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From Clinical to Comfortable: The Future of Therapeutic Wearables

For decades, devices designed to deliver therapy to the body have been defined by function first and everything else second. Braces, wraps, compression systems, and externally applied treatments have historically been rigid, cumbersome, and visually clinical, often interrupting daily life as much as they support recovery. While effective, many of these solutions have required compromise, asking users to tolerate discomfort in exchange for benefit.

Today, that equation is changing. A new generation of therapeutic wearables is emerging; one that prioritizes not only efficacy, but also comfort, flexibility, and long-term usability. From magnetic therapy wraps designed to reduce pain and inflammation to soft, body-conforming systems that support circulation and oxygenation, these products are evolving into forms that feel lighter, more breathable, and more intuitive to wear. Increasingly, therapy is no longer something users engage with intermittently, it is something that integrates seamlessly into everyday life.

This shift is being driven by advances in soft goods, material innovation, and a growing expectation that products designed for the body should work with it, not against it. As therapeutic wearables move out of strictly clinical settings and into daily routines, their success depends not only on what they do, but on how they feel; how they move, how they breathe, and how naturally they fit into the rhythms of the user.

Interwoven Design Group team members reviewing a wearable prototype during a studio meeting, with anatomical references and design notes on the wall

At Interwoven Design, we operate at the intersection of soft goods, human factors, and performance-driven product design. Our team brings together expertise in textiles, ergonomics, and design to create wearable solutions that deliver therapeutic benefit while maintaining comfort and usability over extended periods of wear. From early-stage concept development through prototyping and refinement, our work focuses on translating clinical intent into products that people can incorporate into their lives with minimal friction.

In this Insight article, we explore the evolution of therapeutic wearables, examining how advances in materials and design are reshaping the category. We look at the key principles driving this shift and highlight the opportunities for innovation as medical and consumer expectations continue to converge.

From Treatment to Integration

Historically, therapies applied to the body have been ad hoc and temporary, something users put on for a defined period, often in response to pain, injury, or recovery. These products were designed around moments of intervention rather than continuous use. They served a purpose, but rarely integrated seamlessly into the flow of daily life. As a result, adherence was often inconsistent, limited not by efficacy, but by inconvenience and discomfort.

Today, therapeutic wearables are shifting toward a model of continuous, integrated support. Rather than being reserved for isolated moments of treatment, they are designed to move with the user throughout the day, supporting circulation during work, aiding recovery during rest, or maintaining therapeutic benefits during light activity. This evolution reflects a broader rethinking of how care is delivered; not as a discrete event, but as an ongoing condition that can be supported passively over time.

This shift expands both the opportunity and the responsibility for designers. Products must now function across a range of contexts—sitting, walking, working, and sleeping—without requiring constant adjustment. They must be adaptable, discreet, and resilient, capable of maintaining performance without interrupting the user’s routine. In this model, therapy becomes less about compliance and more about compatibility. The more naturally a product fits into daily life, the more effective it ultimately becomes.

Designing for Continuous Contact

As therapeutic wearables move toward all-day use, the nature of their interaction with the body fundamentally changes. These products are no longer worn briefly or intermittently; they remain in direct contact with the skin for extended periods, often across varying conditions of movement, temperature, and activity. This makes comfort not just a desirable feature, but a core component of functionality.

Designing for continuous contact requires a deep understanding of how materials behave against the body over time. Breathability becomes essential to prevent heat buildup and moisture retention, particularly in areas of compression or limited airflow. Weight must be minimized to reduce fatigue, while flexibility ensures that the product can adapt to movement without creating pressure points or restricting motion. Even subtle inconsistencies in fit or texture can become amplified over hours of wear, leading to irritation or disengagement.

The distribution of pressure across the body is another key consideration. Therapeutic wearables often rely on compression or stable contact to function effectively, but this must be carefully balanced to avoid discomfort. A product that is too loose risks losing efficacy, while one that is too tight can create friction, restrict circulation, or discourage use altogether. Achieving this balance requires thoughtful integration of form, material, and construction techniques.

The Softening of Medical Devices Through Material Innovation

Breg knee brace designed by Interwoven Design Group.

One of the most significant shifts in therapeutic wearables is the transition from rigid, hardware-driven devices to soft, textile-based systems. Historically, medical products prioritized structural stability and clinical performance, often resulting in hard casings, bulky components, and strap-heavy constructions that signaled their function but limited their wearability. Today, advances in materials and fabrication are enabling a fundamentally different approach, one where softness, flexibility, and adaptability are not secondary features, but central to how the product performs.

This evolution is being driven in large part by innovation in textiles and material science. High-performance knits, engineered compression fabrics, and breathable mesh structures allow products to conform closely to the body while maintaining airflow and comfort over extended periods. These materials can stretch, recover, and distribute pressure in ways that rigid components cannot, creating a more responsive and personalized fit. At the same time, the integration of functional elements—such as embedded magnets, conductive fibers, or thermal-regulating layers—allows therapeutic benefits to be delivered directly through the material itself, rather than relying on external attachments or add-ons.

As a result, the boundary between product and garment is beginning to blur. Therapeutic wearables are increasingly designed as systems where structure, function, and material are fully integrated. Instead of layering technology onto the body, the material becomes the interface, carrying out therapeutic functions while maintaining a soft, unobtrusive presence. This shift reduces bulk, simplifies use, and enhances the overall experience of wearing the product.

There is also an important shift taking place in the way these wearables are perceived. As devices become softer and more refined, they move away from the visual language of clinical equipment and toward something more discreet and lifestyle-oriented. This not only improves comfort, but also reduces the stigma that can be associated with wearing medical devices in everyday settings. Products that feel and look like apparel are more likely to be worn consistently, which in turn improves their effectiveness.

Case Study: Rethinking Oxygen Monitoring with Moxy

As therapeutic wearables continue to evolve, products that successfully bridge performance, physiology, and wearability offer valuable insight into the future of the category. The Moxy Monitor is one such example: a wearable device designed to measure muscle oxygen saturation in real time, providing critical insight into how the body is performing and recovering under strain. While rooted in performance analytics, its design reflects many of the same principles shaping the broader shift toward more wearable, body-integrated therapeutic systems.

Design Objective

Translate complex physiological monitoring into a wearable format that can maintain accurate, continuous contact with the body while minimizing disruption to movement and comfort.

Key Features & Design Considerations

Compact, Body-Conforming Form Factor
The device is designed to sit close to the skin, reducing bulk and minimizing interference during activity. Its small footprint allows it to be worn across different muscle groups without restricting motion.

Wearable system for the Moxy Monitor, designed by Interwoven Design Group.

Soft Integration with the Body
Rather than relying on rigid mounting systems, Moxy is typically secured using soft straps or compression garments. This approach stabilizes the sensor while distributing pressure more evenly, improving both comfort and data consistency.

Lightweight Construction
A low-profile, lightweight build reduces fatigue during extended wear, making it suitable for use across training sessions, recovery periods, and longer durations of monitoring.

Breathability and Skin Compatibility
Because the device is worn directly against the body, it must accommodate heat, sweat, and movement. Pairing the sensor with breathable, skin-friendly materials helps maintain comfort and reduces the likelihood of irritation over time.

Secure Yet Flexible Fit
Maintaining accurate readings requires consistent contact, but not at the expense of comfort. The system balances compression and flexibility, ensuring the device stays in place while adapting to dynamic movement.

Design Insight

The effectiveness of a wearable like Moxy depends on more than just sensor accuracy, it relies on the product’s ability to remain comfortably in place over time. This reinforces a broader principle in therapeutic wearable design: performance is inseparable from wearability.

Devices like Moxy are no longer confined to controlled or clinical environments; they are used during training, recovery, and daily activity. This requires a design approach that prioritizes discretion, ease of use, and adaptability. The product must be simple to apply and remove, compatible with clothing, and unobtrusive in both form and appearance. By reducing visual and physical friction, and by aligning with the realities of how people move through their day, therapeutic wearables can achieve consistent use and deliver more meaningful results.

The Future: Therapy You Can Wear All Day

The future of therapeutic wearables lies in their ability to disappear into daily life while continuously delivering benefit. As materials become more advanced and technologies more compact, these products are evolving toward forms that feel less like devices and more like extensions of the body. Lightweight, breathable, and flexible systems will enable users to wear therapeutic solutions throughout the day—at work, in transit, during rest—without disruption or self-consciousness. In this model, therapy is no longer a scheduled activity, but an ambient layer of support that moves with the user.

As these products become more integrated into everyday life, expectations will continue to rise. Users will demand solutions that are not only clinically effective, but also comfortable, discreet, and aligned with their personal routines. For design teams, this evolution represents a significant opportunity. The challenge is no longer simply to create functional devices, but to develop wearable systems that balance medical efficacy with human-centered design. This requires a holistic approach, one that considers how products interact with the body over time, how they integrate into real-world contexts, and how they communicate value without relying on overtly clinical cues.

At Interwoven Design, this is where we focus our partnership with clients. We work to translate clinical intent into wearable solutions that prioritize comfort, adaptability, and long-duration use, leveraging our expertise in soft goods, materials, and human factors. Through iterative prototyping, wear testing, and refinement, we help ensure that therapeutic performance is delivered through products that people can and will wear consistently. Interwoven Design is a design consultancy that is positioned at the intersection of soft goods and wearable technology, creating products that function with the body and offer comfort as well as the superb performance that arises through the innovative incorporation of rigid, often electronic and responsive elements. Sign up for our newsletter and follow us on Instagram and LinkedIn for design news, multi-media recommendations, and to learn more about product design and development!

Building Ideas: The Role of Conceptual Mock-Ups in Soft Goods Design

Thinking in Three Dimensions

Design rarely happens in a straight line. In soft goods design, where products must conform to the body, support movement, and feel comfortable in real-world use, mock-ups are especially crucial. Subtle differences in fit, tension, or material behavior can completely change how a garment or wearable feels, yet these nuances are often invisible in drawings or CAD renderings. Rough 3D models allow designers to evaluate ergonomics, assess how straps, seams, or closures interact with the body, and ensure that the product performs intuitively and comfortably before a higher fidelity prototype is made.

While drawings and digital files are powerful tools, they can only go so far. Sometimes the only way to know whether a curve feels natural in the hand, a hinge aligns with joint movement, or a strap sits comfortably across the body is to build it in the real world, however roughly. That’s where conceptual mock-ups come in. These early, low-fidelity models aren’t meant to be polished or permanent; they’re tools for thinking. They expose hidden challenges, spark unexpected directions, and make the abstract tangible. Just as importantly, they allow both designers and clients to engage with an idea in ways that are more intuitive than a flat image or diagram could ever provide.

At Interwoven Design, we see mock-ups as a bridge between imagination and execution. Building in 3D is how we explore questions that sketches can’t answer, and it’s how we make sure our concepts are grounded in the realities of human use. For us, mock-ups aren’t just a stage in the process; they’re an act of curiosity, iteration, and craft that defines how ideas come to life. In this Insight article, we’ll discuss the value of mock-ups, outline various methods of making them, and share three case studies of studio projects that showcase the ability of mock-ups to elevate the design process at every level of fidelity.

Why We Build to Think

Design is, at its core, a process of discovery. Even the most carefully considered sketch or digital model can miss details that only emerge when something is built in physical space. By working in three dimensions, designers invite surprise into the process, sometimes confirming assumptions, other times revealing issues that couldn’t have been predicted on paper.

Conceptual mock-ups are powerful because they shift the question from “Does this look right?” to “Does this work in real life?” A quick foam cut-out can reveal that a button is too far for the thumb to reach, or that a curve looks elegant in renderings but feels awkward when held. Fabric mock-ups can show how material drapes, stretches, or resists movement, helping teams anticipate comfort and durability before investing in higher-fidelity prototypes.

Just as importantly, building early and often keeps the design process agile. A mock-up doesn’t have to be precious; in fact, its roughness is part of the point. The less time invested, the easier it is to test, critique, and move on. This freedom encourages exploration rather than perfectionism, giving space for bolder ideas to emerge and evolve.

At Interwoven Design, we use mock-ups not just to validate concepts, but to provoke questions. What happens if this element shifts by an inch? How does the design change if the material is softer, stiffer, lighter? Every build is a chance to learn something new, and often those discoveries become the foundation for the next round of design.

Methods of Mock-Up Making

There’s no one right way to make a conceptual mock-up, only the method that best suits the question at hand. Also, we never make just one! Sometimes the goal is to understand form and scale, other times it’s about testing flexibility, ergonomics, or how a feature behaves when it meets the body. Because of this, the process often spans a wide spectrum of materials and techniques, from the scrappiest cardboard approximation to precision 3D prints.

Paper and Foam Models
When speed matters, nothing beats the simplicity of paper, foam, or cardboard. These materials are quick to cut, shape, and tape together, allowing designers to test proportions, angles, and spatial relationships in minutes. They’re the fastest way to move an idea out of a sketchbook and into the real world. At Interwoven Design, we love paper as a tool, as it behaves a lot like a textile.

Fabric and Soft Goods Constructions
For wearables or textile-based products, mock-ups made from muslin, mesh, or other inexpensive fabrics can reveal how a design drapes, folds, and moves against the body. These rough-sewn models often expose ergonomic insights that drawings can’t capture, like how a strap pulls across the shoulder or how a pocket can be accessed in motion.

Digital-to-Physical Hybrids
Sometimes, precision is the priority. Tools like 3D printing, laser cutting, or CNC machining allow teams to translate digital models into physical parts with exact dimensions. These methods are especially valuable when testing components that interact mechanically or when verifying that multiple parts fit together as intended. Like the design process itself, mock-up making is rarely linear. A paper sketch model may inspire a fabric iteration, which then sparks a 3D-printed test. Each build answers some questions while raising others, creating a feedback loop that moves the design steadily closer to resolution.

At Interwoven Design, we embrace this iterative mix—shifting tools and materials as needed to keep ideas moving and evolving. We are nearly always combining soft goods and hard goods in the same product, and we use a range of construction methods to build the components needed to test the interaction between the two.

Mock-Ups as Communication Tools

Mock-ups are more than internal design aids, they are powerful tools for communication. A sketch can suggest form, and a CAD file can demonstrate function, but nothing replaces the clarity of a physical object. When stakeholders can hold, wear, or manipulate a mock-up, abstract ideas become concrete. The conversation shifts from speculation to lived experience.

For clients, this means gaining confidence that the product is on the right track. Engineers can assess feasibility, materials, and assembly details. Users, meanwhile, provide feedback that is grounded in the reality of use rather than imagination. Each group engages with the same artifact, but through their own lens, creating a richer and more specific dialogue.

This shared understanding is critical. By aligning expectations early in the process, mock-ups reduce the risk of costly misunderstandings later. Questions of scale, ergonomics, or usability are resolved in the physical world rather than in post-production fixes. In this way, mock-ups not only accelerate collaboration but also protect both the integrity of the design and the efficiency of the project timeline.

Case Studies: Mock-Ups in Action

Case Study 1: The Breg CrossRunner™ Soft Knee Brace

When Breg set out to reinvent their soft knee brace line, they partnered with Interwoven Design to merge engineering precision with human-centered comfort. The challenge was to create a premium brace that could address a wide spectrum of injuries and instabilities while remaining easy to use, breathable, and adaptable to different body types.

Early in the process, mock-ups played a critical role: foam models and fabric constructions allowed the team to explore how hinges aligned with anatomy, how straps wrapped and adjusted, and how materials compressed or released tension in motion.

These quick builds revealed insights that sketches alone couldn’t capture, helping refine ergonomics, donning sequences, and user comfort long before committing to a final design direction. By iterating through mock-ups, the team established a design language that balanced sleek aesthetics with technical performance. The result, the Breg CrossRunner™ Soft Knee Brace, exemplifies how physical mock-ups can bridge vision and execution, ensuring that every detail—fit, function, and feel—was tested and validated in three dimensions.

Case Study 2: The Perci Emergency Preparedness Vest

When INVICTA Ready set out to design a product that could help families face the growing threat of natural disasters, they partnered with Interwoven Design to create something intuitive, wearable, and life-saving: the Perci Emergency Preparedness Vest. The challenge was complex: developing a garment that could store and organize critical supplies, remain comfortable during rapid evacuations, and be universally adaptable across diverse users.

Early mock-ups were essential in shaping the vest’s design: muslin and fabric prototypes allowed the team to test how tools and essentials could be organized into categories, ensuring each pocket was ergonomic, accessible, and balanced against the body.

These rough builds revealed whether wearers could move freely—carrying a child, lifting luggage, or running—without being restricted by bulk or weight distribution. These iterative mock-ups uncovered design insights that made the vest both practical and confidence-inspiring: reflective icons and graphic labeling clarified what each pocket contained, while ergonomic patterning and stretch panels improved comfort and mobility. The inclusion of a collapsible hood, internal storage systems, and integration with a companion mobile app extended its functionality, making the vest a true system for preparedness rather than just a garment.

Recognized internationally, the Perci Vest won Gold in Industrial and Life Science Design – Safety Designs and Bronze in Design for Society at the 2022 International Design Awards (IDA). The project underscores the value of mock-ups as more than just prototypes: they were the means of simulating real-world scenarios, uncovering challenges, and validating design decisions. For the Interwoven Design delivery team, building in three dimensions was the key to transforming the abstract concept of “preparedness” into a product that is intuitive, wearable, and empowering in moments of crisis.

Case Study 3: The HeroWear Apex Exosuit

Warehouse work places enormous strain on the body. Long shifts, hot environments, and constant bending and lifting often leave workers fatigued and injured, especially in the lower back. When a team from Vanderbilt’s Center for Rehabilitation Engineering & Assistive Technology developed a proof-of-concept for a mechanical exoskeleton, they partnered with Interwoven Design to transform their idea into a fully commercialized product: the HeroWear Apex Exosuit. Mock-ups were central to the exosuit’s design process. Our delivery team built garment and hardware mock-ups to test placement of mechanical components, optimize body heat management, and fine-tune ergonomics in real time.

Dozens of soft goods mock-ups were created and tested, shaping the design’s modular fit system, strength adjustability, and range of motion. By iterating through muslin mock-ups to increasingly high fidelity prototypes, the team ensured that the exosuit was not only effective in reducing strain but also intuitive and comfortable enough to gain worker acceptance, an essential factor for adoption on the job floor.

The final design balances technology with wearability: lightweight, breathable, and easy to don and doff, the Apex relieves more than 50 pounds of strain from the lower back. Its garment-based system manages body heat while remaining easy to clean and maintain, enabling daily use in demanding environments. The Apex Exosuit has been celebrated internationally, winning Gold at the 2021 IDEA International Design Excellence Awards (Commercial & Industrial), Platinum at the 2020 Spark Design Awards, and recognition as a 2021 Core77 Design Awards Notable winner (Commercial Equipment). These honors highlight not only the strength of the final product but also the value of mock-ups and iterative design in transforming breakthrough research into a scalable, worker-centered solution.

Building Toward Better Ideas

In soft goods design, mock-ups are more than a step in the process, they are essential to understanding how a product interacts with the body. They transform abstract concepts into tangible experiences, allowing designers to evaluate fit, tension, mobility, and comfort in ways that sketches or digital models alone cannot. This hands-on approach fosters a studio culture of experimentation, openness to failure, and playful discovery, while balancing intuition with practical constraints.

At Interwoven Design, building mock-ups, whether for wearable braces, ergonomic vests, or modular exosuits, brings ideas to life, revealing hidden opportunities and guiding iteration. By seeing, touching, and testing concepts in three dimensions, we ensure that every soft goods product is not only functional and durable, but also intuitive, human-centered, and aligned with real-world use. In short, making shapes the trajectory of design, producing solutions that resonate with both people and their bodies.

Interwoven Design is a design consultancy that is positioned at the intersection of soft goods and wearable technology, creating products that function with the body and offer comfort as well as the superb performance that arises through the innovative incorporation of rigid, often electronic and responsive elements. Sign up for our newsletter and follow us on Instagram and LinkedIn for design news, multi-media recommendations, and to learn more about product design and development!

A Q&A with Soft Goods Designer Anthony Parrucci

Spotlight articles shine a light on designers we admire, asking leaders in the field about their work and their design journey. For this installment of our Spotlight series, we caught up with former Interwoven Design Group designer Anthony Parrucci, now a Soft Goods Designer at Newell Brands in Atlanta. From his early days dreaming of designing hockey gear to building innovative products for the baby industry, Anthony has carved a path defined by curiosity, collaboration, and a deep respect for hands-on making. In this conversation with Interwoven founder Rebeccah Pailes-Friedman, he reflects on conceptual prototyping, the power of “sketching in 3D,” and how early models can unlock new insights into user interaction and scale.

Anthony earned his master’s degree in Industrial Design from Rochester Institute of Technology after completing undergraduate studies in Business Administration and Art at Elmira College. Before joining Newell Brands, he spent three years at Interwoven Design Group, where he helped develop products across the athletic, medical, and military sectors—ranging from exoskeleton suits to technical bags and soft goods. His approach blends material experimentation with a strong focus on real-world usability. Outside the studio, Anthony brings the same discipline and drive he once applied to ice hockey, which he played at the professional and collegiate levels. Whether on the rink or in the workshop, he’s always been drawn to how performance, form, and human connection intersect.

Q:

Tell us a little bit about your background and how you found your way into industrial design.

A:

As far back as I can remember, I always wanted to be a hockey player. That was the dream. But what I found most exciting was the equipment—sticks, pads, helmets—and the idea of designing it myself. I knew I wanted to be the person behind the gear, making things better for athletes. But the funny thing was, while everyone could tell me how to become a pro hockey player, no one had any clue how to become a product designer. I kept asking, but nobody could point me in the right direction.

Anthony Parrucci sewing a prototype at Interwoven, working on soft goods design. — *Anthony Parrucci at Interwoven, focused on soft goods prototyping*

It wasn’t until undergrad that I met a professor who changed everything. He helped me find the path and really took me under his wing. I went to RIT, studied industrial design, and honed my skills while finishing up my hockey career. After graduation, I interned at Interwoven, and that turned into a full-time job—which was honestly one of the best places to grow as a young designer. I spent about three years there, getting my hands dirty, building fast mockups, and learning how to make ideas real. Now, I’m working at Newell Brands as a soft goods designer, focusing on the baby space. It’s a change of pace from Interwoven—bigger team, different structure—but the fundamentals of good design still apply.

Q:

What does conceptual prototyping mean to you, and what role does it play in your process?

A:

To me, conceptual prototyping is one of the most important parts of product design—especially when you’re working on the front end of a project. In fast-paced environments, having a way to quickly explore and communicate ideas is everything. I remember when I was in school, I was so hesitant to make mockups. I worried that if something was built with cardboard or hot glue, people would judge it. I’d think, “This muslin has raw edges—are they going to take it seriously?” It took me a while to realize that the point of those early models isn’t perfection—it’s validation. You’re trying to test an idea, not deliver a polished object.

Whitecloud Ideation — *At Interwoven, muslin prototypes help bring design ideas to life.*

Once you get over that mental hurdle and stop caring about fidelity, you’re limitless. You can make a crude mockup and say, “Imagine this part holds electronics,” and suddenly you’re in a conversation about function, user interaction, and viability. At Interwoven, that was a big part of the culture. You could build something messy, cheap, fast—and the point was to learn. It wasn’t about impressing people with how pretty something looked; it was about getting information quickly, failing fast, and saving money in the process.

Sometimes a $1 muslin model tells you more than a $300 3D print. That’s the ROI of prototyping. Even though there’s no exact formula for it, you learn so much by making something tangible. And that knowledge pays off tenfold when you move to the next stage.

Q:

At Interwoven Design, we often talk about “sketching in 3D.” How do you think 3D prototyping compares to 2D sketching in your process? When do you choose one over the other—or do you use both?

A:

A lot of the time, they happen in parallel. I’ll jump back and forth between 2D sketching and physical prototyping depending on what I’m trying to figure out. But if I’m being honest, there were definitely moments—especially during projects at Interwoven—where I found myself sketching too much. I’d get stuck in the lines, trying to make things look good on paper, but I wasn’t really proving anything. I’d realize I was spending all this time drawing, but not actually learning how something would work in the real world.

That’s why I’ve always loved working in 3D early. I remember being in the studio with muslin draped on a form, sketching right on the body, ripping paper, taping things together. There’s just something about the immediacy of that. You’re not just imagining a form—you’re shaping it in real time, and often that translates right into pattern-making or the next stage of development.

Sometimes, when you’ve got a tight timeline or the project is super function-driven, I’ll skip 2D altogether and go straight to building. I’ll bring a quick muslin or cardboard mock-up to a team meeting and say, “This is what I think it’s doing.” That way, people can touch it, react to it, and we can talk through pros and cons on the spot. You don’t get that level of feedback from a sketch alone.

So yeah, I still sketch—but physical modeling is where I uncover the really good stuff. And often, once I understand how something works in 3D, then I’ll go back to 2D to refine the aesthetics or create a more polished representation. It’s a constant back-and-forth.

Q:

Can you share a specific example of a conceptual prototype that helped solve a problem or clarified your thinking during a project?

A:

Woman wearing the Ninja Frost Vault soft cooler backpack outdoors, surrounded by trees. — *The Ninja Frost Vault soft cooler — a functional, fun design born from rapid prototyping.*

The Ninja Frost Valut soft cooler project comes to mind immediately. That one was a wild ride in the best way. They came to us with a super tight turnaround—like two weeks—and said, “We need something functional and fun, and we need to validate the user interaction.” And keep in mind, this was a client with all the resources in the world. They had access to 3D printers, high-end materials, whatever they wanted. But even they knew that to move fast, we needed to get scrappy.

So instead of building out a full-size, high-fidelity prototype, we started with quick, rough mockups—cardboard, muslin, whatever we could use to visualize the structure. It was about figuring out how the top door worked, how the zipper would interact with the opening, how the compartments connected on the inside. They told us, “We want to fit 18 cans and a wine bottle,” which sounds specific but gets tricky once you start shaping the actual space.

That’s the beauty of these early mockups. They let you work within constraints and still explore. You’re building something real enough to evaluate, but flexible enough to change on the fly. We’d hold the model, try different openings, move things around. If we’d started with a polished CAD file or waited on a perfect 3D print, we would’ve lost valuable time—and we probably wouldn’t have caught some of the spatial issues until much later.

So even in a super corporate environment, the quick and dirty models were essential. They gave us clarity, speed, and insight—all things you can’t afford to miss when you’re on a tight timeline.

Q:

Can you give an example of a quick model that taught you something you wouldn’t have learned on paper?

A:

a warehouse worker wears the Apex Exosuit — *IDEA Gold Award 2021 winner: Apex Exosuit*

Totally. One of the best examples I can think of actually goes back to the HeroWear Apex exosuit. We were working on the early development of the wearable, and we were designing things like the shoulder straps and leg portions—really important areas for comfort and function. And the thing is, you can look at all the biomechanics research in the world, but until you physically mock something up and put it on a body, you don’t feel the impact of the design.

I remember making these super rudimentary models—muslin straps, cardboard cutouts, foam forms—and just trying things on. One tiny change, like shifting the sternum strap half an inch higher, would totally throw off the balance. It would start pulling back on the upper plate in this weird way, or it would choke you a little if there was any tension. It was a great reminder that the human body doesn’t care what the sketch says—it cares how it feels.

model wearing exosuit mockup harness — *A model wearing a mockup of the the Apex Exosuit, rear view*

That was especially true when we were testing on different bodies. Something that fit me well didn’t necessarily work on Aybuke or Meghan. We were seeing, in real-time, how much variation there is in anatomy. And we weren’t just looking at fit—we were watching how people used the prototypes. One person would put on a backpack starting with their left arm, another would hoist it from the bottom, someone else would swing it over their shoulder. All of those micro-behaviors matter.

So in that case, the mockups weren’t just about proving fit—they were about revealing differences in interaction, body types, motion, all of it. None of that was visible in the drawings. You had to build it and put it on people. That was the only way to really learn.

Q:

What kinds of materials do you gravitate toward when making these sketch models, and how do those choices shape the way you think through a problem?

A:

It really depends on what I’m trying to solve. I’ll use muslin if I need something that drapes or behaves like fabric, cardboard when I’m looking at form and structure, and EVA foam is kind of the wildcard that I love to use when I need something that does a little bit of everything. That stuff is gold—it can act like a soft shell, a flexible strap, even simulate Velcro depending on how you cut and tape it.

The thing you have to watch out for, though, is that people will take whatever you show them literally. If you’re showing a conceptual prototype to marketing or upper leadership and you use a stretchy mesh just because it looks good or is easy to sew with, they might say, “Oh wow, this feels amazing—we should use this!” And you’re like, “No, no, this isn’t the real material! It’s just here for the mock-up.” So I’ve gotten more strategic over time.

Breg CrossRunner™ Soft Knee Brace illustration and prototype on user — *A colorful EVA foam prototype of the Breg knee brace*

For example, when I was working on the Breg knee brace, I used EVA foam in all these crazy colors—turquoise, lime green, bright yellow—on purpose. If I’d made the models in black, which is what the final product was supposed to be, people would’ve gotten way too literal. But the wild colors kind of divorced the client from the final form just enough so they could focus on what the prototype was doing, not what it looked like.

So material choice isn’t just about function—it’s about communication. It’s about knowing who you’re showing it to and what message they might take away from it. I’ve learned to be really intentional about that.

Q:

What kinds of insights have you gained from building models that surprised you?

A:

So many. One of the most memorable was while working on the Apex exosuit for HeroWear. We were testing strap placements, and even with minimal tension, a small shift in sternum strap height could cause major fit issues. It made us more aware of how anatomical differences—especially between male and female bodies—affect fit. You also learn a lot just by watching how people put things on. No two users interact the same way.

Q:

How did your time at Interwoven shape the way you design and prototype today? Are there any techniques, habits, or philosophies you still carry with you?

A:

For sure. I think the biggest thing that Interwoven gave me—besides hands-on experience—was confidence. Confidence to put unfinished ideas in front of other people and say, “Here’s where I’m at,” even if it’s not polished. That’s a hard thing to do straight out of school. I was so used to trying to perfect everything before I shared it. But at Interwoven, we moved so fast. You didn’t have time to obsess. You had to get your idea out there, test it, talk about it, and then move on to the next iteration.

I remember the first time Rebeccah handed me a piece of EVA foam and said, “Just mark it up. Make a model.” And I was like, “Wait—what?” But once I did it, it unlocked something. It gave me permission to try things and not worry if they were ugly or halfway done. That mindset—that a rough idea is still a valid idea—has stayed with me. I carry that into everything I do now.

At Interwoven, we prototyped constantly. Blue-sky concepts, tech that didn’t even exist yet—we still made physical mockups to explore layout, user interface, ergonomics. Whether it was figuring out battery placement in a pet harness or mapping electronics onto soft goods, we always built first, then refined. That method taught me how valuable foam, muslin, and tape can be.

So even now, when I’m working at a much bigger company, that habit of diving in, getting hands-on early, and iterating fast is something I always go back to. It’s fundamental.

Q:

Conceptual prototypes aren’t always easy for clients or stakeholders to understand. How do you communicate their value without people taking them too literally?

A:

That’s such a good question—and it’s a challenge for sure. I think the biggest thing is knowing your audience. You have to anticipate what people are going to expect based on who they are and what kind of background they’re coming from. If you’re dealing with a huge corporation, they might be used to seeing fully 3D-printed, sanded, spray-painted mockups. That’s their norm. But someone else might be totally fine with cardboard and tape if it helps them understand the idea.

What I try to do is build in smaller checkpoints. Instead of waiting for a big Phase 2 presentation where everything’s supposed to be clean and “done,” I’ll push for a mid-phase touchpoint. It gives you a chance to say, “Here’s where we’re at—we haven’t spent too much time or money yet, but we’re getting important feedback now so we can steer in the right direction.” That sets expectations early and helps people focus on the ideas, not the finish.

Another trick I use is playing with scale and color. If you build something small, or in colors that clearly don’t belong in the final product—like making a knee brace mockup in bright turquoise and neon yellow—people immediately understand that it’s not final. It helps create that separation, so they look at the concept, not the aesthetics.

And sometimes you just have to say it directly: “This isn’t a final product. This is about exploring function, interaction, or layout.” That helps shift the mindset. The point is to open the door for feedback—not to get approval on a finished design.

Q:

In what ways does physical modeling—taping, folding, building—inform your digital work, and vice versa? When do you bring CAD into your process?

A:

I think physical and digital work are more intertwined than people realize. For me, they constantly inform each other. If I’ve built something to scale—like a muslin vest or a foam form—I’ll take photos of it and bring those into Illustrator. I might drop the opacity down and sketch over it. Or I’ll use it as the base for a tech pack, especially if we’re moving into a pattern-making phase.

Interwoven muslin prototype pinup — *At Interwoven, hands-on muslin builds inform the digital process, revealing nuances that screens alone can’t show.*

Sometimes I’ll scan the flats of a muslin build and start drawing from there. That becomes the foundation for my Illustrator files or even for 3D modeling. And then as you start building in CAD, that’s when you find the real-world limitations—like, “Oh, we can’t mount this piece the way I thought,” or “This part is interfering with another component.” It’s like a back-and-forth conversation between the physical model and the digital file.

If you jump straight into CAD without building anything first, you miss so much nuance—especially around ergonomics and body interaction. The screen gives you precision, but the shop gives you truth. And once you have something physical, even a rough version, it makes your digital work smarter and more intentional.

Q:

What’s your take on failure in the prototyping process?

A:

Failure is 95% of it. You build quick mock-ups, find out what doesn’t work, and share them anyway. At Interwoven, we’d make 10 different models and walk through them as a team. Even if three of mine failed, someone else might spot something worth carrying forward. That back-and-forth was always valuable.

Q:

Final question: What advice would you give a young designer about sketch modeling?

A:

Get up from your desk. Go to the shop. Talk to people. Learn how things are made. And most importantly—don’t be afraid to fail in front of others. That confidence builds with time. Every mock-up, even the rough ones, teaches you something. And you never know who might see something in it that you missed.

—

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Rebeccah Pailes-Friedman & Aybüke Şahin on Bridging Hard and Soft Goods in Industrial Design

Spotlight articles shine a light on designers we admire, asking leaders in the field about their work and their design journey. For this Spotlight conversation, Interwoven founder Rebeccah Pailes-Friedman sits down with Aybüke Şahin, a Senior Industrial Designer who recently marked her fifth year with the studio. What begins as a casual conversation quickly turns into an expansive dialogue on what sets soft goods apart from traditional product design, why prototyping with fabric requires intuition as much as tools, and how the studio’s hybrid expertise shapes innovation across consumer, medical, and lifestyle categories.

In this rare peer-to-peer exchange, Rebeccah and Aybüke open up about shifting user expectations, navigating clients with very different design cultures, and how understanding human behavior continues to shape the way Interwoven brings ideas to life.

RPF: Okay, let’s get started. First, I just want to say thank you for taking some time out of your busy day to have this conversation about soft goods.

AS: Yes, absolutely—this is fun. We’re usually deep in projects, so it’s nice to step back and talk about how we actually approach the work.

RPF: So, to begin with, how long have you worked here now?

AS: It’s been a full five years.

RPF: Amazing. It went by fast.

RPF: What do you think is the biggest difference between traditional industrial design and the kind of soft goods work we do here at Interwoven?

a designer references a sketch of a buckle while prototyping — *Hands-on with fabric prototypes at Interwoven to understand material behavior.*

AS: I think the way we think about problems—or not even problems, but the conditions that come with softer materials like fabrics—are really different. In traditional hard goods, it’s sometimes easier to imagine things on paper or in CAD with rapid prototyping. But with fabric, we can imagine something and then it ends up behaving completely differently when we actually prototype it. I find there’s more back-and-forth, more revisions, especially in how components interact with softer materials.

RPF: I know exactly what you mean. Textiles behave differently than any other material. When you’re working in plastic or metal, the sky’s the limit—whatever you can CAD, you can produce. But with textiles, you’re limited by how the material behaves. You have to understand the material’s behavior in order to design something effective.

AS: So Rebeccah, in your expertise—and you’ve been in the field for quite some time now—how do you think user behaviors in relation to wearables or soft goods shape the way we prototype and test?

RPF: I think it all comes down to people’s behavior—how they move, how they feel comfortable. If something is uncomfortable, it literally changes the way you behave. Think about how dress clothes used to be the norm. Who wants to wear a dress shirt or a blazer now? You can’t move your arms, you can’t breathe—it’s physically restricting. I think that shift in tolerance—people just aren’t willing to be uncomfortable anymore—is huge. Understanding human behavior and translating that into the products we design is a core part of what we do. And you really saw that shift during the pandemic. People got used to wearing comfortable clothing at home and now they don’t want to go back to discomfort. That changes how we think about designing soft goods.

AS: I totally agree. And soft goods is definitely growing as an industry. When we first started doing this, there weren’t many people in the space who did what we do. Now there are a lot more. There’s more research, more product development, and more technologies popping up that incorporate wearable or soft systems.

RPF: Yeah, and it all comes back to how people want better experiences—something that’s easier to use, something that gives them value in their daily life.

Arete Swatch team consideration — *Interwoven’s design process involves testing and iterating materials to uncover their unique properties.*

AS: Exactly. But with soft goods, it’s not that simple. You can imagine something perfectly in your head, or even draw it out precisely, but the moment you start working with the fabric, it surprises you. Textiles behave in really unique ways. They stretch, fold, collapse, resist—things you can’t always predict until you physically make the piece.

RPF: Yes! With textiles, behavior is everything. When you’re designing in metal or plastic, you’re only limited by the constraints of your tooling or manufacturing method. But with textiles, you’re also designing within the behavior of the material. If you don’t understand how it drapes, stretches, or responds to tension, you’re lost.

AS: That’s why I think our design process here often involves more back-and-forth between ideation and physical prototyping. There’s more revision, more iteration, because the material itself is such a big part of the equation.

RPF: It’s funny—sometimes the constraints of fabric can be frustrating, but they also force you to get creative. And over time, we’ve built our own internal “library” of material behaviors and techniques. It’s experience, but also intuition.

AS: And it’s collaborative. We learn from each other all the time here—about materials, patterning, construction, testing. It’s not just about getting a good idea out; it’s about translating that idea into something functional, wearable, and manufacturable.

AS: So building on that—let’s talk about our methodology for designing comfortable, inclusive, and high-performing soft goods?

RPF: It’s not just about softness or flexibility. It’s about how products move with your body, how they accommodate different sizes and shapes. Designing for comfort now means understanding biomechanics, posture, and even emotional cues.

AS: It’s part of why soft goods are growing so quickly as a category. There’s more demand, more innovation, more cross-pollination between fashion, health, tech, and lifestyle. When we started doing this work, there weren’t a lot of people combining design and engineering in this way. Now it’s really taking off.

Rebeccah Pailes-Friedman and Aybüke Şahin in conversation at Interwoven studio, seated at a white table with books in the background.

RPF: Another thing I think sets our work apart at Interwoven is the way we merge soft and hard components. I’ve always been drawn to that crossover, and it was one of the reasons I was so excited to bring you onto the team—your background in hard goods really expanded what we could do.

AS: Thank you! I’ve really enjoyed that part of the work—figuring out how to integrate structural components like electronics, batteries, or sensors into wearable products without compromising comfort.

RPF: There’s a long tradition of wearing textiles, of course—clothing has been around forever—but there’s not a long tradition of integrating textiles with technology. It’s still relatively new. We’ve been on the forefront of this field for over 15 years.

AS: That’s what makes this work so exciting. Depending on the product category—whether it’s medical, travel, lifestyle—we have to adapt our approach. The way we combine soft and hard materials changes depending on regulatory standards, user context, durability needs, even washability.

RPF: We’ve developed a methodology, but it’s flexible. Every project brings new questions. And our experience becomes this evolving library that we draw from—but never apply in exactly the same way twice.

AS: We’ve worked on projects where even the smallest detail—like the orientation of a seam or the coating on a zipper—can make or break the user experience.

RPF: Yes. And I think this is especially true in health and medical products. More and more, users expect those products to offer experiences, not just functions. They want something intuitive, comfortable, attractive—not just technically correct.

AS: That was a big part of our work on the Even Adaptive lingerie line. It needed to function for people with limited mobility, but it also had to feel empowering. It had to look good. It couldn’t just scream “assistive device.”

RPF: Exactly. It had to be part of a person’s daily life, not a constant reminder of their limitations. And I think the final result really achieved that. It wasn’t just helpful—it was beautiful. And it ended up being useful for more people than we originally imagined.

AS: That’s one of my favorite kinds of outcomes: when inclusive design leads to better design for everyone.

RPF: Let’s switch gears for a moment. Over the years, we’ve worked on all kinds of products, but one of the more recent launches was the SharkNinja FrostVault cooler backpack. What did you find particularly interesting—or challenging—about that project?

AS: A lot, actually. First, working with the SharkNinja team was really interesting. Their internal process is very fast-paced, and different from ours. They had multiple teams working on different parts of the product simultaneously, so we weren’t always privy to the full picture. That made collaboration a little tricky sometimes.

RPF: Yes, I remember feeling like we were coming in to solve parts of a puzzle, but we weren’t always sure what the final image would be.

A woman sitting outdoors using the SharkNinja FrostVault cooler backpack, with food stored in its compartments. — *SharkNinja FrostVault combines structure and soft straps for comfort.*

AS: Exactly. That said, I really enjoyed the challenge. From a product standpoint, it was technically fascinating. We had to think about waterproofing, insulation, internal organization—all while making it wearable and comfortable.

RPF: And even though the exterior was technically textile-covered, it wasn’t a soft good in the traditional sense. Most of the bag was rigid, with plastic-coated fabric to repel water. The true soft goods component was the strap system.

AS: That’s where we had the most impact—designing for fit and comfort across a range of body types. I remember testing on you and Anthony and realizing how much the same strap design could feel completely different depending on the user.

RPF: It was a real lesson in anthropometrics. And it goes back to that idea of merging hard and soft—making something that performs structurally but feels good on the body.

AS: There was also the challenge of sealing off the internal compartments. One section needed to stay cold and insulated, while the upper section needed to be separate for dry storage. Getting that internal seal right—without adding bulk—was no small feat.

RPF: It was a tight balance between design, engineering, and user comfort. But the final product is really strong, and I think our collaboration with their team made it better.

RPF: One thing I’ve noticed is that we often partner with teams who share similar skills to us—but not our specific expertise. We’re frequently brought in to bridge gaps, especially when it comes to human interaction and wearability.

AS: Yes, and I really enjoy that. Sometimes we work with an engineering team that knows everything about mechanics, but hasn’t thought much about how something will actually feel on the body. Or we work with an industrial design team that hasn’t dealt with textiles before.

RPF: It’s a good reminder that design is never one-size-fits-all. It’s always collaborative, always context-driven.

RPF: Okay, time for a fun question: What’s one soft goods or wearable product you absolutely can’t live without?

AS: I have two! First is my sleep mask. It’s simple, but I love it. It covers my eyes and has a puffy filling—not just dense foam. The headband is really soft and comfortable. I use it every night.

RPF: That’s a good one. And the second?

AS: My dog’s harness and leash! I’ve gone through so many versions to find the right one—something he’s comfortable wearing, that I can easily use, and that doesn’t mess up his fur. One of them even made him limp because of how it applied pressure to his shoulder. I didn’t realize a harness could do that until I switched to a different one and the limp disappeared.

RPF: Wow. That really shows how critical good soft goods design is—even for pets. Pressure distribution, material selection, adjustability—it all matters.

AS: It does. It’s made me hyper-aware of how even small design choices can have huge consequences for comfort and safety.

RPF: That really brings it full circle. What we do here—whether it’s for people or pets, medical or lifestyle—comes down to paying attention. To behavior, to comfort, to context.

AS: Exactly. And honestly, this has been really nice. We work next to each other every day, but we rarely stop and have a full conversation like this.

RPF: I know! This was so fun—and a great way to mark five years. Here’s to the next chapter.

—

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Yukiko Naoi Joins Interwoven as Creative Director

Interwoven Design Group Expands Medical Design Expertise with the Appointment of Yukiko Naoi as Creative Director

Brooklyn, NY – May 1, 2025 – Interwoven Design Group is thrilled to announce that Yukiko Naoi has joined the team as Creative Director. A seasoned leader in medical product design and a long-time collaborator with Interwoven Design, Naoi brings a unique, multidisciplinary perspective that bridges the worlds of design, medicine, and wellness. Her addition to the team marks a significant expansion of Interwoven’s capabilities in the medical design and packaging fields, reinforcing the company’s commitment to innovative solutions across the market.

Naoi’s career spans over two decades in industrial design, with a specialized focus on medical devices, diagnostics, personal care products, and packaging. As former president of Tanaka Kapec Design Group (TKDG), she led groundbreaking work in medical packaging, human factors research, and healthcare innovation, collaborating with industry leaders such as AstraZeneca, Bausch + Lomb, and Johnson & Johnson. Her extensive experience in regulatory compliance, usability research, and design for manufacturing will be instrumental in advancing Interwoven’s medical design practice, and her structural packaging experience will strengthen their packaging design practice.

Beyond her industrial design expertise, Naoi is also a licensed acupuncturist and founder of Rest NYC, a clinic dedicated to integrative health and wellness. Her ability to merge clinical insights with human-centered design allows her to create products that enhance patient outcomes and experiences, improving everyday lives. This unique combination of skills positions Interwoven Design to expand its influence in patient experience and wearable technology solutions for healthcare.

“We couldn’t be more excited to welcome Yukiko to the team,” said Rebeccah Pailes-Friedman, Founder of Interwoven Design Group. “Her expertise in medical product and packaging design as well as research-driven, user-centered healthcare solutions aligns perfectly with our mission. With Yukiko’s leadership, we are poised to deepen our impact in the healthcare design sector and develop groundbreaking innovations in wearable health technology.”

Rebeccah Pailes-Friedman (left) and Yukiko Naoi (right) collaborate at Interwoven Design Group’s Brooklyn studio, celebrating Yukiko’s new role as Creative Director.

Naoi has been a long-time friend and collaborator of Interwoven Design Group, contributing to multiple medical design projects over the years. In her new role, she will lead the studio’s medical design strategy and development, helping push the boundaries of wearable technology, health innovations, and e-textile solutions. Her expertise will allow Interwoven Design to broaden its partnerships within the medical industry and explore new frontiers in healthcare design.

Interwoven Design Group is a Brooklyn-based product design and development studio specializing in wearable technology, smart textiles, and innovations in health, medical, and consumer products as well as packaging. The studio is a thought leader in the wearable technology sector and committed to supporting women in design. By combining expertise in fashion, engineering, material science, and product design, Interwoven Design Group creates forward-thinking solutions that seamlessly integrate technology with the human body.

Please join us by welcoming Yukiko to the team!