1. Mycelium is a living organism, which adds a unique layer to design. How do you manage its organic growth in the context of your furniture and jacket designs, and how do you control its form?
After several years of research and development, various growth techniques have been explored at the VUB. Thanks to our lab equipment, we have tested and compared different growth methods and determined that some techniques work better for mycelium skins, others for composites, and some are better suited for adding pigments. A controlled lab environment allows for relatively predictable growth, and we mostly achieve replicable results in our design experiments. However, living materials always involve some unpredictability. Since the objects are made of mycelium, and its forms exist on a continuum, unpredictable organic growth can always be revalorized in different applications. For instance, overgrown composites can be used for making skins, or skins that develop fruiting bodies can be revalorized for their pigments.
2. Given that mycelium can sometimes have a natural, heterogeneous appearance, how do you ensure it aligns with the aesthetic expectations of mainstream consumers?
The organic and heterogeneous appearance of mycelium materials can evoke a sense of incompleteness or imperfection compared to the polished, uniform aesthetics of mass-produced goods. This presents both a challenge and an opportunity.
On a technical level, we are refining cultivation and post-processing techniques to increase the material’s homogeneity and surface regularity where necessary. This includes optimizing parameters like inoculation method, growth environment, and substrate composition. Surface finishing techniques such as compression or coating also provide more predictable textures and visual consistency, expanding the design possibilities for applications requiring uniformity.
However, we must recognize that the irregularities inherent to mycelium are not flaws but features—markers of its biological origin. Much like wood or leather, which are embraced for their unique, non-replicable patterns, mycelium’s natural heterogeneity can evolve into a valued characteristic over time.
3. What specific qualities of mycelium attracted you to use it in both clothing and furniture, and how does it compare with other sustainable materials you’ve worked with?
Annah: What truly fascinated me about mycelium materials was that it is a growing material—a microorganism that turns into macro objects with outstanding properties like antimicrobial and fireproof resistance. I became curious about its growth process and what it could yield in fashion applications. The fact that it grows on a liquid surface, a non-physiological condition, led me to wonder about the intricate patterns that could be created and whether that could introduce a new aesthetic for organic materials.
Having worked with bioplastics, I can say that mycelium feels much more alive, like animal leather compared to plastic: it has its own unique pattern. Additionally, mycelium’s aliveness presents exciting possibilities for exploring other properties: Could it produce useful compounds? Could it absorb color while still alive? Could it serve a function before being inactivated? These questions, which we are actively researching at VUB, make mycelium fascinating from my point of view.
4. How does your mycelium-based furniture collection incorporate the self-coloring properties of the material, and what are the environmental advantages of this compared to traditional dyeing processes?
Anouk: Traditional dyeing processes, especially in textiles, are environmentally burdensome due to high water and energy demands and the use of harmful chemical mordants and fixatives. This contributes to global water pollution, as dye effluents are often untreated.
In contrast, within the Fungal Functions furniture collection, I explore biologically integrated methods of coloration. These techniques leverage the metabolic processes of fungi, allowing the material to embed color naturally as it grows. This reduces the need for separate dyeing steps and minimizes reliance on water and chemicals.
For example, in the wall cabinet piece, I employed Pycnoporus sanguineus, a fungal species that produces a vibrant red-brown pigment as part of its natural growth. This allows the material to acquire its color through a biological process, eliminating the need for post-production dyeing.
In the lamp design, I explored how fungi can interact with dye-contaminated wastewater. Trametes versicolor was cultivated in a medium containing textile dye effluent, where it degraded and detoxified the dye compounds, suggesting a dual function—material generation and environmental cleanup.
5. Do you think the general public is ready to embrace mycelium-based designs in their homes? What steps do you take to overcome any skepticism about the material’s living nature?
Anouk: The public’s readiness seems to be growing, especially when aesthetics and functionality are thoughtfully addressed. During Milan Design Week, many visitors expressed genuine interest in living with fungal materials, imagining them in their own homes. This enthusiasm suggests a cultural shift is underway. While mycelium may be unfamiliar, people are increasingly drawn to its tactile qualities and ecological story.
Yet, there are still deep cultural reservations due to the associations of fungi with decay, disease, and uncleanliness. To overcome this, education and storytelling are key. We must reintroduce fungi not as contaminants but as ecological allies—vital for decomposing organic matter and forming symbiotic relationships with plants.
As awareness grows and the value of fungi in environmental bioremediation is highlighted, I believe the public will embrace mycelium-based designs.
6. The transition from laboratory research to product design can be complex. How did your research in mycelium evolve into functional products like furniture and clothing?
Annah: Thanks to interdisciplinarity! Anouk and I took somewhat reversed career paths: Anouk studied product development before joining VUB, while I studied bioengineering and textile design before coming to VUB. Life in the lab can get busy, and we sometimes focus so much on the scientific side that design becomes secondary. But we realized that without prototyping, it’s hard to understand how useful our research could be for further applications.
So, we set a deadline and shifted our focus to design research for Milan Design Week, making design features and aesthetics our main goals. Milan enlightened us on the necessity of interdisciplinary collaboration, which is a core value at VUB. Our team includes chemical engineers, bioengineers, fashion designers, and artists, all working together to advance both science and design.
7. How does your design process address the scalability of mycelium production, and do you see it as a viable material for large-scale commercial production in the future?
Annah: The idea behind the jacket was to show that within a university lab, we can now produce larger mycelium skins without custom-made industrial equipment, using standard lab tools. We managed to create skins as large as 50 x 60 cm, suitable for applications like animal hides.
Our research is also focused on optimizing the process for large-scale commercial production, and our team is moving toward the creation of a spin-off company led by post-doctoral researcher Dr. Simon Vandelook.
8. The idea of 'living' materials often raises questions about their maintenance. What are the long-term care requirements for products made with mycelium, and how do you ensure they remain functional?
Anouk: An example of a living material is the self-healing fungal materials researched in our lab by Prof. Dr. Elise Elsacker. These materials can repair themselves if the right conditions are provided after damage.
Much of the research focuses on technical optimization, but the social aspects—such as how users care for these materials—remain largely unexplored. The goal is to understand the role of the user in maintaining the material’s biological functions and develop interaction design that fosters meaningful relationships with living materials.
9. How do you see the future of mycelium in product design evolving? Are there specific innovations or materials you’re excited to explore next within the sustainable materials sector?
Mycelium-based materials have evolved significantly, from prototypes to commercially available products like Mushroom Packaging by Ecovative and Reishi by Mycoworks.
In the future, we see mycelium developing into complex, responsive systems that regenerate, adapt, and evolve. Imagine furniture that heals itself or garments that change color based on environmental factors.
Anouk: I'm particularly interested in the interaction between material agency and user experience, exploring how living, dynamic materials could foster new rituals of care, attentiveness, and emotional attachment.
