies are enabled to manage uncertainty and complexity, rather than being overwhelmed by it.

RETRAKT positions itself clearly within the wider industry shift away from voluntary sustainability towards mandatory circular compliance. It is most relevant to brands, manufacturers, and suppliers who recognise that future competitiveness will depend not just on better materials, but on better systems.

Success for RETRAKT is not a single product outcome. It is the creation of a repeatable, resilient model for circular transformation that companies can realistically use.

WEBSITE

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by Chantal Graeff

MATERIA FUTURA - SUSTAINABLE INNOVATIONS

MATERIA FUTURA: Reclaiming Sensory Desire in Bio-Based Materials

SUSTAINABLE INNOVATIONS

18. January 2026

Materia Futura is not proposing a new bio-material category, nor a finished commercial textile. What distinguishes the project is its design-led investigation into the emotional and aesthetic dimensions of bio-based materials, an area often sidelined in sustainability discourse. Founded by Alessia Pasquini and Beatriz Sandini, Materia Futura asks a direct question: why are sustainable materials still expected to look raw, muted, or purely functional?

Developed as a design research project in early 2025, Materia Futura explores how biomaterials can engage the senses through shimmer, iridescence, surface depth, and visual movement. Rather than treating these qualities as superficial, the project positions them as critical to human connection and long-term material adoption. Its first outcomes were presented at Dutch Design Week 2025 as part of the exhibition Basic Instinct: Making–With. The first phase of the research was developed in collaboration Paulina Martina, a digital designer, who worked on the virtual reality component. Part of that initial phase focused on creating a connection between the physical materials and the virtual world. You will find more info about this aspect on the Materia Futura website.

“Sustainability should not only be responsible, but also desirable – able to shimmer, glow, and connect with our senses.”

The work combines bio-based material experimentation with traditional craft techniques, using hands-on processes to push beyond the visual language typically associated with sustainable design. Effects such as chromatic shifts, moiré patterns, and layered textures are explored not as decoration, but as inherent material expressions inspired by natural phenomena. While earlier phases of the project investigated links between physical materials and digital or immersive environments, the designers are currently reassessing how and whether these components will continue in future iterations.

Materia Futura is firmly in a research and exploratory phase. The materials developed are not yet positioned for immediate industrial scale or collection integration. Instead, the project functions as a provocation and a testing ground, relevant to designers, material developers, and brands interested in expanding how sustainability is perceived, communicated, and desired.

In the wider material landscape, Materia Futura challenges the assumption that responsible materials must be visually restrained to be credible. Its contribution lies in reframing sustainability as something that can be sensory, expressive, and culturally resonant, without denying its biological or ethical foundations.

For Pasquini and Sandini, success is not defined by a single material outcome, but by opening space for a richer, more emotionally literate future for bio-based design.

WEBSITEIG: materia_futuraa

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by Chantal Graeff

THREADED PROTOCOLS - SUSTAINABLE INNOVATIONS

THREADED PROTOCOLS:

When Weaving Becomes Computation Again

Explore these innovative projects at the Sustainable Innovations Forum in the Keyhouse in Hall 2

17. January 2026

Threaded Protocols is not a textile innovation in the commercial sense, nor a digital tool disguised as craft. What makes the work distinct is its material investigation into how computational logic originates in textile practice and what is lost when those logics are abstracted into opaque technological systems.

Developed by artist and researcher Floor Berkhout, Threaded Protocols explores the structural relationship between weaving and computing. Both rely on binary decisions, pattern execution, and logical sequencing. Historically, the loom was the first computer. Threaded Protocols returns to this origin, using textile-making to expose the physical, gestural nature of computation that contemporary digital infrastructures have largely hidden.

Berkhout’s practice operates as a critical technical practice, working through craft methodologies to understand how protocols function materially. In Threaded Protocols, each crossing of threads becomes a binary operation: in front or behind, zero or one. Meaning emerges slowly, through repetition and attention, rather than speed or optimisation. This slowness is deliberate. It draws from perma-computing principles, which question the inevitability of fast, extractive technological progress and its influence on both digital systems and the textile industry.

The project also foregrounds the gendered history of both textile labour and computation, from 19th-century weaving rooms to the women who worked as “computers” in the mid-20th century. By re-embedding computation in the hands, Threaded Protocols seeks to reclaim agency that has been stripped away through industrialisation and black-box technologies.

WEBSITEIG: floor.berkhout

Threaded Protocols is presented as process-driven research and interactive installation, not as a scalable product or material solution. Its relevance lies in how it reframes technology as something made, touched, and shaped by human choice, rather than an abstract, neutral system.

For designers, technologists, and researchers, Threaded Protocols offers a reminder that systems which appear precise and objective are always political, always designed, and always traceable back to material decisions. In a landscape dominated by efficiency, Berkhout’s work insists on another value: the right to build meaning slowly.

The detailed explorer finds a bonus: her work is also touching theme’s of emancipation, gender-equality, historic manipulation…

Any input you think is helpful to create a dedicated article about your project:
https://materialprotocols.site/presskit/
https://materialprotocols.site/research&&notes/

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by Chantal Graeff

MARIE VILAY - SUSTAINABLE INNOVATIONS

MARIE VILAY: Reading, Carrying, and Reframing Textile Knowledge

SUSTAINABLE INNOVATIONS

16. January 2026

Marie Vilay does not present a new fabric or production technique. What distinguishes her work is a method of reading and translating textile knowledge across cultures, systems, and moments of transition. Her practice asks a question that sits at the edge of innovation: what happens to textile traditions, patterns, and objects when they move between geographies, power structures, and production logics?

“For designers, researchers, and institutions navigating questions of decolonisation, migration, and responsibility, her work offers a different kind of innovation: one rooted in listening, translation, and care rather than optimisation.”

In To Read a Pattern, Vilay investigates how Laotian weaving patterns might persist when removed from their original cultural and social context and placed within European industrial production.

In Laos, weaving is a living, evolving practice, with patterns traditionally passed from mother to daughter. Vilay’s research highlights how colonial history and orientalist framing have shaped how these patterns are perceived in Western contexts, often flattening them into static heritage rather than living knowledge.

Using patterns gathered through field research in Laos and developing new interpretations through industrial processes, she explores whether continuity is possible without extraction or simplification. This work was produced in collaboration with TextielLab and the Textile Museum in Tilburg.

Her second project, A Bindle (in Transition), shifts from production systems to personal and collective movement. A bindle is a simple cloth used to carry essential belongings while travelling. Vilay reinterprets this form as a container for care, memory, and what is left behind. Using graduation projects abandoned by peers as material, she documents stories of departure, uncertainty, and transition, binding objects and narratives together through a universal textile gesture.

Vilay’s work is not designed for immediate commercial application. Its relevance lies elsewhere: in challenging how value, authorship, and continuity are assigned in textile culture. For designers, researchers, and institutions navigating questions of decolonisation, migration, and responsibility, her work offers a different kind of innovation: one rooted in listening, translation, and care rather than optimisation.

WEBSITEIG: marie_vilay

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by Chantal Graeff

Interview with Simon Angel, Curator of SUSTAINABLE INNOVATIONS

SUSTAINABLE INNOVATIONS 2026:

Interview with Simon Angel, Curator of SUSTAINABLE INNOVATIONS

Guest article by Muchaneta ten Napel

15. January 2026

Simon Angel has been curating the Sustainable Innovations Area at KEYHOUSE since 2018. For the January 2026 edition, Sustainable Innovations once again brings together projects that question, provoke, and expand the future of textiles. Register now to attend Sustainable Innovations at KEYHOUSE.

When you curate SUSTAINABLE INNOVATIONS, what tells you a project is genuinely worth platforming, beyond novelty or technical achievement?

Simon Angel: For me, novelty by itself is never enough, I always search behind the curtains, looking for stories, paradoxes, pain, pleasure and purpose. Technical achievement is important, but it is only a starting point. What I look for is whether a project asks an honest question about how we live, make, and value. A project becomes worth platforming when it shows responsibility towards material, culture, and consequence. That responsibility can take many forms. In Marie Vilay’s work, it appears as care for knowledge, authorship, and continuity. In Materia Futura, it emerges as a refusal to accept that sustainability must look deprived or emotionally flat. In Threaded Protocols, it shows up as a quiet but powerful re-examination of how technology itself is constructed. What connects them is not perfection, but intention. They are not trying to impress the industry. They are trying to understand it, and sometimes to gently disturb it; reframing or disrupt the ‘pattern’ of the industry. That is where I feel Sustainable Innovations has its real value.

Many of the projects you select are not market-ready products. Why is it important, in your view, for an industry-focused fair to make space for unfinished or exploratory work?

Simon Angel: Because the future does not arrive fully packaged. If we only show what is ready for market, we only ever validate what already fits existing systems. Sustainable Innovations exists precisely to create space for what does not yet fit. Exploratory work allows us to see where thinking is moving before it becomes constrained by commercial frameworks. It is therefore an invitation to explore and to inspire. Projects like Materia Futura or Threaded Protocols are not trying to sell a product. They are offering a shift in perception. They allow the industry to engage with material, technology, and responsibility at a conceptual level before those ideas harden into supply chains and price points. An industry that only looks at finished solutions risks losing its ability to imagine better ones.

Looking at this year’s exhibitors, what do you feel they have in common?

Simon Angel: What they share is a deep awareness that textiles are not neutral. Whether it is Marie Vilay questioning how textile knowledge travels across cultures or Materia Futura reclaiming sensory desire in bio-based materials, each project understands textiles as carriers of history, power, emotion, and choice. They are not interested in materials as surfaces alone. They are interested in materials as systems of meaning. And importantly, none of them treats sustainability as a technical checklist. They treat it as a cultural responsibility. Textile with layers of different understandings, functions and conscious.

Many innovations struggle at the point of scale. What responsibility, if any, do curators and platforms have in addressing that gap?

Simon Angel: We cannot solve scale for innovators, but we can change how scale is understood. Too often, scale is presented as the only measure of success. But some projects are not meant to scale in the conventional sense. Their value lies in how they influence thinking, education, or future processes. As curators, our responsibility is to provide context. To connect exploratory work with industry actors who can interpret, adapt, or carry those ideas forward responsibly. To prevent innovation from being consumed only as trend material. Scale should be a conversation, a question mark maybe, but not a demand.

Across the projects this season, what assumptions about textiles or fashion do you think the industry most needs to unlearn?

Simon Angel: That sustainability must look modest, technical, or restrained. That innovation must be fast. That materials are separate from culture. That efficiency is always progress. The projects being presented should remind us that desire is not the enemy of sustainability. The industry must unlearn the idea that responsibility is a limitation. It is, in fact, a creative force.

If the wider industry took just one lesson from this year’s SUSTAINABLE INNOVATIONS, what would you want it to be?

Simon Angel: That innovation is not only about what we make, but about how we choose to make meaning. Sustainable Innovations is not a showroom of answers. It is an invitation to think differently. To slow down. To notice. To question. To reconnect material with intention. If the industry leaves with a renewed sense of responsibility towards both material and imagination, then the platform is doing its job.

About the author

Founding editor-in-chief of Shape Innovate, Muchaneta has worked in the fashion industry for over 14 years. She is currently one of the leading influencers speaking and writing about the merger of fashion with technology and wearable technology.

Muchaneta ten Napel | m@shapeinnovate.com

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by Chantal Graeff

Materials as Agents of Change with Simon Angel

SUSTAINABLE INNOVATIONS 2025: Materials as Agents of Change

Interview with Simon Angel - Guest article by Muchaneta ten Napel

1. September 2025

Curator of SUSTAINABLE INNOVATIONS at Munich Fabric Start, Simon Angel, has become a central voice in shaping how the fashion and textile industries engage with change. His role is less about gatekeeping and more about storytelling. He is someone who is continually driven to connect experimental design, science, and industry practice into a broader vision of what the future of textiles could be. Each season, the 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.

Here, Angel reflects on his curatorial approach, what unites the innovators he spotlights, and the lessons the wider industry should take forward.

What guides your selection for the Sustainable Innovations forum at Munich Fabric Start?

Simon Angel: I tend to follow what I’d call the heartbeat of our shared future. I’m drawn to ideas that question how we live, how we make, and what we value. That’s why you’ll see projects like Wetlands Matters, which asks whether a jacket can actually help re-wild landscapes, or MYC_couture, which shows us that couture can be cultivated with fungi rather than constructed with synthetics. Innovation often blooms at intersections between fashion, materials science, agriculture, and energy. What matters is that each project shines light on a new way to connect design, ecology, and purpose.

Living matters

Biotexfuture – BioCushion

Wetlands Matters

What unites the projects featured this season?

Simon Angel: Two things: poetry and purpose. We need creators who can stir emotion like Plantfur, which transforms cattail waste into fur-like panels that are both tactile and ecological and at the same time we need rigorous problem-solvers who deliver scalable results, like the BIOTEXFUTURE initiative working on bio-based polyester and recyclable spacer fabrics. When those elements come together, the projects become more than exhibits; they become signals of what the industry could look like in ten or twenty years.

Do you sense any trends taking shape across the entries this season?

Simon Angel: What I see is a search for meaningful connection between people, and between materials and purpose. Suntex, for example, doesn’t just provide shade it turns fabric into renewable infrastructure, powering spaces we live in. Living Matter reframes luxury not as excess but as responsibility. These are projects asking: why do we value what we value, and what role can textiles play in helping us live differently? That drive for connection may be the next frontier of innovation.

Heliotex

MYC_Couture

Plantfur

What can the industry learn from the Sustainable Innovations forum?

Simon Angel: The forum isn’t about providing ready-made answers. It’s about opening a dialogue. Designers bring unique perspectives on human need and material potential, while industry brings the scale and reach to make change happen. When something like Wetlands Matters or Plantfur is staged next to an industrial research programme like BIOTEXFUTURE, it shows how speculative design and applied science can reinforce one another. That’s when we move from admiration to action.

Looking ahead, how do you see sustainability and textiles evolving together?

Simon Angel: The more immersed I become, the more it boils down to responsibility shared across the system. For me the projects at Sustainable Innovations remind us that awareness can be turned into collective action. It’s time for the industry to let that enthusiasm drive renewal, not just conversation.

About the author

Founding editor-in-chief of Shape Innovate, Muchaneta has worked in the fashion industry for over 14 years. She is currently one of the leading influencers speaking and writing about the merger of fashion with technology and wearable technology.

Muchaneta ten Napel | m@shapeinnovate.com

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by Chantal Graeff

Living Matter: Bio-Luxury for Future Materials

Living Matter: Bio-Luxury for Future Materials

SUSTAINABLE INNOVATIONS

31. August 2025

Luxury has always been a contradiction. It’s admired for its craft and allure, yet criticised for its excess. Living Matter takes this tension and turns it into a question: what if luxury wasn’t about being rare or exclusive, but about being responsible and creative?

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. In this case, indigo is used to provoke. Biomaterials like Indigo Fur, Indigo BioLeather, and Indigo Veil change the roughness of denim into something soft, light, and impossibly elegant. These materials are made to feel high-end, but they are also made to change, age, and eventually return to the earth.

The process uses marine biopolymers, plant fibres, and even charcoal waste, which are mixed with cotton and natural indigo dyes. The results are more than just surfaces; they are shaped by techniques like folding, pleating, and fur-crafting. They feel alive, with both a scientific and a craft-like touch. Every piece tells a story about what happens when old and new come together.

“By rethinking luxury as a nature-driven, craftsmanship-based concept, the project pioneers sustainable luxury.”
Shushanik Droshakiryan

What stands out is how beautiful these materials are without any shame. Sustainable design is too often shown in muted colours, as if restraint is the only way to show responsibility. Living Matter has a different point of view. Indigo here is strong and bright, with textures that are rich, sensory, and very appealing. It doesn’t agree that taking care of the planet means giving up style.

Luxury sets the tone for the wider industry, shaping what people desire and why they engage with fashion at all. Living Matter challenges this influence, urging a shift away from extraction toward stewardship redefining bio-based materials not as compromise, but as the ultimate expression of desirability.

Presented at the September 2025 edition of Munich Fabric Start’s Sustainable Innovations forum, the project will make its case in the right place thanks to the kind collaboration with OFFICINA +39 as supplier of RECYCROMTM RTD OCEAN dye as well as EU COTTON who provided the raw cotton used in this project. Pushing boundaries and spotlighting visions of fashion’s future, it has the potential to reframe bio-based materials not as substitutes or compromises, but as the new height of aspiration.

H2 | SI

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by Chantal Graeff

BIOTEXFUTURE: How to Make Textiles from Fossils

BIOTEXFUTURE: How to Make Textiles from Fossils

30. August 2025

One of fashion’s biggest contradictions is that it relies on fossil fuels. Polyester, nylon, and acrylic make up most of the world’s fibres, which means that most clothes today start out as crude oil. adidas and RWTH Aachen University are leading the German project BIOTEXFUTURE, which wants to end that dependence.

The program is a group of businesses and universities working together to find scalable, bio-based alternatives. It is funded by the Federal Ministry of Education and Research. Part of the SUSTAINABLE INNOVATIONS forum at Munich Fabric start, three main projects will be featured:

  • CircWool: a process that uses a solvent to restore wool fibres without lowering their quality.
  • BioPETex: a bio-based polyester that works just as well as regular PET.
  • BioCushion: a type of spacer fabric that can be recycled and used in shoes and clothes. It is both strong and circular.

These projects are not meant to be one-time tests; they are meant to be useful in the real world. Adding them to the forum ties speculative design ideas to a long history of applied science. It reminds us that we need both creativity and infrastructure to make the switch to sustainable textiles.

BioCushion

BioPEtex

BioPEtex

BioPEtex

CircWool

BIOTEXFUTURE is holding the right vision to transform the textile value chain.”
adidas Future Team

The message is clear for fashion and textiles: greenwashing can’t hide the fact that we depend on oil. We need to change the way things are built, and bio-based fibres are a big part of that. The good news is that the technology is available, partnerships are forming, and interest is growing.

Petrochemistry has defined textiles for the last 100 years. But projects like BIOTEXFUTURE show that a new era is coming, one where performance, style, and scale are no longer tied to oil but to renewable innovation.

CircWool

CircWool

CircWool

Visit BIOTEXFUTURE H2 | SI

BIOTEXFUTURE

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by Chantal Graeff

Wetlands Matters – by Marc Wijkmans

Wetlands Matters – by Marc Wijkmans

SUSTAINABLE INNOVATIONS

29. August 2025

In the Netherlands, where land and water are always at odds with each other, design often has to work with ecology. Marc Wijkmans Studio “Wetlands” takes this conversation into textiles, treating fabrics not as neutral surfaces but as active participants that can help landscapes grow.

Wijkman’s idea came from a simple but important observation: animals carry seeds across ecosystems in their fur. He made a fabric that purposely catches and spreads seeds by imitating this natural process. The material is made of wool, sodium alginate, and linseed oil, and it doesn’t have the smooth, perfect look of regular fabrics. Instead, its value comes from its flaws, how it can get stuck, carry things, and help the process of re-wilding continue. This approach goes against what people think about outdoor clothing.

“Seeds stick to fur. Building on this, I came up with the idea to give the material a fur-like surface.” 
Marc Wijkmans

Making the material

As most of us know, performance fabrics today are largely synthetic-engineered to be strong and water-resistant, yet infamous for shedding microplastics. Wetlands Matters challenges this conventional notion of “functionality.” Here, performance is redefined: not about keeping people dry, but about serving the ecological needs of a site.

Tested in the Hemelrijkse Waard nature reserve, the textile demonstrates that protection can be mutual – between wearer and landscape. From this emerges a clear lesson for the fashion and textile industries: materials must be rethought entirely. What if fabrics were designed to collaborate with their surroundings rather than resist them? What if impermanence and biodegradability were not flaws, but essential virtues for a sustainable future?

All in all, Wetlands Matters doesn’t say that it has a solution that is ready to sell. It works as a provocation instead: a reminder that the future of textiles may be less about how long they last and how well they work in the narrow sense and more about how they can help landscapes grow quietly and steadily.

H2 | SI

Repairing the material

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by Chantal Graeff