Sustainable Innovations Archives - Munique - Unique Textiles Insights https://www.munique.blog/en/category/sustainable-innovations-en/ Sun, 25 Jan 2026 21:20:55 +0000 en-US hourly 1 https://wordpress.org/?v=6.6.4 KnitForm+ by Jeanne Mora – SUSTAINABLE INNOVATIONS https://www.munique.blog/en/knitform-by-jeanne-mora-sustainable-innovations/ Tue, 20 Jan 2026 09:00:42 +0000 https://www.munique.blog/?p=83430 KnitForm+ by Jeanne Mora – SUSTAINABLE INNOVATIONS

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.

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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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]]> RETRAKT – SUSTAINABLE INNOVATIONS https://www.munique.blog/en/retrakt-sustainable-innovations/ Mon, 19 Jan 2026 09:00:47 +0000 https://www.munique.blog/?p=83454 RETRAKT – SUSTAINABLE INNOVATIONS

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.

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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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]]> MATERIA FUTURA – SUSTAINABLE INNOVATIONS https://www.munique.blog/en/materia-futura-sustainable-innovations/ Sun, 18 Jan 2026 09:00:13 +0000 https://www.munique.blog/?p=83469 MATERIA FUTURA – SUSTAINABLE INNOVATIONS

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.

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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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]]> THREADED PROTOCOLS – SUSTAINABLE INNOVATIONS https://www.munique.blog/en/threaded-protocols-sustainable-innovations/ Sat, 17 Jan 2026 09:00:07 +0000 https://www.munique.blog/?p=83392 THREADED PROTOCOLS – SUSTAINABLE INNOVATIONS

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.

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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/

ALL EXHIBITORS AT A GLANCE

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]]> MARIE VILAY – SUSTAINABLE INNOVATIONS https://www.munique.blog/en/marie-vilay-sustainable-innovations/ Fri, 16 Jan 2026 09:00:10 +0000 https://www.munique.blog/?p=83363 MARIE VILAY – SUSTAINABLE INNOVATIONS

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.

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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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]]> Interview with Simon Angel, Curator of SUSTAINABLE INNOVATIONS https://www.munique.blog/en/interview-with-simon-angel-curator-of-sustainable-innovations-2/ Thu, 15 Jan 2026 09:00:32 +0000 https://www.munique.blog/?p=83335 Interview with Simon Angel, Curator of SUSTAINABLE INNOVATIONS

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.

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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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]]> Materials as Agents of Change with Simon Angel https://www.munique.blog/en/materials-as-agents-of-change-with-simon-angel/ Mon, 01 Sep 2025 08:00:40 +0000 https://www.munique.blog/?p=83239 Materials as Agents of Change with Simon Angel

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.

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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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]]> Living Matter: Bio-Luxury for Future Materials https://www.munique.blog/en/living-matter-bio-luxury-for-future-materials/ Sun, 31 Aug 2025 10:00:44 +0000 https://www.munique.blog/?p=83190 Living Matter: Bio-Luxury for Future Materials

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.

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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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]]> BIOTEXFUTURE: How to Make Textiles from Fossils https://www.munique.blog/en/biotexfuture-how-to-make-textiles-from-fossils/ Sat, 30 Aug 2025 10:00:56 +0000 https://www.munique.blog/?p=83152 BIOTEXFUTURE: How to Make Textiles from Fossils

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

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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
ALL EXHIBITORS AT A GLANCE

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]]> Wetlands Matters – by Marc Wijkmans https://www.munique.blog/en/wetlands-matter-the-studio-of-marc-wijkmans/ Fri, 29 Aug 2025 11:00:18 +0000 https://www.munique.blog/?p=83109 Wetlands Matters – by Marc Wijkmans

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

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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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]]> Heliotex – Studio Pauline van Dongen https://www.munique.blog/en/heliotex-studio-pauline-van-dongen/ Thu, 28 Aug 2025 11:00:39 +0000 https://www.munique.blog/?p=83056 Heliotex – Studio Pauline van Dongen

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.

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Heliotex – Studio Pauline van Dongen

SUSTAINABLE INNOVATIONS

28. August 2025

Textiles have always covered our bodies, but what if they could also power the things around us? Heliotex (formerly known as Suntex), from designer Pauline van Dongen, is a challenge to what people think fabric can do.

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. These fabrics move, fold, and breathe with their surroundings, unlike rigid solar panels. They think of renewable energy not as something that needs to be hidden away, but as something that is beautiful, soft, and fits in perfectly with the rest of the world.

“We focus on outdoor applications like textile facades, festival tents, and shade structures… Of course, we also foresee indoor applications like curtains and sun shading.”
Pauline van Dongen

The fact that Simon Angel included the project in this season’s SUSTAINABLE INNOVATIONS forum puts it in a bigger story: textiles are no longer passive. They are tools for making big changes in the system. Heliotex shows how fabrics can go beyond traditional categories by working at the intersection of design, architecture, and energy. It is similar to Wetlands Matters and Plantfur.

The effects of van Dongen’s work on the fashion and textile industries will be huge. The textile industry can grow if textiles can collect energy. Sustainability stops being about doing less harm and starts being about giving more value, like comfort, beauty, and clean energy all at once.

The lesson is practical but lofty: sustainability should feel like a part of everyday life, not something that is added on. Heliotex shows that renewable energy can be touchable, welcoming, and even luxurious. This is a call for people who work in fashion and textiles to think of fabrics not just as things we wear, but also as the buildings we live in.

H2 | SI

PAULINE VAN DOGNEN

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]]> Atelier Dasha Tsapenko’s MYC_Couture https://www.munique.blog/en/atelier-dasha-tsapenkos-myc_couture/ Wed, 27 Aug 2025 11:00:55 +0000 https://www.munique.blog/?p=83001 Atelier Dasha Tsapenko’s MYC_Couture

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?

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Atelier Dasha Tsapenko’s MYC_Couture

SUSTAINABLE INNOVATIONS

27. August 2025

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? Atelier Dasha Tsapenko’s ongoing project, MYC_Couture, is based on that idea. Instead of making clothes, she grows them.

Tsapenko has made clothes out of fungi, hemp, and flax; living collaborations between the designer and the organism. The coats and gowns that came out of this unusual partnership are dramatic and sculptural. They look like couture fantasy, but their biology is what makes them new. The garments grow back, break down, and eventually go back to the earth. Tsapenko has introduced the new idea of “bioluxury”, which is a model that accepts change and that things don’t last, instead of fighting against change.

“Textures and materials are not produced; they grow.”
 Dasha Tsapenko

This vision is not a gimmick or a small test. MYC_Couture, understands that a shift in worldview from garments as static objects to garments as part of ecological cycles isn’t about keeping things the same, it’s about celebrating change, growth, and coming back.

No stranger to events like Dutch Design Week, Copenhagen Fashion Week, and now at Munich Fabric Start, you will find MYC_Couture housed in the SUSTAINABLE INNOVATIONS space. There she hopes to start a conversation about changing the way fashion and ecology are connected. Her lesson is both simple and radical: sustainability cannot be achieved by efficiency tweaks alone.

H2 | SI

ATELIER DASHA TSAPENKO

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]]> Plantfur – by Studio iFOCUS https://www.munique.blog/en/plantfur-by-studio-ifocus/ Tue, 26 Aug 2025 11:00:50 +0000 https://www.munique.blog/?p=83027 Plantfur – by Studio iFOCUS

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.

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Plantfur – by Studio iFocus 

SUSTAINABLE INNOVATIONS

26. August 2025

Peatlands, which are often called the “lungs of the earth,”, are delicate ecosystems that are under a lot of stress. These carbon-rich soils in the Netherlands are at risk of collapsing because of centuries of draining and intensive farming. When they do, they release emissions into the air. This environmental crisis is not only a call to fix things, for designer Iris Veentjer; it is also a chance to rethink the future of materials.

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. Plantfur, a surface material made from the cigar-shaped seed heads of the cattail, is the main focus of this research. These spikes are usually thrown away as agricultural waste, but they are collected before they spread too much and turned into panels that look like fur. Each cigar has its own size, so when they are put together, they make striated surfaces that are naturally beautiful. Not only is the material a more environmentally friendly alternative to animal fur and petroleum-based synthetics, but it also gives farmers a crop that helps reduce emissions.

“Harvesting cattail cigars earlier prevents their invasive spread and transforms waste into value.”

Iris Veentjer

The fact that SUSTAINABLE INNOVATIONS forum is featuring the project this season shows how important it is. Plantfur shows that sustainability can mean more than just doing less harm. Plantfur makes important points for the fashion and textile industries. What if wetlands were used to grow fur instead of factory farms? What if farming worked with climate resilience instead of against it?

Plantfur doesn’t just replace old materials; it makes a new way to use them based on ecological reciprocity. This is a very important lesson to learn. People won’t just judge the textiles of the future by how they feel on the skin; they’ll also judge them by how they work in ecosystems. Veentjer’s work shows that luxury and sustainability don’t have to be at odds with each other. They can be redefined together with materials that are both beautiful and good for the environment.

H2 | SI

STUDIO iFOCUS

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]]> Kantamanto Social Club https://www.munique.blog/en/kantamanto-social-club/ Fri, 17 Jan 2025 11:00:42 +0000 https://www.munique.blog/?p=81682 Kantamanto Social Club

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.

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Kantamanto Social Club – Pioneering Regenerative Fashion with

Daan Sonnemans & Anabel Poh

SUSTAINABLE INNOVATIONS

17. January 2025

A revolution is unfolding.
Kantamanto Social Club was born from inspiration brought about by the vibrant, bustling markets of Kantamanto, Ghana. Co-founders Anabel Poh and Daan Sonnemans’ objective was to transform the global fashion landscape through amplifying the practices of communities that the fashion and textile industry often overlook. The club’s initiative goes beyond mere sustainability – it’s about reshaping power dynamics in an industry that usually doesn’t empower marginalised communities.

Kantamanto Social Club’s Vision of a Circular Fashion Future
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 core of this project centres on the inherently sustainable communities of the Global South, which have practiced regenerative methods for generations,” explained Daan. Rather than viewing these communities as recipients of Western “aid” or “guidance,” the Social Club positions them as leaders in sustainable fashion.

By focusing on a philosophy that brings traditionally marginalised voices into global discussions on environmental and economic sustainability, the club has taken on the responsibility to empower artisans who are transforming discarded textiles from the Global North into high-value fashion items. They are doing this by providing a platform that showcases the artisan’s potential, creativity, resilience and ability to demonstrate how sustainable practices can counteract global consumption excesses.

Daan poses a crucial question, “How, at the brink of collapse, can we turn the tide and transition the fashion industry towards a regenerative model?” Through these efforts, Sonnemans challenges industry norms, advocating for systemic change that prioritises ecological and social integrity.

Creating Bridges Through Art and Advocacy
Forging tangible connections between local artisans and the global stage, Kantamanto Social Club’s voice can be heard through exhibitions, storytelling, and collaborative research initiatives. These platforms not only underscore the creative potential of upcycled fashion but also offer critical commentary on the prevailing norms of production and consumption in the fashion industry. This approach sets the stage for a deeper exploration into sustainable practices.

Building on this foundation, a significant aspect of the club’s work will focus on sustainability education as a next step. Through workshops, the club will inspire and train the next generation of designers, embedding sustainable thinking right from the start of their careers. Furthermore, the club will facilitate cultural exchanges that elevate the work of Kantamanto’s creatives, giving them the international recognition they deserve. Daan poses a crucial question, “How, at the brink of collapse, can we turn the tide and transition the fashion industry towards a regenerative model?” Through these efforts, Sonnemans challenges industry norms, advocating for systemic change that prioritises ecological and social integrity.

Beyond sparking a creative resurgence, the Kantamanto Social Club actively engages in policy advocacy, influencing global strategies on waste management and sustainable practices. Their initiatives serve as a call to action, urging the international community to reconsider the values and interactions that define the fashion industry. This holistic approach ensures that the impact of their advocacy resonates beyond artistic circles, reaching into the realms of global policy and practical change.

Engage with Kantamanto Social Club
Whether you’re a designer, policy-maker, or curious observer, the Kantamanto Social Club invites you to reimagine the fashion industry—one that’s built on equity, regeneration, and genuine respect for the planet and its people. So if you are looking to dive deeper into the transformative projects of the Kantamanto Social Club or to engage with their ongoing initiatives, you can find out more via their website.

A statement on recent events

“On the night of January 1, 2025, and into the morning of the 2nd, a devastating fire swept through the Kantamanto Market, destroying as many as two-thirds of it. Over 10,000 people—tailors, retailers, kayayei, and artisans—have been affected, losing their businesses and livelihoods.

To us Kantamanto is more than a market—it has become a global symbol of resilience, transforming unwanted textiles from across the world into something meaningful. It stands as a testament to sustainable fashion and the incredible creativity of its community.

Now is the time to stand in solidarity with Kantamanto. Together, we must support this community as they rebuild. We are launching a targeted fundraising campaign for the upcyclers we work with directly. But for now, any and all support is urgently needed and can be provided by donating to The OR Foundation’s fire relief fund, which is being used to directly aid relief efforts. Support here”

@kantamantosocialclubWEBSITEDaan SonnemansAnabel Poh

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]]> Curiosity, Courage and Craftmanship https://www.munique.blog/en/curiosity-courage-and-craftmanship/ Fri, 17 Jan 2025 09:00:33 +0000 https://www.munique.blog/?p=81559 Curiosity, Courage and Craftmanship

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.

Continue reading Curiosity, Courage and Craftmanship at Munique - Unique Textiles Insights.

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Curiosity, Courage and Craftmanship

Interview with Simon Angel – Guest article by Muchaneta ten Napel

17. January 2025

Clothes Encounters and Warmly Related Relevance
With “FLORECSENCE” as the guiding principle of MUNICH FABRIC START and TECHKNOWLEDGE for the KEYHOUSE, Simon Angel, curator of Sustainable Innovations, highlights how the projects he has chosen can redefine what’s next in fashion by challenging us to think beyond quick fixes and instead embrace a deeper, more holistic approach to sustainability.

Simon, how did you approach curating this season’s Sustainable Innovations exhibit at Munich Fabric Start?

Simon Angel: Well, I wanted the projects included in the Sustainable Innovations exhibit to signal a major shift in the textile industry. 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; it sparks a broader conversation about the future of our industry, urging everyone in the textile community to consider more responsible and imaginative approaches.

Could you elaborate on how year’s philosophy manifests in the exhibited projects?

Simon Angel: Certainly! This year’s philosophy is deeply embedded in each project I’ve selected for the exhibit, particularly emphasising sustainable practices that integrate seamlessly with innovative design. Take Shushanik Droshakiryan’s “PSYCHEDELIC TEXTILES.” Her work pushes the boundaries by harnessing techniques inspired by microbiology and chemistry. Her work serves as a powerful call to action for the industry to rethink the way materials are sourced, valued, and ultimately returned to the environment. By focusing on the end-of-life phase of materials, she underscores the necessity of designing within a circular economy framework, envisioning a future where environmental stewardship and fashion innovation are seamlessly integrated.

Milou – photo credit Lieke Bielderman

Studio Nicky Vollebregt’s “Pollia,” “HIGHLIGHT,” and “Uncover” projects are also featured. How do they fit into this narrative?

Simon Angel: Studio Nicky Vollebregt’s projects demonstrate a holistic approach to textile innovation by exploring colour reflection, material transparency, and transformative finishing techniques. The studio isn’t just making visually striking fabrics; it’s probing our concepts of light, colour, and texture, and questioning how small interventions in the material creation process can have far-reaching environmental and usability impacts. It’s a reminder that sustainability and aesthetic appeal aren’t mutually exclusive.

Can you discuss how Daan Sonnemans’s & Anabel Poh’s”Kantamanto Social Club” enhances the themes of this exhibit?

Simon Angel: Daan Sonnemans and Anabel Poh address a critical aspect of sustainability: the human and social dimension. With “Katamanto Social Club,” he focuses on community engagement and ethical labour practices, integrating cultural heritage with environmentally responsible production. I feel that this project goes beyond material innovation because it reminds us that sustainability isn’t just about new materials or recycling; its core is about the people and communities behind the products. In a way you can call his this project a sustainable process-intervention.

Can you tell us about Milou Voorwinden’s “Explorations in 3D weaving”?

Simon Angel: Milou’s work is an excellent example of how reimagining a fundamental technique can open up entirely new possibilities. In “Explorations in 3D weaving,” she looks at the loom not just as a tool for flat textiles but as a platform for sculptural, structural forms. By combining different fibres and experimenting with density, she creates fabrics with varying properties – some rigid, some flexible. These explorations challenge the binary thinking of “fabric vs. structure,” showing how textiles can be engineered in ways that minimise material waste while expanding design potential. Her design-principle brings a shift in the design-pattern-production cycle.

Shushanik

Oscar

Nicky – Pollia
credit Patty van den Elshout i.o.v. TextielMuseum

Wool matters” by Beatriz Isca is another project drawing attention. How does it fit into this year’s theme?

Simon Angel: Beatriz’s “Wool matters” project underscores the value of a raw material we often take for granted. By spotlighting the processes of sourcing, cleaning, and transforming wool, she shows how something as ancient as wool can be reinterpreted for modern, eco-conscious lifestyles. She not only showcases wool’s versatility; she reveals the stories, heritage, and communities behind the fibre. I am hopeful that her perspective will encourage us to consider the entire life cycle of our materials – and the people involved – before we even start to design.

Lastly, Oscar Wentz’s AFTERLIFE “REWORK AND RETHINK YOUR OWN TRASH” project stands out. Can you shed some light on this?

Simon Angel: Oscar’s AFTERLIFE project is a bold statement on waste and consumer culture. Through upcycling discarded clothes and materials, he creates street-style garments that demonstrate how a simple change in perspective can spark a larger conversation about responsibility and resource use. It’s the perfect example of how a hands-on, interventionist approach can galvanise people to embrace more circular practices.

Beatriz – Wool matters

How do you see these innovations in the exhibition influencing the future of the textile industry?

Simon Angel: These projects collectively represent a significant shift to question what’s possible and to look at sustainability as an ongoing dialogue rather than a final box to tick. Each project showcased in the Sustainable Innovation exhibit challenges existing paradigms, pushing us closer to a world where textiles are created with both people and the planet in mind.

Thank you for sharing these insights, Simon. It’s clear that this season’s Sustainable Innovation exhibit goes beyond showcasing new materials – it’s about sparking a broader conversation on the future of our industry.

Simon Angel: My pleasure. I’m thrilled for everyone to experience these projects and be part of the conversation. I believe that it is through collective curiosity and willingness to experiment that we’ll drive real, lasting sustainable innovation.

We look forward to seeing the exhibit and witnessing how these pioneering ideas will shape what’s next in textile design.

Simon Angel: Thank you. Don’t forget to visit us at the Keyhouse in Hall 7 – we can’t wait to show you how these interventions are rewriting the future of fashion and textiles.

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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]]> The AFTERLIFE Project by Oscar Wentz https://www.munique.blog/en/the-afterlife-project-by-oscar-wentz/ Sun, 12 Jan 2025 09:00:57 +0000 https://www.munique.blog/?p=81108 The AFTERLIFE Project by Oscar Wentz

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

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The AFTERLIFE Project by Oscar Wentz

Pioneering a Playful Rebellion Against Fast Fashion

SUSTAINABLE INNOVATIONS

12. January 2025

In an industry swamped by fast fashion and ever-changing trends, Oscar Wentz’s AFTERLIFE project has hit the reset button. The AFTERLIFE project is a rallying cry that puts sustainability front and center. The project is not only turning cast-off clothes into streetwear but it is also challenging us to examine our own consumption habits and rethink what we consider “waste,” in our closet – and ultimately, the world around us.

From Waste to Wonder: A Playful Approach to Serious Change
AFTERLIFE is more than a fashion line; it’s a movement. It started as a response to the drawbacks of fast fashion – cheaply made pieces designed to be worn once and forgotten. Created entirely from pre-existing clothing pieces, the project shines a light on the excessive waste produced by fast fashion. By reimagining and reconstructing these discarded garments, what began as a single initiative has evolved into an entire collection and a growing movement, built on playful and simple designs that encourage people to try their hand at sewing.

Oscar’s design philosophy is encapsulated in his desire to tackle the waste streams of Europe’s textile industry. Rather than ignoring piles of unwanted clothing, he sees them as raw materials brimming with possibility. “As a designer, I am committed to transforming the textile industry’s approach to sustainability by addressing its waste streams head-on,” he explains.

Turning what was once considered “trash” into cherished fashion statements, the collection targets young individuals not only aesthetically but also through the simplicity of its cuts and stitches, encouraging them to engage in making and sewing.

Each piece in the AFTERLIFE collection serves as a testament to what can be achieved when creativity meets responsibility. Oscar offers not only a selection of pre-made repurposed garments but also provides step-by-step instructions on how to recreate these designs at home. His vision extends beyond mere recycling; he aims to inspire a circular economy where sustainability is embedded in every aspect of fashion – from design to consumption.

“As a designer, I am committed to transforming the textile industry’s approach to sustainability by addressing its waste streams head-on.”

But collaboration is key to Oscar’s vision. He works with Sympany, a company dedicated to collecting and redistributing donated clothes, he’s shown how we can harness what we already have instead of churning out new stuff. It is a partnership that gives old garments a second shot at life, which is right in line with Oscar’s goal of making sustainability both practical and fun.

Also, Oscar firmly believes that sewing should be accessible to everyone – even if you’ve never threaded a needle before. That’s why he hosts workshops and provides easy-to-follow tutorials, giving people the confidence to transform their old clothes at home. These hands-on sessions aren’t just about mending seams; they foster a sense of community and bring back the joy of crafting something unique.

He’s also got his eye on a bigger picture: a circular economy where creativity and accountability go hand in hand. By encouraging playful experimentation, Oscar makes the idea of circularity in fashion far less intimidating and the concept of circularity in the textile industry more approachable.

Engage with Oscar Wentz and AFTERLIFE
AFTERLIFE isn’t just about making old clothes look cool; it’s about proving we can create a sustainable, vibrant fashion culture that values originality over mass production. And in Oscar’s world, anyone with a bit of curiosity – and a willingness to pick up a needle and thread – is welcome to join.

@oscarwentz@senpaiscurrLINKEDIN

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]]> WOOL MATTERS BY BEATRIZ ISCA https://www.munique.blog/en/wool-matters-by-beatriz-isca/ Fri, 10 Jan 2025 09:00:07 +0000 https://www.munique.blog/?p=81090 WOOL MATTERS BY BEATRIZ ISCA

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.

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WOOL MATTERS BY BEATRIZ ISCA

Unraveling the Threads of Change

SUSTAINABLE INNOVATIONS

10. January 2025

Although wool has been transformed into a global industry, so much of Europe’s wool still ends up discarded each year – overlooked, undervalued, and dismissed as waste. However, Beatriz Isca sees wool through a different lens and ‘Wool Matters’ stands as a powerful reminder of how much we can learn from something as seemingly simple as wool.

Wool Matters is the master’s thesis project of the multidisciplinary designer Beatriz. ‘It began with a belief in wool’s power to manifest the intricate connections between land, animals, and people. 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. Her work in ‘Wool Matters’ adopts a post-humanistic lens to understand the symbiotic relationships between people, animals and land.  Aware of human and non-human actors in wool’s ecosystem, she has engaged with different actors in the local wool landscape to uncover opportunities and address gaps. She is highlighting wool’s inherent worth, with the hope to encourage a more circular, respectful approach to textiles—one that sees humans, animals, and the environment as interconnected parts of a shared ecosystem.

“The devaluation of local wool in Europe reflects the anthropocentric view and the unsustainable ways of living of modern society, that perpetuates the celebration of capitalism at the cost of ecological degradation and social exploitation,” she says. Looking beyond traditional profit-driven industries and focusing on local and craft-based practices, Beatriz aims to redefine our relationship with wool—and, in turn, with nature.

When it comes to community-centric sustainable practices, Beatriz advocates for a shift back to natural rhythms—those governed by seasons and the meticulous pace of handcrafting—encouraging a more humane and ecologically mindful way of living. Her mission extends beyond mere dialogue; it’s about crafting a vision that repositions decision-making into the hands of local communities. By involving designers more deeply in societal roles, Beatriz believes in empowering communities to challenge and reshape the structures that define our world.

“The devaluation of local wool in Europe reflects the anthropocentric view and the unsustainable ways of living of modern society, that perpetuates the celebration of capitalism at the cost of ecological degradation and social exploitation.”

Pushing for collaboration, Beatriz, a researcher and a communicator, is not just raising awareness but also fostering tangible connections. Through craft-based practices, she amplifies the value of local wool, urging citizens to partake actively. Her workshops and collaborations are not just about crafting with wool; they invite participants to feel, reflect, and react to the broader implications of consumption and production that surround this ancient material.

Bringing ‘Wool Matters’ to Munich meant searching for local collaborations which resulted in weaver Lukas Gschnitzer and local yarns from Rauwerk will be part of the project’s presentation, showcasing the value of local wool. Rauwerk firmly believes in working with, and not against, Mother Nature. Their yarn comes from local Merino sheep and is spun at a family run mill just south of Munich.

Engage with Beatriz Isca’s Vision

INSTAGRAMLINKEDIN

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]]> From Flat to Fantastic https://www.munique.blog/en/from-flat-to-fantastic/ Wed, 08 Jan 2025 09:00:14 +0000 https://www.munique.blog/?p=81072 From Flat to Fantastic

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.

Continue reading From Flat to Fantastic at Munique - Unique Textiles Insights.

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From Flat to Fantastic:

The Evolution of Textile Design with Milou Voorwinden

SUSTAINABLE INNOVATIONS

8. January 2025

Imagine a future where textiles go beyond flat fabrics – where they emerge from the loom as complete, seamless, and sustainable creations, tailored to individual needs –  that’s precisely what Milou Voorwinden is bringing to life with her innovative explorations in woven form.

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. “From the first moment I sat behind a loom, I was amazed by the endless possibilities of woven textiles. The yarn, weave structures and each row of thread you insert, all can have a different effect on the properties and the aesthetics of the final fabric”, explained Milou.

Driven to constantly reinvent traditional techniques, Milou, a graduate of ArtEZ University of the Arts, not only holds a Master’s degree from the Piet Zwart Institute, but is currently also pursuing a PhD at Delft University of Technology, where she focuses on the methods and processes of woven textile design to support the creation of textile-forms.

What sets Milou apart is her fierce commitment to zero-waste production which fits in with the direction of where the industry is headed, where sustainability is as much a necessity as it is a choice. For Milou, fabric isn’t just fabric – it’s an adaptable, form-fitting medium that can respond to our evolving needs without compromising on sustainability. Her approach to on-demand, localised manufacturing of textiles ensures that excess is out, and efficiency is in. For Milou it isn’t just about Innovation; but it’s also a revolution.

“From the first moment I sat behind a loom, I was amazed by the endless possibilities of woven textiles. The yarn, weave structures and each row of thread you insert, all can have a different effect on the properties and the aesthetics of the final fabric.”

credit: Lieke Bielderman

Milou’s Collaborative Journey
The artworks and samples on display in this exhibition serve as technical studies for the textile-form products Milou develops. They represent the foundation of her approach, bridging the gap between conceptual experimentation and real-world application.

One such application is her collaboration with Holly McQuillan to develop zero-waste 3D-woven trousers. This project exemplifies how technical exploration in weaving can lead to entirely new paradigms in garment design, pushing the boundaries of form, functionality, and sustainability.

Additionally, Milou worked with TU Delft graduates Jordan Groskamp and Barbara Vroom to design and create zero-waste jeans and a jacket, respectively. These projects were developed in partnership with the denim weaving mill Diamond Denim, under supervision of Holly McQuillan and mentored by Mohsin Sajid. These collaborations highlight the power of combining innovative weaving techniques with the expertise of industry leaders to produce garments that are as sustainable as they are forward-thinking.

Engage with Milou’s World
Interested in delving deeper into Milou’s innovative work in textile design? She welcomes you to explore, learn, and perhaps engage with the evolving landscape of textile design. Whether you are a designer, industry professional, or just keenly interested, Milou’s projects provide a window into a future where sustainability and functionality converge beautifully.

INSTAGRAMLINKEDIN

credit: Lieke Bielderman

credit: Lieke Bielderman

credit: Lieke Bielderman

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]]> The Transformative Designs of Studio Nicky Vollebregt
 https://www.munique.blog/en/the-transformative-designs-of-studio-nicky-vollebregt/ Mon, 06 Jan 2025 09:00:46 +0000 https://www.munique.blog/?p=81000 The Transformative Designs of Studio Nicky Vollebregt


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

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 at Munique - Unique Textiles Insights.

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The Transformative Designs of Studio Nicky Vollebregt

SUSTAINABLE INNOVATIONS

6. January 2025

Textile designer and researcher Nicky Vollebregt aims to transform how we think about the materials and the objects we rely on every day. Within her design process, textile craft and industrial textile techniques collide, resulting in intricate materials that speculate on unconventional and innovative applications.

Rotterdam-based Studio Nicky Vollebregt questions object attachment and investigates emotionally sustainable design, or what Nicky refers to as ‘design to cherish’. Her aim is to not merely to create visually appealing designs but to foster new dialogues.

“Sustainable design extends beyond circular, responsible, and ethical material use and production. It also encompasses the way we engage with, relate to, and find meaning in objects, encouraging a desire to own, care for, and treasure them.” explains Nicky. She wants to evoke emotional connections, and show how sustainability can be integrated into every aspect of the design process.

“Sustainable design extends beyond circular, responsible, and ethical material use and production. It also encompasses the way we engage with, relate to, and find meaning in objects, encouraging a desire to own, care for, and treasure them.”

credit: Patty van den Elshout i.o.v. TextielMuseum

credit: Patty van den Elshout i.o.v. TextielMuseum

Weaving stories and interaction
Nicky presents experimental projects like Pollia, HIGHLIGHT, and Uncover, each inviting us to rethink our everyday interactions with the things we use.

Pollia: Seeking Uniqueness in Reproducibility


Pollia merges manual craftsmanship with machine precision to create woven textiles that are identical in design yet uniquely distinct. Inspired by manual smocking, the mechanically woven Pollia textiles transform from flat fabrics into luminous, sculptural 3D forms through their precise structural design. The project invites us to think about mass-production versus craft and highlights themes like individuality and personalisation.

HIGHLIGHT: Exploring Interaction


HIGHLIGHT is a celebration of experiment, craft and a curiosity-driven exploration of weaving. Nicky combines colours and light with materials in ways that feel almost magical, creating pieces that shift and adapt as they interact with their surroundings. Whether it’s the HIGHLIGHT Olegi or any of other works, HIGHLIGHT reflects Nicky’s fascination with the interplay of light, colour, and perspective.

credit: Studio Nicky Vollebregt

credit: Studio Nicky Vollebregt

credit: Studio Nicky Vollebregt

credit: Studio Nicky Vollebregt

Uncover: Embracing Change and Imperfection


In Uncover, Nicky explores the lifecycle of materials and objects, encouraging us to see beauty in change. By focusing on transformation – how products evolve over time – she challenges the traditional notion of static perfection. Uncover inspires us to care for our possessions, fostering a sense of attachment and responsibility that aligns with the principles of emotional sustainability.

Collaboration as a Catalyst for Innovation 


Nicky works on self-initiated research projects and collaborates with researchers and specialists across industries to apply her materials and/or approach. Nicky’s approach is refreshingly holistic and delves into untapped areas where industrial textile techniques, craft and narrative blend into truly distinctive and meaningful designs.

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credit: Studio Nicky Vollebregt

credit: Studio Nicky Vollebregt

credit: Studio Nicky Vollebregt

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]]> Venus In Fury of Sustainable Innovation https://www.munique.blog/en/venus-in-fury-of-sustainable-innovation/ Sat, 04 Jan 2025 09:00:08 +0000 https://www.munique.blog/?p=81037 Venus In Fury of Sustainable Innovation

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.

Continue reading Venus In Fury of Sustainable Innovation at Munique - Unique Textiles Insights.

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Venus In Fury – The New Age of Psychedelic Textiles

Imagined by Shushanik Droshakiryan

SUSTAINABLE INNOVATIONS

4. January 2025

What if a design lab was more than just a creative space? What if it were a living manifesto, continually challenging how we see fashion, luxury, and sustainability? That’s exactly what Shushanik Droshakiryan has created in Venus In Fury.

Based in Amsterdam, Shushanik‘s lab draws inspiration from the planet Venus – which is fiery and chaotic – by embodying the planet’s turbulent energy. With the spirit of rebellion showing up in every fibre of her designs, her lab boldly reimagines how fabrics are produced, used, and ultimately returned to the earth.

“By emphasising the end-of-life stage, I highlight the importance of designing with a circular economy in mind, pointing us toward a future where caring for the earth goes hand-in-hand with fashion innovation.”

 A Call to Rethink Material Life: Revolutionary Approach to Textiles

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. Driven by interdisciplinary biomaterial research, Shushanik works with materials designed from an unusual combination of elements for example wool waste with aquatic plants, coffee waste with charcoal.

Central to Shushanik’s work is a deep respect for how materials are used from start to finish. Her strategy, called “Starting from the End,” challenges the usual way of making materials last a long time. Instead, she makes materials that are meant to have short lives but are still full of interesting stories and are made exceptionally well. This approach means each piece not only makes a statement but also helps the environment by breaking down quickly to improve the soil.

Drawing on the mystical Sufi traditions of southern Armenia, Shushanik introduced the Grande SŪF Installation at Dutch Design Week 2024 (DDW2024). She proved that “sustainable” doesn’t have to mean “plain”, by transforming simple wool and seaweed into lush, fur-like textures. Her installation at DDW2024 not only pushed the boundaries of what eco-friendly materials can look like but also reinforced Venus In Fury’s core belief: that true luxury is rooted in respect – both for the craft and for the planet.

Ultimately, Shushanik’s work is a rallying cry for the fashion and design worlds to reconsider how materials are sourced, valued, and returned to nature.

Engage with Venus In Fury

Every textile from Shushanik’s studio not only tells a story of ecological awareness and craftsmanship – but is also an open invitation to you to join the conversation on a different kind of sustainable luxury.

If you’re intrigued by this bold fusion of artistry, sustainability, and innovation, then you can engage with Shushanik via her LinkedIn profile or follow her artistic and ecological journey on Instagram at @shushanikdroshakiryan or check out the full collection at  DDW24_PSYCHEDELIC TEXTILES.

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