Sybrand Jansen is a designer whose work moves between fabric development and pattern cutting, but at its heart is about transformation. Drawing inspiration from ancestral, nature-bound ways of making, he explores how these practices can find new meaning in today’s world. His designs balance refinement and rawness, often shaped by cycles of decay, repair, and renewal. Through projects such as his graduation collection inspired by The Lighthouse and his current collaboration with Indian weaving mill 7 Weaves, Sybrand develops systems of creation that respect the full life cycle of garments—embracing community, material histories, and the regenerative power of change.

Collectie Arnhem TWENTYFIVE is the third-year collaborative collection of the BA Fashion Design students at ArtEZ University of the Arts, Arnhem. Developed by 16 students, the project explores “neglected luxury” through the lens of craftsmanship, reimagining forgotten wardrobes of archetypal garments altered by time, environment, and modern reinterpretation. Working exclusively with natural materials such as wool, cotton, and leather, the collection combines traditional processes with experimental techniques that let gravity, decay, and improvised repairs shape the garments. Rooted in collective synergy, the project positions regeneration not as a concept but as a fully embodied design approach—integrating responsibility, craft, and experimentation into a vision of fashion’s future that is diverse, inclusive, and grounded in community.

Eva Popa is a knitwear and textile designer whose work bridges traditional craftsmanship and modern technology. Fascinated by wool’s durability and versatility, she explores how techniques like hand knitting, crochet, and felting can be combined with advanced industrial knitting. Her graduation project Resilient Forms reimagined Romanian shepherd coats as sustainable outerwear, highlighting how heritage can inform future solutions. Together with her twin sister Alexia, Eva is developing a brand that celebrates craftsmanship, durability, and innovation.

Jaden Xinyu Li is a menswear designer based in Antwerp whose practice transforms recycled and discarded garments into expressive new pieces. His work intertwines sustainability with storytelling, treating fashion as a space where materials and identities can be regenerated. Rooted in both craftsmanship and digital tools like CLO3D, Jaden bridges tradition with innovation, often working with wool tweed to reveal its vibrancy and potential. His graduation collection explored resilience and transformation, showing how heartbreak and personal change can inspire garments that reflect strength and renewal. Jaden envisions fashion’s future as one of individuality, responsibility, and emotional depth, where regeneration is both material and human.

Shushanik Droshakiryan is the founder and lead designer of Venus In Fury, a one-woman lab in Amsterdam where biomaterial research and fashion meet. With a background in classical fashion training in Armenia and experimental practice in the Netherlands, her work stands at the crossroads of tradition and radical innovation. For the past three years, wool has been her central medium — a fibre she treats as both ancient and futuristic, capable of redefining luxury through responsible, regenerative design. Through unexpected material experiments and collaborations across disciplines, Shushanik envisions a future for fashion rooted in cycles of transformation, ecological partnerships, and bold aesthetics that challenge the linear logic of the industry.

Milk of Lime is the Belgo German design duo of Julia Ballardt and Nico Verhaegen. Their collections consciously move away from trends, instead drawing inspiration from the overlooked materials, techniques, and local craft traditions of their rural surroundings in Germany and Belgium. Working with nearby artisans, they transform discarded fabrics, rare textiles, and natural dyes into one-of-a-kind pieces that reflect time, place, and a deep respect for resources.

Valentine Tinchant is a circular fashion designer based in Antwerp, known for her innovative and sustainable approach to fashion. Using her iconic zig-zag stitch she dares people to wear their waste. She does this by upcycling from within her clients own closets and educating makers to reuse what is discarded. We asked her to tell us more about her work. Valentine’s work is on display in the LAB till the 28th of May. 

New Order of Fashion (NOOF) is an international platform for exceptional fashion and textile talent. We support sustainability in textile and fashion systems by presenting fresh and radical perspectives through innovation, experimentation and co-creation. Our goal is to fuel the industry’s transition toward fully circular and regenerative practices. In times of radical environmental, social, economic and cultural change, a collaborative approach is essential. Through exhibitions, activations, research and residencies, we strive to enrich the discourse around sustainable approaches to textiles and fashion, and to support those exemplary practitioners that are at the forefront of the sustainability revolution.

Mariia Pavlyk's collections draw inspiration from Ukrainian pre-ancestral civilization, reflecting a harmonious way of life that values sustainability and tradition. Her work embodies responsibility and a deep respect for material origins, allowing her to reconcile her experiences shaped by the war in Ukraine and highlighting fashion's role as a form of resilience.

Jessie Curry’s research project examines the evolutionary connections between plants and humans. Using Saccharina Japonica kelp and abaca fiber, the costume PLANTSPEAK and short film envision vegetal languages to inspire interspecies dialogue. Curry investigates seaweed, the 'ancestor of all plants,' highlighting its interactions in daily life while preserving its ancient knowledge and diverse qualities.

Filippa Geslin’s work draws inspiration from Danish Christian art and her aunt’s pastoral work, considering craft as prayer. Using humble materials like cotton calico scraps, Geslin transforms them into precious, abstract forms celebrating femininity. She collaborates with artisans, honoring craftsmanship, community, and the spiritual essence of creation.

In her knitwear collection, Saimi Parikka studies themes of ultra-slow fashion, emotional connection to garments, comfort, and connection to nature. She approaches these themes with a strong ‘DIY’ approach - from hand-processed and spun Finnish wool yarns from her uncle’s sheep, to natural dyes and slow handicraft textile techniques, such as crochet.

Valeria Pulici believes timelessness is a trap, and wants to explore the complexities of femininity through conflict, vulnerability and the grotesque. Focusing on ‘filthy femininity’, Pulici creates charcoal-based bioplastics that are designed to degrade over time.

Azul Espirito Santo’s work draws inspiration from her half-peruvian, half-portuguese heritage, and Indigenous Peruvian philosophies, to create textiles that explore nature’s impermanence and renewal. Looking closely at her lived environment and natural encounters whilst studying in the Hague - a place in which she initially considered her experiences to be less ‘authentic’ and beautiful than in Portugal, or Peru - she finds place in the urban landscape.  Using natural materials like silk, wool, and hemp, her designs blend sublimation and needle felting to reflect the delicate balance between nature’s cycles and sustainable, evolving craftsmanship.

Liwen Liang grew up in Jingdezhen, the world-famous capital of porcelain ceramics.  They come from a long line of ceramic practitioners, and wanted to bring this process to fashion. Combing their rich cultural heritage and personal knowledge through innovating an ultra-fine ceramic-textile, Liwen pays homage to intergenerational relationships rooted in place, sharing knowledge and the future of ceramics. 

Belinda Gredig explores an often overlooked fibre, Nettle. Considered both a traditionally healing plant and a pest, Gredig uses over-twisted hand spun German nettle yarn to hand-weave forms that resist uniformity.  She re-connects to the ancestry of textile and fashion through drawing parallels between glass and textile practices, where the movements and gestures of making shine brightly in the outcomes. 

Julia Dotson draws from their forgotten family histories and queer identity, rooted in the American South. Inspired by their ‘butch lesbian great-cousin Clara’, they deconstructed 1950s American menswear, reworking traditional textiles and gender roles into contemporary garments. They celebrate queer resilience and break down gender stereotypes in labor roles through dress, materiality, and tongue-in cheek wordplay, set against an agricultural working backdrop.

Neža Simčič pays respect to her Slovenian heritage through a crafted attention to detail. Drawing on rural knowledges of woodenware, sieve and basketmaking, Neža creates modern aesthetics by combining delicate knit textiles with local natural materials like wood, reindeer leather, and linen yarn. Her collection MARA explores cultural preservation, sustainability, and community engagement; bridging past knowledges and present experiences.

Bei Bei Tang regenerates a connection between past and present, nature and fashion. Intertwining cultural heritage and cutting-edge biodesign, the Chinese fashion designer emerges as a visionary in the realm of sustainable fashion. Her innovative collection, Rammix, not only revitalizes the underappreciated ramie plant but also reimagines its potential through a unique Bio-Jacket system. 

This call is open to 2024 BA & MA graduates and early career designers who are in their first three years of practicing. We welcome those who do not hold a degree in fashion and textiles to apply, on the condition you can demonstrate a proven track record of creating work/working in the fashion field and present a portfolio of recent work.

The submission deadline is 2nd August 2024, 23.59 PM Central European Summer Time (CEST)