Imasus

We Have New Samples from Squeeze The Orange

2026-05-20T00:00:00+02:00

We recently received a new set of samples from Squeeze The Orange, an inspiring initiative working at the intersection of biomaterials, design, and circular economy.

Their organic bio-leather is made from dehydrated orange peel waste, transforming a food by-product into a flexible, compostable sheet with a distinctive texture and visual quality. It is a material that immediately invites touch, observation, and further testing.

What makes the project especially compelling is not only the material itself, but the system behind it. Squeeze The Orange rethinks agricultural and food waste as a valuable resource, exploring how orange peels can become compostable bioplastics and biodegradable materials for textiles, fashion, and product design.

The initiative also creates social value through collaboration with local farmers, waste-management industries, and educational communities around Barcelona and the Llobregat area. Their work shows how sustainability, craftsmanship, and research can come together to build alternatives to conventional synthetic materials.

We are very happy to have these samples in the IMASUS collection and to explore new possibilities for circular design using orange waste.

You can check the material details in the IMASUS app. To learn more about the project, visit the Squeeze The Orange website or follow their latest developments on Instagram.

From PDFs to a Living Knowledge Base

2026-05-15T00:00:00+02:00

Many research and education projects publish their results as final documents: a report, a set of PDFs, a folder of files. These formats are useful, especially for archiving and formal delivery, but they are not always the easiest way for people to learn, teach, translate, adapt, or build on what has been produced.

For IMASUS, we wanted the open knowledge base to do more than document the project. We wanted it to become a living resource: something that could be read online, reused in classrooms, referenced during workshops, translated across contexts, and extended as the project grows.

This is why the IMASUS outputs have been developed not only as deliverables, but as open digital infrastructure.

The Limits of the Final PDF

PDF is a valuable format. It preserves layout, travels well by email, and remains useful for printing, archiving, and formal reporting. IMASUS uses PDF for those purposes too.

But PDF should not be the only form of an open educational resource.

When knowledge is locked into a final PDF, it becomes harder to update, translate, search, quote, remix, or maintain. It is harder to reuse individual chapters in a classroom. It is harder to version changes transparently. It is harder for assistive technologies, search systems, and other digital tools to understand the structure of the material. A PDF can be open to download while still being difficult to work with.

Free and open-source communities have been making this point for years: openness is not only a matter of licence or access. It is also a matter of format, structure, and the practical freedom to reuse and improve the work.

Training Modules as Open Learning Material

The IMASUS training modules cover four complementary approaches to sustainable and circular textile design:

Each module includes theoretical content, a case study, and a practical toolkit. But the publication format matters as much as the structure.

Instead of offering the modules only as static files, we published them as an interactive reader on the IMASUS website. Readers can navigate by chapter, switch language, and choose the format that fits their context:

read online in the browser
download PDF for printing and teaching packs
export EPUB for offline reading
export Markdown for adaptation and reuse

This matters because an educator preparing a workshop, a student reading on a phone, a designer collecting references, and a partner translating content do not all need the same format. Open access is not only about making something free to download. It is also about making it usable in different situations.

A Material Directory That Can Be Explored

The same principle applies to the IMASUS material directory.

The material research started as structured content: material names, origins, properties, applications, sources, and notes. But a table alone cannot fully support discovery. Designers and learners need to search, compare, filter, return to entries, and connect material information with concrete design questions.

On the IMASUS platform, the material directory becomes a navigable resource. It can support teaching, workshop activities, and design exploration. It also creates a stronger bridge between scientific characterisation and practical application: materials are not only described, but placed where they can be used by learners and teams working on real challenges.

From Knowledge Base to Workshop Practice

The IMASUS platform also connects the knowledge base with the workshop methodology.

The training modules introduce key sustainable design lenses. The material directory gives access to specific material references. The challenge cards translate industry needs into design prompts. The workshop structure then brings these resources together through the Imagineering approach: appreciating what already exists, understanding the wider system, creating a shared direction, and developing proposals that others can join.

This connection is important. A knowledge base has more impact when it does not remain separate from practice. In IMASUS, the resources are designed to be used before, during, and after the workshops: for preparation, team formation, project development, process documentation, and final publication.

Why Format Is Part of Accessibility

Accessibility is often discussed in terms of interface design: contrast, typography, navigation, keyboard access, and readable layouts. These are essential. But format is also part of accessibility.

When educational content is available as HTML, it can be linked, searched, translated, indexed, and read with assistive technologies. When it is also available as PDF, it can be printed or shared as a teaching pack. When it is available as EPUB, it can be read offline. When it is available as Markdown, it can be adapted, remixed, versioned, and preserved with minimal technical friction.

Structured, semantic, open formats also make the resources easier to process with emerging tools, including translation workflows, search systems, and AI-assisted learning or research environments. This does not replace human teaching or interpretation. It simply makes the knowledge base more portable and more useful.

Open Source, Open Access, Open-Ended

The IMASUS platform has been built as open-source software and deployed as a public resource. This reflects a broader commitment: project results should not disappear into a closed folder after delivery. They should remain accessible, inspectable, maintainable, and useful for people beyond the original consortium.

That does not mean the work is finished. A living knowledge base needs care. Links need to be checked. Materials need to be expanded. Translations need review. Feedback from workshops needs to be integrated. New examples and case studies can be added over time.

But this is exactly the point. The legacy of IMASUS is not only a set of completed outputs. It is a structure that can keep supporting learning, teaching, experimentation, and collaboration in sustainable fashion.

Explore the Training Modules

Refining the IMASUS Open Knowledge Base

2026-05-11T00:00:00+02:00

Before the IMASUS Material Directory, Learning Modules, case studies, toolkits and workshop support application reached their current form online link, they went through an important phase: evaluation, reflection, and improvement.

As part of Work Package 2 (WP2), the consortium carried out a structured feedback process to ensure that the materials were not only academically solid, but also practical, accessible, and relevant for real users, from VET learners to designers and textile professionals.

A Collaborative Feedback Phase

We approached this phase as a collaborative exercise across the partnership.

Each partner collected:

Internal feedback from staff and collaborators
External feedback from VET trainers, learners, designers, SME owners, and other stakeholders

Rather than evaluating in isolation, this process allowed us to test the materials across different contexts, expertise levels, and countries, which was essential for a project built on accessibility and knowledge sharing.

To support this, we shared draft materials, including the stakeholder report, material directory, learning modules, and the platform prototype, along with access to the demo website.

What We Learned

The results were clear: the foundation was strong.

Across both internal and external evaluations, participants:

Found the materials clear and relevant
Confirmed alignment with the project’s objectives
Valued the combination of research and practical application
Expressed interest in using and sharing the resources

This was an important moment for the project. It confirmed that WP2 was delivering what it set out to do: translating complex research into accessible, usable knowledge. At the same time, the feedback gave us something even more valuable: direction for refinement.

From Feedback to What You See Today

This evaluation phase directly shaped the materials that are now available online.

It allowed us to move from well-developed content to polished, user-focused resources.

At the same time, the process remained open. While the evaluation was underway, we continued refining the modules and platform, integrating recurring feedback before finalising the WP2 outputs and preparing translations.

Why This Step Matters

Evaluation is often seen as a final checkpoint, but for IMASUS it was part of the design process itself.

WP2 was always intended to create an open educational knowledge base, one that connects academic research with the real needs of the fashion and textile sector.

To do that, it needed input from the very people who would use it.

This phase ensured that the materials were not just informative, but usable, adaptable, and relevant across contexts.

Looking Ahead

With this phase completed, WP2 now stands on a solid foundation, refined through collaboration and ready to support learning, teaching, and experimentation in sustainable fashion.

And while the materials are now live, the process behind them remains ongoing: listening, improving, and building a shared knowledge base for a more sustainable future.

Algae-Based Bioplastic: New Explorations in Sustainable Materials

2026-05-08T00:00:00+02:00

We have received samples of algae-based bioplastic developed by Jingyi Yang, a material that explores new possibilities for sustainable fashion through natural resources.

One of its most relevant environmental benefits is that it is fully biodegradable, water-soluble, and compostable under natural conditions, helping to reduce long-lasting waste in the environment.

From a functional and aesthetic perspective, the material has a leather-like feel, a semi-translucent appearance, and a flexibility that changes depending on its thickness. These qualities open up potential applications across clothing, accessories, footwear, and home textiles, while supporting more responsible approaches to design.

In upcoming posts, we will analyse these samples using SEM (scanning electron microscopy) to better understand their structure at the micro scale.

You can learn more about Jingyi Yang’s work on Instagram: @jingyiii_y.

Webinar #2: Sustainable Design Principles and the IMASUS Training Modules

2026-04-30T00:00:00+02:00

We are excited to announce that the second webinar from the IMASUS series is now available!

In this session, we introduce the IMASUS training modules, focusing on sustainable design principles and how designers can integrate circular strategies into their creative practice.

The webinar explores a key idea at the core of the IMASUS project: sustainable fashion starts at the design phase.

While there is increasing awareness around sustainable materials and circular systems, designers often lack the tools and frameworks needed to translate this knowledge into concrete design decisions. This is exactly where IMASUS positions itself: as a bridge between academic research and practical application.

During the webinar, we present the structure and approach of the IMASUS training modules, which are built around four key design strategies:

Zero Waste Design: rethinking pattern cutting and construction to eliminate material waste from the outset
Design for Modularity: creating garments that can be adapted, transformed, and extended over time
Design for Longevity: focusing on durability, adaptability, and emotional attachment
Design for Recyclability: designing garments with their end-of-life in mind

Each module combines theoretical content, real-world case studies, and practical toolkits, supporting designers in moving from understanding to application.

Through examples ranging from historical garment systems to contemporary design practices, the webinar highlights how these approaches are not only possible, but already being implemented in innovative ways.

At the same time, it emphasizes an important point: there is no single solution to sustainable fashion design. These strategies are complementary, and the most interesting work happens at their intersection.

This webinar also serves as an introduction to the upcoming hands-on workshop on Design for Recyclability, which will take place at Lottozero in Prato. Participants will have the opportunity to apply the tools introduced in the modules and develop their own prototype concepts in a collaborative environment.

We hope you enjoy this webinar and that it offers a useful starting point for rethinking your own design process.

Link to Youtube video for the webinar #2

Stay tuned for more updates from the IMASUS project!

Webinar #1: Sustainable Textile Innovations and the IMASUS Material Database

2026-04-28T00:00:00+02:00

We are Nansi and Ariana from INMA, and we are very happy to share the first webinar in the IMASUS series.

In this session, we introduce the IMASUS Material Database and present part of the work we have been developing over the last few months around innovative and sustainable textile materials. The webinar includes images of several samples we have been studying, together with microscopy images that help reveal the structure and character of each material in more detail.

This first webinar is an invitation to explore how material research, observation, and documentation can support a more informed approach to sustainable textile design. It also reflects one of the core aims of IMASUS: making new material knowledge more accessible to students, educators, and practitioners in the fashion and textile sectors.

We were also lucky to be joined by three excellent speakers, and we would like to thank them for sharing their knowledge and perspectives:

Pilar Ureña. Instagram: @pilarurenaescariz
Ietje Klaver from Pyratex. Instagram: @pyratex_
Elisenda Jaquemot from Squeeze the Orange. Instagram: @squeezetheorange

We hope you enjoy this webinar as much as we enjoyed recording it. We will soon share more information about Webinar #2, where we will present more exciting details about the IMASUS project.

Watch the Full Webinar

https://www.youtube.com/watch?v=QGsA65LPQks

Repairing fashion from the ground up: notes from CSFW Madrid 2026

2026-04-10T00:00:00+02:00

On 23 April, we were part of the Circular Sustainable Fashion Week Madrid 2026, presenting IMASUS at the panel on new materials and regenerative textiles. The event took place at Universidad de Nebrija in Madrid’s Chamberí district, a campus that starts telling the story from the gate: a cloister with a central garden, surrounded by labs and studios, corridors full of textile pieces in progress, the productive noise of artistic education. It was a different register from the research institutions where most of this work usually lives, and it helped set the right tone.

The morning opened with a panel on territory and textile heritage, moderated by Jorge López Conde, an architect from Boltaña in the Pyrenees who divides his time between Madrid and his hometown, works closely with the New European Bauhaus ecosystem, and brings a dual perspective that is rare in these conversations: the economic and cultural logic of rural territories, from timber to wool, seen through the lens of someone who genuinely inhabits both worlds. The conversation that stayed with me most was about wool. Luis Antonio Calderón Nájera, mayor of Paredes de Nava in Palencia, brought a number to the room. According to the most recent livestock census from Spain’s Ministry of Agriculture, cited in specialist press, the country’s sheep population has fallen from approximately 15 million animals in 2021 to around 10 million in 2025.

15 million sheep in 2021. Around 10 million in 2025. Five million lost in four years.
–Luis Antonio Calderón Nájera, mayor of Paredes de Nava

His municipality is home to one of only three functioning wool washing facilities still operating in Spain, the others in Mota del Cuervo and a nearby village in northern Castile and León. The problem is structural. After shearing, raw wool must be washed before it can be spun, dyed, or woven. The washing process generates effluent heavily loaded with lanolin, the natural wax present in raw fleece, which at industrial scale poses serious eutrophication risks. Regulation has tightened, many facilities have closed, and Spain now exports much of its raw wool rather than processing it domestically.

A cooperative of women that revived a local tradition of making traditional woven belts, adapting the model toward more equitable and community-led production, was introduce by Álvaro Ferrer (mayor of Portell de Morella in Castellón). The town gained sixty new inhabitants as a result.

What both mayors described was a coordinated effort between local government and community organisations to keep small-scale textile industry alive, building on existing structures rather than importing external models.

The responses already in motion across both cases were varied:

filtration systems to manage the lanolin discharge
compressed wool bricks tested as thermal insulation in Utrillas (Vitrolan)
Mesa de la Lana a dialogue table bringing together rural representatives, industry, and government

For IMASUS, it was a live illustration of something we think about often: the challenge is not only the material or the technology. It is the full system around it, including the regulatory environment, infrastructure scale, and the economic conditions for small actors.

The design voices in the debate brought another dimension. Melina Salazar, from Peru, whose brand Metamorfosis produces garments from textile offcuts inside prison workshops, spoke about recovering a material her family had once been prohibited from using and eventually building a cooperative around it. Tatiana Teixeira, founder of AfroWema, a brand based in Kibera, Nairobi, that transforms recovered textiles into garments rooted in African cultural narratives, engaged directly with the wool problem: she drew connections to materials she works with and asked whether solutions found in one system could inform another.

Our panel, “Repair to Regenerate: the new language of textile materials” was moderated by Pepa González of R-evoluciona. Esther Pizarro, researcher at EcoBDLab and ECOMAT at Universidad Europea, presented what she calls a materioteca: a library of 100 materials she has developed from natural residues and biological sources, including fungi, bacteria, flowers, agricultural by-products, and combinations such as wool and spirulina. She brought two of her own publications and two material samples to the panel. The room spent time touching them, smelling them, reading their characterisation sheets. It was a reminder that the scientific and the sensory are not separate in this field, and that the way materials are communicated is itself an argument for them. I also spent time with Esther Pizarro and her colleague Silvia, learning about two projects currently in progress. The first is an artistic residency in Toledo, where participants collect plants from distinct micro-ecosystems across a specific landscape and extract pigments from each to build a palette of natural dyes inseparable from their territory of origin. The second is a collaboration with a coffee producer, using the dried husks from cacao processing to develop a semi-transparent woven textile, currently being explored in layered garment pieces with their students.

Then emerge the case for forest-based textiles: fibres derived from sustainably certified wood, long associated with high-pollution processing methods. Raquel López Labiano, Digital Strategy and Textile Programme Manager at PEFC España, explained how the chemistry has changed. Modern closed-loop systems use minimal water and recover solvents throughout the cycle. The resulting fibres have distinctive properties: a specific drape, breathability, fall. Several of the materials she described overlap with materials we have analysed within IMASUS. It was striking to hear them positioned, credibly and concretely, for mainstream adoption.

I presented IMASUS in that context: our focus on closing the knowledge gap between material science and fashion education, the database of bio-based and sustainable materials we have been building, and the micrographs that make those materials visible at a level of detail that informs real design decisions. The interest from practitioners was direct. The database and the micrographs generated more questions than I had anticipated. I also brought a sample of the hemp-straw fabric from Wear Us, a project we have covered before on this blog, and several people came to handle it and ask about it.

After the programme, conversations continued. We met Itziar Martín Aresti, founder of Añino Merina, a brand that transforms Merino wool, including the native black Extremaduran Merino variety, into high-quality textiles, shoes, and accessories with full biological certification and traceability. She made a point that stayed with me: working with natural materials also means rethinking the narratives around durability. Products made from natural fibres may have shorter life cycles than synthetic alternatives, and communicating that honestly, not as a flaw but as part of a different relationship with objects, is itself part of the work.

The backdrop for the panels was an exhibition of garments from the previous year’s competition. Juana Montoya from Argentina showed work in dialogue with the criollo cultural codes and indigenous weaving traditions of the Calchaquí Valleys. Elena de Frutos reinterpreted the bridal dress using rectangular cut patterns and near-zero material waste. The physical objects made the conversation more grounded, and more honest about what these choices actually look like.

Days like this are rare. Finding a room where material researchers, rural mayors, policy officials, designers from four continents, and cooperative founders are talking about the same system from different positions is not easy. What the day confirmed for us is that the knowledge we are generating through IMASUS, about what bio-based materials exist, what they can do, and what stands between them and real adoption, is directly useful to the people working on this every day. The challenge is translation: between what is known in a laboratory and what is available in a pattern workshop; between what regulation now enables and what the market still needs; between a raw material disappearing from a rural landscape and a textile that could return it to value.

We have new samples from Hiblatech!

2026-04-10T00:00:00+02:00

We have new samples from Hiblatech and the opportunity to learn more about their work with pineapple leaf fiber, a material created from agricultural waste.

It is fascinating to see how this biomass is transformed into a strong and versatile fiber with multiple applications in textiles and design. Exploring material innovations like this helps us better understand how waste streams can be turned into valuable resources for a more sustainable industry.

Soon, we will be able to observe these materials under the microscope and continue discovering their structure in greater detail.

If you want to know more about their work, you can visit the Hiblatech website.

Eeden: Innovation in Textile Recycling

2026-04-07T00:00:00+02:00

We have received fibers from Eeden and had the opportunity to learn more about the company’s approach to textile recycling.

Eeden is a technology company based in Germany that is developing advanced solutions for the chemical recycling of cotton and polyester textiles. Its process makes it possible to separate and recover cellulose and PET monomers, which can then be transformed into virgin-quality fibers such as lyocell, viscose, and polyester.

This kind of innovation is especially relevant for a more circular textile industry, since it helps recover valuable resources from end-of-life textiles and return them to the production cycle in a high-quality form.

We are looking forward to exploring these fibers more closely and continuing to learn from emerging material solutions like this one.

If you want to know more about their work, you can visit their website Eeden.

Transforming Banana Production Waste

2026-03-27T00:00:00+01:00

We have been exploring fiber made from banana production waste and recently had the opportunity to learn more about this material, developed from agricultural residues in the Canary Islands.

It is particularly interesting to see how what would otherwise be discarded can become a valuable resource. The process is entirely manual and requires no water or energy consumption, resulting in a fiber that is strong, flexible, and very lightweight.

Its versatility allows it to be used in a wide range of textile techniques, including embroidery, crochet, knitting, and needle lace, opening new possibilities for sustainable fashion and material experimentation.

We are really looking forward to observing it under the microscope and better understanding its internal structure and potential.

If you would like to learn more, you can follow:

Instagram: @pilarurenaescariz
Instagram: @plataneralab