How to Make Fashion Good? A New Museum In Amsterdam
The museum aims to change the hearts and minds of visitors by helping them discover the stories behind their clothes, learn how they can take action and explore how they can have an impact on both an industry and international level...
In the first week of October, Fashion for Good will open its brand new Fashion for Good Experience in Amsterdam.
The Experience will be an interactive technology-driven museum focusing on sustainable and circular fashion and innovation. The museum aims to change the hearts and minds of visitors by helping them discover the stories behind their clothes, learn how they can take action and explore how they can have an impact on both an industry and international level. The museum will challenge guests to not only appreciate the aesthetics of fashion, but to actively contribute to making fashion good. Through a digital and personalised journey, visitors can learn about the history of good fashion, discover more sustainable products and explore future fashion innovations.
One of the key exhibits in the museum is an Innovation Lounge where guests can discover over 50 amazing innovators who are about to disrupt the fashion industry. This space answers questions like: How is biodegradable glitter made? Can a dress be made from mushroom roots? How can blockchain technology make the garment production process more transparent?
During the visit, actions and badges can be collected via an RFID-enabled bracelet, so that visitors are motivated to commit to personal change and positive action in the way they relate to fashion. This will be turned into a personalised digital Good Fashion Action Plan that visitors can take home.
Additionally, the museum will also feature a concept store called The Good Shop where, every three months, a curated capsule collection will be revealed. A mix of international brands and up-and-coming labels will be included, to show visitors what innovations are out there and demonstrate that sustainable fashion can be beautiful at different price points. The first collection is called “Splash: Rethinking the Role of Water in Fashion” and features innovative pieces from adidas x Parley, Kings of Indigo, ECOALF, Insane in the Rain, Karün and Miss Bay.
The story of what happens when young designers access digital technology is still being written.
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After a difficult few years, there are genuine reasons for optimism. Duncan was candid about the challenges: "The market for textiles has been very difficult over the last three years. I'm not going to hide the truth there. But the tide is turning.“
A profound shift is currently reshaping the sector
Changing consumer expectations demand greater design diversity, faster turnaround times, and sustainable manufacturing practices.
To thrive, interior brands must adapt their supply chains, bringing production closer to the end consumer and moving away from bulk manufacturing.
Digital textile printing offers a definitive solution to these operational bottlenecks.
Digital transformation doesn't announce itself.
It accumulates - one innovation at a time - until an entire industry looks back and realises the ground has shifted beneath its feet. That's precisely where textiles stands today.
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“By leveraging advanced digital textile printing, Marylene Madou has successfully merged traditional craftsmanship with cutting-edge technology. Her approach offers a blueprint for how independent designers can scale their brands globally while maintaining a minimal environmental footprint.”
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“Operating from their UK headquarters, Friedmans now serves a diverse array of sectors, including swimwear, dance, entertainment, sportswear, interior decor, prosthetics, and even pet apparel. With a strategic supply chain that reliably serves clients worldwide”
The apparel decoration industry is decisively moving away from isolated, analogue production tools toward connected digital manufacturing environments.
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“Cross-industry collaboration is the engine of meaningful change. Brands, machinery suppliers, chemical providers, and fibre producers must act as an interconnected ecosystem”
Today’s customers demand superior product quality, real-time data visibility, and lightning-fast turnaround times.
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Printing method is never a secondary detail. It shapes the entire life cycle of a product, from concept to customer. In today’s fashion industry, where margins are tighter and speed matters more than ever, technical knowledge has become a competitive advantage.
“The future of textile design belongs to professionals who can combine creativity with execution, aesthetics with practicality, and vision with production reality”.
Are we witnessing the reinvention of Merch driven by adaptive, digital technologies?
The commercial opportunity presented by printed, personalised merchandise is already a lucrative revenue stream; it is the core driver of growth in a multi-billion-pound industry. And the mandate for print businesses is clear: automate, adapt, and offer undeniable added value, or choose to gradually lose market share.
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Industry leaders like Super Nova Sports and Ryozo International were struggling with severe pre-press bottlenecks and unsustainable fabric waste. By integrating AI Sublimation Software into their workflows, these forward-thinking businesses eliminated manual variable data entry, boosted fabric efficiency to over 80%, and reduced delivery times by more than half, establishing a highly profitable, agile, and environmentally responsible production model.
The Future of Manufacturing belongs to those who Embrace Connected Digital Ecosystems
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The European digital wallcovering marketplace is expanding at an impressive rate.
“For print professionals and interior designers, this transition presents a distinct set of challenges. Achieving flawless colour consistency, managing complex substrates, and meeting stringent environmental standards are no longer optional extras; they are fundamental requirements for commercial success.”
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A swimsuit might start life as a sketch. By the time it reaches the shop floor, dozens of hands have touched it - designers, dye houses, printers, trim manufacturers, quality controllers. Each one interprets colour in their own way, under their own conditions, with their own tools. The result is often a product that looks nothing like the original vision.
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