What are ‘next gen’ materials?
Highlights and reflections from Future Fabrics Expo 2024, and unpacking what ‘next gen’ means for fashion textile and fibre sourcing.
Future Fabrics Expo is an annual textile and materials showcase hosted by The Sustainable Angle, established in 2011. Each year it increases in size in terms of space, exhibitors and seminars, and now is based out of the stylish Magazine London.
I last visited in 2020 when it was still in a considerably-sized building, but four years later, is even more vast and sprawling. It is uplifting that there is now this much space dedicated to so-called “sustainable” materials and production practices, and yet I can’t hold back my cynicism that it doesn’t truly reflect what’s going on. Obviously, the more money you invest or sponsor with, then the bigger space you’ll receive; that’s just how trade shows go.
Fortunately there are exhibits from startups and speculative designers (some of which are duplicated on individual stands), but are these projects overshadowed on their plinth by surrounding larger-scale stands and lots of obviously commercially-ready product that will tantalise sourcers and buyers? (And did they pay for these spots, or are they wholeheartedly embraced for the questions and solutions they’re raising)?
According to an information board (adapted from the 2023 Annual Report), over $3 billion has been invested in ‘new materials opportunities’ since 2014, with 141 total next gen material companies, of which 93 were formed since 2014. The areas they look into are:
53% plant-based
14% microbe-derived
11% blends
10% recycled material
8% mycelium
4% cultivated animal cells
The term ‘next gen’ is visible everywhere, and not just at this expo. Fashion is of course all about finding the “next big thing”, so it stands to reason that designers and brands should be swept up in continuously sourcing something else. This most frequently relays to technology and labs, as if the last generation is no longer viable or exciting, and should be replaced or forgotten about. However, all progress is built onto what’s come before, and so by even implying the last stuff as not useful, we’re disregarding the wisdom engrained in it — for successes and failures.
I’m mostly referring to materials and practices that don’t acknowledge land or people or animals. Next gen does mostly suggest those more techy “innovations” where automation and frameworks exist in a silo, rather than traditional craft-based production that reveres intuition and collaboration. While some designers are still drawn to the more tactile offerings, they’re also drawn to the sci-fi of robotics; arguably consciousness and slowness exist in both sides, but is this what makes them just as equally sustainable and responsibly-produced? My concern is that attention is given to speculative non-commercial materials, not only because that’s where investment lies, but because it’s a bandage on the wound. That conventional ways of creating materials haven’t worked to stopper industry challenges — and wider environmental and social problems — so let’s forget about them and simply move on.
If people actually stopped to try understand the work involved in making a piece of fabric from scratch — all the way through the chain to its end of life — instead of immediately picking up the next shiny offering, then maybe they’d see that “next” isn’t (always) best. There are ways to utilise all of this knowledge without putting everything into binary boxes.
That being said, the expo entrance detailed data on “our materials landscape” explaining that global fibre demand has shifted, and illustrating that there needs to be a swift move to preferred fibres and alternative strategies in order to decouple from virgin fossil fuel materials.
“Our Materials Landscape” board at the entrance to the Future Fabrics Expo 2024 showing data regarding the global fibre market share, and timeline of fibre production from the stone age to current times.
The Materials Market Report from Textile Exchange helps informs the textile industry’s efforts to reduce emissions associated with raw material production in line with a 1.5-degree temperature rise pathway. Materials produced for the fashion, textile and apparel industry as well as for other industries increased global fibre production from around 112 million tonnes in 2021 to a record 116 million tonnes in 2022. This is expected to grow to 147 million tonnes in 2023 if business continues as usual.
Global fibre market share by fibre type:
Oil-based synthetics: polyester 54%, nylon & others 11%
Man-made cellulosic fibres: 6%
Cotton: 22%
Other plant-based: 5%
Protein: 1%
Combined share of recycled fibres decreased from 8.5% in 2021 to 7.9% in 2022, mainly due to decrease in market share of recycled polyester. Demand for PET feedstock (in the form of plastic bottles), and systemic challenges with textile-to-textile recycling has also found that less than 1% of the global fibre market came from pre- and post-consumer recycled textiles in 2022.
The bottom part of the board above highlights a timeline of fibre production from the stone age to now.
New materials opportunities?
One of the ‘next gen material’ exhibition plinths, with a board overhead stating that over $3 billion has been invested in new materials opportunities since 2014.
I’m going to use this space to share with you the variety of so-called next gen materials and innovations*, split into thematic sections I’ve described myself, so that you can see what’s going on and make your own mind up about what may and may not work. Information given is gleaned from exhibit signs.
*These all derive from exhibits around the expo, and mostly involve materials (rather than anything to do with production) though not the footwear and interiors specific sections (which I’ll speak to in other posts).
Along with this post, you can read an opinion piece on next gen vs regen as a commission article for Colèchi’s blog.
Fermentation.
Solena Materials Limited — novel protein fibres are produced by microorganisms in a fermentation method, freeze dried and then powdered to achieve an input for wet spinning without the use of solvents and chemicals.
Phycofiber — unclear what the process is, but a fibre is created using farmed seaweed for a consistent and reliable raw material that supports local economies and doesn’t use petrochemicals to produce.
Fabricandy — plant-based textile waste is enzymatically broken down into glucose, and then into sweets that are humanly consumed.
Harmonizer-decompression bio-wellness patch — a coconut bacterial cellulose made in a fermentation process (bioreactor) that results in a material with potential skin benefits through its moisture absorption and skin repair promoting properties. It had medical industry applications.
Biofresh Dyes — the co-founders discovered colour created through microbial fermentation when investigating microbial plastic degradation. These dyes don’t require mordants in order to be colourfast.
Hydefy — a proprietary fungal protein known as Fy™ obtained from a Yellowstone hot spring is grown in a lab, then combined with sugarcane husk (or other feedstocks) to create a substrate that is applied as textile backing.
Images from L-R: Solena Materials Limited / Pychofiber / Fabricandy / Bio-wellness patch / Biofresh Dyes / Hydefy
(Bio-)engineered.
Werewool — protein engineering is used to “brew designer proteins” with specific properties (presumably from DNA of animals with wool, and characteristic properties of wool) that are transformed into fibres and used in existing machinery.
Literally Cotton — 100% lab-grown traceable-to-cellular-level cotton; cells from a home-grown cotton plant are placed into a petri dish to grow and multiply, before going into a bioreactor (for fermentation?) to mature into cotton fibre. They’ve moved into using their tech for other crops.
Post Carbon Lab x True Tone Ink — photosynthetic microorganisms (cyanobacteria and algae) are used to create microbial colour through green chemistry. The collaboration allows for knowledge of GOTS-certified Ayurvedic botanical colour recipes to be combined with patented technologies to improve dyeing practices.
Soarce Inc. — biomass waste such as seaweed is processed into high performing yet low impact materials and chemistries, one of which is Searamic™ (nanoceramics bound to seaweed) so to impart textiles with protective properties, dye them or replace synthetic coatings.
Colorifix — via DNA sequencing, the colour code contained is translated into engineered microorganisms that produce, dye and fix colour onto a textile, so reducing dyestuffs, energy and water consumed in conventional wet processing.
Nature Coatings — black pigment is made from pre-consumer industrial wood waste to be an alternative to ‘carbon black’, the material used in plastics, inks, paints and coatings produced by the incomplete combustion of coal tar, vegetable matter, or petroleum products.
Images from L-R: Werewool / Literally Cotton / Post Carbon Lab x True Tone Ink. / Soarce Inc. / Colorifix / Nature Coatings.
Plastic alternatives.
Sequinova — a cellulosic plastic-free sequin (uncertain on the cellulose origin) using colours from “feedstocks that don’t compete with food crops”.
Sparxcell — cellulose with photonic technology to mimic natural structures found in butterfly wings and beetle scales, so harnessing their vibrant colours and light manipulation, rather than using harmful chemicals.
Valupa — modular fashion accessories and components are made through injection moulding and 3D printing of bio-based inputs, that are created by “harnessing microorganisms and biogenic residude” from regional food and cosmetic industries.
Rammix — ramie fibres, roots, stems and leaves (otherwise discarded) are enzymatically extracted into cellulose and made (how?) into ornate buttons.
Savian — a plant-based fur created to combat a shift from animal fur to synthetic-derived fur (though no other details on ingredients or processes).
Qilin by Authentic Material — waste leather is combined with “bio-sourced” or recycled polymers into a thermoplastic alternative to ABS, PP and TPU.
Images from L-R: Sequinova / Sparxcell / Valupa / Rammix / Savian / Qilin by Authentic Material.
Living systems.
Rootfull [Zara Holloway] — wheatgrass seed is cultivated into templates made from beeswax, and over 12 days roots will bind to create a “biodegradable, pollution-free, water-efficient and estimated carbon-negative” material. It’s used to add embellishment to an existing material, and is coated with natural ingredients to preserve its structure and retain flexibility.
Lucid Life — in collaboration with Polynesian artisans’ indigenous practices, a living material from bioluminescent microalgae (and other local feedstocks) emits light when touched, needing only sunlight to “live” for six months. Artefacts are made to demonstrate how living materials can reconnect us to nature.
Notgroundbreaking — this ‘decomposition library’ is an archive for anyone interested in exploring design-for-decomposition through degraded protein and plant textile samples, and introducing the topics of soil health and material lifecycle to designers.
Ecovative — agricultural waste e.g. seed hulls and corn husks are used as substrates to bind with mycelium (mushroom root structures) to create a malleable material. They have large sheets of Forager™ technical foams and ‘hides’, grown in ‘growth chambers’ (vertical farms).
BioPuff® [Ponda] — the bulrush plant (Typha latifolia) is grown to regenerate wetlands, with rushes harvested for their internal fluff that is then used as a plant-based insulation.
Images from L-R: Rootfull / Lucid Life / Notgroundbreaking / Ecovative / BioPuff®.
Utilising waste.
Fibe — fibres are extracted from potato harvest waste and processed using biological and mechanical methods to slot into existing conventional textile machinery (blended with cotton, which it has a similar micron to). Farmers are paid for this usually valueless ingredient.
Fiiba — banana trees are felled once fruited, so using a lyocell process, the timber is transformed from pulp to fibre so utilising an otherwise wasted virgin resource.
Cuemái — raw materials from the byproduct of tequila distillation (agave leaves and tequila vinasse) are made into fibre and yarn through local mechanical processing, and into dyes through filtration then chemical extraction using organic solvents.
DyeRecycle — colours from textile waste are extracted and recycled into new synthetic dyes using a closed-loop process, while the resulting white dye-free fabrics can also be respun into recycled fibre.
Rezero — Customs-siezed cigarettes are separated for their filters, from which a cellulose acetate fibre is extruded. This material alone can be sold, but they’ve revitalised button factories to create a commercial product.
Lokareboon — pre-consumer balloon manufacturing waste is sorted and mechanically pressed to create a chunky flexible material. They also operate a patented closed-loop recycling facility in order to control their supply chain.
AltMat® — leftover biomass from food/medicinal/industrial agriculture is collected and used in natural cellulosic spinning processes (not man-made with solvents?).
Images from L-R: Fibe / Fiiba / Cuemái. Middle row L-R: DyeRecycle / Rezero / Lokareboon / AltMat®.
Solution-finding.
Detox bioembellishment [CQ Studio] — a nascent project from CQ Studio, this investigates the bioremediation of wet spinning processes from fabric dyeing. Food waste and fungi are used to remove pigment from wastewater that is then cured in plastic-like embellishments.
Co-culturing rituals [Namita Bhatnagar] — a research project about disposable photosynthetic materials led to investigation into a biocomposite material made from micro algae and bacterial cellulose, with potential applications in wound healing, skin repair and skin care.
Biomaterials for healing [Eirinn Hayhow] — research into the “potential frequency of psychological energy waves emitted from plants”, raw ingredients are harvested and transformed into “plant leather” and “biomaterials”, incorporating ancient widsom of materials as well as herbalism.
Regen Ink [Colour Earth] — phytoremediation (using plants to absorb excess pollution in soil) increases usefulness of existing land, while providing a raw feedstock to extract pigment from for use in screenprinting ink.
Images from L-R: detox bioembellishment by CQ Studio / co-culturing rituals by Namita Bhatnagar / Regen Ink by Colour Earth / biomaterials for healing by Eirinn Hayhow.
(Bio-)composite.
Safilin — 100% linen fabrics are layered into moulds and set into place with resin, with practical applications in the automotive industry.
Flexijump Lite Satin — similar to injection moulding for plastics, natural fibres (wood pulp, latex, bio-based polyurethane) are 3D-shaped into soft goods. Most interestingly, this can be offered to any geographic region for use of local waste streams including agricultural straw, and combines the materiality and manufacturing processes to eliminate processing steps.
Marmora — one of an array of possible bio-based coated textiles, this one uses marble as a mineral additive to create a coating for fabrics, made in this instance from linen or organic cotton.
Modern Synthesis — natural fermentation processes are used to create a bacterial nanocellulose, with those fibres manipulated into a “biofilm” of customised material properties, and combined with a natural textile (hemp, cotton, linen) to create a novel composite material that’s then finished with green chemistries.
Tômtex Inc — mushroom chitosan (a polymer of glucosamine derived from chitin) from sustainable mushroom growing operations, or a shell chitosan from seafood waste is made into a flexible material using some sort of green chemistry.
CORKonLINEN — cork sheets are placed onto linen fabric to create a compostable accessories, footwear, automotive and packaging material as an alternative to leather.
Images from L-R: Safilin / Flexijump Lite Satin / Marmora / Modern Synthesis / Tômtex Inc. / CORKonLINEN.
Circularity.
HeiQ AeoniQ™ — a cellulosic filament yarn made using a “special solvent” in a closed-loop wet spinning process but with feedstocks inclusive of agricultural waste, bacterial cellulose and pre-/post-consumer textile waste. Tests show recyclability and biodegradability within 12 weeks.
BioCir®flex — plant-based feedstocks such as castor bean oils, and biopolymers such as polysaccharides, are bound to create a thermoplastic elastomer for use in injection moulding, 3D printing and extrusion for durable goods. They can be industrially composted or recycled.
Papertex — textiles from a personalised client waste stream are sorted then mechanically shredded, before mixing with water to create a textile pulp. Through an artisanal process the pulp is moulded into paper. [They also supply shredded textiles for cushion fillers, not shown here].
Circ — through a proprietary hydrothermal technology, polyester and cotton cellulose can be separated and recovered from textile waste so improving the textile-to-textile recycling stream.
Circulose® — cellulose is chemically recovered from pre- and post-consumer textiles and clothing with the pulp used as a feedstock in MMCF production e.g. for viscose.
Images from L-R: HeiQ AeoniQ™ / BioCir®flex / Papertex / Circ / Circulose®.
Processing.
SEFF — hemp fibres are separated from the stalk using “Nano-Pulse™” technology (high energy pulses in water), it seems to increase the uptake of hemp fibres (in a blend) in larger-scale spinning mills.
Felde Fibres — hemp fibres have the lignin removed so resulting in a softer hand feel and smoother appearance (than those fibres processed, how?)
Epoch Biodesign — pre- and post-consumer Nylon waste with no other viable recycling option (e.g. multi-layer laminate waterproofs and elastane-blended sportswear) is chemically broken down using enzymes - and generative AI?
Recycling of waste wool blended fabrics through enzymatic separation and recovery of dyes [De Montfort + Loughborough Universities] — enzyme-based biotechnologies are used to extract dyes from textile waste, specifically to recover dyes in powder form for reuse (the wool fibres are disintegrated; but blends can be part-captured).
Images from L-R: SEFF / Felde Fibres / recycling of waste wool by De Montfort + Loughborough Universities / Epoch Biodesign.
Manufacturing.
Bouncy Cotton [Hermin Textile] — modern synthetic materials are provided an alternative through the science of bionics; adapted weaving techniques and high temperature dyeing are used to “transfer natural features to textile surfaces” so allowing for elastane-free stretch fabrics while using renewable raw materials.
Nanoloom — graphene nanomaterials can be twisted or spun with other fibres using knit or weave techniques to create high-performing textiles replacing traditional synthetics, but with such light and strong characteristics useful for automotive and aerospace applications. They leverage AI to “intelligently select” which fibres to combine and to foresee the outcome.
Enzyme-catalysed colouration of wool fabrics [De Montfort + Loughborough Universities] — wool fabrics are dyed at low temperatures by harnessing the catalytic mechanism of two enzymes (laccase and peroxidase). The enzyme biotechnology is applied during textile wet processing so also reducing energy, effluent and chemical inputs.
Innovative laser technology for textile colouration and patterning [De Montfort + Loughborough Universities] — heat from the laser aids in depositing and fixing a dye to the material, allowing for precise patterning.
Images from L-R: Bouncy Cotton / Nanoloom / innovative laser technology by De Montfort + Loughborough Universities / enzyme-catalysed colouration by De Montfort + Loughborough Universities.
Leather alternatives.
Xymbioz — a “bacterial-cellulose leather-like material” made through fermentation of leaves, stems and fruit waste with a mixed bacterial colony. It has an organic finishing, and backed with bio-based polyester (?), cotton and luana.
Lab-grown leather — the tissue templating method is used to pre-extract animal cells (in this case horse) in a controlled lab environment, which are then programmed with environmental cues (not genetically engineered) causing the cells to arrange themselves “in a particular order to produce an extracellular matrix” i.e. collagen and elastin. It doesn’t rely on a plant-based scaffolding, and is a fully cultivated skin that can be tanned.
Oval — collagen from waste fish skins and scales is used to create a leather-like material that is compatible with usual tanning methods (but no other information given).
Alt.Leather — patentable technology transforms natural fibres (from agricultural biomass) in a “plant-based resin matrix” into a material that mimics “the 3D network structure of animal leathers”.
Planet of the Grapes — grape seeds, skins and stalks (the grape marc) are collected from French vineyards, dried, powdered, this combined with “renewable plant matter” and then backed onto another material. Options and amount of grape marc depends on the client’s desires.
PurewayBio — with their own fungus library, they use gene editing, precision fermentation and data-driven tech to grow mycelium skins that have 3D networks to more resemble animal hides.
Banofi Leather — banana crop waste turned into a plant-based material, supporting female employment and smallholders farmers by purchasing their farm residue.
Images from L-R: Xymbioz / Lab-Grown Leather / Oval / Alt.Leather / Planet of the Grapes / PurewayBio / Banofi Leather.
I’ve avoided giving personal thoughts here, as the post would simply be way longer than it is, and it’s already a lot of information. It’s always difficult to parcel these all up into separate posts because then you’re not seeing them side by side. Obviously in this expo, the innovations span various challenges or segment, such as leather alternatives also being bioengineered. The conversations are not binary, but this is a flat and rigid platform to talk on. There’s no flowchart. However, a useful list of themes and innovators in the realm of next gen materials for your perusal.
All images were taken by me at the expo.
Read similar material reviews + THOUGHT posts, such as:
Material matters [London Design Festival].
Mother Goddess of the Three Realms.
Textiles at London Design Festival.
Next-Gen Materials vs Regen Farming: Is fashion investing in the right places [commission for Colèchi].