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“Weight loss drugs present design challenges and opportunities”

The rise of appetite‑suppressing drugs such as Ozempic and Wegovy isn’t just shrinking their tens of millions of users worldwide, it’s reshaping consumption habits.

That, in turn, is forcing food and beverage brands to rethink and redesign their output.

When people suddenly want less food but better nutrition, it forces companies to reconsider everything from product development to packaging design and information hierarchies.

Forget supersized portions – these future consumers will crave smaller, smarter meals they can actually finish without waste or guilt. Appetite‑suppressing drugs are causing palates to shift, with less tolerance for ultra‑sweet or greasy foods.

That’s an interesting creative opportunity from an emergent F&B design perspective.

Cleaner, simpler recipes create space to move away from diet‑style medical checklists and clinical language, or the samey, personality‑driven brands of past decades that have filled the lifestyle FMCG aisles.

Examples include brands like Huel, and similar wellness players, that balance aspirational lifestyle messaging with listed product benefits; protein and fitness brands that rely heavily on influencer partnerships and “transformation” messaging; probiotics and kombuchas covered in wellness symbolism; and snack bar brands that use similar fonts, earth‑tone aesthetics, and wellness buzzwords.

Now, consumers are making room for more authentic and appetising design language. This opens up a chance to rethink category codes and come up with new expressions.

New priorities and portfolios

Communicating clear signals of health, satisfaction, and support – while remaining desirable and appetising – will be critical as brands audit their portfolios and prioritise reformulations.

Back to today, and quick off the mark, Nestlé is launching Vital Pursuit frozen meals specifically tailored for GLP‑1 users. In the US, Conagra is adding “GLP‑1 friendly” labels to Healthy Choice trays to highlight high‑protein, portion‑controlled meals.

Daily Harvest is curating dedicated “GLP‑1 Companion” meal collections rich in fibre and nutrients.

For brands in this space, future KPIs will include:

Catering to smaller portions with right‑sized formats.
Offering no‑prep, easy‑to‑track meals that help audiences manage intake precisely.
Building dedicated sub‑brands.
Leveraging on‑pack cues and digital education.
Prioritising cleaner labels and simpler ingredient lists in offerings such as single‑serve lines and mini snacks.

A shift for restaurants

Restaurants are also seeing smaller orders, with discussions about the need to include “semaglutide sections” or small‑plate menus that cater to customers on weight‑loss medication.

Heston Blumenthal, himself a user of Mounjaro, spoke recently about launching a “mindfulness menu” where customers get the same amount of food and theatrics, just in much smaller portions – every dish one‑half to one‑third the size of a tasting menu.

As he told The Times:, “My staff and I have noticed a shift in eating habits…. Customers aren’t finishing their food like they used to. Weight‑loss medication hasn’t ruined my enjoyment of food, I just eat less of it.”

European chains like LEON, Pret a Manger, and EXKi already emphasise nutrient‑rich meals with clear calorie labelling.

In the UK, brands like GAIL’s Bakery and Joe & The Juice focus on smaller, premium‑quality offerings that support the “less but better” mindset. In the US, chains such as Sweetgreen, CAVA, and Chipotle are well‑positioned for this shift, thanks to customisable, portion‑controlled meals with more transparent nutrition.

Operators are rethinking menus to offer flexible combinations, half‑portions, and health‑forward cues without sacrificing either experience or revenue.

For fast‑casual dining chains, convenience will continue to be king. With less attention dedicated to food as an indulgent ritual, ready‑to‑drink shakes, single‑serve bowls, and no‑prep solutions can make portion control increasingly effortless.

This means outlets will need to apply more sophisticated design thinking to smaller portions by:

Right‑sizing packaging to avoid making portions look inadequate.
Creating premium positioning through materials and finishes.
Developing modular packaging systems for customisable combinations.
Designing clear nutritional communication without clinical overtones.
nnovating in portion visualisation so customers feel satisfied, not shortchanged.

As Blumenthal says, “For us, less food doesn’t mean lower cost because you still need the exact same ingredients and number of staff to make it.”

The connection to the booming health and wellness sector has also been seized by a previously ailing WeightWatchers (WW). The slimming club is repositioning itself not only to integrate GLP‑1 prescriptions but also to launch customised nutrition and behaviour plans to support women through menopause.

This signals a shift from diet‑focused to medical‑adjacent branding, which will have design implications, like moving away from traditional “weight loss” imagery and language, defining next‑generation medical credibility with approachable, supportive aesthetics and developing sub‑brands or product lines that feel less stigmatised.

Glass half full

For the beverage category, shifts are concerning: multiple sources report that people are drinking significantly less – or sometimes stopping altogether – which is a real threat for the social‑drinking category at large.

The Guardian noted “teetotal” shifts in GLP‑1 users threatening drinks companies. Forecasts predict a 4% volume decline in alcohol and soft drink categories over the next decade. This presents a clear opportunity to innovate in premium low‑ and no‑alcohol alternatives, adult soft drinks, using mindful consumption cues aligned with a more health‑conscious, lower‑appetite lifestyle.

These innovations could adopt more sophisticated aesthetics that compete with premium spirits and clearly differentiate from traditional soft drinks through:

Premium packaging materials and finishes (embossed labels, textured bottles, distinctive closures).
Ritual‑focused packaging that maintains the ceremonial aspects of drinking.
Transparent labelling of functional benefits (adaptogens, nootropics, etc.).
Colour palettes moving away from primary brights toward muted, sophisticated tones.
Typography that feels crafted rather than mass‑produced.

“Less food, more meaning”

For brands, semaglutide’s growth is both a challenge and an opportunity. They need to build trust with consumers navigating smaller appetites in an overwhelming food landscape.

Design’s future role will be crucial in balancing “less food” with “more meaning.”

This includes building trust through authentic, non‑medical visual languages, supporting new portion psychology by making smaller amounts feel satisfying and complete and communicating nutritional transparency without clinical coldness.

The challenge will be to redefine categories by breaking away from outdated diet/wellness visual codes, design consumption journeys that feel intentional and premium rather than restrictive, innovate with materials and finishes that signal quality over quantity.

And brands will need to clarify information hierarchies so nutrition communication is accessible without intimidation, telling authentic brand stories around mindful consumption rather than restriction.

The brands that win won’t just sell less food – they’ll deliver more purpose, and potential for a healthy life in every bite.

Sophie Maxwell is strategy partner at WeWantMore.

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zaha hadid architects plans rippling ‘alta tower’ for belgrade, serbia

A New Landmark for New Belgrade

 

Zaha Hadid Architects unveils its Alta Tower for Belgrade, Serbia, a new mixed-use development designed in collaboration with Bureau Cube Partners for Alta Bank. The proposal, which won an international competition, will be located in Block 32 of New Belgrade and aims to establish a new headquarters for the bank fit with offices, public spaces, and even residences.

 

The 35-story Alta Tower is designed to embody the bank’s values of stability, security, and resilience through architecture that balances precision with openness. The project will include a pedestrian plaza lined with shops and cafés, strengthening the relationship between the city’s growing business center and its university campus.

images © Atchain

 

 

alta tower adds to the expanding city’s growing skyline

 

The Zaha Hadid Architects-designed Alta Tower will neighbor a main shopping center in Belgrade and will be within walking distance of Ušće Park. At the same time, it sit at a junction between the Sava and Danube rivers. The tower is set to become a vertical landmark that joins Belgrade’s quickly evolving skyline.

 

Accessibility is central to the proposal. Alta Tower will be directly served by bus and tram routes, the BG Voz urban rail system, and an upcoming metro station next to the site. With these transport connections, the project will add to Belgrade’s wider strategy to expand New Belgrade as its major commercial hub.

Belgrade’s Alta Tower will be designed by Zaha Hadid Architects

 

 

the tower and the podium

 

Zaha Hadid Architects organizes its Alta tower to rise from a large podium. This street-level element aligns with the surrounding urban fabric, its terraces and gardens providing informal outdoor areas for employees and residents. Above, the tower rises with a fluid, vertically grained geometry characteristic of Zaha Hadid’s recent civic and corporate works.

 

The lower and podium levels will accommodate Alta Bank’s main offices, including adaptable workspaces and outdoor terraces. Rental office floors occupy mid-levels, while residential units rise higher, oriented to capture panoramic views of the Danube valley and Belgrade’s Old Town. Executive floors at the tower’s summit will overlook the city’s skyline.

the 35-story tower will integrate offices, residences, and public spaces

 

 

vertical louvres for a fluid facade

 

Belgrade’s continental climate informed key environmental strategies within the design. The tower incorporates natural ventilation across its interiors and uses vertical louvers along its facade to filter sunlight and manage thermal gain. This responsive skin creates a balance between opacity and transparency, and enhances the interior light quality as it shapes the tower’s overall expression.

 

Built with locally-sourced materials, the development emphasizes modular efficiency. Construction systems and finishes are optimized to reflect both the precision of Zaha Hadid’s design language and the practical sustainability goals of a future-focused headquarters.

vertical louvers across the facade reduce solar gain and lend a fluid facade

 

 

project info:

 

name: Alta Tower

location: Belgrade, Serbia

architect: Zaha Hadid Architects@zahahadidarchitects

local architect: Bureau Cube Partners (BCP) | @bureau_cube

client: Alta Bank

visualizations: © Atchain | @atchain

 

ZHA principal: Patrik Schumacher

ZHA project director: Manuela Gatto

ZHA project associate: Houzhe Xu, Jose Pareja-Gomez

ZHA project team: Armando Bussey, Besan Abudayah, Jack Sawbridge, Leo Zhu, Marco Pavoni, Oluwapelumi Johnson, Panos Ioakim, Thomas Bagnoli, Yutong Xia, Zixin Ye, Kutbuddin Nadiadi

ZHA environmental, sustainability team: Aditya Ambare, Abhilash Menon, Bahaa Alnassrallah, Carlos Bausa Martinez, Disha Shetty, Jing Xu, Shibani Choudhury

ZHA analytics, insights team: Ulrich Blum, Lorena Espaillat Bencosme, Danial Haziq Hamdan

 

BCP project director: Milan Raskovic

BCP architecture team: Sasa Kostic, Nadica Davidovic, Danijela Bakic, Sanja Kostic, Iva Radojevic Pejanovic, Sara Vasic, Teodora Joksic, Ognjen Zivkovic

BCP urban planning team: Ana Suman, Milena Ivanovic, Bojana Maksimovic, Marta Janjic

The post zaha hadid architects plans rippling ‘alta tower’ for belgrade, serbia appeared first on designboom | architecture & design magazine.

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Where is Ana Mendieta? The Unresolved Mystery

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The Mystery of Vincent van Gogh’s Death

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Death by Art: The Story Behind Luis Jiménez’ Iconic Blue Mustang

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Too Much Love Will Kill You—The Death of Raphael

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Meet KUJIETOOL: The World’s Smallest Universal Milling Machine for Makers

The KUJIETOOL arrives at a time when makers and designers increasingly crave professional-grade tools that don’t require dedicated workshop space. This compact milling machine tackles one of the biggest challenges in creative work: accessing precision machining without the bulk, cost, and complexity that typically comes with industrial equipment.

What makes this release particularly compelling is how it addresses the space constraints that limit so many creative projects. At just 2.4 kg and measuring 251 × 386 × 403 mm, the KUJIETOOL brings 0.01 mm accuracy to any desktop, fundamentally changing how you think about precision work in personal spaces.

Designer: KUJIETOOL

Click Here to Buy Now: $349 $699 (51% off). Hurry, only 63/300 left! Raised over $109,000.

The design immediately catches your attention with its incredibly compact footprint that feels almost impossibly light for a milling machine. You get serious machining capabilities in a package that weighs less than most laptops, crafted entirely from high-strength aluminum alloy. The build quality feels substantial despite the lightweight construction, creating that immediate sense of precision engineering you’d expect from professional equipment.

Of course, the real innovation lies in how KUJIETOOL delivers professional-grade accuracy without compromise. Each handwheel on the X, Y, and Z axes features graduated scales with 0.007 mm resolution per division, letting you make precise adjustments with complete confidence. The overall accuracy of ±0.01 mm means you can tackle fine machining tasks that would typically require much larger, more expensive equipment.

The stepless spindle speed control deserves special attention here. You get variable speeds from 0 to 10,000 rpm with both forward and reverse rotation, giving you complete flexibility across different materials. Whether you’re working with delicate plastics, sturdy aluminum, or traditional wood, the fine-tuned spindle control adapts to whatever your project demands.

That said, the modular design philosophy really sets this machine apart from typical desktop tools. The upgrade-friendly construction means you can adapt the KUJIETOOL as your skills and projects evolve, adding accessories or making modifications without starting from scratch. This kind of thoughtful engineering shows up throughout the device, from the accessible maintenance points to the expandable tooling options.

You’ll notice how the compact form factor changes your entire approach to precision work. Instead of planning projects around workshop access, you can tackle machining tasks whenever inspiration strikes. The portability means you can easily share the machine with collaborators, move it between workspaces, or even take it to client meetings for on-site prototyping.

The KUJIETOOL excels in real-world scenarios where traditional mills would be impractical. Picture yourself prototyping a new product design, needing to machine custom brackets or housings with tight tolerances. The desktop footprint lets you work iteratively, testing fits and making adjustments without the overhead of booking workshop time or dealing with bulky equipment.

For educators and students, the accessibility factor becomes even more important. You can demonstrate precision machining concepts in classrooms where traditional mills would never fit, or provide hands-on learning experiences that were previously impossible due to space and safety constraints. The intuitive controls make it approachable for beginners while still delivering the accuracy that experienced makers demand.

What really sets this milling machine apart is how it anticipates the evolving needs of modern makers. You might start with simple prototyping tasks, then discover you need more complex machining capabilities as your projects grow. The modular design and upgrade path mean the tool can grow with your ambitions rather than becoming a limitation.

The KUJIETOOL represents a thoughtful evolution in precision machining, designed for creators who understand that the right tools can unlock new possibilities. You get professional-grade capabilities in a package that never feels like a burden to accommodate, opening up new creative territories that were previously out of reach for most makers and designers.

Click Here to Buy Now: $349 $699 (51% off). Hurry, only 63/300 left! Raised over $109,000.

The post Meet KUJIETOOL: The World’s Smallest Universal Milling Machine for Makers first appeared on Yanko Design.

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Ricoh Space Age Headphones impress with a vintage rustic design

Ricoh is known for its office hardware solutions and the intricate timepieces it made for three decades. They crafted their own movements, including the R31 automatic, and there was a time they were considered right among the top watchmakers from Japan. The likes of Seiko, Citizen, and Orient, to be precise. Even though they have gone out of production, dupe models and old Ricoh watches, like quartz models, can be seen online.

Although we might not see any new Ricoh watches on the official production lines, venturing into a new product line is always an option. The consumer technology market is all buzzing with audio accessories, primarily headphones and earbuds. So, how about owning a pair of Ricoh headphones?

Designer: Aleksandr Shepelev

Sony, Sennheiser, Bose, Beyerdynamic, Apple, and Bower & Wilkins have been the market leaders in the audio market when it comes to headphones that combine design, immersive sound, and value-added features like ANC or AI-assisted functionality. For Ricoh to enter this highly competitive market, design is going to be the key factor. This headphone concept by Aleksandr reimagines Space Age Headphones inspired by the 1970s retro themes. Contrary to the current design language of headphones, which sticks to the contemporary look, the Ricoh headphones go for a bolder design and look.

The designer has created three variants of these on-ear headphones: one having a muted-down look, another with a vintage feel, and the third with a more peppy look. We are going to focus more on the rustic one that has a dirt texture on the headband and cushions. This one is inspired by the original Ricoh Space Age Headphones, having a pretty similar look and feel. Although no specifications have been mentioned by the designer, we presume them to have the latest codecs and respectable drivers to deliver good audio quality. ANC should also be there since on-ear headphones lack a bit in passive sound isolation compared to over-the-ear cans.

The ergonomic shape and the weight distribution of these headphones should make them ideal for long sessions. The other two options come with stainless steel accents and textile ear cushions, respectively. We would love to see such headphones on the market, given their refreshing yet vintage design.

The post Ricoh Space Age Headphones impress with a vintage rustic design first appeared on Yanko Design.

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Cultural Neutrality is Dead: Why Pratap Bose Says Cultural Intelligence is the Future of Design

Yanko Design’s new podcast, “Design Mindset,” is quickly making waves across the creative world. Now in its sixth episode, the show is carving out a space for conversations that go beyond the surface, tapping into the ethos, mindset, and lived experiences of the world’s leading designers. Each episode, which premieres every Friday, explores how design thinking shapes products, brands, and even the future of culture itself, offering both inspiration and insight to listeners ranging from students to seasoned professionals.

Episode 6 brings a compelling guest to the mic: Pratap Bose, Chief Design Officer at Mahindra Group and a trailblazer in Indian automotive design. Bose’s resume is formidable; he’s led design at Tata Motors, shaped Mahindra’s global aesthetic, and developed a design philosophy that melds Indian identity with global relevance. In a candid and illuminating conversation with host Radhika Seth, Bose explores how authenticity, cultural intelligence, and collaboration are transforming what it means to design for the world from India.

Designing Without Apology: Embracing a Bold Indian Identity

Pratap Bose speaks directly when he describes the crossroads faced by Indian automotive designers. “You can create Indian cars that sort of are almost an apology for being Indian or you can create cars that were proudly Indian, confidently Indian, as good or better as anything else you find in the world.” This represents more than a matter of style; it’s a mindset shift that challenges decades of design tradition. For much of its history, Indian automotive design was informed by a sense of catching up, of blending in with global trends rather than setting them. But Bose’s approach is to flip that narrative, creating vehicles that are unmistakably Indian in spirit yet world-class in quality.

What sets his philosophy apart is an insistence on substance over superficiality. Bose warns against the temptation to rely on obvious or stereotypical motifs to signal “Indianness.” He points out, “It’s not about painting something yellow, even though everyone says India is such a colorful country. In vehicles, it’s white and silver. That’s it.” The challenge lies in understanding why certain cultural elements resonate and how they can be woven seamlessly into a product’s DNA, rather than tacked on as afterthoughts. The result? Cars that exude confidence and authenticity, resonating just as deeply with global customers as with Indian ones.

The Designer’s Dilemma: Navigating Cultural Identity at Home and Abroad

Bose’s insights stem from personal experience rather than theory alone. He recounts a pivotal moment during his stint at the Mercedes-Benz advanced design center in Japan. As a designer steeped in Indian culture, working for a German brand in Asia, Bose found himself grappling with the question: Was his work “German enough?” The pressure to conform to a brand’s national identity can be immense, especially in globally recognized companies where heritage is both a strength and a creative constraint.

This anxiety, Bose explains, is a microcosm of a broader challenge faced by designers everywhere: how to honor the DNA of a brand or culture while avoiding cliché or appropriation. The temptation to “rely on stereotypes” is real, particularly when time is short and expectations are high. But Bose’s career is a testament to the power of pushing past these easy answers. By confronting these dilemmas head-on, he’s learned that the most meaningful design happens when you move beyond surface-level decisions and dig into the deeper narrative and values that define a brand or culture.

Heritage Over Hype: How Brand Provenance Shapes Authentic Design

One of the most nuanced sections of the conversation addresses the difference between brand ownership and provenance. “Jaguar Land Rover is Indian-owned, it remains a British company, and Volvo, owned by Geely, is still Scandinavian,” Bose explains. For him, Mahindra’s identity is bound up in its Indian heritage, but authenticity comes from embodying the company’s role in India’s growth and nation-building, letting those values naturally infuse every design decision.

This perspective is especially relevant in an era when multinational ownership blurs the lines of national identity. Bose is adamant that authenticity has more to do with a brand’s intrinsic values than with overt symbols or marketing campaigns. “It is more important for products to reflect the brand’s intrinsic values rather than superficially representing its country of origin,” he notes. For Mahindra, this often means letting Indian identity emerge organically, rather than forcing it; an approach that, ironically, makes the connection to home all the stronger.

Breaking the Mold: How Local Context Drives Global Innovation

India’s automotive market is famous for its unique challenges, most notably the sub-four-meter tax rule that incentivizes compact vehicles. Many see such regulations as obstacles, but for Bose, they are opportunities for innovation. “India’s unique market conditions, such as the sub-four-meter tax rule, have spurred innovation, leading to the creation of vehicle types (like sub-four-meter sedans) that are unheard of elsewhere and pose significant design challenges.” These constraints have forced designers to rethink proportions, engineering, and even the very definition of what a car can be.

This drive to solve for local realities often results in products that are better suited to India and surprisingly relevant to global markets as well. The process of working within and around these constraints becomes a crucible for creativity, pushing Indian designers to develop solutions that are both original and exportable. For Bose, this is the real magic of designing in India: “What works for India usually works in global markets, but it’s not the other way around.”

Beyond Stereotypes: Building Authenticity Through Collaboration

Bose is a vocal advocate for collaboration as a path to authenticity. He describes his partnership with South African designer Thula Sindi as a model for how cross-cultural projects should be run: by working side by side to truly understand and express the local context, rather than applying familiar patterns or motifs. “Collaborating with local designers creates authentic products, which is much more meaningful than superficially applying cultural stereotypes, such as zebra prints or misusing traditional designs like the Kolhapuri chappal,” he says. The key, he believes, is to capture the “essence” of a culture, which is often felt rather than seen.

This approach extends beyond aesthetics. Bose points out that a German car’s “solid engineering feel” or the “sense of British luxury” in a UK-made vehicle are less about explicit references and more about the deep-seated values and craft that define those cultures. By focusing on these intangibles, designers can create products that feel authentic to both local and global audiences, celebrating cultural richness while sidestepping the pitfalls of appropriation.

The New Measure of Success: Designing With Cultural Intelligence

In the automotive world, every detail is loaded with cultural meaning, from the curve of a panel to the color of the paint. Bose insists that the only way to navigate this complexity is with cultural intelligence: a deep, ongoing engagement with the communities and histories that shape the market. “How authentic are you being, versus how superficial is something in its appearance. Authenticity is what culture truly is. And if you respect that culture and want to be authentic, then I think that’s top of mind,” he says. For Bose, the question centers on what something means and how it fits into people’s lives, rather than just what it looks like.

He encourages designers, whether in automotive or any creative field, to “research the roots, understand the meaning, engage with the communities, immerse yourself there and always ask whether your work contributes to the cultural appreciation or is just an extraction.” This mindset represents good ethics and good business, driving lasting connections and global success for brands that dare to go deeper.

Tune in to Design Mindset every Friday for more conversations that challenge, provoke, and inspire, showcasing the world’s top designers as they redefine what it means to create with purpose, passion, and a deep respect for culture.

The post Cultural Neutrality is Dead: Why Pratap Bose Says Cultural Intelligence is the Future of Design first appeared on Yanko Design.

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coperni releases C+, a series of regenerative clothing infused with probiotics and prebiotics

Coperni’s regenerative clothes C+ has probiotics

 

Skincare within regenerative clothing defines Coperni’s C+, a series of everyday wear infused with probiotics and prebiotics. Capable of restoring the skin’s microbiome, each garment contains living microorganisms that interact with the skin during wear, support the skin’s natural balance and help it repair itself over time.

 

The C+ line includes a bodysuit, a top, and leggings, all of which are made using a biobased fabric that holds a special treatment called HeiQ Skin Care. This treatment was developed together with HeiQ, a textile technology company, by adding a mix of probiotics and prebiotics to the material. Probiotics are live microorganisms embedded into the regenerative C+ by Coperni, and prebiotics are nutrients that help those microorganisms grow.

all images courtesy of Coperni

 

 

Fabric that ‘releases’ microbiome for skin hydration

 

Inside each thread of the textile is a bio-based matrix, which acts as a storage layer for the probiotic and prebiotic ingredients. This layer protects the microorganisms until the clothing is worn. When the fabric touches the skin, body heat, friction, and movement start a slow process of release. The microorganisms transfer from the textile surface to the skin’s surface through this contact. This process supports the skin’s microbiome, the layer of natural bacteria that protects the skin from irritation and damage. The clothing also supports the wearer’s hydration and skin protection. When the microbiome is balanced, the skin keeps its natural moisture and stays protected from dryness. 

 

The contact between the C+ garments and the skin then activates this microbiome care system throughout the wear. The release process is gradual and invisible, and it starts as soon as the fabric touches the body. The brand says that each C+ piece is made from a light biobased textile to fit closely to the skin to make sure the contact is constant. The textile of the regenerative C+ by Coperni is also stretchable to allow for full movement without interrupting the infused probiotics and prebiotics. So far, the active ingredients remain effective for at least 40 washing cycles, and after that, the effect of the microorganisms is less than when the wearer first bought the outfits. 

skincare within regenerative clothing defines Coperni’s C+

the C+ line includes a bodysuit, a top, and leggings

probiotics are live microorganisms embedded into the regenerative C+ by Coperni

inside each thread of the textile is a bio-based matri

when the fabric touches the skin, body heat, friction, and movement start a slow process of release

the active ingredients remain effective for at least 40 washing cycles

 

project info:

 

name: C+

brand: Coperni | @coperni

textile: HeiQ | @heiqmaterials

The post coperni releases C+, a series of regenerative clothing infused with probiotics and prebiotics appeared first on designboom | architecture & design magazine.