The trouble is: mainstream materials such as plastics are still so desirable. They’re manufactured to be spotless, pristine and flawless, capturing luxury in an instant. The outcome of 70+ years of designers learning how to use plastics, metals and new finishes. Perfection is still the rule of the day. That’s why virgin plastics and others have such a hold on us; it takes a real mind shift to move away from the steady supply of predictable, high-quality and optimized virgin materials that we have become so used to.
One of the big trends in sustainable materials over the last few years has been speckled aesthetic. Whether from natural fibres or inorganic filler waste, these effects push material storytelling in a better direction. Not only do they celebrate the recycled or bio-based origin of the material, but they also create one-off, unrepeatable aesthetics, giving each product a unique fingerprint tied to its sustainability story.
Several brands, including key players in the automotive industry, have started to embrace this new aesthetic at scale, working closely with material suppliers to develop innovative recycled grades that make sustainability visible. A notable example is the Volvo EX30, which features speckled door panels and upholstery from recycled materials. These distinctive textures have become a defining element of the car’s interior design, earning the EX30 multiple award including the prestigious Red Dot ‘Best of the Best’ Award 2024.
Similarly, Dacia, in partnership with LyondellBasell, has introduced speckled plastic components across its vehicle interiors, using post-consumer recycled content. These finishes bring a sustainability-driven aesthetic to cars, making the material’s recycled origin visibly clear - a deliberate shift away from the industry’s long-standing pursuit of flawless, uniform surfaces.
Interestingly, many consumers appear open to this shift. There’s growing enthusiasm for products that visibly signal a move away from polluting, resource-intensive production. But the real resistance often comes from within - from decision makers concerned about non having enough appeal to mass market or from quality control teams who struggle with the lack of clear, measurable standards against which to assess these new, inherently variable materials.
What else is there beyond speckling, marbling and degraded surfaces?
One way forward is to bring mainstream and sustainability together in a better way. For example, what if we went the opposite direction from random speckle patterning and made something really consistent, taking into account the parameters of plastic manufacturing, to potentially reach a broader appeal than the current speckles approach, while still using recycled materials? Just as an example, you might have fine evenly distributed waste particles rather than randomly positioned speckles. This would be an evolutionary adjustment where the end result almost looks the same, but the consumer understandsinthe slight difference.
People want to buy products that have a gentler effect on the planet - but they also care how their products look and feel. There is certainly a novelty factor in much of this -sustainability has got some great stories about novelty and innovation to tell. Many consumers are compelled to buy because of the sheer novelty of the item. That’s where we, as CMF designers, come in. Its is the designer’s role to embody desire in a product and to make us fall in love with it, that’s why clients pay for design. In a context of sustainability, our role as designer is not just to make things look good, but to make the sustainability story a joyful, desirable one. It’s about shifting the narrative so that responsible materials aren’t seen as a compromise, but as something aspirational and beautiful.
Of course, this isn’t something we can achieve alone. It will require a collaborative learning curve, where industrial designers, CMF specialists, material scientists, and plastic and finish manufacturers work together more closely than ever before.
Together, we need to forge a new aesthetic language - one that makes sustainability visible, honest, and desirable.
That’s exactly the spirit behind the tour I will be leading at the K Show. I’ve curated a selection of the most innovative and forward-thinking solutions in sustainable plastics, materials, and finishes - solutions that are available to all of us, right now, as a starting point in this exciting new journey. My goal is to give designers fresh inspiration, real examples, and the tools to start shaping a future where design excellence and sustainability go hand in hand. It’s time to reimagine what beauty and value look like - starting with the materials themselves.
The Material Design Tours at K 2025 will take place on Saturday and Sunday, 11 and 12 October, at 10:30 a.m. each day. They will last 1,5 hours and are free of charge. Participation is limited, and you can register here.
