It Has Never Been Easier to Find Matching Pantone Colours

Unlimited access to the entire Pantone colour spectrum

- with Pantone Connect

11. November 2020

Colours are one of the most important parameters in trend analysis and the design of new collections. The right shade often only differs in nuances within the colour palette to achieve the desired colour harmony for the collection. Nowadays, we find inspiration for colours everywhere in our live: whether in nature, the food industry, interior design or beauty products.

In order to allow these colours to flow into the design process, our long-standing partner Pantone is especially addressing designers with its latest development: A platform with Pantone color libraries, color values and powerful navigation functions – always available wherever you are working with colors. The new digital color platform Pantone Connect simplifies your work and workflow by giving you access to all Pantone colors through a single-user account at any time across mobile, web, and the Adobe® Creative Cloud® applications.

“Our company has worked closely alongside creatives in the graphic, fashion, and product design industries to understand how color can become an enabler of performance rather than a hindrance. Pantone Connect’s unique combination of technology (enabled by X-Rite), features, and platform accessibility will give designers the tools they need to be confident in their color choices and ultimately successful with their creative work.  They win with the Pantone Connect platform because their color choice reflects an informed decision made efficiently and communicated effectively.”

Adrián Fernández, Vice President and General Manager, Pantone

The Pantone Color Match Card

In addition to the App Pantone Connect, the new platform also includes the revolutionary Pantone Color Match Card, an innovative target in credit card size.

The Pantone Color Match Card works with your phone’s camera to measure and match coloured objects, materials, and surfaces to a Pantone Colour. With the size and portability of a credit card, this unique solution makes matching an inspirational colour to Pantone as easy as taking a photo – at accuracy levels approaching more expensive colour-reading devices. Use the Color Match Card with the Pantone Connect mobile app to capture a colour, search for a best match, and save your chosen Pantone Colour to a palette for designing later in the Pantone Connect Extension for Adobe Creative Cloud.

Together with the Pantone Connect app, you can measure the color of objects, materials and surfaces and match them with Pantone colors. Simple, portable and more accurate than color extraction from images.

Merging physical color with a digital workflow through an innovative approach, this Card-App pairing makes Pantone color identification and communication from physical inspiration to final design a streamlined, accurate, and affordable option for large dispersed design teams and freelancers alike.

“With the Color Match Card and Pantone Connect app, a designer’s phone has now become a legitimate color capture device to match the physical world more accurately to Pantone Colors, as well as a workflow productivity tool to shorten the color communication process, at a nominal cost.”

Nick Bazarian, Senior Product Manager, Pantone Digital Solutions

With Pantone Connect, you can streamline color selection, color communication and the design process. For example, you can match physical color samples with Pantone colors, create and arrange palettes for design projects or apply Pantone colors to design files. The result is greater accuracy and less time or rework.

The software easily converts eye dropper, Hex, RGB, CMYK, and L*a*b* values to the nearest Pantone Color, meaning for fashion designers they can rapidly turn digital colour inspiration into the reality of ready-for-production.

For more information on Pantone Connect and how to create a new account, visit  Mobile apps for iOS and Android can be downloaded from the Apple App Store and Google Play Store, respectively, while the Pantone Connect Extension for Adobe® Creative Cloud® can be downloaded from the Adobe Creative Cloud Exchange website.



26. JANUARY 2021 · 9:30 – 18:30

27. JANUARY 2021 · 9:30 – 18:30

28. JANUARY 2021 · 9:30 – 16:00


MOC Munich | Halls 1 – 4 Groundfloor
Lilienthalallee 40
Germany, 80939, Munich

7 Reasons Why You Should Continue Your Journey Despite The Pandemic

7 Reasons Why It Is Imperative You Continue Your Journey Despite The Pandemic

Article by Muchaneta Kapfunde, Founding Editor-in-Chief

In these perilous times, there is no denying that the future of fashion has become uncertain. Fashion businesses, stuck between a pause and a pivot, are looking to digital, innovative and hybrid approaches to push their narratives forward. Open to new opportunities sprouting up, despite the pandemic, some fashion businesses are taking the “when life gives you lemons, make lemonade” approach, to overcome a crisis that shows no signs of stopping.

“Your body may be in quarantine, but your mind doesn’t have to be” 

explained fashion designer Jeremy Scott when interviewed for Harper’s Bazaar. True, in an age where timing is everything, there are several reasons why continuing your fashion business journey during this very exceptional time is the way forward. Here are seven:

1. Take Advantage Of New Tools and New Ways of Working

It is time to adopt a more flexible mindset when it comes to technology-driven tools and finding new ways of working. Doing so will allow you to be more open to rewiring your creative development process, making navigating through troubled waters easier. Also, creating networks gives you access to resources that could help you strengthen your business and help you think outside of the box so you can welcome new tools and new ways of working with your team.

2. Now Is A Great Moment to Experiment and Try New Techniques

With social scientists making significant contributions to the field of fashion design research, this is a great moment to experiment and research new techniques that will assist you with your business. This could include finding new eco-friendly materials that you could use or using technological innovations capable of helping you design and manufacture your products more mindfully.

3. Sustainability and Consciousness Needs To Be Part Of Your DNA

The pandemic has drawn attention to why we need to have sustainability and consciousness embedded into our business’ DNA. Moreover, it has also shown that the future of fashion can no longer be built on putting profits ahead of people’s health and safety. The lesson here is that the ‘old way’ of doing business no longer works, instead steer your business strategy towards a more clean, safe, fair, transparent and accountable mindset.

4. Join The Conversation Addressing Economic and Manufacturing Realities

The emerging modern world is all about investing in tomorrow, which means that you need to think about economic and manufacturing realities. This will help you set realistic expectations in terms of product delivery and product credibility.

5. Access To Start-up Technology Innovation

From the idea of virtual showrooms to digitally produced samples and campaigns, the demand for start-up innovation is growing. The good news is that fashion businesses have more access to advanced technology than a year ago. Companies that are adopting innovation can reimagine a new direction and head towards it.

6. Transparency is Slowly Becoming The Norm

COVID-19 has highlighted the significance of brand transparency. Before the pandemic, being transparent was a choice; now, it is a necessity. Brands are currently being held accountable for their environmental practices, so the way forward would be to disclose your policies and commitments when it comes to social and ecological issues.

7. Represent The Next Normal

With so much going on, all businesses should be driven by a need to make a positive contribution to the decision-making process that will shape the future of fashion. Doing so will differentiate you from other fashion businesses and prepare you for what is most likely going to be the next normal.



24. JANUARY 2020 · 9:30 – 18:30
25. JANUARY 2020 · 9:30 – 18:30
26. JANUARY 2020 · 9:30 – 16:00


MOC Munich | Halls 1 – 4 Groundfloor
Lilienthalallee 40
Germany, 80939, Munich

Denim, Sportswear & Innovations Exhibitors at FABRIC DAYS

FABRIC DAYS will take place from 1 – 3 September 2020 at MOC Munich. In the four fully booked halls on the ground floor of the MOC, around 300 German and European exhibitors in 5 segments will present their new developments for Autumn.Winter 21/22 in around 700 collections. Among the international exhibitors who have confirmed their FABRIC DAYS participation are also many premium suppliers who will present their novelties in the Denim, Sportswear and Innovations areas.

Register today for FABRIC DAYS – your chance to meet your suppliers in person again and gather trend information and inspiration in addition to the latest developments. Discover some of the participating Denim, Sportswear & Innovations exhibitors here:


BOSSA – H1 | B 21

Bossa strives to promote responsible change in the industry. With the D-CHRONICLES concept, a collaboration between Bossa and Fibretrace, Bossa views the future of sustainability as: transparency, trust and traceability. The concept uses the blockchain based ID system by Fibretrace technology, which follows a product from farm to shelf and chronicles its history securely with blockchain. Bossa, which has transparently detailed its production figures for the last three years with “Towards Zero Waste” booklet, will continue to report its production values annually. The Turkish textile company has increased the use of recycled fibers in the raw material blend required for denim fabric and is starting to use all of its textile waste in its blends by restructuring or cleaning them which are next steps “Towards Zero Waste”.

The Autumn.Winter 21/22 collection at Bossa is divided into 5 groups: The first concept, “Heritage”, is inspired by denim origins in combination with technology innovation. The super soft and performance denims of the second concept “Workout” bridge the gap between regular denim and active wear. The “Luxury shades” concept includes premium denims with natural elegance through new fibers, clean surfaces, draping and silhouettes. Timeless jeans in dark tones are presented in the forth concept “Dark Side”. Bossa created different denim combinations with warm colours for cold days in the fifth concept “Fall in Love”.

KILIM DENIM  – H1 | C 20

The Kilim Denim Autumn.Winter 21/22 collection focuses on combining new shades and trendy finishes with functional and innovative solutions. Developing new collections involves research and challenging the boundaries of design and technology. With every season, Kilim Denim operates under high environmental and social standards. The Turkish weaving factory highlights the “Vintage Core” and “Shape Core” collections that present high elasticity with trendy looks. The “1986” and “Ageless” collections reflect the vintage and positive sense of the 80s and 90s era. The “Recreate” collection is produced from recycled yarns due to Kilim Denim’s confidence in a circular economy and acute responsibility to use resources respectfully. The newly developed Cactus process, which is certified by Intertek, also minimizes water usage.


From the makers of DRY INDIGO® comes… DRY BLACK®, the Sustainable Denim Revolution now available in black! After the development and launch of Dry Indigo® – a unique foam dyeing technology that allows to dye Indigo Yarn with zero water – Tejidos Royo decided to go one step further. After more than a year of R&D, Tejidos Royo has managed to adapt the revolutionary foam dyeing technology to Black Denim. Tejidos Royo is now able to dye denim in sulphur black with no water usage in the dyeing process, and more importantly, no need to clean the water after dyeing. The Spanish fabric manufacturer is able to control the sulfur, the intensity and the fixation of the colour. DRY BLACK® is certified by the Textile Research Institute AITEX as an eco and sustainable Black Yarn Dyeing process. The achievement of this technology: 99% less water usage in dyeing, 52% less chemical usage, 72% reduced energy usage, 0% water discharge. Tejidos Royo always bets on innovation and 360º sustainability. “Our goal is to give the market the best product without permanent harmful effects for the environment. We develop trendy, innovative and sustainable fabrics. We create fabrics with values and this pioneering and ecological technology DRY DYE is the way to revolutionize the global production of denim.” DRY BLACK® – BLACK TO THE FUTURE.


BLUE RENTEC.ONE – H1 | D 10 specialise in the renaturation of leather scraps from the tanning industry. The processes eliminate up to 95% of the received leather waste and transform the raw materials into various re-useable forms: yarns, woven fabrics or textiles for direct cutting. Due to the chemical and physiological properties of collagen in leather and the separation of remaining fat content, the leather yarns contain a natural sanitizing property, which notably helps to cure neuritis, neurodermitis, foot cracks and stench.

HOUSE OF U – H1 | D 05

House of U, a digital textile printing company based in the Netherlands, has been working to tackle their chemical, water, and energy consumption in addition to offering a wide range of sustainable materials to print on. The print house introduces low impact printing with the aim to achieve bold colours while phasing out harmful chemicals – and thus helps clients achieve rich and deep colours by using certified inks on a wide range of sustainable fabrics. With an online platform and digital colour management, House of U offers designers creative freedom to product their high-quality prints. Customers can upload their designs online, pick the fabric of their choice and order without any minimum order quantity. The company’s processes and methods consist of pre-treatment, printing, and the finishing of the materials. House of U’s digital printing method reduces water consumption by 70% in comparison to screen printing. All inks used in the printing process of natural fibres are GOTS certified, water-based inks. This applies to all chemicals used in the pre-treatment of the fabrics (coating) and in the post treatment (after printing).


For more than 15 years smartfiber AG offers high quality, skin-friendly natural fibers for sustainable textiles with the name SeaCell™ and smartcel™ sensitive. Thanks to the natural additives algae or zinc the fibers of smartfiber AG are the basis of numerous fashion and home textiles for international brands which consider sustainability as a matter of course. The fibers are based on cellulose. Due to the additives from algae in SeaCell™ or zinc in smartcel™ sensitive the fibers gain extraordinary properties. Thus, the fibers are particularly skin-friendly and stand for environmental friendliness and saving resources.




1 SEPTEMBER 2020 · 9.30 AM – 6.30 PM
2 SEPTEMBER 2020 · 9.30 AM – 6.30 PM
3 SEPTEMBER 2020 · 9.30 AM – 4.00 PM


MOC Munich | Halls 1 – 4 Ground Floor
Lilienthalallee 40
D – 80939 Munich


Disruption and Transformation in the Textile Value Chain

Future Supply Chain Expert Panel Discussion at MUNICH FABRIC START

In the February edition of MUNICH FABRIC START, KEYHOUSE hosted an expert led panel discussion, merging their collective knowledge and experience under the topic, ‘Future Textile Supply Chain – Disruption and transformation through sustainability and networking in the textile value chain’. Moderated by Jana Kern & Alex Vogt of KERN.Consulting with Prof. Dr. Michael Braungart (Braungart EPEA), David Shah (View Publications), Hans H. Jung (Unity AG) and Dr. David Schmelzeisen (RWTH Aachen).

The fashion industry is currently facing unprecedented challenges as a result of COVID-19, especially critical are those concerning the global supply chain. Change is accelerated during these times and it has become crucially important to share our collective knowledge and expertise in order to develop positive, future proof solutions. On the KEYHOUSE stage, our industry experts exchanged their thoughts and expertise, offering their unique insights and key points for further action and reflection.

How attractive has the option of localisation become to companies?
While local production may look like an attractive alternative that could perhaps satisfy a growing standard of consciousness and need to keep up with demand, it is problematic because companies will always seek out the cheapest option, said David Shah as he offered a further insight:

“Turkey will become the new ‘China’ to Europe, just as Mexico will become the new ‘China’ for America.”

On the one hand, there are the typical pressures demanded from the point of view of the manufacturer which will always exists, such as; speed, price, product diversity, range and lifespan, speed of delivery as well as waste reduction. However on the other hand there is now a need to satisfy the consumer demand for those who are seeking a more meaningful experience, individuality and faster to market which is almost counterintuitive.

To what extent will consumer demand for sustainable manufacturing shape current business practices?
While fashion movements, professionals and activists advocate for greater transparency and traceability which can ideally change this damaging mind-set mentioned previously, panellist David Schmelzeisen believes it is still the case that the majority of end consumers want faster change times but at the same time lower prices. He believes that the controlling power does not yet lie with the conscious consumer, adding:

“We need to be more flexible and that is where digital technology comes in and why we will see a lot of changes in the future. For this we need smaller MOQ’s (Minimum Order Quantities) which is leading producers to look for new digital and technical solutions as well as new design solutions.”

How can digitisation provide a solution for more accurate production quantities?
Digitisation is transforming the entire supply chain, the connection between production and actual customer demand is getting closer. Hans Jung believes digital tools offer the unique opportunity to learn what the customer wants, such as with customer interface throughout all the different stages of usage, acting as a systematic feedback loop for optimisation. He states

“Production industries are now evolving and adding additional functions in a much more sustainable way than in the past.”

How crucial is the practice of circularity for the textiles industry in the future?
Circularity is crucial to the future of our industry and it should be explored as there is a lot of opportunity to build on this kind of system within the textile industry. Michael Braungart strongly believes the future lies in opening up the circular processes and materials which conventionally may be contained to only the textile industry. As these may have other relevant applications in production industries across various stages of the process and thus increasing the effectiveness of circularity. He also shared his crucial opinion that where brands use smart textiles, there must be an equally smart effort to communicate with the consumer. It is important to educate the consumer on how to use the product better for circularity to truly be in effect.

Want to know more? Watch the full discussion now available on our YouTube channel.

How Automation Will Change The Fashion Industry



In the February edition of Keyhouse at MUNICH FABRIC START, Sabine Kühnl, Editor-in-Chief at Sportswear International, hosted a panel about “Don’t be afraid of robots! How automation will change the fashion industry”. Five leading experts offered their unique insights into automation, digitalization and localization – which are currently some of the key trends driving the global fashion market.

With Ebru Ozaydin (Artistic Milliners), Jon Zornow (founder of Sewbo), Dr David Schmelzeisen (Research Associate of ITA, RWTH Aachen), Dr. Thomas Fischer (Head of Research at ITF Denkendorf) and Benjamin Baumann (Project Manager at Kuka).

Sportswear International Talk, February 5th 2020 at Keyhouse, Munich Fabric Start

Don’t be afraid of robots! How automation will change the fashion industry
As we move closer towards a fashion system which resembles Industry 4.0, the five experts offered their insights into our current status and the role of automation, digitalization and localization.

Are we operating in times of Industry 4.0?
In terms of the classic, mass production of our fashion systems, our panellists agreed we are not fully digitized yet. Where Industry 4.0 is concerned, it has a lot to do with digitization and digital product development and simply the necessary steps have not been integrated throughout all areas of the production chain. Fischer estimates the progress among the various fragments of the fashion industry only reaches a maximum of 50%, with Baumann also suggesting that if we break down the many subtopics, we are making greater progress in some areas than others.

What then is the greatest challenge facing our industry?
Industry 4.0 relies on the exchange and sharing of data, which is currently still a problem for our fashion industry which is greatly fragmented. Where progress is often stunted due to manufacturers working conservatively instead of as part of a community which makes sharing and accessing data difficult. Collecting and processing data at all stages plays a vital role for Ozaydin, in order to bring more information about the production into the hands of the end consumer. With greater investment in automation technology, linking systems together in this way Zornow elaborates will make data sharing infinitely more efficient and available.

Is there a role textiles can play as part of Industry 4.0?
Textiles can be distinguished as part of the network where clothes can play an essential role in communication with its environment and the wearer. Through various integrated CPS’s (Cyber Physical Systems) such as sensors and antennas, textiles can become extremely useful materials for Industry 4.0 as well as a lot of other sectors. We explored this topic in greater detail with The Nurture Room project by fashion technology expert Pauline van Dongen also at the Keyhouse.

Will there always be a place for humans in fashion and textile manufacturing?
Through greater collaborative efforts and research into digitization, it will be possible to drive down the initial costs of automation which would lead to increased investments into automating processes. However, these will be non-value adding tasks and currently cannot replace the labour-intensive processes carried out by human beings. Schmelzeisen typically advises that 40% of production should be digitised but views the future of robots in the fashion industry as a collaborative relationship, where robots are brought in to assist workers and provide relief in difficult or strenuous tasks. Repetitive or mundane processes can be out sourced while increasing focus on value adding tasks only achieved by humans. There will be more jobs which evolve are suited to the human nature, their creativity and craftsmanship also in the development and management of these processes.

What is the role of localization in this new fashion system?
With global trends indicating that labour costs are set to increase in the conventionally ‘cheaper’ countries, this could make the higher investment costs of automation technology more feasible. At the same time, from a sustainability point of view, there will be an increase in companies operating regionally where materials can be processed and recycled locally. With solutions such as nearshoring, micro factories and smaller production centres offering attractive alternatives in times of political and environmental uncertainty. Also offering a solution to the high demand for personalisation and bespoke design services at the point of manufacturing, leading to the invention of new, customised technology and automated processes scaled to these new production processes. “Everything that can be digitized will be and everything that can be digitized can be personalised.” – Dr Thomas Fischer

Want to know more? Watch the full discussion now available on our YouTube channel.

Foreign Foraging – Jeannette Lili Weiss on scarcity & abundance

Someone goes hunting – and returns with a bag full of plastic. This scenario, which Jeannette Lili Weiss creates with her project “Foreign Foraging”, is not so far away from reality. The authors of a study by the Ellen MacArthur Foundation warned three years ago that by 2050, plastic waste in the sea could weigh more than all schools of fish put together. With “Foreign Foraging”, the artist and designer poetically addresses the complex problem of scarcity and abundance in times of climate change.

„I use poetry and design to address environmental issues. In that way, I hope to reach people on an emotional level and to make them care.“ Jeannette Lili Weiss, Artist and designer

Two woven carpets of recycled fishing nets and plastic elements from the sea are accompanied by a poem telling the story of a transformation: While resources are becoming scarcer and the lives of many animals are threatened, plastic is abundant. The ocean changes from a source of food to a source of material and confronts humans with the question: What can still be hunted in this increasingly man-made nature? Weiss’ answer is both visually appealing and frightening.

As I take what I find, I work with what the sea spits out. I collect traces of humankind.
(Extract from the poem „I am a forager“)

CT Dairy - Gal Yakobovitch Presents Textile Coating Made From Milk

The price of milk production has risen. The consequences for farmers in the US state of Conneticut, which is known for its dairy industry, are noticeable. To test new revenue opportunities, the TILL: (Today’s Industrial Living Landscapes) studio has asked New York based designer Gal Yakobovitch to test the use of milk in fashion. The idea was implemented in the bioFASHIONtech Lab in Stamford.

„The most important aspect of sustainable Design in my eyes is communication. Collaborative work and process sharing are the foundations of innovative design practices.“ Gal Yakobovitch, Designer

The milk protein Casein is already used for the production of hard plastic. This inspired Yakobovitch to develop a water-repellent coating for clothing. The result is CT Dairy: In collaboration with a local farm called Shaggy Coos, Yakobovitch developed sustainable unisex workwear from vegetable-dyed, second-hand t-shirts. She combined the fabric elements in a patchwork technique to form an apron dress and a trouser-shirt combination and coated them with milk. The rubber-like cover emphasises the comic-like prints of the t shirts and creates a contemporary look.

Rinse Off – Caterina Tioli Explores Traditional Techniques & Materials

Anyone who thought that Germany was the country of potatoes has not yet been to the Netherlands. The popular vegetable is grown on almost one quarter of the country’s farmland. With 500 different varieties, the Netherlands is the world leader in the production, export and processing of potatoes. The starch contained in potatoes has been used for centuries in a variety of ways: to fix and solidify food, for elaborate hairstyles – and of course textiles. Anyone who thinks of grandma’s white tablecloth and grandpa’s shirt collar misjudges the potential of this natural miracle cure. Because starch can do much more.

“I believe that traditional techniques and materials are worth being re-investigated and re-discovered in order to achieve a more sustainable future.” Caterina Tioli, designer

The Italian designer and graduate of the Design Academy Eindhoven Caterina Tioli uses the properties of potato starch in her “Rinse Off” project to stabilize unspun wool for further processing. By washing linen and cotton fabrics with potato starch powder, the fibres stand and become dirt-repellent. Tioli processes raw fibres with water and starch to weave them after drying. A side effect: The wool becomes ample and full, so that less material is needed. At the end of the weaving process, the starch is rinsed off again. An homage to forgotten traditions and the harmonious relationship between humans and nature.

Sisal is More Than a Rope

SISAL is more than a rope

The undiscovered potential of this natural fibre

From the door mat at the entrance of the house, to the cat’s scratching tree, to the cord for gardening – sisal fibres are omnipresent in everyday life. In terms of production volume, it is the fifth most important plant fibre in the world, yet sisal remains almost unused as a textile. The material which comes from the leaves of the agave plant seems to be too scratchy and hairy. Isabella Monaco set herself the goal of helping the underrated fibre gain new fame and to bring it out of the shadow of its unglamorous existence. In doing so, it aims not only to exploit untapped potential, but also to create an alternative to environmentally harmful synthetic materials.

„We allow synthetic materials to eclipse the natural ones but this is one of the biggest mistakes we can do as designers. When we create object, we have to consider the morality of it.“ Isabella Monaco, designer

Tear-resistant, biodegradable and naturally mould-resistant, sisal has a number of attractive properties. Monaco experimented with hydrogen peroxide and sodium bicarbonate to make the material smoother while maintaining ist robustness. As an unexpected side effect of this “cotonization”, as she named the process, the threads became lighter. As a result, the subsequent dyeing with natural pigments also had a rapid effect. Delicate pink, bright turquoise and accents in a subtle light yellow give the sisal fibre a new look. Finally, the sisal fibres are combined with sustainably produced cotton threads. Woven in a traditional Japanese technique, Monaco proves once again that nature still offers many surprises: Sisal, More than a Rope.

Seamline Project – Gu Qiong emphasizes The Object Character of Clothing


GU QIONG emphasizes the object character of the clothing

Clothes are constructed. Where should which seam sit, at which height should the pockets be, lapels yes or no? Decisions are made based on all these questions in the design process – in the industry as well as in haute couture. In everyday use, these design details are pushed into the background, forgotten. What remains is a textile shell that covers the body. With her project “Seamline”, Gu Qiong emphasizes the object character of the clothing by emphasizing seams with quilting and glowing yarns. In her choice of colours, she refers to the teachings of traditional Chinese philosophy.

„The usual pattern and look oft he clothes has made us so familiar with them that we often take them for granted and take less notice of their composition and temper as a subject. Indeed, they have!“ Gu Qiong

Wood, fire, metal, water and earth are the basis of the Five Elements theory, according to which all things can be categorised into these five basic elements. Directly derived from nature, they describe all life under the aspects of becoming, transformation and decay. Yellow stands for metal, green for wood, blue for water, brown for the earth and red for fire. They all stand in relation to each other and are dependent on the balance of nature. On the transparent organza of the linear collection pieces, the construction lines emerge through the colourfulness. In a poetic way, they symbolize the individual character of the clothing, an emotional product that is constantly in a relationship with nature.