Piero D’Angelo is a Fashion, Textile, and Bio—designer based in London who is exploring how biotechnology could shape the future of fashion. Piero D’Angelo studied Textile Design at Central Saint Martins and Fashion Womenswear at the prestigious Royal College of Art. His work is a new definition of Couture, where users can grow their outfits and wear living organisms, an innovative perspective that merges design, art, science, and technology.

LUCIJA ŠUTEJ: What does the concept of bio couture mean to you?

PIERO D'ANGELO: Bio couture was coined by Susan Lee and I have worked on my project, Grow Your Own Couture, which fits into this concept. The term "bio" connects to bio-design and biotechnology, while "couture" brings intraditional design skills—fashion, textiles, and art. It’s about merging these two fields. Couture, as you know, represents high fashion, and it’s often the most creative part of the fashion world. It's not just about creating wearable clothes but about artistic expression. I’ve always been drawn to that side of fashion—the artistic side, rather than the purely functional one. For me, fashion is about telling stories, expressing themes, or sharing ideas through clothing. The garments might not always be wearable, but they serve as an artistic medium. So for me, bio couture merges the art of fashion with the science and innovation of biotechnology.

LŠ: Were you always drawn to combining science and fashion?

PdA: Yes and it goes back to my days in Rome, working as a costume designer - drawing inspiration from designers like John Galliano. Galliano, Alexander McQueen, and Iris van Herpen are incredibly innovative. Their clothes are art, where each piece has a profound meaning and were often not intended to be worn in everyday life, but instead, they conveyed an idea. I’ve always believed that fashion should be about innovation and self-expression rather than just making functional clothes. As I studied textiles at Central Saint Martins, I found myself focusing more on the material itself—on textures and details—rather than the final shape of the garment. At that point, science hadn’t yet entered my work, but I was always driven by innovation. Toward the end of my studies, I came across bio-design and I discovered Susan Lee’s work which I found very inspiring.

LŠ: In those early stages, was your focus and inquiry on bio-design drawn from an aesthetic perspective?

PdA: Yes, in the beginning, it was largely aesthetic. It was truly through the Royal College of Art, that I had the space and time to really dive into bio-design and understand the field. It was there that my mindset shifted, and I applied new knowledge to fashion. However, my fascination with science and technology has always been there. As a child, I was mesmerized by experiments. Something that seemed like magic often had a scientific explanation behind it. That sense of wonder around science has always intrigued me.

LŠ: What were some of the first materials you researched and grew?

PdA: My first project at the Royal College of Art was Grow Your Own Couture, where I began experimenting with lichens. At the time, I didn’t fully understand all their properties, but I knew they were special. Lichens are actually symbiotic organisms, created when algae or cyanobacteria and fungi come together. One of the most fascinating properties of lichens is their ability to absorb pollutants like nitrogen and carbon dioxide and metabolize them into less harmful substances. I thought, "What if we could create garments using this organism? What if the wearer could purify the air around them simply by wearing the garment?”

LŠ: Why lichen specifically?

PdA: It’s a bit of a funny story. I remember one day coming across a piece of wood with lichens growing on it. I was fascinated—I'd known about lichens, but seeing them in nature like that was something different - they’re so beautiful and colorful, and their surface caught my attention. As I entered the field of bio-design, I recalled that moment and thought, “This could be an interesting avenue to explore.” The more I learned, the more I realized that lichens have incredible properties, like their ability to absorb pollutants. That really fascinated me and it became a starting point, from where my curiosity led me to explore the potential of bio-design.

LŠ: The concept of pollution-absorbing garments is fascinating. Have you received any feedback or made any discoveries that have further shaped this idea?

PdA: Yes, there’s been a lot of interest in this concept, especially given the growing awareness of pollution and environmental issues. The idea of creating garments or even architectural structures that can purify the air is something that people find incredibly compelling. There’s a lot of potential here, and as people begin to see the viability of this idea, I believe it could open up new possibilities for sustainable design.

*Grow Your Own Couture, photo by Laureen Missaire.*

*Grow Your Own Couture, photo by Rhys Votano.*

LŠ: With bio-design becoming a significant field, how have you seen it evolve, especially in the last decade?

PdA: Yes, it's been incredible to watch bio-design grow. While it’s still a relatively niche area, there’s been a noticeable shift in how much interest it's attracting from designers, scientists, and even the general public. What’s exciting is that people are starting to realize the potential of bio-design to create products that not only serve human needs but can also have a positive impact on the environment. There’s a growing focus on developing sustainable materials and solutions.

Over the years, there’s been a rise in bio-design-related education too. For example, Central Saint Martins now offers a bio-design course, and the Royal College of Art has set up a lab for it. When I was at the Royal College, there was no such lab! I had to set up my own makeshift workspace—a large tent in the studio—where I worked with slime mold (laugh).

LŠ: The trial-and-error approach must have accelerated your learning.

PdA: Absolutely! The lack of a controlled lab environment pushed me to be more resourceful and creative in how I approached my projects. But I’m also really fascinated by the early stages of bio-design, where you don’t need a full lab setup to start experimenting. For example, with organisms like mycelium, you can begin working on it at home, especially in its early stages. Of course, you need to maintain a sterile environment, but it’s much less demanding than what you’d find in a lab.

I find these early steps—where you begin to interact with the organism and understand its properties—so fascinating. It’s almost like going back to the root of the idea before it turns into a finished product.

LŠ: That’s a great perspective, especially in making bio-design more accessible to everyone. Which artists or designers have provided new perspectives or knowledge to your work?

PdA: One of the most influential figures for me has been Susan Lee, particularly her BioCouture project, where she grows fabric from kombucha. I also admire Neri Oxman and her studio’s approach. She blends design, science, and technology seamlessly. What I particularly love about her work is the project-based focus. I don’t necessarily want to have traditional collections released every season. Instead, I see myself focusing on individual projects or smaller capsules, similar to Neri’s approach. It’s less about fast fashion and more about developing ideas with depth and purpose.

LŠ: You also mentioned working with moss.

PdA: Yes, I’ve been experimenting with mosses, observing how they grow, particularly on my balcony. (laugh) It’s slow, but I’ve seen them thrive in certain conditions. I’ve even tried growing moss on fabric. It’s a process that requires patience -several months- but it can grow almost anywhere.

LŠ: How does this compare to slime mold?

PdA: Slime mold grows much faster. Under optimal conditions, it can grow up to a centimeter per hour! For one of my projects, I used slime mold pigments to dye fabrics. I created a controlled environment for it, harvesting the pigment from large storage boxes.

LŠ: Sounds like you have a pet. (laugh)

PdA: Yes, it’s similar. You have to care for it and make sure conditions are right. I even change their "beds" once a week to keep them healthy. (laugh)

LŠ: I am intrigued - what’s the lifespan of slime mold?

PdA: You can control it to some extent. There are different stages—like a dormant dry stage when it doesn’t get enough light, humidity, and food, and a reproductive stage when it creates spores. It doesn’t die but transforms. However, it can be dangerous if someone is allergic in its final stage if the spores spread and inhaled.

LŠ: Do you plan to expand your work with biotech companies?

PdA: I recently worked with a biotech company called Pneuma, they have created a fiber that contains living cells of algae. The fibers absorb CO2 and release oxygen, which is fascinating. I have created a Couture piece with their material and we are still collaborating on a commercial piece. It’s all about caring for the materials, which ties into sustainability.

LŠ: So, what’s next for your work?

PdA: I’d love to continue exploring the intersection of bio - design and sustainability. At the moment, I’m working on a project called CIRCULART, organized by the Fondazione Pistoletto in Biella. In collaboration with Italian textile companies, I’ll be creating an outcome that explores circularity in fashion. It’s a great project, as collaborations have always been at the heart of my work, and I’m always open to new ideas that push the boundaries of what’s possible in fashion.

PIERO D’ANGELO

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