Get ready to dive into the future of footwear with Nicoline, the driving force behind Footwearology! From early trend forecasting for top sneaker brands to launching a footwear innovation platform that’s shaking up the industry, Nico shares her journey and vision for sustainable, localized, and tech-forward footwear production. Join us as we explore how she’s inspiring brands to rethink everything from design to supply chain. This is a conversation you don’t want to miss!
Hello Nicoline and welcome to Seamless – it’s lovely to be catching up with you today! For those in our community who don’t know you, please tell us a bit about who you are and about your professional history to date.
Thanks for having me! Well, my name is Nicoline – though most people call me Nico – and I’m originally from the Netherlands, though I’ve been based in Barcelona for the past three years. It’s safe to say that I’m a true footwear fanatic! My passion for shoes started when I was younger and worked in retail; I was assigned to the footwear department and something just clicked for me there that shoes were my calling. At the time, there weren’t any formal footwear programmes in the Netherlands, except for traditional shoemaking, which didn’t quite match my interest in machine-driven processes. So, I took matters into my own hands; I studied Apparel Technology & Engineering but focused all my coursework on footwear, eventually inspiring a specialised footwear study track for myself and others with the same interest.
At the beginning of my career, I dabbled in journalism and always had a love for writing and communication. By chance, I landed in trend forecasting, leading a government-supported institute in the Netherlands. This was in the early 90s, and at that time, sneaker culture was just beginning to rise; I was the first to do trend forecasting for sneakers, which quickly drew the attention of some of the American brands with headquarters in the Netherlands, including Nike, Reebok, and K-Swiss. This led to me establishing my own forecasting company in 2000 and I eventually landed a consulting role with Timberland.
Working with Timberland’s Sustainability and Innovation department was an eye-opening experience. They were pioneers in sustainable footwear, and it was there that I first saw a 3D printer in action back in 2001, which was unheard of at the time. This led to my interest in new technologies, and I began forecasting tech trends and working closely with innovation teams to visualise samples.
From there, I started doing more work in Asia – first in Korea, then Japan, Hong Kong, and China. I found myself increasingly drawn to the manufacturing side of things, which eventually led me to work with companies in developing new production technologies. My first teaching role then came when I was invited to lecture at Hong Kong Polytechnic University; I enjoyed it so much that I eventually shifted more of my focus to education and, later, started my own Master’s program in the Netherlands dedicated to footwear innovation. It was an intensive course across the Netherlands, Italy, and China, and it became well-regarded for preparing students for roles in top companies, including Nike’s Innovation team.
However, the programme faced challenges due to its location in a small town, where there was resistance to the international influx of students. Sadly, after a few years, I decided to close the school and, in 2017, launched what was initially called Footwearists, now rebranded as Footwearology. Though I had planned to move and open a branch in Vietnam, with the COVID travel restrictions in place at the time, Barcelona made more sense. It’s close to several key manufacturing areas, and we received a lot of interest there from companies seeking support to localise production and to adapt their designs for local manufacturing. So, for now, Barcelona is home, and it’s proven to be an excellent base for me to continue my work!
Quite the journey so far! Can you share a little more with us about what you do at Footwearology?
Yes, of course: Footwearology is an innovation platform, first and foremost. Though many see it solely as a school, training is just one part of what we offer. In fact, around 60% of our work is dedicated to our own R&D and consulting projects, which often operate under NDAs, so they aren’t always publicly visible. This R&D and consulting work forms a significant portion of our business and allows us to drive forward our mission: transforming the entire footwear supply chain from the inside out.
Our core mission is to reimagine footwear production from beginning to end, with a focus on making it more sustainable, localised, and adaptable.
We aim to shift the model toward on-demand, local-for-local manufacturing with options for customization, and to integrate end-of-life systems into footwear designs from the very start. This approach enables a more circular and responsive supply chain, one that’s ready for the challenges and expectations of the modern consumer.
To achieve this, we work across three main areas: consulting, in-house R&D, and education. Our consulting and R&D projects allow us to develop innovative solutions directly with brands and manufacturers, while our educational programmes focus on professional training. It’s important to note that our education isn’t for students just entering the field; we work exclusively with professionals – those already in the industry or who have completed their studies elsewhere and want to deepen their expertise. Through this combination we aim to help shape the future of footwear in a practical and impactful way.
A big and important mission! Given your experience, what have you found to be the 3 biggest barriers the industry stumbles over when it comes to meaningful innovation and sustainable action?
The first barrier is mindset, wherein lies a fundamental misunderstanding. Many in the industry view sustainability as a materials issue, focusing on low-carbon or plant-based materials while keeping the rest of the supply chain the same. But the real issue lies in the supply chain itself.
For example, companies may produce mushroom-based materials locally, only to ship them to Asia for production, which largely offsets any sustainability gains.
True innovation would involve rethinking the entire supply chain, end to end.
The second barrier is the industry’s obsession with “newness”. When companies ask me about the most sustainable material, my answer is always the same: it’s the material you already have. Many brands are so focused on creating new designs each season that they overlook the potential in existing materials and resources. A powerful example of this is a sustainability training I conducted with PVH, where I challenged the designers to create a collection without opening any new molds. They discovered they could achieve a fresh look by simply adjusting colours and uppers, resulting in significant cost savings and a lower environmental impact.
This shift away from constantly creating “new” requires a change in how brands think about design and innovation, allowing them to channel saved resources into sustainable materials instead of new tooling.
The third barrier is around durability expectations and the disconnect with a product’s actual lifespan. Often, new bio-based or biodegradable materials face scrutiny because they don’t meet traditional durability specs, like lasting for a decade or being 100% waterproof. But many fashion products are discarded within a year, so demanding that sustainable materials meet these specs is often counterproductive. For example, natural latex may degrade after a few years, which is actually a benefit – it’s compostable. But we need to change the narrative around these materials, especially with investors and consumers, to align expectations with realistic usage durations rather than forcing products to last far longer than their intended lifespan.
And I know you only asked for 3, but here’s a 4th for fun: the biggest hurdle is the industry’s outdated business model. Everything is set up for large-scale production, primarily in Asia, where products are made in bulk and sold from stock. This model doesn’t work if we want to avoid overproduction and embrace on-demand manufacturing. Technologies like 3D printing and knitting are ready to support on-demand production, but the infrastructure for retail and distribution is not there yet.
Without a shift in the business model toward on-demand and local production, even the most advanced sustainable technologies will struggle to gain traction. Sadly, too many big players are invested in the status quo, making this a challenging change to drive across the industry.
Video: Nike embracing 3D printing with Zellerfeld
Flipping that question on its head, what are 3 ‘low-hanging fruit’ actions a Brand could take NOW to become more responsible in the short-term?
The first is to establish a policy change within the design process. Surprisingly, many brands don’t have a mandate requiring designers to first evaluate existing resources – whether that’s tooling, lasts, or molds—before creating something entirely new.
Making it standard practice to check if existing assets can be repurposed is a simple procedural shift, but it can have a huge impact on reducing waste and saving costs.
Second, brands can adopt modular tooling. In footwear, tooling, especially for soles, is a major investment both financially and environmentally. A modular approach – designing molds that can be adapted to create multiple sole variations – allows brands to get more creative use out of a single mold. Imagine having a mold that can be rearranged to produce several distinct sole designs simply by changing colours or minor elements. This approach extends the lifespan of tooling, enabling brands to create diverse collections from a single mold and reduce their environmental impact significantly.
Lastly, diversifying production locations is a practical move not only for sustainability but also for risk mitigation. For example, if another pandemic or a geopolitical issue disrupts supply chains, brands that have established production options closer to home will be in a better position. However, this shift also requires a mindset change in design; products meant for local production need to be adapted for those conditions to remain cost-effective. When brands attempted to move production from Asia to Portugal during COVID, for example, they often found the original designs weren’t optimised for the higher labour costs in Europe. So, designing with local manufacturing in mind – streamlining to minimise labour-intensive steps – is key to making this a viable option.
These three steps, I believe, are low-hanging fruit that can make a significant impact on a brand’s sustainability and resilience.
We love a bit of practical advice here at Seamless – I hope the readers are taking note. You are always vocal about the need to push boundaries in design and manufacturing – what are some of the most boundary-pushing projects you’ve been a part of?
There are a couple of standout projects that come to mind that truly embody innovation in design and manufacturing.
One of the most exciting projects I’ve worked on is with a company called ‘What the Future’, based in Amsterdam. They’ve developed a groundbreaking machine that combines 3D printing and vacuum technology to create a unique molding process. On top of that, they specialise in natural rubber chemistry, creating new plant-based compounds that make fully sustainable, locally-produced footwear possible. Together with them and a company called SYOU, we developed a sandal that can be manufactured entirely in Amsterdam. This project represents a major leap forward in sustainable, local production, but it’s also a reminder of the time and dedication these innovations require. We started collaborating on this in 2016, and developing a new process from scratch can take years to refine.
That being said, it’s important to remember that it took a century to optimise traditional molding, so a decade to perfect a new technology isn’t surprising.
Another boundary-pushing project I’m deeply invested in is NEFFAs Mycotex technology, a personal initiative. With Mycotex, we’re creating 3D objects entirely from bio fabricated materials – think mushrooms, algae, and collagen – all produced through a robotic system. This method allows for fully 3D, seamless, natural products that require no traditional assembly, fundamentally disrupting the supply chain in the best way. It’s incredibly rewarding to see a project that reimagines the entire manufacturing process with sustainability at its core.
These two projects are not only technologically advanced but also signal a shift toward more responsible, localised, and sustainable manufacturing practices, which, as I’ve mentioned, I believe are essential for a more responsible future for our industry.
Video: The sandals fully made in Amsterdam for SYOU with 3DTI technology
We’ve touched upon this a little, but I’d love to know which technologies you think have the most immediate potential to better the footwear value chain? And on the flip side, which you’re less enthusiastic about, and why?
This is an exciting time for technology in the fashion industry, and I see several innovations with immediate potential to improve the fashion value chain. At the top of the list is AI, which has massive potential but also comes with significant risks. AI, if leveraged correctly, could connect multiple data streams – from foot scans and consumer preferences to supply chain data and material inventories. This level of connectivity would enable brands to better understand customer needs, optimise fit, and make smarter, more sustainable decisions based on real-time data.
However, there’s also a danger with AI being used to push fast-fashion models further, speeding up production without necessarily addressing the underlying sustainability issues. Simply generating designs and producing them quickly doesn’t solve the larger problems; in fact, it may exacerbate them.
Another promising area is automated manufacturing with liquid materials, especially in footwear. We’re seeing exciting developments with thermoplastic polyurethane (TPU), which can be extruded into different forms – yarns, filaments, and liquid compounds for injection. Machines that can handle various forms of these materials could open up endless design possibilities while also supporting recyclability and reducing waste. Projects like Neri Oxman’s PHA shoes, which use extrusion to create both the yarn and outer shell, show just how powerful this approach can be.
Liquid materials and automation, when combined, could reshape manufacturing and allow for more flexible, localised production.
On the other hand, one of my biggest concerns with these technologies is the impact of patenting. Larger companies are patenting methods broadly, often without using them, effectively blocking others from innovating. For example, companies are patenting processes like direct 3D printing on textiles or socks, which limits access for other creators and stifles progress. The power of large corporations to control entire manufacturing methods through patents is a serious barrier to innovation. If this continues, we risk limiting the creative potential of new technologies, especially in areas like automated manufacturing with liquid materials.
Ultimately, I believe the true potential of these technologies will only be realised if we can create a more open, collaborative landscape where innovations aren’t monopolised.
To move forward, the industry must adopt intelligent systems and automation responsibly, focusing on true sustainability and inclusivity rather than just speed and scale.
Video: The Oᵒ PHA shoes by Neri Oxman
Well said! Do you think that since COVID restrictions were lifted, investments in innovation and digital initiatives have seen a decline?
Ah – sadly, yes! But look, it’s a pattern we’ve seen before; when financial pressures hit – whether from a recession, inflation, or post-pandemic recovery – companies often view innovation as an extra rather than essential. Many firms, particularly outside the largest players, don’t even have dedicated innovation departments. Often, innovation or sustainability is left to a single person, which makes it difficult to drive meaningful change, especially when budget cuts hit.
The unfortunate reality is that many companies only prioritise innovation under extreme circumstances, like legislative pressure or a disaster.
We’re seeing this play out now in Europe, where regulations like Extended Producer Responsibility (EPR) are pushing companies toward more sustainable practices. But without that kind of external push, companies tend to revert to business as usual, as we’ve seen historically. I’m not optimistic that the majority will pursue innovation unless it’s absolutely necessary.
However, I do think there’s potential for innovation from outside the traditional industry players. Tech giants like Amazon, or Alphabet, with their financial resources and access to data, could potentially bring fresh innovation to fashion, particularly in digital and data-driven areas.
Additionally, manufacturers and machinery companies are showing promising signs of innovation. Companies like DESMA, a major player in footwear molding machines, have been exploring how to enable more localised production. For them, it’s about expanding their market and building resilience; they suffered alongside brands during the pandemic due to lower machine sales, and they now see the strategic benefit of localising production.
In my view, the most impactful innovation will likely come from collaborations between material suppliers, software developers, polymer specialists, and machine builders.
These players hold the keys to developing technologies that could transform manufacturing, enabling local, efficient, and sustainable production. So, while yes, it might be that traditional brands are pulling back, there’s still exciting innovation happening among those with the tools to truly reshape the industry.
Video: New molding technologies, like What the Future´s 3DTI, make tooling faster, cheaper and circular
We’ve talked a lot about the need to change up business models and I wanted to get your views on what Shein is doing. They get a lot of grief for the way they operate, but I see there being a lot others could learn from them also. What’s your take?
I’m wearing a Shein top as we speak – haha! Look, I have mixed feelings about Shein’s approach. On the one hand, I understand why they receive criticism, and in many ways, I share those concerns. The low prices they offer make it nearly impossible to prioritise durability, non-toxic materials, or ethical production standards. However, as a consumer myself, I also see why people turn to them. Personally, being tall and curvier, I often struggle to find trendy, streetwear-inspired clothing that suits my style from sustainable brands. I’d happily pay more for higher quality and better-made options, but those choices just aren’t widely available in sustainable fashion.
One thing Shein does exceptionally well, which other brands could learn from, is their use of data. They understand what consumers want in real-time, analysing buying patterns to fine-tune product offerings.
They also recognize that fashion isn’t just for younger demographics – people of all ages want access to modern, stylish clothing. I think this insight is particularly strong, especially when so many brands still cater to narrow ideas of what consumers of different ages should wear.
Another smart move they make is producing smaller runs and then scaling up based on demand. This approach minimises overproduction and waste, something that would benefit many other companies if applied thoughtfully.
Their model of iterating based on immediate consumer feedback is incredibly responsive and could help reduce the industry’s overall waste if adapted responsibly.
But as I said, where I think Shein falls short is in their insistence on ultra-low pricing. This pricing structure fundamentally limits their ability to produce responsibly. If they were to invest in better materials, ethical labour practices, and sustainable production methods, I think they could keep their innovative business model and truly lead the way in the industry. In fact, if Shein approached me to help them improve their practices, I’d be open to it – there’s a lot of potential in their model if they’re willing to make some changes.
Ultimately, while Shein’s model raises concerns, it also highlights gaps in the market. Their data-driven insights, responsive production, and broad consumer appeal are things the industry could learn from, but only if paired with a commitment to ethical and sustainable standards. In the right hands, this model could actually drive meaningful change.
As you’ve said is the case with AI, there is a lot of powerful and sustainable potential there, it just needs to be deployed responsibly – thanks for your take! I recall at a past PI Apparel event, you coined the phrase ‘produtainment’ which has always stuck with me. Can you elaborate on what you meant by this and is this still a focus for you?
I’m glad I made a lasting impression! The concept of “produtainment” has actually evolved for me over time. I first discussed it in Hong Kong, drawing on an idea introduced by Christian Decker, the CEO of Desma. He and I have always had an ongoing debate about what produtainment should mean. For him, the concept was about making production visible and engaging in-store – essentially bringing the factory floor to the consumer. But I always felt there was more to it. Simply watching a product being made might intrigue consumers once, but over time, they may find it less impressive, especially if they realise the process is highly automated and quick.
One example is the Yeezy 450, a shoe that takes only 16 minutes to make from start to finish but retailed at $200+. While seeing a rapid production process might fascinate a consumer the first time, it may raise questions later about the product’s value and the labour that goes into it.
Time and value are inherently linked in consumers’ minds, so it’s essential to add entertainment elements to enhance that experience.
This could mean adding storytelling, design customization, or interactive elements, rather than just showcasing the raw production process.
I’ve recently seen the produtainment concept applied in interesting ways, like ON’s live spray-painting installation for their shoes. While this is exciting and innovative right now, it could easily lose its appeal once the novelty wears off. Long-term, I believe we need to look beyond in-store manufacturing and explore how to make local factories engaging, attractive workplaces. For example, I once visited Variant 3D’s knitting factory located on a beautiful ranch in Malibu. Imagine how appealing such a setting could be for potential workers, offering an inspiring environment while maintaining the functional aspects of manufacturing. If we want people to embrace local manufacturing jobs, these places need to be inviting and dynamic spaces.
I also think produtainment has untapped potential in the entertainment industry. We’re only just beginning to explore how media channels like YouTube, TikTok, and Netflix can promote, educate, and even directly sell products. In the future, I can see a much deeper connection between local manufacturing and entertainment, creating unique consumer experiences that blend production, storytelling, and retail.
In retail specifically, there’s still so much room for improvement in making the shopping experience more engaging. For instance, I believe robot arms used for in-store production could be programmed to perform multiple roles – like, I don’t know, building a shoe one minute and playing a tune the next – creating a more captivating atmosphere. If we want physical retail to compete with online shopping, we need to offer consumers something truly memorable and immersive rather than just a basic display of the manufacturing process.
Ultimately, produtainment is about making production processes more interactive and enjoyable for consumers and workers alike, whether that’s through local manufacturing or transforming retail spaces into engaging experiences.
As an avid brick and mortar shopper myself, I’m a big fan of introducing more in-store experiences; I find the whole thing feels like a chore a lot of the time. I remember you also talking a lot about customization; do you see that still being as popular now as it was maybe 5+ years ago?
I think there’s a lot more nuance to customisation than many brands realise; I’d love to see some solid research in this area. We often assume that customised products lead to greater attachment, and therefore, people keep them longer. But we don’t actually have strong data to support that. Plus, the type of customization on offer matters a lot. Many companies seem to approach it in a very limited way, assuming that true customization requires direct interaction with the consumer, like letting them design or personalise the product themselves.
In my view, it doesn’t need to be so literal. I see a lot of potential in what I’d call “generative customization” or “each-one-unique” design. For instance, Nutella’s campaign where every jar had a different label is a brilliant example – it added individuality without requiring consumers to customise anything themselves. At Footwearology, we tried something similar by creating a unique booklet for each event visitor using AI-generated suggestions. Similarly, luxury brands could offer slightly varied design elements within a product line, so each item feels unique without deviating from the brand’s core aesthetic. Imagine a classic Gucci loafer where each pair has a subtly different metal accent – consumers love the idea of exclusivity, especially in luxury, but they still want that recognisable brand look.
Another great example is from Vans, which I remember speaking to Safir Bellali about at one of the PI Apparel events years ago. Vans allowed customers to print anything they wanted on their shoes, and they quickly discovered that personalization often just meant adding images of pets, partners, or personal slogans. This kind of customization felt more like a gimmick, and it lacked the cohesive brand style. Vans later refined their approach by curating options, allowing consumers to adjust elements like colour within a specific palette. This ensured that the final product still looked polished and true to the Vans brand, but gave customers the satisfaction of making it their own.
I think that’s the direction brands should be moving in – offering curated customization that gives consumers a sense of ownership while maintaining brand integrity.
Most consumers aren’t looking to design from scratch; they simply want something that feels unique to them without all the hassle. I also see promising potential for customization when it comes to fit, especially as we collect more data on sizing and body types. However, we’ll need more than just a foot scan to get it right. There’s a lot of room to explore this further, but it’s clear that customization should be more about making products feel personal and tailored rather than asking consumers to do the heavy lifting themselves.
Sadly, we are out of time so I’ll end with this: I am so excited to be attending your Footwearise 2024 event in Barcelona in December. Can you tell our audience a bit more about what you have planned?
Absolutely – this event has quickly become a significant milestone for us at Footwearology. We initially started it last year with a focus on 3D printing for footwear, but the demand and interest grew so rapidly that we expanded it to cover a wide range of forward-thinking technologies across the industry. It was clear that there was a real need for an event dedicated to new innovations and technologies that traditional trade shows weren’t covering – particularly in Europe, where existing shows often overlook areas like advanced printing, digital knitting, and sustainable material sciences. Our inaugural event was a huge success, selling out with over 300 attendees, and this year we’re excited to grow even further.
Footwearise 2024 aligns closely with our mission to revolutionise the footwear supply chain from end to end. This year’s event will feature experts across the entire lifecycle, including automation, material innovation, and end-of-life solutions. We’re thrilled to host a dynamic mix of companies – both well-known brands, as well as high-tech startups and independent designers.
What makes Footwearise unique is its focus on community and collaboration.
This isn’t a traditional trade show where people hand out brochures in stark, white booths. Our setup is much more vibrant and open, designed to encourage real conversations and connections.
A key aspect of Footwearise is our daily networking sessions, where we pause the exhibitions and encourage everyone to step up and connect. This setup fosters valuable interactions not just between exhibitors and visitors, but also among exhibitors themselves. Many of the partnerships that emerged last year, such as the Future Footwear Department project, were born from these interactions. That’s exactly what we aim to facilitate: an environment where attendees can spark new collaborations, share insights, and explore potential partnerships that extend far beyond the event.
At Footwearise, our focus isn’t on sheer visitor numbers, but rather on the quality of connections made and the long-term results. We actively introduce attendees, knowing their backgrounds and needs, and work to help people find those perfect connections. Our goal is to accelerate innovation, creating an atmosphere that encourages genuine collaboration and tangible results. By the end of the event, we want to see relationships forming that will lead to meaningful projects and advancements in the industry.
It’s incredibly fulfilling to see Footwearise evolve into a place where ideas come to life and real change is set in motion. I can’t wait to see what this year’s event brings, and we’re excited to welcome everyone who’s joining us in Barcelona! Tickets are still available too, so if you fancy a trip to Spain in December, come along!
Thank you so much for your time today Nico and I look forward to catching up with you in Barcelona in a couple of weeks! For our readers, Nico will be attending and presenting at our inaugural Footwear event, Stride 2025, in Portland next year, about which you can find more information via the image link below 🙂
Have any questions or comments? Pop them in the comments section below and we’ll come back to you!
