Bonne Suits made from donated jeans

Carmen Hogg, Linda Valkeman and Bonne Suits

A full Amsterdam-circle: Bonne Suits made from donated jeans from Amsterdam.

Style anthropologist Carmen Hogg and fashion designer Linda Valkeman teamed up with Bonne Suits to take a stance against the fast fashion industry that is nowadays present in Amsterdam. With the support of M-ODE and social enterprise Sympany they created these suits; made by A Beautiful Mess, from jeans that were hand-picked from donations done by consumers from Amsterdam. Every part of these suits -except for the elastic band- is taken from the donation bins of Sympany in the streets of Amsterdam.

The used materials and the production is sponsored by Sympany. The Bonne Suits are constructed by Amsterdam-based craftsmen working for A Beautiful Mess and the project is initiated by fashion designer Linda Valkeman and style anthropologist Carmen Hogg, as part of their creative research project ‘Obroni Wa Wu; Dead White Man’s Clothing’.

Photos by: Linda Valkeman


IRIDESCENCE: Digital couture on the blockchain

The Fabricant

The Fabricant is a digital fashion house leading the fashion industry towards a new sector of digital-only clothing. As a company of creative technologists they envision a future where fashion transcends the physical body, and our digital identities permeate daily life to become the new reality.

The first iteration of the digital identity is curating your online presence. Influencers nowadays get clothing from brands to wear and send back again, leading to mindless over-consumption and endless piles of waste. The Fabricant designed a digital couture piece that is one-of-a-kind, being a token on the blockchain that can be collected and traded. Influencer Johanna Jaskowska (creator of the Beauty3000 filter for Instagram) wore the garment digitally and it has reached millions of people, while she never even touched it. The garment was auctioned off by Dapper Labs (creator of CryptoKitties) at Ethereal Summit in New York where it raised a staggering $9,500 dollars – which all went to charity. The new owner bought the garment for his wife, and the garment will be fitted to her accordingly – without wasting anything but data. Anyone can own it, anyone can wear it, anyone can be front-row.

Model: Johanna Jaskowska (from the famous beauty3000 instagram filter)
Design, concept and styling: The Fabricant
Blockchain technology and initiation: DapperLabs (creators of cryptokitties)
Picture: Julien Boudet



Rushemy Botter and Lisi Herrebrugh

The founders of menswear label BOTTER – Rushemy Botter and Lisi Herrebrugh – take inspiration from their Caribbean roots. According to them, there is a very thin line between Caribbean virility and femininity; men are idle. Therefore, BOTTER’s style is elegant and the use of rare details gives a poetic feel to the collections. 

The collections represent a look into a personal diary; their look and opinion on the world are expressed through their work.

In April 2018 the duo won the Grand Prix of the Festival Hyères 33. After Hyères they were finalist for the LVMH Prize 2018. Not too long after they got picked up by the Puig group and were appointed as Creative Directors for the ready-to-wear fashion of Nina Ricci. Their first collection has been showed during Paris Fashion Week in March 2019. In addition, BOTTER will launch its fifth collection ‘All Smiles over Here’ during the upcoming Paris Fashion Week.


Obroni Wa Wu – Dead White Man’s Clothing

Linda Valkeman & Carmen Hogg

Obroni Wa Wu is a creative research project on the social impact of clothing donation. Western clothing donations are responsible for a booming second-hand industry across Africa. The impacts are diverse, overwhelming, and inspiring – but they raise questions too.

How do the receivers, buyers, wearers, and traders respond to clothing donations? What does it mean to them? Why do people wear second-hand clothes? What is the role of (Western) second-hand clothing in relation to the processes of styling and identification?   

‘Obroni Wa Wu’, also known as ‘dead white man’s clothing’, is a creative research project that explores the life of second-hand clothing. It considers its past, present, and future from a global perspective and pays special attention to the role of the cities Accra (GH) and Amsterdam (NL). The project is initiated by style anthropologist Carmen Hogg and designer Linda Valkeman. They collaborate with creatives and brands in both Accra and Amsterdam to research the phenomenon and to find sustainable solutions.  

Photos by Francis Kokoroko & Linda Valkeman


SPLASH! Sonomorphic Mirror

Nick Knight and Iris van Herpen

Daphne Guinness stars in a fashion film, created as part of couturier Iris van Herpen’s experiments with capturing water in its various forms.

Concept by Iris Van Herpen, Nick Knight, and Niamh White
Model: Daphne Guinness
Film by Geoffrey Lillemon
Sound by Salvador Breed
Technical set design by Andy Tomlinson
Technical supervision by Neal Bryant
Technical assistance by Jon Emmony
Camera Assistance by Laura Falconer and Chloe Orefice
Make-up by Petros Petrohilos
Hair by Tom Berry
High speed lighting by Paul Burns
Camera operator: Ed Edwards
Electrician: Dennis O’Connell
Gaffer: Robin Brigham
Production by Niamh White


Augustine Amsterdam

Maja Krstic

Augustine Amsterdam combines a love for timeless design codes, delight for details and dedication to supporting sustainable fashion to create flattering and modern beachwear. They believe in responsible and slow fashion, making an exceptional quality product offered at transparent prices for all to enjoy.

All of their pieces are made via a transparent production process, which makes use of regenerated nylon obtained from plastic waste and salvaged fishing nets in an effort to reduce environmental waste and to contribute to a healthy planet for us all. In addition, all of their pieces are produced in small family-owned factories, located in Italy. They produce under optimal working conditions, receive honest wages, and receive a fair treatment – all to meet the standards of a socially responsible approach to doing business. To add transparency throughout the production process is a core part of Augustine’s philosophy. By being transparent about production costs and honest pricing Augustine allows their customers to make conscious purchasing decisions and to contribute to improvement of the industry standards.  


G-Star Elwood RFTPi jean

G-Star Raw

Born from its commitment to continuously challenge the conventions of denim design and to lead the industry in sustainable innovation, G-Star RAW launched its most sustainable jean ever in S/S ’18; the G-Star Elwood RFTPi jean. Developed by analysing each part of the denim design process and exploring how to reduce the environmental impact at every step, the G-Star Elwood RFTPi jean marks a milestone in sustainable denim manufacturing.

There are four key components that make this jean so sustainable:

  • G-Star partnered with its suppliers to develop the cleanest indigo dyeing process in the world – a world’s first;
  • The most sustainable washing techniques, responsibly made;
  • Only 100% organic cotton was used;
  • All other components not conducive to easy recycling were removed.

In pioneering these new means of production, while maintaining uncompromising dedication to quality and style, G-Star aims to be an instrument for change in the denim industry – leading the way for independents and other global brands alike.

In partnership with: DyStar, Artistic Milliners, and Saitex.



Daily Overview X Benjamin Grant

Daily Overview was inspired by an idea known as the ‘Overview Effect’. This term refers to the sensation that astronauts experience when given the opportunity to look down and view the earth from outer space. They have the chance to appreciate our home in its entirety, to reflect on its beauty and its fragility, all at once.

From our line of sight on the earth’s surface, it is impossible to fully appreciate the beauty and intricacy of the things we have constructed, the sheer complexity of the systems we have developed, or the devastating impact that we have had on our planet. We believe that beholding these forces as they shape our earth is necessary to make progress in understanding who we are as a species, and what’s needed to sustain a safe and healthy planet.

The photo currently on display represents farms in the province of Flevoland (The Netherlands), which specialize in the growth of flower bulbs. Flevoland was created by the Zuiderzee Works – a coordinated reconstruction of dam and dikes, land reclamation, and water drainage. The reclaimed land now covers 375 square miles, making Flevoland the largest artificial island in the world.


The Material Archive

TextileLab Amsterdam – Waag

The Material Archive is the analog/digital and open source archive for collecting and displaying DIY sustainable materials. The main scope of this archive is to create a common environment in which multiple communities and researchers can share, interact, search, and explore recipes of DIY materials coming from TextileLabs, FabLabs, BioLabs, and other creative research labs around the world

The archive makes knowledge accessible, processes transparent, and provokes a distributed way of researching and collaborating together to explore new possibilities for urban manufacturing: from fashion and textiles, to packaging, wearables, and smart materials.

You will find materials ranging from organic textiles, to bio-based plastics, bio-resins and bio-silicones, bio-composites, materials coming from living matter such as bacteria and fungii, wearables and smart materials, reconfigurable modular solutions, digitalized crafts techniques, recycled materials, bacterial and vegan leathers.

TextileLab Amsterdam is a creative research lab combining digital fabrication processes, crafts techniques, textiles knowledge, and material research into relevant opportunities for the textile, fashion, and material fields. The lab enhances the way we work together towards change.


Kaumera Kimono

Nienke Hoogvliet

Seventy percent of China’s rivers are polluted with chemicals because of wastewater from textile dye factories. The chemicals affect hormones, causing serious health and environmental effects. Therefore, Studio Nienke Hoogvliet set out to research how a new material abstracted from wastewater, named ‘Kaumera’, could contribute to reducing the damage.

The scale of production is another problem. Clothing is cheap and easily thrown away – a trend that is called fast fashion. Nienke wants consumers to value textiles and clothing more while simultaneously making production processes more sustainable by using raw materials from wastewater. She discovered that Kaumera makes textiles absorb dyes better, so less water is needed for the dying process – which in turn pollutes less water. To add color to the textiles, she used two natural dyes extracted from wastewater: Anammox and Vivianite.

The Kaumera Kimono is an act of rebellion against fast fashion. Kimonos are passed on for generations, cherished, and valued. Nienke wants to encourage consumers to consider and treat their clothing the same way and stimulate producers to use Kaumera, Anammox, and Vivianite to dye their garments.



Sarah Mayer

S-WORDS (S FOR Sustainability) is a fashion brand and creative platform established by Sarah Mayer that invites you to rethink the stereotypical perception of sustainable fashion. By grasping the audience’s attention with contemporary, refreshing ideas, visitors are given the opportunity to discover alternative approaches to sustainability in the fashion industry, without getting the S-word shoved down their throats. The installation consists of 3 short films, each one focusing on a fashion brand implementing sustainability in their own unique way.

FILM 1: ÔKSQIN // Tiago Carvalho & Casper Fitzhue (Antwerp, BE):
A label born in Europe, designed in Belgium, and hand-stitched in Portugal from high quality ecological cork. ÔKSQIN aims to create objects and opportunities that improve and enrich life.

FILM 2 JETPACK HOM(M)E // Ryan Morar (Los Angeles, USA):
Menswear-unisex conceptualized at ho(m)e including unique upcycled garments from repurposed clothing and materials. The result? Pedestrian luxury clothing and accessories.

FILM 3 S-WORDS // Sarah Mayer (Antwerp, BE):
S-Words clothing brand upcycles sportswear and proven classical items to prepare them for a second life. Completely new garments are made out of sustainable and biodegradable textiles.


3 Photos

Finn Maätita

With my photography I aim to unite past, present and future. I capture moments which break with the character of our current age. I document periods of time that I haven’t experienced closely, mainly the 1950s until the 1990s. Sometimes I see the past and sometimes I see the future. My camera is a time machine.

These three photos are outtakes from three different series I made this past year.

A billion days away from Earth, from the series Future
Untitled, from the series Past
What we are, from the series Conscious


The Layered Edition

BYBORRE X Woolmark International

When approaching the design and construction for this Edition, BYBORRE considered how different layers interact, both aesthetically and functionally. The garments are designed specifically to be worn as layers over each other. Details in this approach include layered and detachable pockets, temperature regulating construction techniques, and mixing performance wovens with knits.

Placement of the BYBORRE fabrics have been deliberately used in relation to their desired functionality. Heavier fabrics like the 3D™ have been used to provide warmth, whereas lighter weight fabrics like the 8-Bit™ are used in areas that require higher range of motion or which are warmer. This resulted in a mix of different fabrics coming together in a single garment.

True to their name, the Experimentals are where the more far out explorations of the concept live, including another capsule collection with GORE-TEX product technology, as well as a new partnership with The Woolmark Company. The Hybrid concept in partnership with the GORE-TEX brand has evolved to a colder climate. The pieces are built to layer and in some instances the BYBORRE fabric incorporates Merino wool to add different functionality.



Karin Vlug & Bas Froon

The initiative UNSEAM researches and develops new technologies, which enable local, digital, and on-demand clothing production. The clothing we wear is produced by sewing machines on the other side of the world and is one of the most labour-intensive industries in the world. The ethical and environmental impact of our fashion industry can no longer be ignored; there is a need for change.

Traditionally, the process of clothing production was based on cutting and sewing flat pieces of fabric, to ultimately create a three-dimensional shape that fitted the human body. Digitalizing this sewing process was challenging because robots could not manufacture three-dimensional garments. Until now.

In 2018, UNSEAM developed a seamless, three-dimensional shaping textile technology for the fashion industry. Via digital programming, three-dimensional shapes can be abstracted from flat custom-made fabrics. This method no longer requires sewing machines or cutting small fabric parts. UNSEAM enabled the automated production of garments, which can be made to measure, on-demand, and closer to the end-user.



Lisa Konno

The project ‘NOBU & BABA’ consists of portraits of immigrant dads, interviewed by their bi-cultural children. The project aims to bring diversity and light-heartedness to the discussion on integration. It is a multi-disciplinary project in which each portrait contains a collection by fashion designer Lisa Konno, a short film made with director Sarah Blok, and a series of images by photographer Laila Cohen.

NOBU is inspired by Lisa’s father: Nobuaki Konno. The collection reflects on both his Dutch and Japanese identity, caricaturizes cultural misunderstandings and the hype about Japan, and simultaneously represents an intimate portrait of her father as an immigrant. The designs are based on items of Nobu’s closet such as his old promo T-shirts, kimono’s, and his favourite raincoat.

BABA is inspired by Ceylan Utlu, the Turkish father of Serin Utlu. Questions about the role of migration in his life, their relationship, the feeling of loneliness, and the need for adaptation formed the foundation for the collection and short film. The collection purposely exaggerates both Turkish and Dutch aesthetic clichés and elevates BABA from a regular man to the king of his own story.

Fashion design by Lisa Konno
Film by Sarah Blok
Photography by Laila Cohen


Step into the Squared Circle

Jessica van Halteren & Jan Hoek

Powered by Heineken

We, as designers, must fight if we truly want to change the status quo of the fashion industry. Jessica van Halteren strives to take on this task. She fights her own designs by destroying them after they have been exhibited. This destruction gives birth to an endless ‘squared circle’ of new designs.

To defend, to surrender, to destroy.

Photographer Jan Hoek and Jessica captured these three phases of a fight. For this series, real fighters were used as ambassadors, inspirators, and metaphors of pure perseverance and vigour. “Step Into the Squared Circle” embraces both the vulnerable and tough side of those who do not hold back when faced with the hardship of true challenges.

In collaboration with Tirino Yspol & Annejet de Nas
Jewelry collab with Barbara van Schaijk
Hair: Lea Muses
Make-up: Lotte Concepts
Shoes: Terra Amsterdam

Special thanks to: Suitsupply, We Make the City, NewWerk Theater, Vicenta Ferreira Pinheiro, Francis Tejedor Delgado, Doris van der Molen, Boogieland Boxing Club, and Ettaki Gym.

And all fighters: Anissa Haddaoui, Xin, Hendrik & Jiya Klok, Ilse Twigt, Sade van Dijen, Ibu Koike Hess, and Dylan Hooft.



Stefan Coppers and Jeannette den Boer

Floods, extreme droughts, and water pollution affect large parts of the world. People flee, whole areas are washed away, and other people have to stand in line for water. 90% of the disasters worldwide are water-related and experts expect event more and bigger problems in the future. Despite the fact that these forms of water problems seem to be so different, they are in fact interconnected. Most people, however, have little knowledge of these problems.

Stefan Coppers and Jeannette den Boer are a curious couple, living in Amsterdam. They recorded a documentary about the subject that, according to NASA and the UN, is the challenge of this century; water. In this documentary the audience will see a search for answers to the question: What do we need to do to ensure that our children will have a future on ‘planet earth’. The aim of the documentary is to create awareness on the urgency of water challenges among a wide audience.

The episode on display is about the effects of clothing production on the living environment of Bangladesh.


Turning off the tap on fashion’s wastewater & Two denim dudes changing the world of indigo dyeing

Cotton Diaries

Sparking change from crop to cloth. Cotton Diaries is a global community transforming the way we grow, make, source, and use cotton. They use real-life stories to inspire positive action in everyone; from cotton farmers to industry leaders and the general public.

You have probably heard that the cotton industry is thirsty, toxic, exploitative… but it doesn’t have to be this way. Every day, in every corner of the globe, women and men you have probably never heard of are working hard to create real change. From tackling water scarcity, by revolutionising the dyeing process, to empowering women and girls, by providing access to better education; innovations and new waves of thinking and doing are already here. They make the cotton industry more sustainable with their pioneering spirits.

Concentrating on solutions over problems, Cotton Diaries proves that solutions exist. They just need to be seen, heard and ultimately, scaled!


The Future of Sape

Future Cities

As an expression of non-violent protest against general Mobutu’s ban of western fashion, young men in Kinshasa dressed themselves in European designer brands. They called their movement la Sape, abbreviated from Société des Ambianceurs et des Personnes Elegantes; the society of creators of ambiance and style.

Now, the next generation ‘sapeurs’ reinvents itself as designers of their own fashion, made from sustainable and local materials. They call it eco-sape – still stylish but without the showy labels. ‘Why should I advertise western brands,’ says Lema Diandadila, leader of an eco-sapeur group. ‘I make my own fashion and I’m proud of it.’

The video shows the importance of fashion in Kinshasa, an exploding city of 10 million where almost half of the population live below the poverty line and fashion is almost a religion.

The photo series ‘The Future of Sape’ is part of the Kinshasa episode of Future Cities, a visual storytelling project by photographer Yvonne Brandwijk and journalist Stephanie Bakker that seeks for the strength in five emerging cities across the world. By concentrating on pioneers, change-makers and trendsetters who have the flair and ability to turn the tide in their cities, they open an intimate window onto the world and the stories behind the statistics of urbanisation and growth.

Credits: Yvonne Brandwijk / Future Cities

More info: www.futurecities.nl or visit the exhibition in the public library (OBA) from 17 June – 22 August.


The Jumpsuit

Max Zara Sterck

Based on her personal fascination and relation with the body as a form of expression, Max Zara designs clothing in which movement plays a central role. In her work, she continuously tries to unite the design, body, and flow of movement by listening to the materials worn. Next to movement, the quality of the fabric is thus another essential element. Max Zara is currently collaborating with innovative fabric companies to develop new sustainable materials; like an organic cotton which is sweat and stain resistant.  

Due to her interest in the relevance of movement in fashion design, Max Zara ended up working in the dance scene. To her, dance is a tool that reinforces and expands the relationship between the garment and the body; it is a way to draw attention to the comfort and three-dimensional character of the design.

The film ‘The Jumpsuit’ is the first of a series, wherein the garment expresses itself through a mash-up of dance, music, and film. A group of young and talented artists combined their different areas of expertise to develop and support each other’s work.

Cinematography by Sigi van ‘t Schip
Choreography by Jurrien Schobben
Composition by Ed Shaw
Dancers: Yulanne de Groot & Angelica Villalon from ‘Introdans’
Film editing by Tessel Flora de Vries


The E-CONSTRUCT backpack


SOLID GRAY is the backpack unlike any other. Its unique folding design makes it lightweight, super strong and highly durable; ready for years of use. The backpacks are designed in Amsterdam, manufactured in Dutch social enterprises, and adopted by enthusiastic users all over the world.

Making its launch at WE MAKE M-ODE / New Beginnings, SOLID GRAY proudly presents the E-CONSTRUCT backpack. A brand new SOLID GRAY “Limited edition” designed to reduce environmental impact through self-assembly. The E-CONSTRUCT backpack is assembled in 20 intuitive steps by the user. All construction techniques are simple, reversible, and require little tools. The bright decorative eco-solvent print functions as a complete and simple assembly manual, transforming the manual into the product itself. On top of that the print is a proud celebration of the concept that showcases the user’s construction skills.

Some big ecological benefits to this self-assembly product include:

  • Flat and efficient packaging for lower shipping impact;
  • Designed for service, repairs and upgrades. All of which can be performed by the user, further increasing the backpack’s impressive lifespan;
  • Completely recyclable into pure, high-end technological materials with a simple disassembly process.



The Fashion-program from the Ministry of Education, Culture and Sience – OCW

For AFTER ALL, the Ministry of Education, Culture and Science has brought together a selection of fashion professionals. Together they work towards a new relationship between humans and the fashion system; an alternative and more positive future perspective.

Fashion has great cultural value. Fashion serves both individual and public values. The way you dress, says something about who you are, how you want to position yourself in relation to others, and how you communicate and live. Fashion can connect people. Furthermore, fashion can be an artistic expression that inspires, surprises and can speak to one’s imagination.

In the last few decades, various changes took place in the fashion industry. As a consequence, the distance between the wearers of fashion, designers and the industry itself enlarged. The critique on the current fashion system is ever more increasing. The sustainability of production processes is questioned:  garments are often produced under terrible working conditions; the life cycles of garments keep on decreasing; and the exceptional waste of both materials and (unsold) items is deplorable.

The time has come to create a new relationship between humans and the fashion system, to work towards an alternative future perspective. Which meaning will clothing get if immaterial, emotional, and sensitive values receive more prominent attention? What will change if we become more conscious of the materiality of the garments we wear? What will change if we would better understand the nature and the life cycle of a garment? And what will all of this mean for the designer, the production processes and the industry?

All these questions and observations are based on an initiative by the Ministry of Education, Culture and Science. They had several conversations with parties that are looking for new ways of ‘doing’; that are in search of an alternative fashion system. During recent years, multiple networks have been formed in which professionals from the fields of Dutch design, business, education and science are collaborating in all kinds of ways to establish a better future for the fashion industry. The Ministry thereby contributes by enhancing these collaborations and offering them more visibility and a unique kind of support.


Together they have started on developing a new story, a reflection on the nature of fashion and what it could become. Consequently, various aspects of fashion are researched. Examples include options for recycling, the use of new materials, the development of innovative forms of distribution, and the return to local production of clothing. Furthermore, they are working on new ways to approach the consumer and enhancing the experience and valuation of clothing. In the end, activities will be developed for which designers, industrial partners, and wearers of fashion will be invited. This initiative of the Ministry of Education, Culture and Science aims to give an impulse to the cultural power of fashion and a more sustainable fashion system.

Partners so far:

  • Annemarie Satink (Municipality of Amsterdam),
  • Branko Popović (Fashionclash),Cecilia Raspanti (TextileLab Amsterdam – Waag),
  • Daniëlle Bruggeman (ArtEZ Hogeschool voor de Kunsten/Modelectoraat),
  • Dirk Reynders (Amsterdam Fashion Institute),
  • Elisa van Joolen (designer, Warehouse),
  • Esther Ruiten (Municipality of Arnhem),
  • Esther Muñoz Grootveld (State of Fashion),
  • Femke de Vries (designer/researcher, Warehouse),
  • Hanka van der Voet (researcher, Warehouse, ArtEZ Hogeschool voor de Kunsten /Master Fashion Strategy),
  • Hebe Verstappen (TextielMuseum TextielLab),
  • Irene Maldini (Hogeschool van Amsterdam/Lectoraat Fashion Research & Technology),
  • Iris Ruisch (M-ODE),
  • Ista Boszhard (TextileLab Amsterdam – Waag),
  • Judith ter Haar (ArtEZ Hogeschool voor de Kunsten/Master Fashion Strategy)
  • Lucie Huiskens (ArtEZ Hogeschool voor de Kunsten/Future Makers, NL Next Fashion & Textiles),
  • Marian Duff (MAF-B, OSCAM),
  • Mariangela Lavanga (Erasmus University Rotterdam),
  • Martijn van der Mark (Municipality of Rotterdam),
  • Nannet van der Kleijn (ArtEZ Hogeschool voor de Kunsten),
  • Nelly Voorhuis (TextileLab Amsterdam – Waag),
  • Pascale Gatzen (ArtEZ Hogeschool voor de Kunsten/Master Fashion Design),
  • Pauline van Dongen (designer/researcher studio Pauline van Dongen),
  • Peter Leferink (M-ODE, Amsterdam Fashion Institute),
  • Rens Tap (Modint),
  • Steven van Teeseling (State of Fashion),
  • Stimuleringsfonds Creatieve Industrie,
  • Ministry of Education, Culture and Science.

Concept & art direction: Warehouse
Graphic design: Sandra Kassenaar & Bart de Baets 

More info: Ernest Slot, e.c.g.slot@minocw.nl

DJ Set on Tuesday June 18th and Wednesday June 19th by The New Originals with TNO Sound


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