{"id":8440,"date":"2025-01-17T10:00:33","date_gmt":"2025-01-17T10:00:33","guid":{"rendered":"https:\/\/www.munichfabricstart.com\/curiosity-courage-and-craftmanship\/"},"modified":"2026-10-05T08:02:54","modified_gmt":"2026-10-05T08:02:54","slug":"curiosity-courage-and-craftmanship","status":"publish","type":"post","link":"https:\/\/www.munichfabricstart.com\/en\/curiosity-courage-and-craftmanship\/","title":{"rendered":"Curiosity, Courage and Craftmanship"},"content":{"rendered":"\n\n
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Clothes Encounters and Warmly Related Relevance<\/h3>\n

Interview with Simon Angel – Guest article by Muchaneta ten Napel<\/strong><\/p>\n

With \u201cFLORECSENCE\u201d 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\u2019s next in fashion by challenging us to think beyond quick fixes and instead embrace a deeper, more holistic approach to sustainability.<\/p>\n

Simon, how did you approach curating this season\u2019s Sustainable Innovations exhibit at Munich Fabric Start?<\/h3>\n

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. <\/p>\n

Could you elaborate on how year\u2019s philosophy manifests in the exhibited projects?<\/h3>\n

Simon Angel: Certainly! This year\u2019s philosophy is deeply embedded in each project I\u2019ve selected for the exhibit, particularly emphasising sustainable practices that integrate seamlessly with innovative design. Take Shushanik Droshakiryan\u2019s \u201cPSYCHEDELIC TEXTILES.\u201d 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. <\/p>\n<\/div>\n\n\n\n\n

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Studio Nicky Vollebregt\u2019s \u201cPollia,\u201d \u201cHIGHLIGHT,\u201d and \u201cUncover\u201d projects are also featured. How do they fit into this narrative?<\/h3>\n

Simon Angel: Studio Nicky Vollebregt\u2019<\/a><\/strong>s projects demonstrate a holistic approach to textile innovation by exploring colour reflection, material transparency, and transformative finishing techniques. The studio isn\u2019t just making visually striking fabrics; it\u2019s 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\u2019s a reminder that sustainability and aesthetic appeal aren\u2019t mutually exclusive. <\/p>\n

Can you discuss how Daan Sonnemans\u2019s & Anabel Poh\u2019s\u201dKantamanto Social Club\u201d enhances the themes of this exhibit?<\/h3>\n

Simon Angel: Daan Sonnemans and Anabel Poh address a critical aspect of sustainability: the human and social dimension. With \u201cKatamanto Social Club<\/a><\/strong>,\u201d 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\u2019t 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. <\/p>\n

Can you tell us about Milou Voorwinden\u2019s \u201cExplorations in 3D weaving\u201d?<\/h3>\n

Simon Angel: Milou\u2019s<\/a><\/strong> work is an excellent example of how reimagining a fundamental technique can open up entirely new possibilities. In \u201cExplorations in 3D weaving,\u201d 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 \u2013 some rigid, some flexible. These explorations challenge the binary thinking of \u201cfabric vs. structure,\u201d 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. <\/p>\n<\/div>\n\n\n\n\n

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Shushanik<\/figcaption>\n <\/figure>\n<\/div>\n
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Nicky \u2013 Pollia, credit Patty van den Elshout i.o.v. TextielMuseum<\/figcaption>\n <\/figure>\n<\/div>\n <\/div>\n <\/div>\n\n \n
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Wool matters\u201d by Beatriz Isca is another project drawing attention. How does it fit into this year\u2019s theme? <\/h3>\n

Simon Angel: Beatriz\u2019s \u201cWool matters\u201d<\/a><\/strong> 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\u2019s 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 \u2013 and the people involved \u2013 before we even start to design. <\/p>\n

Lastly, Oscar Wentz\u2019s AFTERLIFE \u201cREWORK AND RETHINK YOUR OWN TRASH\u201d project stands out. Can you shed some light on this? <\/h3>\n

Simon Angel: Oscar\u2019s AFTERLIFE <\/a><\/strong>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\u2019s the perfect example of how a hands-on, interventionist approach can galvanise people to embrace more circular practices. <\/p>\n<\/div>\n\n\n\n\n

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How do you see these innovations in the exhibition influencing the future of the textile industry?<\/h3>\n

Simon Angel: These projects collectively represent a significant shift to question what\u2019s 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. <\/p>\n

Thank you for sharing these insights, Simon. It\u2019s clear that this season\u2019s Sustainable Innovation exhibit goes beyond showcasing new materials \u2013 it\u2019s about sparking a broader conversation on the future of our industry. <\/h3>\n

Simon Angel: My pleasure. I\u2019m 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\u2019ll drive real, lasting sustainable innovation. <\/p>\n

We look forward to seeing the exhibit and witnessing how these pioneering ideas will shape what\u2019s next in textile design.<\/h3>\n

Simon Angel: Thank you. Don\u2019t forget to visit us at the Keyhouse in Hall 7 \u2013 we can\u2019t wait to show you how these interventions are rewriting the future of fashion and textiles. <\/p>\n

About the author<\/h3>\n

Founding editor-in-chief of Shape Innovate,<\/a> 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. <\/p>\n

Muchaneta ten Napel | m@shapeinnovate.com<\/a><\/p>\n<\/div>\n\n\n\n\n

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