When the world of work meets school, the benefits always outweigh the efforts, on both sides. The fourth edition of the FGL Academy training project has happily concluded. From May 5 to May 22, 2025, a team of professionals from the chemical company FGL International, which has been serving the tanning industry for twenty years, made itself available to the Galileo Galilei Technological Economic Institute (ITTE) of Arzignano for an intensive course on bisphenols.
A very valuable opportunity for male and female students to be able to draw directly from the knowledge and field experience of those who work every day in the world of tanning chemistry with expertise and passion.
The program kicked off with a talk by Dr. Franca Nuti on “Analytical Methods and Specifications in the Tanning Supply Chain” addressed to the fifth classes, and then continued by involving the fourth classes in a series of meetings that ranged from theory to practical applications to laboratory analysis.
The training project this year was dedicated to “BISPHENOLS AND THE TANNERY INDUSTRY: FROM THEORY TO PRACTICE. Determination of Bisphenols in Leather with HPLC Technology.” A course of lectures conducted by the company’s professionals – Giacomo Giacomelli, Serena Matteoli, Stefano Brea and Davide Vigolo – with the coordination and support of lecturer Prof. Laura Iannone.
The course was met with great interest, so the objective of the initiative was successfully renewed: that of giving a 360-degree information to those studying tanning chemistry, making the students participate in real experiences in this sector, to prepare them with a critical eye to the work they will face in their future employment.
FGL International, part of the Lapi Group holding company, has once again demonstrated the importance of investing in the education of new generations, sharing its expertise and innovative technical solutions.
FGL Academy professionals with Francesco Lapi (second from right), president of FGL InternationalSome students from ITTE Galilei in Arzignano who participated in the FGL Academy 2025Giacomo Giacomelli during a class
Technology, sustainability and design met at Milan Design Week 2025 during the ‘Walk Wise’ talk, moderated by Matteo Pasca, director of Arsutoria Studio and Arsutoria School. The panel, held at Isola Basic Village, explored how the footwear industry is rethinking materials, processes and shoe construction to reduce its environmental impact, particularly when it comes to end-of-life shoe solutions.
Pasca opened his talk by highlighting the main trends in the global footwear market and the complexity of designing models with circularity in mind, especially considering the multi-material nature of most shoes. Presenting the FootLoop project – single-material shoes, alternative constructions and biodegradable materials – were three speakers. Each representing one of the 3 leading companies in the sector that initiated the research and development of the project.
René Medel – Senior Digital Creation Engineer at framas Group, a leading manufacturer of high-performance plastic components for the sports footwear industry. Jesus Marini Parissi – Founder of Moon Rabbit Adaptive Lab, which fuses computational design, advanced engineering and systems optimisation. Yael Joyce Vantu – Chief Product Officer of Balena, a pioneer in the development of circular materials and biodegradable solutions for fashion and footwear.
WHAT IS FOOTLOOP?
Footloop is a fully modular, mono-material shoe system, built using Balena’s compostable BioCir® material and designed to perform through both 3D printing and injection molding. The concept was guided by three core principles:
Modularity: components can be replaced, repaired, or disassembled without adhesives.
Materiality: a single circular material is used throughout.
Movement: the shoe is engineered for comfort, flexibility, and real-world performance.
The result is a shoe that redefines how we make, use, and unmake footwear, pushing the boundaries of both design and sustainability.
DESIGNING WITH SYSTEMS IN MIND: MOON RABBIT LAB’S APPROACH
As experts in computational design and digital fabrication, Moon Rabbit Lab approached Footloop not as a finished product, but as a living system, one that could adapt, move, and return to nature without leaving waste behind.
“We saw Footloop as an opportunity to redesign footwear from the inside out,” Jesus Marini Parissi shared. “Rather than layering materials or bonding incompatible parts, we focused on using a single compostable polymer, Balena’s BioCir®, to create a fully modular, multi-component shoe.”
Moon Rabbit’s design process was rooted in biomimicry and systems thinking. Drawing inspiration from natural structures, leaves, shells, and branches, they used computational tools to create geometries that were lightweight, flexible, and strong.
Each part was optimized for performance through virtual simulations before being physically prototyped. “We built digital twins for every component,” he explained. “That allowed us to run simulations, tweak performance variables, and test tolerances long before printing a single part. The material wasn’t just a passive input; it actively influenced the form.”
MANUFACTURING INNOVATION WITH FRAMAS
Known for their leadership in footwear tooling and component manufacturing, framas played a crucial role in translating design ambition into physical function. Their core challenge was to integrate a 3D-printed upper and sole both produced with Balena’s BioCir® with an injection-molded outsole, all without adhesives or chemical bonding.
“We had to fundamentally rethink how a shoe is constructed,” René Medel said. “Instead of gluing or fusing components, we designed them to lock together mechanically. This required going back to traditional shoemaking methods pre-industrial construction techniques where craftsmanship drove function.”
This mechanical interlocking system not only supports disassembly and repair but also enhances circularity by eliminating composite waste. Every connection is intentional and reversible. From a manufacturing standpoint, framas also validated BioCir® across two major platforms:
In injection molding, the material is handled similarly to thermoplastic polyurethane (TPU), making it easy to integrate into existing production lines.
In FDM 3D printing, however, success depended on detailed parameter calibration,highlighting both the challenges and the opportunities of working with innovative circular materials.
BALENA’S MATERIAL AT THE CORE
At the heart of Footloop is Balena’s BioCir®, a flexible, compostable, and bio-based material designed for circularity without compromising performance. Unlike traditional polymers, BioCir® is engineered to meet the demands of industrial manufacturing while enabling multiple end-of-life pathways from recycling to composting.
What set this project apart was the ability to apply the same material across both additive and conventional production processes. Whether in filament or pellet form, BioCir® offered the durability, elasticity, and processability required to prototype, refine, and ultimately manufacture a fully modular shoe.
A NEW LOOP FOR FOOTWEAR
Footloop is more than a shoe, it’s a statement. It challenges the footwear industry to think beyond products and toward systems. From computational modelling and modular design to bio-based materials and regenerative end-of-life strategies, it shows what’s possible when collaboration replaces compromise.
Balena, framas and Moon Rabbit Adaptive Lab didn’t just create a shoe. They created a new way forward.
A moment of the ‘Walk Wise’ talk during Milan Design Week
D3O® Recycled Foams contains two grades of D3O® ZeroTM materials. This recycled material is the latest innovation from impact protection experts at D3O. D3O® Zero™ has been designed to protect the things that matter while innovating the manufacturing process to reduce waste.
Available in four thicknesses and two densities, D3O® ZeroTM is suitable for a range of applications requiring impact protection.
To create D3O® Zero™, surplus D3O® material from D3O factories is ground down and mixed with new foams, and the mixture is shaped into large cylindrical bales of D3O® Zero™. Next, D3O skives sheets in various thicknesses ranging from 2mm to 10mm for customers. The material can then be die cut of thermoformed to suit various protective applications.
From 2027, a real digital revolution will enter the scene in the fashion industry, and not only: the Digital Product Passport (DPP). This is not simply a new bureaucratic requirement imposed by the European Union, but rather an unmissable opportunity for companies wishing to radically rethink their production chain and their relationship with the consumer. Indeed, this regulatory challenge represents a unique opportunity to profoundly transform supply chains and corporate strategies, bringing transparency, sustainability and technological innovation to the heart of business.
These are the concepts that emerged from the meeting and discussion organised by Fashion magazine in collaboration with Netcomm and GS1 Italy. A digital excellence roundtable entitled “Digital Product Passport. Between regulatory obligations and new horizons”. We report on some of the themes that emerged from the intense day of work to highlight the various facets of the issue, stimulate reflection and, above all, underline how it is time and urgent to structure ourselves for the changes that are now just around the corner.
Imagine for a moment that you open your wardrobe and know precisely the history of every single garment, every bag and every shoe. From the material used to the craftsman who produced it. This is not science fiction: it is the future that awaits us thanks to the Digital Product Passport. But beware, this is not just a technological trend, it is a mandatory revolution that will profoundly change the production and commercial landscape.
DPP: BETWEEN OBLIGATION AND OPPORTUNITY
The DPP was born within the ESPR Regulation, a central element of the European Green Deal, and obliges companies to provide detailed and traceable information for each product. Paolo Cibien of GS1 Italy calls this novelty a real “cultural and technological revolution”. On the other hand, Marco Ruffa of Data Life adds an even broader vision: “DPP should not be seen only as regulatory compliance, but as a strategic lever capable of radically redefining the relationship between those who produce, those who sell and those who buy”.
STANDARDISATION AND INTEROPERABILITY: A COMMON LANGUAGE
For this transition to take place truly and effectively, it is crucial to adopt a shared and interoperable standard across the entire supply chain. Bruno Aceto, CEO of GS1 Italy, insists on the crucial importance of creating a common language that allows the massive and secure exchange of information, avoiding inefficiencies and waste. “To think of tackling DPP without standards would simply be impossible”, Aceto points out. A shared system avoids fragmentation, reduces errors and waste, and enables a massive and secure flow of information.
BLOCKCHAIN, TRUST AND DATA SECURITY
A key role in this transition is played by blockchain technology, which guarantees longevity, privacy and authenticity of data. Davide Di Stefano of Aura Blockchain Consortium highlights its centrality: “Blockchain allows consumers to really trust the products they buy”. Some big brands, such as Tod’s and Loro Piana, are already using this technology, allowing customers to verify the authenticity and origin of products in real time through simple QR codes or NFC tags directly embedded in products and providing an enriched customer experience.
DATA COLLECTION: STARTING WITH PROTOTYPING
However, to obtain reliable and complete information, Marina Raicevic of Surge emphasises that data collection cannot be limited to the finished product but must start already at the prototype stage. An attitude that ensures greater accuracy and reliability of data throughout the production cycle. “It is necessary to standardise the intra-factory language in order to make the collaboration between the actors really effective”, Raicevic argues. Back to the topic of standardisation, then!
DIGITAL SUSTAINABILITY: A NEW COMPETITIVE PARADIGM
A further key aspect of DPP is digital sustainability, which is now an indispensable competitive paradigm. Carolina Lonetti of Simest highlights how dedicated funding can be decisive in helping Italian SMEs in the digital and sustainable transition, enabling the adoption of advanced technologies to track and certify products. An emblematic example is the case of the Swedish brand Filippa K, which has adopted DPP to ensure complete traceability of the wool used in its collections, from the pasture to the shop.
FROM PRODUCT TO CUSTOMER: A NEW CUSTOMER JOURNEY
But DPP does not only revolutionise production chains: it also redefines the direct relationship between product and end consumer. Eleonora Migliori of Dondup tells how, thanks to DPP, the consumer feels more involved: “Customers who can access the information contained in DPP spend more time on our website and show a greater propensity to purchase”. The tool, in fact, if integrated effectively with CRM strategies, becomes a powerful lever for building consumer loyalty and making the customer an active part of the brand.
TURNING COSTS INTO INVESTMENTS
Obviously, this digital transformation also entails significant and strategic investments. Roberto Liscia of Netcomm emphasises the need for Italian companies to overcome their current systemic shortcomings by creating platforms capable of aggregating the entire supply chain. “Only in this way will it be possible to truly transform DPP costs into sustainable strategic investments”, Liscia says.
INTELLECTUAL PROPERTY PROTECTION AND TRANSPARENCY
Another crucial issue is the protection of intellectual property and the protection of corporate know-how. Silvia Elia, also from Netcomm, points out that DPP makes it possible to effectively communicate the distinctive value of Made in Italy while keeping the most sensitive information confidential, thanks to the possibility of differentiating the levels of access to data.
EDUCATING THE CONSUMER, BUILDING TRUST
Finally, one of the biggest challenges remains educating the consumer. Marco Ruffa makes it clear that “only a truly aware customer can make the most of the DPP. We need to go beyond simple code scanning, building an engaging narrative that allows the product itself to tell its own story, generating a real dialogue with the buyer.
TAKE AWAY
“DPP is not an invention to make marketing directors happy, nor is it a gadget for an evolved boutique. It is a norm. But also, a great opportunity. On this double table – obligation and opportunity – the most important game for the fashion and luxury industry is being played”, Marco Ruffa continued in closing the meeting. He thus summarises the key points concerning the DPP:
Mindshift. No digital revolution happens without a mindshift. The consumer of the future – and partly already the consumer of the present – demands provenance, verification, consistency. He is no longer willing to accept fictitious storytelling. He wants data. He wants truth. Those who wait for the market to oblige them have already missed the train.
Compliance. No more time for excuses. From 2027, the DPP obligation will be triggered for several product categories. But those who move now have an advantage. Compliance is no longer just a grid to be adhered to. It is the new common language between brands, institutions, suppliers and the financial system. DPP makes ESG value visible and allows banks to reward those who invest in traceability. It is the bridge between regulation and reputation.
Collaboration. DPP cannot be built alone: collaboration between brands – even competitors – is today the only way to achieve shared standards and interoperable solutions. The concept of ‘competitive advantage’ must be rewritten: the winner will be those who know how to activate networks, not just protect patents.
Start small, scale big. Everyone wants to start. But they are afraid. Afraid of costs, of complexity, of the domino effect. So, they park their projects in pilots, like quarantine areas. But the pilot is not a car park. It is a trampoline. You need the courage to start, even in a small way.
To believe in it. No project can work if those who run it first concentrate their thoughts on the obstacles to be faced and hope for a delay. Or worse still, that they eventually decide to backtrack.
Storytelling. DPP gives products a voice and, if designed well, this voice can be powerful. It is no longer just marketing that speaks to the customer: it is the product itself that tells its origin, its supply chain, its values.
Standardisation. It is the least sexy word, but the most urgent. Without common standards, every company in the production chain will have to replicate the same processes dozens of times for different customers (brands). The result? Costs, inefficiencies, errors. There are various institutions and consortia, not least the European Community: all are working to define common identifiers, shared structures. This is where true interoperability is at stake.
Export. Italian SMEs can use the digital passport to tell the Made in Italy brand in foreign markets. It is a flywheel of trust and value.
Digital twin. The digital passport can become a true digital extension of the physical product, eventually developing into a dynamic twin that evolves, updates, communicates. An entity that grows with the product and with the customers interacting with it, extending the standard information cycle – which today stops at sale – and coming to cover market phenomena such as second hand and rental, up to the disposal and recycling of the components that make it up.
Ultimately, the Digital Product Passport does not simply represent a new regulatory obligation, but rather an extraordinary opportunity to completely redefine corporate culture, production and the relationship with the market. The test, now, is to take up the challenge to become true fashion pioneers of the future.
The appointment with A+A 2025, the world’s largest and most important trade fair for safety, security and occupational health, is approaching and will be held in Düsseldorf, Germany, from November 4 to 7.
As always, expectations are very high. Starting with the size: this year’s biennial German trade fair promises to be the largest ever with more than 2,200 exhibitors from 60 different countries and an area of more than 83,000 square meters. “Registration is still open, but we are very selective because we want healthy growth for our fair that goes hand in hand with a high quality of visitors,” explained Lars Wismer, A+A Global Head & Director, at a recent press meeting in Milan organized by the Honegger company, which exclusively represents the Düsseldorf trade fair body for Italy.
From a logistical point of view, the German fair confirms the successful layout experimented two years ago that saw the segmentation of the offer articulated by product groupings in the thirteen pavilions used. The novelty concerns the opening of Hall 7, which will be dedicated to start-ups in the sector that will have the opportunity to present themselves to the market. Instead, on the 15th will take place as always the unmissable fashion shows that turn the spotlight on PPE design and in general on the latest in workwear style and safety.
As always, the footwear sector will also be very well represented thanks to the participation of the major international brands that take advantage of this event to launch their latest product innovations on the market. Moreover, the Italian presence stands out in this sector, which can count on 125 exhibitors in an area of seven thousand square meters. Alongside footwear manufacturers, major suppliers of materials, soles and components for the manufacture of safety shoes will be present.
Among A+A’s side events, mention should be made of The International Congress, which as always runs parallel to the fair. Organized by Basi, the German Federal Association for Occupational Safety and Health, the congress promises a refreshed format to address issues of digitization and sustainability (the same key topics as the fair). These include prevention strategies such as “Vision Zero,” a global initiative aimed at reducing workplace accidents. Labor science results from application-oriented research are also presented and discussed at the event.
The organizers point out that as of June 1, an APP of the fair will be available, which in addition to providing information about the fair aims to become an important working tool by fostering business matches among operators.
Finally, the international portfolio of the German security fair is being enriched with a new foreign trade fair event. After those in Shanghai, Istanbul, Singapore and Bangkok, this year the first edition of “JIOSH+W – Japan International Occupational Safety and Health + Well-being” debuts in Osaka, Japan, from July 16 to 19.
Lars Wismer and Tommaso Honegger at the May 13 press conference in Milan, Italy.The distribution of pavilions at A+A 2025
We drew extensive inspiration from the last edition of Lineapelle and produced a comprehensive report featuring all the exciting new materials showcased at the fair, along with some trend suggestions to explore.
Summer Vibes
The uppers of sandals and slippers, as well as those of other light and typically summery models, are likely to aim for simplicity. It will be the soles and heels, then, that will make the difference. In some cases with a more decisive edge, in others by simply choosing more unusual shapes.
Strong and sculpted
The sculpture of the bottom, the typical carrarmato texture reinvented through unusual patterns or out-of-the-ordinary colour tones, will have their say in the coming summer.
Training Styles
The trainer continues to thrive in all collections. If a few bottoms are still aiming at larger than average volumes, there are more and more proposals that are going back to flats, or at least to more traditional thicknesses. This applies to both the sportier and the more elegant models.
On 15 May, the first National Forum of Young People of Made in Italy was held in Milan, entitled “Creare Futuro” (Creating the Future), born on the initiative of the presidents of the Young Groups of FederlegnoArredo, Confindustria Accessori Moda and Federalimentare who, together with some representatives of the business and academic worlds, gave rise to a dynamic and constructive discussion to outline an innovative and future-oriented vision.
The Forum represented an important opportunity to reflect on the role of the new generations in driving the renewal of the Italian production system, starting from the three pillars of national manufacturing excellence – Fashion, Food and Furniture – which, together, contribute to about 20% of the national GDP and best represent Italian know-how in the world.
The need to create a system, enhance skills and promote synergies between the different supply chains emerged strongly during the meeting. Young entrepreneurs wish to be protagonists of this change, bringing vision, innovation and openness to dialogue, in order to continue to strengthen and promote the identity of Made in Italy on an international scale.
“Fashion is an extraordinary heritage for Italy – said in particular Carlo Briccola, president of Giovani Confindustria Accessori Moda – but only through the connection between different sectors, united by the same know-how to make Italian, We can speak to the world with a united voice. With this Forum we want to transmit confidence, optimism and sense of responsibility to present and future generations, so that they can continue in the tradition, valuing the creative and productive genius that distinguishes Made in Italy. Our focus is clear: to strengthen the competitiveness of our companies. Because if quality, especially in fashion, is often considered a given, today it is necessary to confront a complex European scenario, made up of regulations that are difficult to adopt, which require preparation, strategic vision and cohesion”.
Guglielmo Auricchio (President of Giovani Federalimentare) , Filippo Santambrogio (President of Giovani FederlegnoArredo) , Carlo Briccola (President of Giovani Confindustria Accessori Moda)
A perfect combination of minimalist design and lightness, the musette boasts a featherweight of only 125 grams, making it perfect for longer days. The adjustable length cord and foldable bottom provide even more flexibility, allowing the musette to expand according to its contents. But that’s not all: the musette is made of water-repellent, three-layer nylon, an innovative fabric that does not need to be covered with other materials. Thanks to its single-material design, it can therefore be easily recycled in its entirety at the end of its life cycle.
COTANCE is organizing the event “Leather: a Natural Choice for the Circular Economy,” which is part of the partner events supported by the European Commission as part of EU Green Week 2025, which this year focuses on the circular economy as a strategic lever for EU competitiveness and sustainability.
The meeting will be held on June 11 at 2:30 p.m. and will be accessible by invitation only in person in Brussels, or online via Zoom.
The event will feature some of the leading experts in the tanning, sustainability and innovation sectors, who will address the key topics of leather circularity, traceability, biodegradability and skills for the green transition. Speakers already announced are Gustavo Defeo (CTC Ars Tinctoria), Deborah Taylor (Sustainable Leather Foundation) and Karl Flowers (Authenticae).
“Green is the new black? More like a well-executed marketing trick.” Speaking in 2021 is Stella McCartney, pioneer of ethical fashion. A sentence that stings like a pin stuck in a cashmere jacket. And which encapsulates, in seven words, the great misunderstanding of sustainable fashion: noble in proclamation, confused in deed.
And yet, in the folds of a sector that has always had the habit of dressing well even when it was bad, serious experiments are beginning to emerge. Precise, concrete ideas. Not utopian mirages, but tangible attempts to stitch together style and conscience. Three projects – very different from each other, but similar in spirit – are trying to bring the word of sustainability to where waste and opulence often reigned.
The first to make headlines was John Galliano with Recicla, his creation for Maison Margiela. Those familiar with the designer’s distinctive and refined language know that nothing is ever left to chance. With Recicla, Galliano takes the idea of Replica (faithfully reproducing archive garments) and charges it with a new energy: instead of copying, he recycles. He cuts, reassembles, stitches. A hiker’s jacket becomes part of an evening dress. A bourgeois trench coat marries a beekeeper’s hat. We want to talk about the iconic Tabi mixed with Instapump, proposed in trainer version thanks to the collaboration with Reebok. The result? It’s not just a collage, it’s a hybridisation – as if an explorer and a duchess had ended up together in the washing machine. But the most brilliant idea is not aesthetic, it is ideological: to give new life to the existing without disguising it, without hiding its origin. Recicla clothes carry talking labels, with place and date of origin. An identity card sewn on. Fashion is no longer ashamed of its past: it puts it on display.
MAISON MARGIELA
Then there is Miomojo, a small but fierce Italian company. Specialising in sustainable accessories, it is one of the few B Corp in the sector. Its stroke of genius? Collaborating with Udinese Calcio, a team that has made sustainability a real flag, not just a flag-waving one. Together they launched a line of accessories made from an almost miraculous material: waste from the olive oil industry. Yes, that’s right. Where we see bottle bottoms, they see futures. The process is as simple as it is revolutionary: those leftovers, instead of being thrown away, are combined with synthetics substances and thermo-applied to a cotton base in order to become a durable, waterproof, beautiful fabrics. Unlike so many eco-chic gimmicks, the point here is not to make a scene but to lead the way: an away bag that lasts ten years is more sustainable than a compostable wallet that falls apart under the lash of the first rains.
Miomojo
Finally, Zerow. Start-up name, revolutionary ambition. Its mission is clear: to save quality materials – those fine fabrics and leathers that lie forgotten in the warehouses of big companies – and put them back into circulation. Instead of producing new, Zerow prefers to reactivate the existing. And it does not do it alone. It involves artisans, emerging designers, visual artists. The Fashion Beyond Waste project, held in Florence, was a perfect example: 13 brands, three artists, performances, installations. Not a fashion show, but a creative workshop where each piece told of a second chance. The cleverest gimmick? Making the backstage protagonist: not just the finished product, but the process. Because if blind consumption is the problem, the answer is educating the eye.
Zerow
Three projects, three approaches, three languages, one red thread: sustainability is not worn like a fashionable coat. It is built with patience, rigour, inventiveness. It is not a trick, it is a craft.
Fashion is like a decadent old building: from the outside it may still look charming, but inside it creaks, loses pieces, consumes more than it builds. Yet, you don’t need to tear it down to restart. Sometimes you just need to restore it intelligently, reuse the bricks, change the electrical system. There are a thousand ways to do it.
