In the universe of “The Warp of Symbiogenesis,” a collection of woven fabrics unfolds, aiming to foster appreciation for the intricate interconnections among Earth’s organisms. These fabrics carry five stories of invisible connections, narrating tales of cooperation, exploitation, and competition among fungi, lichens, corals, and plants. Each symbiotic relationship inspires a distinct weaving pattern, symbolizing the unique interactions between two species. Crafted from natural fibers sourced in Europe, the textile collection invites a reconsideration of the impact and interdependence shared by all organic life forms.

How do we begin to listen to the stories of the planet? By being present in the interweaving of life, of which we are a part and always have been. As a queer speculator, designer, and researcher, Paul Schaffer is fascinated by the systems influencing our social behavior and relationship with nature. Concentrating on visual media and textiles, his work seeks to deconstruct and visually articulate the heteronormative nature of these systems. Motivated by profound curiosity and a love for research, Schaffer continually strives to comprehend systems in novel ways, addressing sensitive topics with utmost care.

Hemp: a truly versatile plant, once one of the main sources of man-made textiles. Today, most of us know it under the names “cannabis” or “marijuana”, which tend to evoke predominantly negative connotations. Design Academy Eindhoven alumna Natasha Amisha sought to investigate the source of this disconnect with her graduate project “Honestly Hemp”. Her vision: to create an entire outfit made wholly from hemp fibre and end the stigma surrounding the plant.

Natasha soon discovered that our tainted view of the hemp plant is mainly based on misconceptions, and that it could be a key ingredient in helping the textile industry become more sustainable. Not only is hemp a robust plant that thrives in diverse conditions, it also requires minimal water, is among nature’s strongest fibers, thus ensuring long-lasting life cycles, boosts sustainable agriculture as it enhances soil quality and is antibacterial, UV resistant and hypoallergenic. With “Honestly Hemp”, she has set out to place this fascinating natural material at the forefront of sustainable solutions for the future of the textile industry.

BIOBASE, a central project within the BIOTEXFUTURE cluster, introduces sustainable alternatives from available resources for textile applications with competitive costs and properties. The overarching BIOTEXFUTURE project, led by the Institute for Textile Technology at RWTH Aachen (ITA), the Chair for Technology and Organizational Sociology (STO) at RWTH Aachen, and sportswear manufacturer adidas, aims for the transition of the entire textile value
chain to biobased materials.

BIOBASE is motivated by the challenge of dependence on fossil raw materials in the production of synthetic polymers, which poses ecological, economic, and political risks. The project targets the establishment of biobased polymers in the textile industry, demonstrating their full potential. Key sectors of the German textile industry, including automotive, sportswear, interiors, and technical textiles, are the focal points.

Elizabeth Balado is an artist, designer, and researcher from London, presenting a unique, experientially-driven workshop with her project “Blooming Minds: Social Printing”. Developed over the past year, the workshop combines the psychological and physical benefits of nature with community-based creation, by guiding participants to create their own prints. The workshop encourages participants to follow their own intuition to select and forage flowers and plants and then arrange a composition, before using a technique to transfer the natural dye onto cotton using a mallet.

She will be presenting a variation of the workshop at the KEYHOUSE during Munich Fabric Start, which will consist of participants applying the print technique onto tote bags, allowing them to create and keep their own work. Elizabeth’s research focuses on combining nature – especially the use of natural and recycled materials – and community, a social practice which weaves themes such as mental health while encouraging accessible creativity. Her current work can be found on her Instagram and website. Elizabeth is open to collaboration with foragers, biologists, mental health services and others interested about participating in further printing workshops.

Suzanne Corcessin’s “Being Plucked” (“Être à Fleur de Peau”) utilizes unconventional textiles to argue against the notion that bird plucking and hair removal are neutral actions. Suzanne Corcessin views these acts as political, maintaining colonial and gendered hierarchies. Through bird plucking and the aesthetics of hair removal, bodies historically have been controlled and objectified.

The installation employs latex, textiles, silicone, and feathers to create textures that confront viewers with conflicting emotions, provoking new perspectives on the debate over hair removal. In this everyday decision and product debate, the question arises: Who decides what is right or wrong, beautiful or unattractive?

“Being Plucked” questions underlying assumptions and illuminates the political dimensions of decisions about one’s body. By creating textiles that evoke discomfort, Suzanne Corcessin urges a shift in the perception of the act of hair removal, breaking through the colonial and gendered structures often associated with this topic.

Lucas Fuhrmann, the visionary behind Revoltech, inaugurates a transformative era of presentation technology that amalgamates nature, technology, and sustainability. Through innovative light columns, he creates unique experiences that not only impress aesthetically but also underscore Revoltech’s
commitment to transparency and eco-friendliness.

The revolution of Revoltech lies in the use of Hemp-Leder, an advanced fusion of hemp fibers and traditional leather. This sustainable material choice reflects Revoltech’s endeavor to promote environmentally friendly and ethical practices. The physical location of Revoltech at Darmstadt, is not just a hub of progress but also a symbol of innovation and design.

To artist Sophie Conroy, her life is an experiment. In her latest work, she chose to live without her own house for 6 months in Eindhoven, on a quest to find more connected ways of living. During this time, she experienced living amidst chaos and connection. She found various forms of shelter and witnessed the beauty of her community. Through observing her fundamental human needs, she aims to grasp their authentic essence. Embracing the discomfort of houselessness allowed her to uncover valuable insights, challenging traditional notions of art, ownership, and community.

Textiles, for Sophie, become a medium that provides protection while revealing the vulnerability of the self. Confronting existential challenges during her houselessness, textiles transform into symbols of resilience and self-discovery.

Sophie crafts her textiles using primarily found materials, notably her own clothing. She believes in the power of textiles as a communication tool, using them to capture the essence of community and home. She peels away the capitalist consumer dimension of fabric, recognising it as a fundamental connection between body and environment.

Sophie Conroy doesn’t just create artworks; she constructs spaces for dialogue and interaction. Her installations incorporate videos, tapestries, drawings, writing and projections, creating a captivating fusion of textiles and visual art. The space and Sophie herself become part of the art, inviting observers to immerse themselves in this interactive environment.

Sophie emphasises that our focus should not be on designing more ‘stuff’ but on creating new perspectives and ways of seeing. Through creating tools to shift our perspectives, Sophie believes we can move away from the current patterns of exploitation, isolation, and consumption and towards societies grounded in trust, joy, and connection.

Cloudwool, presented by Martin Brambley, is an oasis of sustainability in the textile universe, introducing pure, local wool of new quality to the market. The projects name symbolises not just an island in the sky but also the unity of environmentally conscious production and high-quality materials.

In a time where natural wool is often imported and blended with synthetic fibers, Cloudwool relies on local resources and fights against the neglect of local sheep farmers’ wool. The sustainable angle of Cloudwool emerges from the desire to bring local fibers to the market in new and exciting forms. The 100% local wool, typically considered waste, is transformed into a super-soft and durable fabric through nonwoven technology – without burdening the environment. Natural, breathable, and comfortable, Cloudwool integrates the natural properties of wool into the material to make it as exceptional as possible.

Within the BIOTEXFUTURE cluster, the CO2Tex project introduces innovative paths for sustainable elastic yarns. In the context of the overarching BIOTEXTFUTURE project, the Institute for Textile Technology (ITA) and the Chair for Technology and Organizational Sociology (STO) at RWTH Aachen, together with adidas, strive to achieve the transition of the entire textile value chain to bio-based materials.

CO2Tex stands out as a central project within BIOTEXFUTURE, focusing on CO2-containing thermoplastic polyurethane (TPU) as an alternative to conventional elastane. This project revolutionizes elastic yarn production by eliminating toxic solvents, not only reducing environmental impact but also enabling potential industrial mass production.