Create Future

Kantamanto Social Club

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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by Chantal Graeff

Curiosity, Courage and Craftmanship

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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by Chantal Graeff

The AFTERLIFE Project by Oscar Wentz

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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by Chantal Graeff

WOOL MATTERS BY BEATRIZ ISCA

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

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From Flat to Fantastic

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.

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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

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

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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Navigating the Future of Sustainable Innovation

Navigating the Future of Sustainable Innovation

An interview with Simon Angel

3. September 2024

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:

by Chantal Graeff

INTUITION – In conversation with the organisers of MUNICH FABRIC START about the zeitgeist, trade shows and new chances

INTUITION

An interview with the organisers of MUNICH FABRIC START about the zeitgeist, trade shows and new chances

3. September 2024

The MUNICH FABRIC START is about to start. How does it feel to get going again after the challenges of the last few years?

Sebastian Klinder: It feels good! The industry has been in a thoroughly challenging situation. After the last VIEW in June this year, there is a slight upward mood. And that is exactly what we noticed during the preparations for this trade show. There is a cautious spirit of optimism, which has a motivating effect. MUNICH FABRIC START offers the perfect framework for transforming this positive energy and putting it into practice.

Frank Junker: Absolutely. It’s also the right time for us to come together again. The MUNICH FABRIC START is more than just a trade show – it is a platform where ideas are born and new paths are taken. I firmly believe that we need more joy and fun in the industry again. This is also reflected in our September programme: it is varied, inspiring and full of new ideas.

This season’s theme is ‘INTUITION’. What does this theme mean for MUNICH FABRIC START and the industry as a whole?

Sebastian Klinder: ‘INTUITION’ is the central contemporary theme for us because it reflects the way in which we can react resiliently to the current challenges both in society as a whole and in the fashion industry. Our industry is still undergoing disruptive change and it is at times like these that it is particularly important to trust your intuition. The main theme aims to highlight human emotion as a source of creativity. We want to focus on the instincts that help us make the right decisions in uncertain times. This is also reflected in the trends for Autumn.Winter 25/26, which focus strongly on resilience, dreams and a return to the essentials.

Frank Junker: Exactly, and it’s explicitly not just about fashion, but about the entire environment in which we operate. ‘INTUITION’ means that we have the courage to rely on our inner voice instead of just relying on hard facts and data. MUNICH FABRIC START provides the space where creativity and intuition can go hand in hand to drive innovation. It is an invitation to our industry to embrace the unknown and break new ground by relying on what you feel deep inside.

Sebastian Klinder (Managing Director) & Frank Junker (Creative Director & Partner), MUNICH FABRIC START

» INTUITION means that we have the courage to rely on our inner voice instead of just relying on hard facts and data «

This year’s motto at BLUEZONE is ‘DENIMINED’. What can visitors expect in this area?

Frank Junker: ‘DENIMINED’ is a neologism that reflects our deep commitment to denim. BLUEZONE has always been a place where tradition and innovation meet, and that will be the case again this time. Visitors can look forward to a wide-ranging programme, from new technologies in denim production to live design sessions. It’s about seeing denim not just as a fabric, but as part of a global culture that is constantly on the move.

Sebastian Klinder: Thanks to the runtime synchronisation of MUNICH FABRIC START and BLUEZONE, the two platforms will become an even more integrated ecosystem in which we can offer the denim community an even bigger stage. ‘DENIMINED’ brings together the A-Z of denim in the directly adjacent Zenith Area and showcases everything the industry has to offer. Whether sustainable production, innovative materials or creative designs – everyone will find something to inspire them here. The BLUEZONE is the perfect place to immerse yourself in the world of denim and experience the latest trends and developments up close.

MUNICH FABRIC START presents around 1,000 collections from international suppliers on around 40,000 square metres. Where do you see yourselves in this context and what are your next goals?

Sebastian Klinder: MUNICH FABRIC START has become one of the most important trade shows for the international fashion industry. But we prefer quality to quantity. We focus on gaining importance in different markets within Europe. Of course, the 40,000 square metres of exhibition space and around 1,000 collections show how diverse and dynamic our industry is. But above all, we are proud to once again make Munich the central venue for designers, product managers and the entire fashion industry. Numbers are not the ultimate measure for us – we are more interested in our show being a platform where not only business is done, but where trends are set and sustainable, value-adding and creative partnerships are established.

“Numbers are not the ultimate measure for us – we are more interested in our show being a platform where not only business is done, but where trends are set and sustainable, value-adding and creative partnerships are established.”

Frank Junker: In a nutshell, our show is where the industry comes together to shape the future of fashion. We offer different areas and themes that allow visitors to get informed and get inspired at the same time. It is this synthesis of diversity and structure that makes MUNICH FABRIC START so unique and a must for everyone in the fashion industry. And our goal is to continue to improve within these structures.

In addition to the hard business factors, the MFS always offers plenty of opportunities for networking and dialogue with industry experts. What can visitors expect?

Sebastian Klinder: This year we have put together a particularly rich programme of seminars and presentations. Topics range from sustainability best practice and supply chain challenges to internationally influential trend seminars – such as the Trendlectures by Li Edelkoort and Peclers Paris. As well as providing valuable insights, these events are a great opportunity to network with other industry experts and make new contacts. The legendary MUNIQUE Night Aftershow Party is one of the highlights, taking place as always on the evening of the first day of the show. Here, visitors can network in a relaxed atmosphere and gain new inspiration for their work through discussions.

Frank Junker: Effectiveness and flexibility are core principles of our work. Our aim is to create an authentic, competent, approachable and open event that meets market requirements. We listen carefully to our exhibitors, partners and visitors and use our lean structures to act boldly and decisively. MUNICH FABRIC START is a trade show that is constantly evolving to meet the needs of the industry. This is the reason why we will continue to play a central role in the fashion industry in the future.

How is MUNICH FABRIC START positioning itself at a time when the requirements for trade shows that reflect global markets are becoming increasingly complex?

Sebastian Klinder: We have responded to the changing requirements by shortening the duration of the trade show to two days without compromising on quality and service. This enables our exhibitors and visitors to use their time efficiently and still make all the important contacts and gather information. Our platform is designed to be flexible and adaptable – this reliability is our key to success in an age where change is the only constant.

Frank Junker: Effectiveness and flexibility are core principles of our work. Our aim is to create an authentic, competent, approachable and open event that meets market requirements. We listen carefully to our exhibitors, partners and visitors and use our lean structures to act boldly and decisively. MUNICH FABRIC START is a trade show that is constantly evolving to meet the needs of the industry. This is the reason why we will continue to play a central role in the fashion industry in the future.

How do you see the future of MUNICH FABRIC START and the fashion industry in general?

Sebastian Klinder: I am optimistic. The challenges of the last few years have shown us how adaptable our industry is. With MUNICH FABRIC START we are creating a platform that brings the right people together at the right time and in the right place. We are ready for what lies ahead. I am convinced that as an industry we will emerge stronger and more creative.

Frank Junker: The future is full of opportunities. If we continue to focus on our strengths – creativity, innovation and collaboration – there is no limit to what we can achieve. MUNICH FABRIC START will continue to play a key role in shaping that future in the years to come. I look forward to seeing how we can move the industry forward together.

Sebastian; Frank – thank you for the interview!

Discover more industry-changing innovations at our upcoming trade shows:

by Claudia Mynott

FABRIC HIGHLIGHTS & MATERIAL NOVELTIES FOR AUTUMN.WINTER 25/26 - PART II

FABRIC HIGHLIGHTS & MATERIAL NOVELTIES FOR AUTUMN.WINTER 25/26 - PART II

6. August 2024

At the upcoming MUNICH FABRIC START, around 600 international suppliers will present their material innovations for all apparel segments in the FABRICS Area. The complete product portfolio of fashionable woven and knitted fabrics made of wool, cotton, silk, blends and functional fibres will be presented here. For the Autumn.Winter 25/26 season, we present some new products and highlights from international producers in our FABRICS blog posts:

LILABLUM

Innovative Tradition: LILABLUM dyes natural fibers with food waste, wood industry byproducts, and plant roots – an approach that is sustainable, and forward-thinking. The pioneering textile company blends tradition with innovation in their latest fabric collection.

This unique collection features three natural hues on GOTS-certified cotton and linen fabrics. The collection includes three stunning shades: Midnight Oak, a grey-blue anthracite dyed with oak bark; Rubia, a soft pink derived from madder root; and Onion Oro, a warm yellow-ochre achieved with onion skins. These naturally dyed fabrics are perfect for clothing collections, curtains, interior decor and much more.

Since 2019, Corina Rüegg has been strongly involved in plant-based dyeing techniques and has developed an industrial process for dyeing fabrics with natural extracts. This method is more beneficial to both people and the environment, as dyeing staff are not exposed to harmful chemicals and wastewater pollution is significantly reduced. Throughout the entire production chain, LILABLUM prioritizes social and ecological responsibility.

Switzerland – Hall 2 | A 08

“We tread old paths in new ways.” – founder and owner Corina Rüegg

LILABLUM

Breathable fabric, fast dry with customizable structures. Made from 100% post-consumer recycled polyamide. Soft touch for excellent comfort.

PENN ITALIA

Penn Textile Solutions and Penn Italia – two companies – one partnership – combining Italian creativity with German high performance and innovative knitting technology. Their philosophy is to offer a fusion of Italian design and German engineering in their portfolio of mainly stretch fabrics, with options to create differentiated zones of power and stretch, body mapping, placed 3D structures and other innovative concepts.

Italy – Hall 4 | F 05

PENN ITALIA

“Explore a fusion of Italian design and German engineering.”

High-functionality fabric to achieve a slim fit effect, soft and comfortable to the touch. Features clean cut, ideal for an outerwear technical outfit or a slimming underwear line. Made with post-consumer recycled yarns.

Satinette with an ultra-brilliant appearance for a unique and exclusive look. Soft and comfortable to the touch for a perfect fit.

Ultra-soft, sheer tulle, suitable for a 360-degree collection. Where quality meets price.

In the no see through collection, fabric with customizable structures for leggings with high comfort, perfect fit, and no transparency. Made with post-consumer recycled yarns.

SERIDE

The new SERIDE AW 25/26 collection embraces multiple color themes:

ICY (right) – Combinations of blues and greys accented with a hint of metallic. This palette vividly embodies Iceland and cold weather with its shades of blue, white, grey, yet exudes a sense of reassurance and warmth through creamy whites and smooth dove tones.

FANTASY – The colors are rich and intense, capturing the shimmer of stars, the deep blue of the night, and the green of nature thriving near water. An intriguing combination features purple paired with olive green. The range of accents includes grey-blue, pink, and green.

“SERIDE’s color themes range from Iceland and cold weather to almost burning warmth.”

RELAXING (left) – Relaxing and comforting neutrals evoke the feeling of a hot morning latte or a frothy cappuccino. Milky-coffee shades range from cool beiges to warm whites, with creamy tones paired with basic warm greys.

OBSESSION (right) – Deep and intense, this palette exudes a warmth that almost burns. It’s a sensual collection primarily featuring reds and burgundy, with a touch of reddish-black anchoring the theme. A striking, vivid blood red takes center stage, while accents of black cherry, magenta, and dark brown add depth and contrast.

ITALY – A 4 | 16

SERIDE

CONFETTI FABRICS

Confetti Fabrics is ready with new collection printed, plain on wovens and jerseys with many sustainable options for Autumn/Winter season 25/26. They are glad to present their collection of beautiful and contemporary prints.

TÜRKYIE – S 1 | E 124 A

CONFETTI FABRICS

ENGINE TEXTILE

Established in 1961, Engin Textile is a distinguished producer of high-quality fabrics specializing in both active sportswear and high-fashion garments. With  over six  decades  of industry experience, we are committed to delivering innovative textile solutions that cater to the diverse needs of garment manufacturers worldwide.

We offer a diverse selection of premium fabrics for high-end fashion collections, combining aesthetic appeal with exceptional quality to meet the demands of the fashion industry.

We develop advanced textiles engineered for performance, comfort, and durability. Our sportswear fabrics are designed to support athletic activities and outdoor adventures with superior functionality.

In the realm of active sportswear fabrics, Engin Textile excels in developing advanced textiles that combine performance, comfort, and durability. Our commitment to innovation drives us to use a variety of high-performance fibers and technologies.

At Engin Textile, our deep understanding of textile science, combined with  our  dedication to quality and innovation, positions us as a premier partner for companies  seeking  top- tier fabric solutions. Whether through our advanced sportswear textiles or our exquisite fashion fabrics, we strive to deliver excellence and creativity in every project.

TÜRKYIE – Hall 3 | F 11

Engine Textile

“It’s about combining aesthetic appeal with exceptional quality.”

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