Building on three decades of disruptive evolution, System 0™ is our circularity program. System 0™ reimagines how gear is designed, the materials we use, how we keep our products in play through ReBIRD™, and what happens to them at the end of their usable lives; all while maintaining our standards for durability and performance.
No single product or service is fully circular on its own. It is the ecosystem of products and services that can bring circularity to life.
Nicole McLaughlin is a Boulder-based multidisciplinary designer whose work transforms discarded materials into unexpected, imaginative, and functional designs.
As a long-time Arc'teryx ambassador and key creative partner in the development of the first Circular by Design™ workshop in 2021, Nicole helped shape the vision behind the series. She returns in 2026 to share her perspective on designing for circularity and reimagining the future of end-of-life products in New York.
Lea Roesch is a Berlin-based designer whose label reflects a deep connection between personal identity, inclusivity, and responsible production.
Through a collection of bags, accessories, and clothing, she creates timeless pieces designed to suit people of all ages, body types, and styles. Her tarpaulin bags are handcrafted in Berlin and Brandenburg using German-made materials, with each piece showcasing the durability, character, and individuality of the fabric.
Committed to reducing environmental impact and supporting ethical manufacturing, Lea prioritizes local production, fair wages, and inclusive working conditions. She works extensively with deadstock cotton, wool, leather, vintage sweaters, and scarves, transforming existing materials into long-lasting products with renewed purpose. Rather than chasing trends, her design process evolves gradually, focusing on quality, longevity, and thoughtful use of resources.
Sarah Brunnhuber is a textile designer, weaver, and the founder of Stem: a Copenhagen-based brand launched in 2021. At its heart, Stem is an ongoing experiment in rethinking how garments and textiles are made, what they leave behind, and how stories of production can be made tangible.
Sarah was selected in the Dazed 100 list in 2022, joined ‘Den Unge Kunstneriske Elite’ Statens Kunstfond program in 2023, won the Wessel & Vett Fashion Prize in 2024, and joined the CPHFW New Talent program in 2025 for AW26, SS27, AW27.
Alongside the brand, Sarah has embarked on opening Stem Mill: a long-term vision to establish a circular woven textile infrastructure in Denmark. Combining micro-spinning, agile production, research, and education, the mill will be both a material facility and a pedagogical experiment: a blueprint for how localised, low-impact textile systems will re-emerge.
Finn is a designer, maker, and outdoor enthusiast with a background in footwear design.
After graduating during the pandemic, he shifted his focus from traditional design work to hands-on making, spending countless hours behind a sewing machine creating technical bags and apparel. Starting with whatever materials he could get his hands on, including worn shoes, jackets, pants, and outdoor equipment, he developed a practice rooted in experimentation, craftsmanship, and resourcefulness.
His work focuses on upcycling and repurposing, giving existing products a second life through thoughtful design. With nearly six years of experience across a range of projects, Finn continues to explore how products are made, how they can be improved, and how they can be reimagined with a renewed purpose.
Makayla Wray is an artist and seamstress who runs MAW Studio, a New York–based atelier specializing in sustainable practices, repurposed materials, leatherwork, unique and complex construction, world-building, and small-scale production. Her practice is rooted in problem-solving through alternative options and resourceful methods, with an emphasis on accessibility, consideration, and collaboration across young emerging talent, established brands, and local communities.
PedalMAW, Wray’s portable tailoring cart, extends this philosophy into mending and repair, creating accessible ways to prolong the life of garments and keep materials in circulation. Across her studio practice, Wray approaches making as an ongoing process of care—finding inventive solutions, maximizing existing resources, and challenging conventional approaches to production.
MAW Studio positions resourcefulness, craftsmanship, sustainability, and accessibility at the center of both process and product, creating a space where experimentation and practical problem-solving can coexist with a heightened attention to quality, utility, and design.
