Helen Lax, Director of Fashion District, said: “London is a global leader in nurturing new creative talent. This showcase is giving a platform for the next generation to be seen, heard and experienced. By bringing together emerging designers with cutting-edge digital innovation, we’re not just presenting fashion, we’re exploring what its future can look like.”

The evening kicked off with a VIP reception at ALFI, where guests were welcomed by Helen Lax. The reception also marked the announcement of the Manufacturing Futures Innovation Challenge Prize 2026, with Pulpatronics taking home the top prize. Read more about the winners here.

Speakers also included Vanessa Perez Sanchez, Director of Small Business, London & Partners; Nathalie Lethbridge, Chief Outreach and Marketing Officer, EIT Culture & Creativity; and Tom Adeyoola, CEO of Innovate UK. Adam Mansell, CEO of the UK Fashion & Textile Association (UKFT), said:

“This year’s cohort showed a strong systems-thinking approach to manufacturing innovation. It was encouraging to see continued focus on early-stage processes such as dyestuffs, alongside practical solutions for retailers and manufacturers, ranging from RFID to water conservation. These start-ups have real potential to help address some of the industry’s key challenges – it has been really exciting to be part of the judging process.”

Following the reception, guests were seated in Spitalfields Market for the Fashion District Showcase. Creatively directed by award-winning stylist and creative director Kim Howells, the runway spotlighted six emerging designers, each bringing a distinct perspective to the catwalk.

The line-up included Min-Ji Kim, known for her bold knitwear and surreal sculptural silhouettes; Ksenia Schnaider, a pioneer of innovative sustainable denim; Matthew David Andrews, renowned for his vividly expressive, character-driven designs; Dede Arisekola, weaving Afrofuturism and Pan-African consciousness into sculptural, story-led collections; Barbara Hornok, celebrated for her amorphous, sculptural womenswear; and Catalina Negara, recognised for her feminine upcycled garments and accessories.

The collections were set against a high-energy soundtrack by DJ Mr Redley. Above the runway, the Spitalfields Market C-Screen came alive with striking digital visuals by creative technologist and immersive artists Imogen Fox and Yao Yao, transforming the space into a dynamic collision of fashion, motion and digital innovation.

Kim Howells, Director of K.I.M., said: “Fashion District creates such a unique and compelling opportunity to showcase designers fusing tech and sustainability at the iconic London Spitalfields. I’m honoured to be working with them again to creatively direct a live fashion show combined with a forward-thinking digital collaboration. This experience promises to be packed with ambitious, thought-provoking talent representing much of London now.”

Guests were also invited to experience Digital Umbra, an exclusive collaboration between Fashion Innovation Agency and Jason Bruges Studio. The inhabitable media environment explored movement through space by capturing visitors’ shadows and projecting them back onto a large screen, creating a shared experience that blended the physical and virtual world.

The energy carried through to ALFI for the official after-party, an evening of conversation, community and a shared excitement for the future of London’s fashion scene.

Images: Alistair Veryard
Cover: Olu Ogunshakin

Subscribe to our newsletter for the latest Fashion District updates, and follow us to keep up-to-date with our events and opportunities: 

Fashion District is delighted to announce that the winner of the Manufacturing Futures Innovation Challenge Prize 2026 is Pulpatronics, a London-based company developing fully recyclable, metal-free RFID tags that reduce carbon emissions, costs and electronic waste in inventory management. 

This year’s runners-up are Tera Mira, a biomaterials company developing a compostable seaweed-based alternative to conventional elastane, and Danu Water, whose technology closes on-site water loops to help manufacturers reduce freshwater use. Highly commended was awarded to Infinity Blue, which recovers indigo from denim waste to reimagine colour as a continuously regenerative resource. 

The winner and runners-up were announced by Shailja Dube, Deputy Director of the Institute of Positive Fashion, BFC, at a special awards ceremony last night at ALFI in Spitalfields Market. Speakers also included: Vanessa Perez Sanchez, Director of Small Business, London & Partners; Nathalie Lethbridge, Chief Outreach and Marketing Officer, EIT Culture & Creativity and Tom Adeyoola, CEO of Innovate UK. Following the reception, guests were seated in Spitalfields Market for the Fashion District Showcase in partnership with SXSW London and Spitalfields E1, and supported by London College of Fashion, UAL. 

Pulpatronics receives a cash prize of £15,000, alongside a year-long desk membership at The Trampery Fish Island Village, UKFT membership, legal support from Bates Wells, advisory hours from Chelsea Franklin Studio, and branding and communications guidance from Westbrook. Each runner-up receives £5,000 and access to the same package of support. 

This year’s judging panel comprised Adam Mansell, CEO, UKFT; Georgia Parker, Innovation Director, Fashion For Good; Lauren Bartley, Sustainability Innovation Manager, GANNI; Philly Grogan, Sustainability Manager, Nobody’s Child; and Matthew Drinkwater, Head of Fashion Innovation Agency, UAL: London College of Fashion. 

Adam Mansell, CEO of the UK Fashion & Textile Association (UKFT), said: “This year’s cohort showed a strong systems-thinking approach to manufacturing innovation. It was encouraging to see continued focus on early-stage processes such as dyestuffs, alongside practical solutions for retailers and manufacturers, ranging from RFID to water conservation. These start-ups have real potential to help address some of the industry’s key challenges – it has been really exciting to be part of the judging process.”

Pulpatronics is developing fully recyclable, metal-free RFID tags to enable more sustainable inventory management. By replacing traditional components with paper-based conductive materials, the company reduces carbon emissions, costs and electronic waste. 

Tera Mira is developing a fully biobased elastomer derived from seaweed as an alternative to conventional elastane. Designed for both performance and circularity, the material is compostable and compatible with existing manufacturing processes. 

Danu Water develops industrial water recycling systems designed to close on-site water loops. Its technology treats wastewater to a process-ready quality, helping manufacturers reduce freshwater use, minimise discharge and improve operational efficiency. 

Infinity Blue is pioneering a circular colour system that recovers indigo from denim waste. Using a natural, chemical-free process, it transforms discarded materials into a reusable dye source — reimagining colour as a resource that can be continuously regenerated. 

ABOUT FASHION DISTRICT 

Fashion District at London College of Fashion, UAL, is a hub for fashion innovation in east London. It connects fashion, technology, business and education to provide innovation networks, affordable space, business support and investment.  

ABOUT LONDON COLLEGE OF FASHION, UAL 

London College of Fashion, UAL, leads the world in fashion business, media and design education. From their new home at East Bank, the UK’s newest cultural quarter at the heart of Queen Elizabeth Olympic Park, they’re forging partnerships, opening up opportunities, and creating connections with east London’s schools, community and industry. They’ll continue to pioneer how we use fashion business, media and design to shape culture, economics, and society. And through fashion, shape lives.  

Sign up to our newsletter for the latest news, and follow us to keep up-to-date with our latest events and opportunities: 

Cover image: FEVVERS

From algae-based dyes and next-generation fibres to circular systems tackling textile waste, this year’s cohort brings together 11 pioneering start-ups and SMEs rethinking how fashion is made, sourced and scaled.

Shortlisted businesses will now participate in three bespoke Development Days with key industry figures such as Lauren Junestrand Leal (UKFT), Lisa Chatterton (Fashion Innovation Agency, UAL), Sofia Strazzanti (Future Fashion Assembly), Cecily Rooney (Axel Arigato / Informed Collective), Riley Marchant (PDS Ventures), Surakat Kudehinbu (Green Angel Ventures), Clive Allen (Westbrook Agency), Luke Donovan-King (Forge Together), Oliver Scutt (Bates Wells) and Vikram Menon (Fashionex). 

Starting with the Critical Friends Day, seventeen professionals will critique the shortlisted business’ proposition across different specialisms, from sustainability to production to finance and IP. Whilst at the Production and Business Day, led by Brooke Roberts-Islam from Techstyler, they will evaluate their solutions from the perspective of brands, partners and customers, thinking through how to create robust partnerships. Lastly the Investment Readiness Day led by Hattie Willis from Guessworks will help them consider their investment strategy and pitching technique.

The businesses will go on to compete for a £15,000 prize, alongside a package of industry support designed to accelerate their impact. The winner and runner-ups will be announced at an awards ceremony on 2nd June. 

Speaking on this year’s shortlist, Fashion District Director Helen Lax said:
“The breadth of thinking and level of innovation we’ve seen this year is exceptional. These businesses are not only responding to the challenges facing fashion today, they are actively shaping its future.”

Judge Matthew Drinkwater, Head of Fashion Innovation Agency, London College of Fashion, UAL said:
“This year’s finalists point to a reconfiguration of fashion’s industrial logic. Across dyes, fibres, and processing systems, the work reflects a move toward precision, circularity, and reduced resource intensity. What stands out is the alignment between scientific innovation and commercial application, an essential condition for meaningful transformation. Good luck to them all!”

Judge Georgia Parker, Innovation Director at Fashion For Good said:
“The applications for this year’s Manufacturing Futures were extensive, addressing some of the biggest challenges facing the fashion industry. Shortlisting was a difficult task, and I am looking forward to learning more about the finalists during the pitch day. These startups prove that the future of fashion manufacturing is already being built; hopefully, this platform will help them on their path to scale.”

The shortlist was selected by an expert panel including Adam Mansell (UKFT), Lauren Bartley (GANNI), Georgia Parker (Fashion for Good), Philly Grogan (Nobody’s Child), and Matthew Drinkwater (Fashion Innovation Agency, London College of Fashion, UAL).

Brilliant Dyes is tackling the environmental and health impacts of synthetic dyes across textiles, cosmetics and food. Using an innovative, low-cost process, the company extracts vibrant natural dyes from algae, harnessing photosynthesis to reduce carbon emissions at scale while offering a safe, sustainable alternative for industry.

Circle-8 Textile Ecosystems is building the infrastructure needed to make textile-to-textile recycling viable at scale. Through automated sorting and pre-processing facilities, the company transforms non-reusable textiles into high-quality feedstock, bridging the gap between waste and circular production.

Danu Water develops industrial water recycling systems designed to close on-site water loops. Its technology treats wastewater to a process-ready quality, helping manufacturers reduce freshwater use, minimise discharge and improve operational efficiency.

Dye Recycle is a UK-based fibre reclamation company that transforms real-world waste into high performing materials. Their green chemistry technology separates clean fibres from vibrant colours, refining the unrecycleable into spin-ready textiles.


Fevvers is a materials innovation company replacing animal feathers with a scalable, plant-based alternative for fashion and design. Positioned at the intersection of sustainability and luxury, it enables brands to maintain aesthetic impact while reducing environmental and ethical risks.


Founded in 2024, Grouse Fibre is developing next-generation protein-based fibres to address the climate impact of textiles. Backed by a team of scientists and researchers, the company is rethinking how sustainable fibres are designed and produced.


Infinity Blue is pioneering a circular colour system that recovers indigo from denim waste. Using a natural, chemical-free process, it transforms discarded materials into a reusable dye source – reimagining colour as a resource that can be continuously regenerated.


PulpaTronics is developing fully recyclable, metal-free RFID tags to enable more sustainable inventory management. By replacing traditional components with paper-based conductive materials, the company reduces carbon emissions, costs and electronic waste.

Solena Materials is engineering entirely new fibres using AI and protein-based design. Its advanced materials aim to deliver high-performance and luxury textiles while significantly reducing the environmental impact of synthetic fibres.

Süss Fabrics transforms textile waste into eco-friendly paper through innovative recycling. By analysing materials with FTIR to ensure suitability, they shred and pulp fabrics, then craft sheets through water blending and precision molding.


TERA MIRA is developing a fully biobased elastomer derived from seaweed as an alternative to conventional elastane. Designed for both performance and circularity, the material is compostable and compatible with existing manufacturing processes.

This year’s Manufacturing Futures prize will include:

Stay up to date with the Manufacturing Futures 2026 cohort – sign up to our newsletter for the latest news, and follow us to keep up-to-date with our latest events and opportunities: 

Marking Fashion District’s third manufacturing challenge, this year the focus is on technological innovations and sustainable solutions that are solving any of the complex fashion manufacturing challenges facing the industry. Helen Lax, Director of Fashion District, kicked off the event with a reflective welcome: “I’ve been thinking about what we really mean when we say we want to innovate the industry. What are startups and founders doing, and how can we, as a group of people, push that agenda forward?” 

Muchaneta ten Napel, Founder and CEO of Shape Innovate then took to the stage to host a Meet the Judges session with this year’s expert panel: Adam Mansell, CEO of UKFT; Georgia Parker, Innovation Director at Fashion for Good; Philly Grogan, Sustainability Manager at Nobody’s Child; and Matthew Drinkwater, Head of Fashion Innovation Agency at UAL: London College of Fashion.

The conversation began by exploring the tension between technical innovation and real-world adoption. Startups which develop groundbreaking biomaterials, often stumble not because the science is flawed but because the fashion system itself is not ready. Adam Mansell emphasised that startups frequently misunderstand the pace and complexity of the industry:

The judges highlighted that innovation must fit within the economic and operational realities of the industry. Even the most promising sustainable materials will struggle to gain traction if they can’t meet cost pressures or integrate into existing supply chains. Philly Grogan explained how internal brand dynamics matter: enthusiasm in innovation teams is not enough – success often hinges on engaging sourcing teams, aligning with margins and building the right supplier relationships. “It’s being able to make that shift from innovation teams to working with sourcing teams,” she noted. 

The conversation also tackled the challenges of recycling and circularity. Complexities arise when dealing with post-consumer textile waste: mixed fibres, buttons, zips and varying product types all complicate recycling at scale. Matthew Drinkwater highlighted opportunities in pre-processing, on-demand manufacturing and better prediction of consumer demand, noting that AI and digital tools could significantly reduce waste and inefficiency.

Regulation and compliance were another focal point. Georgia Parker and Adam Mansell stressed that technical solutions alone are insufficient; innovators must understand the regulatory landscape and how their solutions align with upcoming compliance requirements. Being “ready” means more than technical feasibility – it means knowing the materials, supply chain and brand priorities, and being able to demonstrate tangible solutions that solve real problems.

When asked about gaps in the market, the panel pointed to persistent opportunities in textiles and footwear recycling, digital pre-processing, waterless dyeing and on-demand manufacturing. Matthew highlighted that regulation and policy can create openings for tech-driven solutions, while Philly emphasised the importance of embedding innovation into the business as usual, rather than treating it as a pilot or capsule project.

Finally, the panel offered advice for applicants looking to stand out: understand the industry, know your brand’s current materials and processes, align solutions with upcoming regulations and communicate how your innovation tangibly solves real problems. The consensus was clear: innovation isn’t just about technology – it’s about systems, economics and collaboration.

Following the discussion, Helen Lax presented the details of Manufacturing Futures 2026, highlighting the opportunity for startups and SMEs to submit solutions across materials, digital processes, circularity, waste management  and transparency. Applicants are in with the chance to win a £15,000 cash prize, business support and the opportunity to pitch directly to industry leaders. 

Do you have what it takes to create the next big manufacturing innovation? Applications for Manufacturing Futures 2026 are now open.  

Subscribe to our newsletter for the latest Fashion District updates, and follow us to keep up-to-date with our events and opportunities: 

Wednesday 4 Feb | 18:00 – 20:30
Whitechapel Gallery, 77-82 Whitechapel High Street, London E1 7QX

We’re delighted to announce the launch of our next innovation challenge Manufacturing Futures 2026 at Whitechapel Gallery. Join us for an evening drinks reception to hear about the prizes, learn how to apply, and network with leading figures from London’s fashion, tech, and innovation communities. 

The Launch

To help us launch the challenge, Muchaneta ten Napel, Founder and CEO of Shape Innovate, will host a Meet the Judges session, featuring this year’s expert panel: Adam Mansell, CEO of UKFT; Georgia Parker, Innovation Director at Fashion for Good; Lauren Bartley, Sustainability Innovation Manager at GANNI; Philly Grogan, Sustainability Manager at Nobody’s Child; and Matthew Drinkwater, Head of Fashion Innovation Agency at UAL: London College of Fashion. Together, they’ll discuss the challenges of scaling innovation for both brands and innovators, and what makes a great applicant.

Afterwards, we’ll reveal this year’s challenge brief, where attendees will get the opportunity to learn more about the application process and find out the judge’s criteria for selecting the winners.

Additionally, we will unveil an exclusive showcase featuring emerging designers and brands that recently completed Evo Fashion – a business support programme delivered by Fashion District and Evo Learning, funded by London & Partners as part of the Grow London Early Stage programme. Don’t miss out on the chance to meet the designers and innovators shaking up the future of sustainable fashion.

The evening will conclude with networking, drinks and nibbles.

Agenda:

About The Challenge

Fashion District’s annual Innovation Challenges are designed to address pressing industry issues and support emerging innovations and SMEs. This year, we’re focusing on manufacturing and are seeking technological and sustainable solutions capable of tackling the complex challenges facing fashion manufacturing. This could include anything from:  

We also seek to encourage tech solutions, including those from other sectors, that could be applied to fashion manufacturing and help create interdisciplinary connections between technologists and engineers, and fashion creatives and manufacturers. 

Applicants will be in with the chance to win cash prizes, business support, and the opportunity to pitch to some of the industry’s leading brands and innovators. 

MEET OUR JUDGES

Adam Mansell | CEO, UKFT

Adam is the CEO of UKFT. Having joined the industry 25 years ago, he has worked across a wide number of trade bodies, representing all aspects of the fashion and textile supply chain. Additionally, Adam is Chair of the Future Fashion Factory, Board Member at the University of Leeds’ School of Design Industrial Advisory Board, and Vice President of Ginetex, the international care labelling organisation, as well as holding positions at CAPITB Trust, Textiles 2030 and the Institute for Positive Fashion.

Georgia Parker | Innovation Director, Fashion For Good 

Georgia Parker leads the Validation Team at Fashion for Good, where her team oversees scouting, intelligence, and supply-chain-wide pilots. Their work is focused on addressing industry knowledge gaps and validating the performance and impact of innovations to ensure they are viable for global brands. Georgia and her team specialize in managing the complex, multi-stakeholder workstreams required to prove the potential of sustainable technologies.

Lauren Bartley | Sustainability Innovation Manager, GANNI

Lauren Bartley is Chief Sustainability Officer at contemporary fashion house, GANNI, where she leads the company’s global sustainability and innovation strategy, spanning climate, materials innovation, circularity and social impact. Since 2018, she has been instrumental in embedding sustainability into GANNI’s commercial, creative and operational decision-making, positioning the brand as a leader in responsible fashion.

Philly Grogan | Sustainability Manager, Nobody’s Child

Philly heads up Sustainability at Nobody’s Child, overseeing the London-based label’s delivery on topics including circularity, supply chain, and preferred materials. Originally from a design background, a longstanding curiosity of the impact of materials directs her work and she finds great enjoyment developing solutions to mitigate the industry’s environmental and social impact through innovative, alternative, and regenerative processes. 

Matthew Drinkwater | Head of Fashion Innovation Agency at UAL: London College of Fashion

Matthew is a world-renowned expert in emerging technologies and their application to the creative industries. A specialist in immersive technologies (XR/MR/AR/VR), he and his team are building pathways for a truly digitised world. Named as a ‘fashion-tech trailblazer’ by Draper’s and a ‘pioneer and a visionary’ by Wired, Matthew has delivered ground-breaking experiences and a stunning range of projects that have captured the imagination of both the fashion and technology industries.

GUEST SPEAKER

Muchaneta ten Napel 

Muchaneta is the Founder and CEO of Shape Innovate, working at the intersection of fashion, sustainability and policy to advance climate-smart and socially just value chains. She advises the Munich Fashion Award, has contributed to UNFCCC Global Innovation Projects, and serves as an International Consultant to the International Trade Centre (WTO–UN). She lectures at London College of Fashion and serves on the EIT Culture & Creativity Ethical, Legal and Social Issues (ELSI) board.

Subscribe to our newsletter for the latest Fashion District updates, and follow us to keep up-to-date with our events and opportunities: 

Biothread is building a platform to accelerate the adoption of regenerative cotton at scale, linking farmers and fashion brands through microbial innovation, agronomic support and traceable sourcing. Biothread partners with brands to co-develop low-impact supply chains, ensuring cotton moves from farm to fabric with measurable environmental and social outcomes.

Cirkular.co is a curated aggregator for second-hand fashion, helping consumers discover the best pre-loved pieces from across the web in one place. By streamlining the fragmented second-hand market, they make it easier, faster, and smarter to shop sustainably. Cirkular connects you to listings from trusted marketplaces, charity shops, and resale platforms – all through one curated, user-friendly interface.

Clothing Connected is a software platform transforming fashion supply chains by providing full visibility across materials, suppliers and production tiers. The platform streamlines supplier audits, tracks compliance and sustainability metrics, and integrates with existing systems to improve operational efficiency. By centralising supply chain data, Clothing Connected helps brands stay transparent, meet regulatory requirements and achieve sustainability goals.

garment by is an AI-native supply chain platform built for fashion SMEs. They help designers and brands launch collections and restock with agility by connecting them to a vetted global network of suppliers and automating complex workflows with AI. From tech pack review to production matching, smart batching and restocking, their platform cuts lead times, reduces waste and unlocks cash flow. By giving SMEs control and scalability once reserved for large enterprises, garment by is reshaping how fashion is produced — faster, smarter, and more sustainable.

House of Kind is a London-based womenswear brand founded in 2024 with a mission to unite women through fashion. Blending sculpted tailoring, feminine design and high-quality fabrics, the brand champions safety, solidarity and sisterhood. Through inclusive sizing and charitable partnerships, House of Kind proves fashion can drive meaningful change.

Intotum is a multi award-winning adaptive fashion brand designed with and for the disabled community. It creates comfortable, functional, and fashionable ready-to-wear garments, reducing the need to alter or customise clothing. Including Intots, its kids’ line, Intotum produces sensory-friendly clothing for wheelchair users, ostomates, and others, empowering independence and confidence in its community.

Isabelle Pennington Edmead is a UK-based womenswear label founded in 2023, blending Caribbean heritage with British craftsmanship. Known for bold, hand-painted prints and timeless silhouettes, the brand operates a made-to-order model to minimise waste and ensure inclusivity. All garments are produced in the UK, with a focus on sustainability, transparency and craftsmanship, including carbon-offsetting and Fabacus digital passports for traceability.

Khanum’s is a British Bangladeshi fashion brand founded by Rokeya Khanum, specialising in timeless occasionwear and contemporary design. Known for its signature details – pearl trims, draping, heart-shaped necklines and co-ords – the brand blends cultural storytelling with modern elegance. Khanum’s has built a loyal community of women who seek investment pieces that celebrate individuality, confidence and luxury style.

LOUÉ Studio is a luxury handbag and accessories brand blending craftsmanship with innovative, plant-based materials. Designed for the discerning customer who refuses to compromise on style, LOUÉ’s vision is to grow into a complete accessories house and create a future free from animal use.

Moma Hilo is a responsible womenswear brand crafting timeless, sculptural pieces in London. Born from a desire to reconnect consumers with the clothes they wear, Moma Hilo champions slow fashion in a world of overproduction and disposable trends. Every garment is made-to-order using carefully sourced deadstock fabrics and produced locally in London by female-led, small-scale manufacturers.

Naturoplastix Dynamix transforms urban green waste into fast-decomposing bioplastic composites, providing a sustainable alternative to conventional plastics. The company combines scientific innovation with eco-conscious practices to advance circular economy solutions and reduce environmental impact.

Founded by Richard Burke in 2016, Nanofique Limited provides wastewater treatment for textile dyeing units for recycle and reuse. Developed over 10 years, the company has a patented biocatalyst of nano-structured material that degrades the dyes as part of the treatment process.

Oríkì Textiles, founded by London-based fashion and textile designer Aminat Akande, is a textile design consultancy that leverages Artificial Intelligence (AI) to reimagine African textiles and uses digital printing techniques to innovate textile production processes.

Pilio was spun out of the University of Oxford in 2011 to develop environmental impact software for creative industries and the heritage sector. Pilio partners with fashion brands to create measurable environmental and social outcomes in supply chains. Alongside this, they have developed Nafi, a natural fibre baby brand, that uses natural coloured cotton from farmers in South Asia and UK wool.

QOVE is a UK-based peer-to-peer rental and resale marketplace reimagining the way modest fashion is discovered, shared and experienced. Built for women who value style with intention where they can rent, lend and resell using tech to power a smarter, more circular wardrobe and earn along the way.

Recondition is a fashion e-commerce brand which caters to everyone and is determined to break stigmas around adaptive clothing. By designing with a user-centred process, Recondition aims to design clothes created with style, comfort and accessibility in mind. Recondition is style first accessible fashion designed for the everyday, allowing more access to real personal style.

Replica Biomaterials harnesses cutting-edge biotechnology to produce high-quality, sustainable leather alternatives for the luxury fashion industry. The company’s mission is to innovate responsibly, creating products that are both luxurious and environmentally friendly.

Founded by designer Sans in London, SansPeng is a fashion brand committed to upcycling and circular design. Using deadstock fabrics and discarded garments, they craft one-of-a-kind pieces through free tailoring techniques. SansPeng embraces imperfection and individuality, offering a relaxed, effortless aesthetic that challenges fast fashion’s uniformity. Every garment tells a story — of renewal, craftsmanship, and conscious creativity.

Slow Projects is a creative studio that challenges traditional notions of sustainability in sports, both visually and practically. The studio inspires and celebrates repair, rework, and circularity in sports apparel. It works with major companies to demonstrate the clear market opportunities available to them and to inspire broader change beyond its immediate community.

Sophie Darling is an independent fashion and textile studio, dedicated to creating bold, print-led garments. The label is known for its signature hand-printed silks, crafted in small batches with local makers. Combining contemporary design with traditional screen-printing techniques, Sophie Darling offers limited-edition collections alongside workshops that open up the creative process. With a focus on sustainability and artistry, the brand celebrates individuality, slow fashion and community through every piece it produces.

StyleGaze AI is a London-based FashionTech company that uses AI to transform how fashion brands understand consumer behavior and market trends. Their platform analyses social media activity, purchase intent and verified sales data to provide real-time, actionable insights, enabling brands to make smarter design, marketing, and buying decisions. They help fashion companies move from traditional forecasting and guesswork to data-driven strategies that drive growth and relevance in a fast-moving market.

Tailr is a deep-tech fashion production platform that digitises fabric behaviour and integrates AI-driven insights to ensure garments are consistent, efficient and sustainable. Built for brands and manufacturers, Tailr connects fabric mills with production teams, reducing waste, sampling and costs while improving speed-to-market. Its modular product suite powers everything from automated tech packs to advanced fabric feasibility checks, positioning Tailr as the digital backbone of modern fashion supply chains.

The Array is a contemporary luxury womenswear brand consciously designed and crafted in London The label reimagines tailoring through a feminine lens, creating a series of future classics for the modern romanticist. Their core collections focus on timeless dresses and shirts with a modern twist, blending contemporary tailoring with old-world craftsmanship – offering refined silhouettes that celebrate elegance, self-expression and quiet confidence.

TheCart is a personalised fashion app, acting as a universal shopping cart. The app allows users to save items from wherever they see them online to one central space for users to compare, review and purchase. From here an AI curated explore page is created dedicated to individual style preferences and current interests. On top of this, users will receive bi-weekly personalised recommendations and discounts from the UK’s top independent brands.

The Killer Muse is a fashion discovery platform powered by digital wardrobes. They help users style, shop and organise clothing with intention, making fashion more accessible, affordable and sustainable. Their mission is to be the everyday fashion best friend, empowering individuals to express themselves through style while building a more conscious and engaging relationship with fashion.

The Purse Parlour is a luxury handbag restoration company advancing circular fashion through technology, craftsmanship, and education.They specialise in high-end handbag restoration and bespoke aftercare services across Europe. Their mission is to extend the life of leather goods and make repairs more intuitive, accessible and scalable. Beyond restoration, they promote leathercraft as a valuable, future-facing skill. Through their online training programs, they equip artisans and entrepreneurs to build sustainable businesses in the growing luxury aftercare space.

Founded in East London in 2022, Vaughan Anson was established to explore the resilience of local economic networks and ethical business practices in a globalised market. Since its inception, the brand has successfully localised every aspect of its operations—including sourcing, manufacturing, and design—all based in England, with many processes rooted in East London, where the company was founded.

VYN was created from the belief that luxury should last. After years designing for global fashion houses, they set out to build footwear with longevity, meaning and heart. VYN sneakers feature renewable and replaceable components, evolving with their wearer. More than shoes, they embody conscious ownership—a movement to “wear in, not out” and leave behind a legacy, not waste.

YIBRI is a London-based womenswear brand creating modern wardrobe essentials with quiet, enduring elegance. Founded by Yvonne Lin in 2023, it blends refined tailoring, tactile fabrics and timeless silhouettes. Named after ‘Vibri’, the Esperanto word for “vibration,” YIBRI designs pieces that transcend seasons and trends while prioritising quality and thoughtful design.

Launching this October, Evo Fashion is a free, four-month programme delivered by Fashion District and Evo Learning supporting early-stage fashion brands and fashion tech founders in building resilient, future-facing businesses. Find out more at evolearning.co/fashion.

Stay up to date with the Evo Fashion 2025 cohort – sign up to our newsletter for the latest news, and follow us to keep up-to-date with our latest events and opportunities: 

From 1–14 September, Alterist will be popping up at Reselfridges in the Accessories Hall at Selfridges London, transforming the space into a live working studio and showroom for upcycled fashion. Over two weeks, ten designers from the Alterist community will showcase and sell their latest collections, featuring limited-run, one-of-a-kind pieces reworked from pre-loved, excess, and discarded materials into wearable art.

Earlier this year, we sat down with Hannah and Martina to discuss Alterist’s mission, the importance of community and their journey to making upcycling an integral part of the fashion industry.

Hannah: Alterist is a platform, and now an ecosystem, for upcycled fashion. Martina and I met in 2019 through an activist group campaigning around the fashion industry’s impact. That work achieved amazing things, but it focused mainly on raising awareness and changing consumer habits rather than being directly part of the solution.

Through activism we met many incredible upcycling designers, and we noticed there wasn’t a dedicated UK platform supporting them. That insight led us to create Alterist, which launched at the end of 2022 as the first marketplace for upcycled fashion. Since then, we’ve grown rapidly, with over 130 designers on the platform, 200+ in our wider community, and members in 18 different countries.

From the beginning, our mission has been clear: to reduce textile waste. Alongside the marketplace, we now work with brands to repurpose excess stock, returns, and offcuts by matching them with designers and managing the process from concept to finished product.

Martina: Alterist is for everyone, there isn’t one set aesthetic. When we curate, our main priority is quality and authenticity. We carefully check that every piece is genuinely upcycled, to avoid greenwashing and ensure transparency.

Hannah: For pop-ups and events, we also think about context: which designers’ work will resonate in certain regions or spaces. Ultimately, it’s about giving independent designers the best possible opportunity to reach people who will appreciate their craft.

Hannah: Fast fashion has taught consumers to expect clothes at impossibly low prices – prices that often hide the exploitation behind them. With Alterist, we aim to re-educate people about the value of clothing.

At physical events, our tags show how many hours a designer has spent on a garment. On the platform, we also display the weight of materials that have been reused. These details make the invisible visible: the time, resources and creativity that go into each piece, and the environmental impact saved by upcycling.

Martina: Upcycled fashion is almost always one-of-a-kind. Shoppers need to see and try pieces in person to really connect with them. It’s about finding the garment that feels like it was made for you.

But beyond that, in-person experiences are essential for community. In an increasingly digital, AI-driven world, people crave real connection. Our pop-ups and events bring together designers, artists, and customers to share ideas, collaborate, and simply enjoy being in the same space.

Hannah: There’s also an important educational aspect. Many people don’t understand how much work goes into creating an upcycled piece. It’s often more complex than producing new garments. At our events, we run live customisation sessions where customers can watch their clothes being transformed. It highlights both the creativity involved and the value of the designers’ work.

Martina: Just go for it. Experiment, test, and don’t be afraid of things not working out – that’s how you learn and evolve.

Use what’s already available: there are enough garments in existence to clothe the next six generations, so there’s no need to buy new materials. Charity shops, resale platforms, or even unexpected items can all be reworked creatively.

Hannah: Most importantly, enjoy the journey. Alterist has changed a lot since we first launched, and that’s part of the process. Be open, collaborate, and lean into community, tackling fashion’s challenges requires many different ideas and collective action.

Hannah: We’re always looking for new collaborations, whether with brands holding excess stock, designers wanting to join the community, or even musicians and creatives who want to contribute to our events.

Martina: Alterist is about collective action. We want to keep growing our ecosystem, creating opportunities for designers, and showing customers the value and beauty of upcycled fashion.

Loom is an upcycling app that connects users with over 100 designers to redesign their clothes. Users upload a photo of an item they want redesigned, post a project, and then get suggestions or directly chat with designers about the final design.

I have always worked in fashion, mainly in merchandising and marketing at places like Burberry. About five years ago, I became passionate about sustainability and started researching the fashion industry’s impact. I initially started a sustainable fashion marketplace which failed, but through customer feedback, I discovered the need for redesigning clothes, which led to the idea of Loom.

No, I studied English and French literature. I used my summers to intern in various fashion areas like PR, sales, and buying, which helped me decide to work in fashion eventually.

A moment on a work trip when I saw school children protesting climate change and handing out flyers about the impact on their future made me realise something had to change. I started researching the harmful effects of fashion and wanted to make a positive impact.

I reached a point where I felt depressed and that my job lacked meaning, so it was an easy decision to try something new despite being naive. I was energised by the possibility of change.

It was the first accelerator combining fashion and tech, which helped me focus on both aspects. The cohort was supportive and insightful, and I enjoyed the talks on sustainability as they helped me flesh out our B2B service for upcycling unsold and damaged stock.

For starting a business, just start and take action, no matter how small. Have mentors you admire for advice and support. For sustainable fashion, remember sustainability doesn’t sell by itself; you need to sell the fashion or the reason why people will buy it.

Make a list of people who inspire you and reach out to them. You’ll be surprised who replies and how generous people are with their time. Even informal mentoring like occasional coffee or WhatsApp chats can be very helpful.

By making the process as easy and fun as possible through the app, providing ideas and examples to inspire users, and minimising touch points to keep it simple.

Yes, we raised a small angel investment round and won an Innovate UK Creative Catalyst grant.

The grant writing was time-consuming with no guarantee of success. Angel investment required speaking to many people and learning to pitch the business well. It was tough but helped build resilience and confidence.

Yes, my angel investors are passionate about sustainability, but ultimately they invest because they believe in the business plan and potential for profit.

Designers can apply through the app or website. We look for experience and previous sales. We also partner with universities and students, considering samples and quality on a case-by-case basis.

We are focused on expanding beyond London into other UK cities like Bristol, Manchester, Leeds and Edinburgh. We are also launching a B2B platform using AI and machine learning to match brands with designers and manufacturers.

The MAKE programming strand was a lively hub of creativity and craftsmanship, offering a diverse lineup of hands-on workshops designed to inspire, skill-up, and promote sustainable fashion practices. Whether participants were upcycling, experimenting with natural dyes or embellshing basics, the sessions invited everyone to engage directly with making in a meaningful way.

From embroidering found treasures into personalised bags with textile designer Lauren Paul, to crafting bespoke patches alongside master upcycler Dani Dawkins, and knitting bags from old t-shirts with Geo Knits Slow, the workshops showcased a rich variety of skills and techniques. Biodesign Collective led sessions on creating biomaterials from scratch, merging science and sustainability, while Clara Chu’s playful workshop transformed discarded household items into colourful wearable accessories.

Beyond these, a range of other creative opportunities encouraged attendees to experiment, repair, customise and rethink fashion, proving that making can be as much about imagination and community as it is about craft.

The Festival Pop-Up Shop was a vibrant celebration of sustainable fashion, bringing together a curated mix of emerging designers and innovative startups.

Open daily throughout the festival, visitors explored reclaimed pieces from Alterist, Round Retail, and Loom – platforms leading the way in creative collaboration, charitable resale and wardrobe redesign.

Flair Fashion curated a showcase of emerging designers pushing the boundaries of fashion, technology and storytelling, alongside a selection of organic and regeneratively grown fabrics from Indilisi, the initiative founded by award-winning entrepreneur Safia Minney MBE.

The shop also featured a remarkable lineup of next-generation talent: Balena’s high-performance biopolymers; Colour Earth’s regenerative plant-based dyes; TEOZ’s bold womenswear from surplus textiles; Asmuss’ blend of technical performance and sustainable design; Anciela’s heritage-inspired sustainable luxury rooted in Latinx culture; Phygital Twin’s fusion of digital and physical fashion; and Clara Chu’s upcycled accessories crafted from discarded household items.

Alongside shopping, visitors could take part in practical activations: sneakers were professionally cleaned by Vamp at a special festival rate, clothing repairs were booked at OMNIFIX’s on-site clinic and worn-out jeans were mended by White Weft as part of the 1000 Jeans Challenge.

The festival opened on 3rd June with a Live Performance Showcase at Spitalfields Market, where fashion and movement collided in a spectacular fusion.

Alexander Whitley Dance Company led the evening with a captivating performance that combined live choreography and digital projection in new and unexpected ways. Stylist and creative director Kim Howells curated the runway, presenting a standout line-up: artist NOKI and designers Anciela, SABIRAH, Maximilian Raynor and Kitty Joseph. Their collections pushed creative boundaries, featuring striking prints, elegant silhouettes and upcycled materials.

DJ Mr. Redley provided the soundtrack, blending the deep grooves of Black American House with the raw intensity of Industrial Techno. The energy carried through to ALFI’s terrace for the official after-party – an evening of conversation, community and a shared excitement for London’s ever-growing fashion ecosystem.

Also part of the WATCH programme, IoDF presented ‘Raveconomy’ by OPIA, the winner of their inaugural Creators Fund. Taking place at Spitalfields Studio, the immersive exhibition explored London’s underground party girl scene, weaving together celebrity aesthetics, mukbang culture and the commodification of nightlife in a bold and provocative installation.

The GROW strand unfolded across two days and two evenings, inviting industry leaders to share insights into fashion’s future.

The week began with The New Norm: Accelerating Regenerative Fashion, hosted by VC firm Spin Ventures. This closed working session brought together brands, investors and founders committed to scaling innovation and reshaping the fashion value chain. Speakers included sustainability strategist François Souchet, Mary Fellowes of Greenwith Studios, Chelsea Franklin of PANGAIA and Professor Laurent Maeder.

On Friday, attention turned to circular design and sustainable textiles through a series of informal ‘sofa stories’. In Circular Design Practice, Laetitia Forst from UAL and Shailja Dube from the British Fashion Council’s Institute for Positive Fashion led thoughtful discussions on garment longevity, waste reduction and regenerative systems. Designer Patrick McDowell, Anna Foster, founder of E.L.V. Denim, and Philly Grogan and Amy Osgood of Nobody’s Child offered case studies and practical insights on embedding circularity at scale.

Later that day, Past and Future Fabrics, hosted by Mary Fellowes and Safia Minney MBE, examined how sustainable textiles can be developed and integrated into responsible sourcing. The conversation focused on traditional craftsmanship and regenerative production. Safia Minney was joined by climate activist Aditi Mayer to reflect on the cultural significance of traditional craftsmanship in the modern marketplace.

The session featured a dynamic lineup of innovators rethinking fabric production through methods that support both the environment and local communities: Idan Gal-Shohet (Fibe), Meredith Wood (Colour Earth), Sara Grady (British Pasture Leather), Felix Bartlett (Biothread), Brett Cotten (Arda Biomaterials), Harriet Fletcher-Gilhuys (Great British Wool Revival), Nelly Taheri (Ponda), Craig Smith (Positive Materials), and Clare Lichfield (Sequinova).