Sustainable Innovations
The AFTERLIFE Project by Oscar Wentz
The AFTERLIFE Project by Oscar Wentz
Pioneering a Playful Rebellion Against Fast Fashion
SUSTAINABLE INNOVATIONS
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.
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WOOL MATTERS BY BEATRIZ ISCA
WOOL MATTERS BY BEATRIZ ISCA
Unraveling the Threads of Change
SUSTAINABLE INNOVATIONS
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
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From Flat to Fantastic
From Flat to Fantastic:
The Evolution of Textile Design with Milou Voorwinden
SUSTAINABLE INNOVATIONS
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.
credit: Lieke Bielderman
credit: Lieke Bielderman
credit: Lieke Bielderman
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The Transformative Designs of Studio Nicky Vollebregt
The Transformative Designs of Studio Nicky Vollebregt
SUSTAINABLE INNOVATIONS
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.
credit: Studio Nicky Vollebregt
credit: Studio Nicky Vollebregt
credit: Studio Nicky Vollebregt
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Atelier Dasha Tsapenko’s MYC_Couture
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It is not just about delivering garments – but providing made-to-measure solutions for individual requirements.
Plantfur – by Studio iFOCUS
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Venus In Fury of Sustainable Innovation
Venus In Fury – The New Age of Psychedelic Textiles
Imagined by Shushanik Droshakiryan
SUSTAINABLE INNOVATIONS
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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The designs embrace various trend themes – sometimes subtle, sometimes expressive – and lend each fabric its own distinctive character.
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The latest collections unite creativity, innovation, and craftsmanship – each shaped through a blend of technical expertise, aesthetic sensibility, and brand-focused thinking to express a unique identity.
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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It is not just about delivering garments – but providing made-to-measure solutions for individual requirements.
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.
Navigating the Future of Sustainable Innovation
Navigating the Future of Sustainable Innovation
An interview with Simon Angel
Simon, this season’s Sustainable Innovations (SI) exhibit at Munich Fabric Start seems to have taken a more introspective turn. Could you share how you’ve approached the curation for this year?
Simon Angel: Absolutely. If you look at our past themes, they almost read like serialized literature. We began by exploring the challenges designers faced and the industry’s reluctance to move beyond traditional practices. Over time, our sustainable theme has woven itself into the very fabric of our industry—integrating into processes, policies, and people’s mindsets. This season, we’re continuing this saga by posing critical questions and embracing a more holistic narrative. It’s less about solutions and more about interventions and transformative thinking.
Interesting. Could you elaborate on how this philosophy manifests in the exhibited projects?
Simon Angel: Certainly. Take Suzanne Oude Hengel’s “Knit in Motion” as an example. Suzanne’s work challenges conventional knitting practices and pushes boundaries. Her exploration into combining knitting with thermoplastic polyurethane (TPU) and 3D printing isn’t just about creating new forms; it’s about questioning and redefining traditional manufacturing processes. This fusion of techniques not only rejuvenates product design but also opens up new vistas for the industry.
Knit in Motion by Suzanne Oude Hengel
Joris de Groot’s work is also featured prominently. How does his approach fit into this narrative?
Simon Angel: Joris’s approach is quintessential to our theme of questioning and innovation. His “2000N Pressed Shoe” and “Recycled Raincoat” projects exemplify how traditional techniques can be reimagined for modern applications. By integrating industrial processes with sustainable practices, Joris turns waste into valuable products, thus challenging the very concept of material utility in fashion. His collaboration on the “Welded Loop” project further demonstrates how combining different techniques can lead to novel, sustainable solutions.
Tjeerd Veenhoven’s projects with mycelium are intriguing. How do they contribute to the broader narrative?
Simon Angel: Tjeerd‘s work with mycelium embodies a leap towards sustainable material innovation. His “Mycelium 2D Printing” explores the use of fungal materials to replace conventional plastics and dyes. This aligns perfectly with our theme of questioning and rethinking systems. Tjeerd’s projects aren’t just about creating sustainable alternatives; they represent a paradigm shift in how we perceive and utilize biological materials in fashion.
Iris Veentjer’s “RietGoed” project also stands out. What role does it play in this season’s exhibit?
Simon Angel: Iris’s “RietGoed” is a prime example of how material innovation can address environmental challenges. By developing high-quality textiles from reed fibers, she tackles issues like soil subsidence and CO2 emissions. Iris’s approach is a testament to how sustainable practices can be seamlessly integrated into textile production, promoting both ecological balance and economic viability.
Fabolous Fungi by Ilse Kremer
RietGoed by Iris Veentjer
LightLining by Biotexfuture
Studio Tjeerd Veenhoven
Ilse Kremer’s “Fabulous Fungi” introduces a novel way to approach textile dyeing. How does it fit into the exhibit’s overarching theme?
Simon Angel: Ilse’s “Fabulous Fungi” project is a brilliant illustration of how we can rethink traditional processes. By utilizing fungi to produce dyes, Ilse addresses both environmental and health concerns associated with synthetic dyes. This project embodies our theme of exploring and implementing alternative solutions that are both innovative and sustainable.
Lastly, can you shed some light on the BIOTEXFUTURE initiatives and its relevance to this year’s theme?
Simon Angel: BIOTEXFUTURE is at the forefront of transitioning the textile industry to biobased materials. This initiative, which includes projects like TransitionLab and LightLining, aligns with our broader narrative of fostering systemic change. By focusing on biobased polymers and sustainable textiles, BIOTEXFUTURE is paving the way for a future where the textile industry can achieve true circularity and sustainability.
Studio Joris de Groot
How do you see these innovations influencing the future of the textile industry?
Simon Angel: These innovations represent a profound shift in how we approach textile design and production. They challenge existing paradigms and offer new perspectives on sustainability. By fostering a culture of questioning and experimentation, we’re not just enhancing the industry’s practices but also inspiring a broader societal shift towards more sustainable and thoughtful consumption.
Simon, thank you for sharing these insights. It’s clear that this season’s SI exhibit is not just about showcasing new materials but about sparking a deeper conversation about the future of our industry.
Simon Angel: My pleasure. I invite everyone to engage with these projects and be a part of this evolving dialogue. It’s through such collective exploration that we’ll truly drive forward sustainable innovation.
We look forward to experiencing this season’s exhibit and seeing how these pioneering ideas will shape the future.
Simon Angel: Thank you. See you at the SUSTAINABLE INNOVATIONS – and don’t forget: you’ll find us at the Keyhouse in Hall 7 this season!
Discover more industry-changing innovations at our upcoming trade shows:
Additionals Trends Autumn.Winter 26/27 – Part 8
This collection embodies softness, simplicity, and flow – from soft-touch labels and stretchable materials that move with the body, to a calming palette of pastel tones and organic, natural fibers.
Wetlands Matters – by Marc Wijkmans
Wijkman’s idea came from a simple but important observation: animals carry seeds across ecosystems in their fur.
AUTUMN.WINTER 26/27 FABRIC HIGHLIGHTS & MATERIAL NOVELTIES – PART IX
The designs embrace various trend themes – sometimes subtle, sometimes expressive – and lend each fabric its own distinctive character.
MUNICH FABRIC START September 2025 – Outlook
The countdown is on: in just three weeks, Munich will once againbecome the epicentre of the European fashion and textile industry. During the first week ofSeptember, MUNICH FABRIC START Exhibitions GmbH will unite all key fashion segments underone roof, reaffirming its position as one of Europe’s leading textile trade shows.
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Future Fashion Assembly, founded by Sofia Strazzanti, is the fashion industry’s first collaborative “innovation showroom,” a platform dedicated to connecting brands,
Additionals Trends Autumn.Winter 26/27 – Part 7
The latest collections unite creativity, innovation, and craftsmanship – each shaped through a blend of technical expertise, aesthetic sensibility, and brand-focused thinking to express a unique identity.
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?
The Source Collection’s News IV
It is not just about delivering garments – but providing made-to-measure solutions for individual requirements.
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.
Knit in Motion by Suzanne Oude Hengel
Knit in Motion by Suzanne Oude Hengel
Loop Coloured Feet, Timberland Future 73, Spacers & Welded Loop
Explore these innovative projects at the Sustainable Innovations Forum in the Keyhouse in Hall 7
Born from frustration about past experiences within the textile industry and its unwillingness to stray from the status quo, Suzanne Oude Hengel founded Knit in Motion (KiM). Her goal: to push boundaries, experiment, and challenge the way things are done. KiM breaks down traditional notions of knitting by questioning, examining, and rethinking the craft and its applications, going off the beaten track to explore new territory within textile design.
Suzanne’s graduation project (ArtEZ University of the Arts in Arnhem), “Loop Coloured Feet” (2015), explores the potential of using knitting as an alternative material in footwear. It represents a starting point for many ideas that she continues to investigate including rethinking production methods, reviving older techniques, and focusing on craftsmanship.
A tube and the shape of a sock were the starting point for “Santoni” (created at Santoni in Shanghai in 2016). Working with circular knitting machines allowed Suzanne to develop a different approach to thinking about shape.
“Working with circular knitting machines allowed Suzanne to develop a different approach to thinking about shape.”
For their 50th anniversary, Suzanne was among Timberland’s chosen collaborators for “Timberland Future 73”. Launched at Milan Design Week 2023, the collection opens with the brand’s classic styles and blends them with her world of unexpected colour and material choices, resulting in a reimagined vision for the brand as well as the application of knitted textiles.
“I believe that true innovation comes from a curious and iterative design process.” – Suzanne Oude Hengel
Suzanne’s ongoing research “Spacers” (since 2018) looks at the potential of using weft knitting technology to create spacers. Research includes experimenting with different materials, densities, and final applications. Projects like Timberland Future 73 draw from this body of research, illustrating completely different end-uses for this innovative knitted material.
With “Welded Loop”, Knit in Motion and Studio Joris de Groot collaboratively explore the innovative use of Thermoplastic Polyurethane (TPU) in shoe design by integrating knitting, welding, and 3D printing techniques. Inspired by the discovery of TPU at the Techtextil fair in Frankfurt, the project harnesses the material’s versatility and recyclability. By integrating knitting, welding, and 3D printing, “Welded Loop” not only seeks to innovate shoe design but also aims to inspire new applications and combinations of techniques in textile and material processing, paving the way for future advancements.
“Inspired by the discovery of TPU at the Techtextil fair in Frankfurt, the project harnesses the material’s versatility and recyclability.”
Explore KNIT IN MOTION BY SUZANNE OUDE HEGEL in the Sustainable Innovations Forum at KEYHOUSE in Hall 7!
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Additionals Trends Autumn.Winter 26/27 – Part 8
This collection embodies softness, simplicity, and flow – from soft-touch labels and stretchable materials that move with the body, to a calming palette of pastel tones and organic, natural fibers.
Wetlands Matters – by Marc Wijkmans
Wijkman’s idea came from a simple but important observation: animals carry seeds across ecosystems in their fur.
AUTUMN.WINTER 26/27 FABRIC HIGHLIGHTS & MATERIAL NOVELTIES – PART IX
The designs embrace various trend themes – sometimes subtle, sometimes expressive – and lend each fabric its own distinctive character.
MUNICH FABRIC START September 2025 – Outlook
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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.
BLUEZONE NEWS FOR SEPTEMBER 2025 – PART V
Future Fashion Assembly, founded by Sofia Strazzanti, is the fashion industry’s first collaborative “innovation showroom,” a platform dedicated to connecting brands,
Additionals Trends Autumn.Winter 26/27 – Part 7
The latest collections unite creativity, innovation, and craftsmanship – each shaped through a blend of technical expertise, aesthetic sensibility, and brand-focused thinking to express a unique identity.
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?
The Source Collection’s News IV
It is not just about delivering garments – but providing made-to-measure solutions for individual requirements.
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.
Sustainable Innovations – Studio Joris de Groot
STUDIO JORIS DE GROOT
Explore these innovative projects at the Sustainable Innovations Forum in the Keyhouse in Hall 7
Designer Joris de Groot often collaborates directly with factories, setting up his workplace within their grounds to get a deep understanding of their materials and innovate with their existing techniques. This allows him to blend traditional craftsmanship with industrial processes, resulting in unique and sustainable designs.
His project “2000N Pressed Shoe” (2018) emerged from his project “In4nite II” with Freudenberg, a company specializing in car interior materials. Joris explored the potential of Colback®, a material used in car upholstery, to create shoes. By understanding and experimenting with the molding process used in automotive interiors, he transformed Colback® into a fashion material. “2000N Pressed Shoe” is distinctive for its use of industrial techniques to create aesthetic details, showcasing the intricate patterns and textures that arise from this innovative process.
“By understanding and experimenting with the molding process used in automotive interiors, he transformed Colback® into a fashion material.”
“Recycled Raincoat” (2021) is another collaboration between Joris and Dolfing Druten. Together, they tackled the issue of cutting waste from rain jacket production. By researching the shapes of leftover fabric pieces, Joris developed patterns that could be welded together to form new raincoats. This approach not only minimizes waste but also transforms discarded materials into valuable products, highlighting his innovative use of existing resources to create sustainable fashion.
“This approach not only minimizes waste but also transforms discarded materials into valuable products, highlighting his innovative use of existing resources to create sustainable fashion.”
For “Weld Bag” (2013), Joris partnered with Dolfing Druten, a manufacturer of work clothes and rain gear, to develop a collection of bags. He repurposed high-frequency welding techniques typically used for creating waterbeds and rainwear to design unique bag handles and shapes.
“The factory is my playground, searching for new possibilities with the tools I can find.” – Joris de Groot
Explore STUDIO JORIS DE GROOT in the Sustainable Innovations Forum at KEYHOUSE in Hall 7!
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This collection embodies softness, simplicity, and flow – from soft-touch labels and stretchable materials that move with the body, to a calming palette of pastel tones and organic, natural fibers.
Wetlands Matters – by Marc Wijkmans
Wijkman’s idea came from a simple but important observation: animals carry seeds across ecosystems in their fur.
AUTUMN.WINTER 26/27 FABRIC HIGHLIGHTS & MATERIAL NOVELTIES – PART IX
The designs embrace various trend themes – sometimes subtle, sometimes expressive – and lend each fabric its own distinctive character.
MUNICH FABRIC START September 2025 – Outlook
The countdown is on: in just three weeks, Munich will once againbecome the epicentre of the European fashion and textile industry. During the first week ofSeptember, MUNICH FABRIC START Exhibitions GmbH will unite all key fashion segments underone roof, reaffirming its position as one of Europe’s leading textile trade shows.
Heliotex – Studio Pauline van Dongen
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BLUEZONE NEWS FOR SEPTEMBER 2025 – PART V
Future Fashion Assembly, founded by Sofia Strazzanti, is the fashion industry’s first collaborative “innovation showroom,” a platform dedicated to connecting brands,
Additionals Trends Autumn.Winter 26/27 – Part 7
The latest collections unite creativity, innovation, and craftsmanship – each shaped through a blend of technical expertise, aesthetic sensibility, and brand-focused thinking to express a unique identity.
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?
The Source Collection’s News IV
It is not just about delivering garments – but providing made-to-measure solutions for individual requirements.
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.
Sustainable Innovations – Studio Tjeerd Veenhoven
Mycelium 2D Printing & Oyster Mushroom Mycelium by Tjeerd Veenhoven
Explore these innovative projects at the Sustainable Innovations Forum in the Keyhouse in Hall 7
Studio Tjeerd Veenhoven (STV) is dedicated to material research and value chain design with a focus on sustainability. Graduating from the Art Academy in Arnhem in 2000, Tjeerd transitioned from product design to exploring sustainable value chains. Over the past 15 years, he has collaborated with numerous partners to create innovative solutions that address complex social issues related to sustainability. He acknowledges the urgent need for sustainable practices, particularly within the fashion industry.
Tjeerd’s “Mycelium 2D Printing” explores the potential of mycelium, a natural material obtained from mushrooms, which could be crucial for the transition towards more sustainable consumption. STV began researching mycelium four years ago, focusing on controlled growth without specific applications. Recently, they developed a printer that places inoculated substrates to cultivate mycelium into white dots, forming a graphical mycelium print. This speculative research envisions replacing PVC banners at cultural festivals with mycelium-printed canvas, which can be reused and reprinted without chemicals.
Another significant lead is the development of sustainable textiles from oyster mushroom mycelium. For three years, STV has investigated the potential applications of oyster mushroom waste, creating textiles from thinly sliced mushroom bases. His research revealed the mycelium’s capacity for continued growth from the mushroom foot after harvest. By allowing the material to grow back together in controlled conditions, a unique textile-like material is produced.
“In our transition to a sustainable fashion value chain, we need wild ideas that shake up, that offer a fresh perspective on raw materials, manufacturing, design and use. Mycelium based textiles are one of the more speculative routes – but with great potential.” – Tjeerd Veenhoven
THE PRINTING PROCESS – EXPERIENCE THE PRINTER LIVE AT KEYHOUSE
Explore STUDIO TJEERD VEENHOVEN in the Sustainable Innovations Forum at KEYHOUSE in Hall 7!
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This collection embodies softness, simplicity, and flow – from soft-touch labels and stretchable materials that move with the body, to a calming palette of pastel tones and organic, natural fibers.
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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The designs embrace various trend themes – sometimes subtle, sometimes expressive – and lend each fabric its own distinctive character.
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The countdown is on: in just three weeks, Munich will once againbecome the epicentre of the European fashion and textile industry. During the first week ofSeptember, MUNICH FABRIC START Exhibitions GmbH will unite all key fashion segments underone roof, reaffirming its position as one of Europe’s leading textile trade shows.
Heliotex – Studio Pauline van Dongen
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The latest collections unite creativity, innovation, and craftsmanship – each shaped through a blend of technical expertise, aesthetic sensibility, and brand-focused thinking to express a unique identity.
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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It is not just about delivering garments – but providing made-to-measure solutions for individual requirements.
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.
Sustainable Innovations – RietGoed by Iris Veentjer
RIETGOED BY IRIS VEENTJER
Explore these innovative projects at the Sustainable Innovations Forum in the Keyhouse in Hall 7
Designer Iris Veentjer, owner of Studio i Focus, is dedicated to innovative material research and experimental design to foster a regenerative world. Since 2018, she has created products raising awareness about environmental and social issues. The Netherlands faces significant soil subsidence and greenhouse gas emissions due to peatlands being drained for cattle grazing, which leads to plant decomposition and CO2 release. To address this, alternative agricultural methods like wetland cultivation are being explored.
A type of plant that thrives in wet conditions are cattails, the cultivation of which is currently not profitable for farmers, which is why its fibres are typically used for low-value products like insulation. Iris’s project, RietGoed, aims to develop high-quality textiles from cattails.
Iris developed a machine to mechanically extract fibers from cattails, allowing them to be processed like linen. This innovative approach can help reduce soil subsidence and emissions while creating a biocircular production process utilizing all parts of the plant.
With RietGoed, Iris aims to inspire broader adoption of sustainable practices and scale up textile production.
“Textiles made from cattails could potentially replace synthetic oil-based yarns. I aim to have the process from plant to fiber to product be fully biocircular. After multiple recyclings, textiles can return to the fields, contributing to peatland restoration,” she summarizes.
“RietGoed can be a solution to the nitrogen problem in peat meadow areas. By draining these areas, the soil sinks and nitrogen is released into the air. If we grow cattails on peat meadows in watery peat soil and make clothing from them, farmers will have the opportunity to earn money with this new crop.” – Iris Veentjer
Explore RIETGOED BY IRIS VEENTJER in the Sustainable Innovations Forum at KEYHOUSE in Hall 7!
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This collection embodies softness, simplicity, and flow – from soft-touch labels and stretchable materials that move with the body, to a calming palette of pastel tones and organic, natural fibers.
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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The designs embrace various trend themes – sometimes subtle, sometimes expressive – and lend each fabric its own distinctive character.
MUNICH FABRIC START September 2025 – Outlook
The countdown is on: in just three weeks, Munich will once againbecome the epicentre of the European fashion and textile industry. During the first week ofSeptember, MUNICH FABRIC START Exhibitions GmbH will unite all key fashion segments underone roof, reaffirming its position as one of Europe’s leading textile trade shows.
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.
BLUEZONE NEWS FOR SEPTEMBER 2025 – PART V
Future Fashion Assembly, founded by Sofia Strazzanti, is the fashion industry’s first collaborative “innovation showroom,” a platform dedicated to connecting brands,
Additionals Trends Autumn.Winter 26/27 – Part 7
The latest collections unite creativity, innovation, and craftsmanship – each shaped through a blend of technical expertise, aesthetic sensibility, and brand-focused thinking to express a unique identity.
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?
The Source Collection’s News IV
It is not just about delivering garments – but providing made-to-measure solutions for individual requirements.
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.