style in progress 1/2021 – English Edition

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“Capital Is the Lifeblood of Change” Caroline Brown

Virtual Fashion. Kiss the Future.

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EDITORIAL

Cover photo: William Brown

Our Chance Welcome to these lines.

“There is no crisis here,” Stephan Huber announced in one of the many editorial meetings for this issue.

And here we are: the latest issue of style in progress, more than 200 pages strong, now lies in your hands.

As the “central organ of optimism”, as we like to refer to ourselves, we are entering the new season with confidence for good reason. Which is not to say that we are closing our eyes to cuts and austerity.

Like for most of you, the extraordinary year 2020 has brought about a decisive change for us as well. We finally no longer merely preach that digitisation is the ultimo ratio, but showcase how we interpret the topic on our website www.style-in-progress.com. A weekly newsletter has been enriching your email inbox every Friday since last summer. (If that is not yet the case: sign up at www.style-in-progress.com/newsletter).

These digital channels flank and complement our two strong seasonal editions. This is what we mean by “in progress” – permanent change.

Our job as trade journalists, however, is not only to document change, but also to anticipate it. This is precisely why we have assembled the international elite of virtual fashion in our magazine (Kiss the Future, from page 178). A new understanding of fashion, often detached from the constraining physicality of the product, is dawning on the horizon. This not only benefits the environment, but also fundamentally changes the supply chain. “Supply Chain Management”, this edition’s focus topic, is more than just an apt play on words. The smartest minds of the field debate how the fashion industry must – and will – change forever, be it cover guest Caroline Brown (“Always Marry the Impact To the Financial Benefit”, from page 078) or Ganni CEO Andrea Baldo, who appropriately asks: “How Can We Hack the System?” (from page 154). Eva Kruse, founder of the Copenhagen Fashion Summit, is equally impressive, especially when her patience runs out at one point during our interview. She is no longer willing to tolerate business models that are based on overproduction and permanent sales – and are profitable despite, or precisely because of, their unsustainable approach. In this context, Kruse specifically appeals to politicians, who have, in the eyes of many, not necessarily enhanced their reputation during the corona year. Never forget: no matter whether corona or climate precedes the term crisis, every crisis harbours an opportunity. All the people involved in the industry, trade fairs, design, wholesale and retail, journalism, PR, and social media who have seized this opportunity make us so infinitely confident.

Please share this confidence with us and get through the season well and healthy.

Your style in progress team

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CONTENT

078 006 EDITORIAL

110 “To Be Successful, We Must Constantly Question Ourselves” Marino Edelmann explains his coaching strategy for Strellson

014 RIGHT NOW 058 WANT IT

112 Back To Essentials American Vintage founder Michael Azoulay wants to do the right thing

Our Chance

THE LONGVIEW 078 “Always Marry the Impact To the Financial Benefit” – investor Caroline Brown explains her perception of sustainability and circular economy

WHAT’S THE STORY 086 SUPPLY CHAIN MANAGEMENT

114 “We Want To Become Even More Relevant” Les Deux CEO Andreas von der Heide is delighted about a 50 percent gain in 2020 116 “I Am Successful by Not Being Greedy” Meike Schilcher on her Daddy’s Daughters collection 117 Powerful Presence Stinaa.J makes women’s dreams come true: high heels without pain

088 The Turning Point An opinion piece by Martina Müllner-Seybold

118 ACT NOW

090 SEE CLEAR

119 How Can Italy Reinvent Itself?

How the leading fashion nation emerges stronger from the crisis

The transparency factor 092 “Sustainability in Fashion Is Not a Philanthropic Quest” Power woman of sustainability: Copenhagen Fashion Summit founder Eva Kruse 098 A New Honesty – Or: What Role Will Transparency Play?

Keeping the end customer in the dark has no future 101 Transparency Is Everything Cashmere scarves with vertically integrated supply chain: PIN 1876 102 “Sustainability Is Not a Domain for Competition” An interview with Gant’s Global Sustainability Director Jessica Cederberg 103 “Transparency Means Trust” From hunters to tanners, Markus Meindl relies on personal interaction 106 “Brands Can Only Benefit From Transparency” Says Florian Heubrandner, Vice President Global Business Management Textiles at Lenzing Group 107 “We Take Our Responsibility Very Seriously” Heiko Storz leads Fil Noir towards sustainability 108 “Providing Transparency Without Loss of Know-How” Klaus Kirschner, CEO of Stetson Europe, wants to retain his competitive advantage 008

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The power of change

122 “Linear Production Chains Lead to Pollution and Exploitation” Matteo Ward has initiated an Italian grassroots campaign for more sustainability 123 The Aim Is All-Embracing Success Cool trousers featuring “Made in Italy” qualities: Cruna 124 “Product Remains King” Jacob Cohën strengthens its women’s collection 125 “There Is No Alternative To Italian Quality” Tom Ripley impresses with “Made in Italy” styles 126 Avanti!

A virtual salon dialogue with forward-thinking Italian entrepreneurs 132 Circular Rather Than Linear Our way out of throwaway culture 138 “Dissociate From Indifference” Marco Götz and Patrick Braun on Drykorn’s identity 140 Newness With Capsule Collections Bogner cranks up its fashion level 141 Into the Comfort Zone Because foresight is helpful: Alberto 142 “We Aspire To Be Incomparable” Myths stands for innovation like no other trouser collection

CONTENT

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143 Approachable An interview with SoSue founder Sue Giers

188 Pull Rather Than Push AlphaTauri builds bridges between virtual and real worlds

144 BE PART

193 Virtual Fashion Consists of Data Vahe Taamazyan of Sizolution knows that fashion can be more precise

Action is always the best option 146 Back to the Future The department store needs a new identity 150 Rethink the Tanker The future of the department store has already begun 154 “How Can We Hack the System” Ganni’s CEO Andrea Baldo has a few ideas…

160 You Have Reached Your Destination The store as destination 170 What Must Trade Fairs Offer?

We find out by asking buyers and organisers 172 New Stimuli for the End Consumer Max Moda has two high-flyers in its portfolio: Freedomday and Outhere 173 Cosiness and Coolness Mou will soon offer sneakers alongside its iconic boots 174 Constant Renewal Is Vital Canadian Classics impresses with its Recycled line 175 New Image, Same DNA Circolo 1901 has rediscovered itself, says CEO Gennaro Dargenio 176 The Rise of the Swacket Maurizio Baldassari Brera thrives on casualisation 177 The Visionaries White Sand redefines trousers

178 DIGITAL FASHION Farewell to materiality 180 Kiss the Future Meet the elite of digital fashion 182 Detached From the Physical Kerry Murphy of The Fabricant enjoys celebrity status in the digital fashion scene 184 The Information Incubator Alberto Lovisetto is Italy’s virtual fashion pioneer 010

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198 The Digital Speedboat An interview with Hugo Boss’ COO Heiko Schäfer 200 Artificial Intelligence Creates Fashion Regina Turbina and Replicant Fashion sell fashion that does not exist 204 “Digitisation Is an Investment, Not an Expense” Esemplare’s high-end outerwear is ground-breaking 205 The Digital Ambassador Ermina Avdisha interlinks two worlds for Napapijri

FASHION 208 Nothing Else Matters The fashion perspective of the new season

IN STORE 220 Storefront Ticker. How retailers generate their own customer traffic 223 Local Heroes. The Viennese Guy/Vienna 224 Playground for Men. Les Deux Men/Zug 226 Implementing Change Online. Ecollections 227 Heart and Sole. Sole Food/Munich 228 Practice What You Preach. Matter Urban Market/Hamburg 230 Let’s Go Again. Lanzer Loft/Graz 232 Queen of Wellness Shopping. Lindner Fashion/Dortmund 233 New Addition to Kassel’s City Centre. Voice Store/Kassel 234 Room for Us. Salzburg’s path through the crisis 235 “Like Dior in the 1950s”. Madl Couture/Salzburg 236 From Model to Boutique Owner. Wow inStyle/Salzburg 237 A Family Expands. Gehmacher/Salzburg 238 Tribute to Mindfulness. Golden Soul/Salzburg 239 New Beginning. Diva/Salzburg

240 EDITOR’S LETTER The Stress Test

240 ABOUT US

JULY 2021 FRANKFURT AM MAIN

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“We humans are sensual beings; we need emotions and communication. The feedback from our network of retailers and exhibitors is clear: physical interaction is incredibly important,� says Anita Tillmann, Managing Director of Premium Group.

Photo: Lottermann and Fuentes

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Anita Tillmann

1+1=11

“ONE PLUS ONE CAN EQUAL ELEVEN” The Fashion Week is relocating from Berlin to Frankfurt. This is an unusual move, not only in terms of glamour. It is a step into the lion’s den.

With more than 60 textile-related trade shows worldwide, Messe Frankfurt is a direct competitor for trade fair organiser Clarion, of which the Premium Group is now a part. Anita Tillmann explains how this results in greater strength and why physical meetings are more important than ever.

Anita, everyone expects you to completely reinvent the fair. You enjoy pressure, right?

Yes, we are reinventing ourselves: new city, new location, new profiles, and new topics. We are doing what we do best: connecting relevant players at all levels. This is all the more important in light of the unprecedented disruptions we are facing. We may not be saviours, but we are the platform and live event where conversations and exchanges take place, where everyone can meet in person. We provide stimuli for our industry and hope that everyone will join in. There needs to be a real and honest exchange with a focus on business.

What do you gain from a location that hardly anyone would have anticipated?

Taking such a step is not entirely new for us. When we decided against Düsseldorf and Cologne in favour of Berlin in 2002, Berlin was also an inconceivable option at the time, especially as we had no trade fair experience whatsoever. After almost 20 years , we are moving on.

We need a new narrative, because “poor and sexy” has run its course as a backdrop for the fashion industry and for our business model. We also cannot satisfy the industry’s wish for everything to take place in one location in Berlin, which lacks suitable venues. Frankfurt has been the trading centre of Europe for almost 800 years, enjoys a central location in Germany, and is very easy to reach for international customers.

In terms of fashion, however, Frankfurt is a blank slate. Is that exactly what makes the city so attractive?

Correct. The same applied to Berlin at the time. It is much easier to transform a blank sheet of paper. In the course of the pandemic, however, we are not only changing the location, but also the perspective. We are experiencing a paradigm shift: sustainability and digitisation are the main topics impacting our industry. The concept of Fashion Week is being completely rethought.

The Fashion Week is not a single event, but a networked hybrid event that addresses the entire fashion ecosystem. Runways, trade fairs, conferences, show stages, awards, and off-site events will be orchestrated, curated, and staged next July – both B2B and B2C. The city will be a vibrant backdrop for an inclusive and diverse Fashion Week, too.

“Marketplace of Ideas”… what exactly does that mean?

We are redefining and repositioning our trade fair formats. Shifting from a “Marketplace of Products” to a “Marketplace of Ideas” means that the focus is no longer just on the collection itself, no longer just on the purchase of goods without any consideration for storytelling, digitisation, or sustainability. This is about context as a whole. Business relationships must continue to be strengthened and forged anew. Interdisciplinary knowl-

edge exchange is promoted at the content formats, and trends are staged and presented. Our exhibitors have to adapt their mindset, because visitors expect innovations, values, clear positioning, and joint analogue and digital concepts for the retail sector.

The pandemic has forced many organisers to explore digital alternatives. Simultaneously, people’s longing for face-to-face interaction is greater than ever. Does this give the Frankfurt Fashion Week an additional boost?

In contrast to our digital format, the trade shows in Frankfurt will be real live events. We humans are sensual beings; we need emotions and communication. The feedback from our network of retailers and exhibitors is clear: physical interaction is incredibly important. The pandemic has silenced the critics who had questioned trade shows in general. The information and inspiration we exchange when we meet simply cannot be replaced by a Zoom call. We need these big gatherings, but only twice a year – concentrated and focused.

If everyone is presenting on this new platform, expanding their network and knowledge, and advancing their business at different levels, surely everyone should contribute in a befitting measure?

You are asking whether visitors should pay for admission? I think it would be wiser to urge them to schedule at least one extra day for the event. One cannot conduct qualitative conversations, get inspired, absorb information, and browse brands if one does not make adequate time for it. Buyers are always completely stressed out.

My plea to the retail trade is quite clear: please make more time! Also, encourage your staff to take part in this multifaceted exchange, especially the young generation.

It is most definitely worth it.

What does “good cooperation” entail between you and Messe Frankfurt?

We are, in fact, competitors, no doubt about it. The Premium Group rents space at Messe Frankfurt like every other business. However, for the very first time, the trade shows and conference formats of the Premium Group and Messe Frankfurt will be hosted together in one place and presented as a cohesive ensemble – across genders and genres in an inclusive and diverse setting.

This allows us to offer added value for all participants.

Our philosophy is to move away from competition and towards cooperation. This has never been done before in this form.

Together with Messe Frankfurt, we are also presenting a completely new project next summer. We have teamed up to create an innovative format entitled “The Ground”, a new jeans and lifestyle fair with a clear focus on sustainability. It reflects our underlying idea: one plus one can equal eleven. No, I am not terrible at maths, but the whole is more than the sum of its parts. Only when we look forward together and combine our strengths can we create something new. Our ambition is to conceive a place where our industry can meet and face the challenges of our time for the next 30 years.

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Peuterey Recycle

PREMIUM X ZEITGEIST For the autumn/winter 2021/22 season, Peuterey is turning its attention to two themes close to Creative Director Federico Curradi’s heart: iconic designs from the brand’s in-house archives and sustainability. Accordingly, the Peuterey Recycle capsule collection features cult down jackets made of archive fabrics and recycled, reprocessed down.

The aim is to reduce waste and move towards a circular production model. www.peuterey.it

Influencer Burcu Esmersoy supports the launch of AlphaTauri in Turkey.

Photo: Joe Portlock/Getty Images

DEBUT IN TURKEY

Silk Sisters embodies everyday fashion, uncomplicated and timeless.

The global rollout of AlphaTauri continues. In November, Red Bull’s premium fashion brand was launched in Turkey, coinciding with the F1 Grand Prix of Turkey 2020, on a dedicated retail space in the Vakkorama concept store in Istanbul’s Zorlu Centre. The launch was supported by a video production that was featured on all Red Bull channels and on social media. Pierre Gasly, F1 driver for Scuderia AlphaTauri, can be seen driving from Europe to Asia on the streets of Istanbul in front of a spectacular backdrop. “Advancing our global expansion plans is a very positive moment for us,” says AlphaTauri CEO Ahmet Mercan.

“Every milestone is a testament to our strength as a collective.” After launching in Turkey, AlphaTauri has a presence in almost 90 markets worldwide. www.alphatauri.com

Silk Sisters

SLOW FASHION

Cult models from the brand archive made of original fabrics and recycled down: Peuterey Recycle sets aesthetic standards for the reprocessing of down.

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Slip it on and go! The new Silk Sisters styles, made of 100 percent Lyocell by Lenzing, complement the label’s collection by following the same simple principle. All pieces are manufactured by a GOTS certified producer. “The new blouses, dresses, skirts, and trousers are beautifully silky, flowing, and light,” says Creative Director Melanie Nienaber. “Silk Sisters is pursuing a slow fashion strategy by offering pieces that last beyond seasons, manufactured as sustainably as possible.” The colours are natural and classic, while details such as lurex-knit cuffs and small embroideries remain subtle. The pieces are exclusively produced in Portugal. www.silk-sisters.de

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Parajumpers

REDUCED TO THE BEST For the upcoming order season, the Italian premium brand is reducing the number of jackets with fur trim in both the men’s and women’s collections.

Only four models of the Masterpiece line feature real fur, which reflects Parajumpers’ desire to create more sustainable and ethical outerwear. The brand’s signature product lines are reinterpreted in a modern way, often toying with bright colours or dyes.

The new womenswear line, entitled “Outstanding“, is particularly striking. It consists of two hybrid models: a casual, modern combination of trench coat and down puffer coat with gold and white details – available in the colourways cappuccino and black. www.parajumpers.it

Mey

LOGO RELAUNCH

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The Supreme Group

“PRIVACY IS OUR ADVANTAGE” How are the Supreme Women&Men order platforms positioning themselves this season?

Mirjam Dietz, Business Development & Communications: In terms of our importance as an order platform, we are optimistic about the future. Last summer, we succeeded in hosting four order events at two locations, receiving a great deal of encouragement from visitors and exhibitors who felt safe throughout. We are confident that we will once again succeed in acting responsibly on behalf of everyone.

What makes Supreme Women&Men future-proof?

Aline Müller-Schade, Managing Partner: We create an essential space in which agencies and brands can meet and interact with retailers, just as safely as in a showroom. The fact that we, as a relatively small event, enjoy a certain amount of privacy is certainly an advantage! We receive enquiries from agencies looking for temporary showrooms, both in Düsseldorf and Munich, on an almost daily basis. We might not be outright subletters, but the Supreme order platform offers them an interesting structure.

What can your visitors look forward to?

Aline Müller-Schade: To innovations and surprises, as we perceive ourselves as a guarantor of an excitingly mixed, finely tuned proposition for the upmarket specialised retail trade. We are observing very closely how the market, as well as the demands of consumers in the luxury and premium segments, are changing. In the future, we will devote even more attention to collections and special editions that produce sustainably and show social competence. These are topics that are particularly close to the hearts of the new generation.

New womenswear styles: a combination of trench coat and down puffer coat.

The highest possible quality, as well as a responsible attitude towards people and resources, are cornerstones of the Mey brand. Innovation and constant development are equally embedded in the company’s DNA. Hence, Mey has decided to modernise its logo. “We want to position ourselves as a confident company with a contemporary identity,” says Managing Director Matthias Mey. “In doing so, we always kept two important points in mind: not to irritate our existing customers and to maintain brand recognition.” Meanwhile, the proportion of sustainable products in the collection is on the rise. The daywear line Biotyful, which was launched last season and has been awarded the GOTS and Grüner Knopf seals, is updated with new cuts. A new addition is the Interlock Cotton nightwear capsule made of GOTS-certified cotton, which will be included in the NOS programme for delivery in July. Furthermore, the new Mey collection offers a well-rounded range of exclusive underwear, skin-flattering lingerie, and comfortable nightwear. Highlights of the collection include particularly feminine and elegant styles featuring opulent lace and exclusive prints.

Fully committed to the Supreme: Mirjam Dietz (left) and Aline Müller-Schade.

Mey displays style and competence in every product.

Supreme Women&Men Düsseldorf, 29th of January to 1st of February 2021 Supreme Women&Men Munich, 13th to 16th of February 2021

WWW.STETSON-EUROPE.COM

PITTI UOMO Florence February 21-23 2021 Fortezza da Basso Padiglione Centrale

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The shoe brand Heinrich Dinkelacker invested three years in the development of a 3D foot scan that assists customers in finding the perfect shoe.

Goldwin x Spiber Inc.

SUGAR BREW REPLACES PETROLEUM When a Japanese bio-venture collaborates with a traditional Japanese brand such as Goldwin, the result is Brewed Protein, a new material that, once interwoven with wool, opens up new perspectives. It contains structural protein material that primarily consists of plant sugar molecules that are brewed in a specially developed process.

Given that it can be produced in different strengths, it is already being hailed as a substitute for petroleum-based fibres. Spiber is opening a production facility in Thailand this year to promote the international export of the ecological alternative for plastic and animal fibres. Last year, Goldwin produced a unisex jumper containing Brewed Protein.

It was made available for pre-order online for 800 Euros. www.goldwin-sports.com, www.spiber.jp

Heinrich Dinkelacker

FITS LIKE A GLOVE Daniel Pokorzynski is not only the managing director of the retail format Shoepassion, but also responsible for the Heinrich Dinkelacker brand. In addition to the innovative digital bespoke shoe concept, he has also implemented a tool for recommending shoe sizes to reduce returns.

What is unique about the software you have developed?

We are capable of utilising scans to reproduce the foot as a 3D model. This cannot be achieved by conventional manual measurement. The software is fed with all our last data. In combination, this enables us to provide extremely accurate and fast service, which is, in contrast to classic measure-fit service, ultimately scalable. While a great deal of experience and know-how is required for the often error-prone manual measurement, our system only requires the correct use of software and hardware.

Is there a comparable product on the market, and if so, what is the difference to your solution?

There is no comparable solution. The way our scan service works differs fundamentally from the usual scanners you might know from shoe discounters. Those merely determine the shoe size.

Brewed proteins replace petroleum-based fibres. Japanese bio-venture Spiber recently presented its material innovation developed in cooperation with Goldwin.

What is the financial outlay required to develop such software and what equipment or machines are needed to implement it in practice?

The project is difficult to quantify financially, but the investment volume is in the six-figure range. That does not include the enormous time commitment. In collaboration with our partner OneFid, we invested several years in development of the process and software. These values apply to the entire technological set-up of Shoepassion ID. The system requires a 3D scanner, a corresponding CAD software, a CAD-controlled milling machine for the production of lasts, and a CAD-controlled cutting table for the exact production of leather cut-outs.

At what scale can the investment be considered to be amortised?

Shoepassion ID represents a platform technology, on which we provide a variety of applications such as shoe size recommendation online and in stores, a digital made-to-measure shoe, and, in the future, custom-fit individual insoles. Involving all applications, we therefore estimate an amortisation in one to two years.

A more extensive interview can be found on www.style-in-progress.com

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Sportalm

AT HOME

Customers can soon relax at home surrounded by Sportalm Kitzbühel’s signature look. The Austrian company has decided to introduce its Home Collection as of spring/summer 2021.

In line with the spirit of the times: Sportalm Kitzbühel is expanding its range by adding a Home Collection as of spring/summer 2021. It features cushions, plaids, and bed linen in typical Sportalm style. It is an ideal addition for the 36 company-owned stores and outlets in particular, but the international 1,400 Sportalm retailers should benefit from the new line extension too. The new collection is distributed by licensee Stöckel & Grimmler. Retail prices range from 49 Euros for cushion covers to 329 Euros for high-quality fake fur plaids.

Slowear

ITALIAN LIFESTYLE FOR THE FAR NORTH After opening its first German concept store in Munich, Italian company Slowear opened its second in Hamburg in October. The name says it all: Slowear’s four menswear collections – Incotex, Zanone, Glanshirt, and Montedoro – have been creating a style world of high-quality Italian lifestyle, and offering a contemporary alternative to the consumption pressure of fast fashion, for 70 years. www.slowear.com

Exclusively from the Far East: the Kadib online store imports fashion and interiors by Persian designers.

Kadib Shop

FEMALE EMPOWERMENT Kadib is not only the first European online store for Persian fashion and interior design, but also a recently launched start-up founded by entrepreneur Kamelia Adib in 2019 with the aim of providing a stage for her passion. Kadib attaches great importance to topics such as female empowerment, social entrepreneurship, sustainability, and social responsibility. After all, a presence in the European market is a great opportunity for the 50 or so designers listed by Kadib. www.kadib.com Four brands under one roof. The new Slowear store in Hamburg reflects the company’s brand world.

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www.cruna.com Elvis Fashion Agency - München ( Germany ) - www.elvisfashion.com

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The Nim Standard

COMPELLING ARGUMENT Cool American spirit coupled with superior Italian denim expertise: The Nim is among the market’s rising stars. As of this season, Niklas Rill and his agency are responsible for sales in Germany and Austria. “Retail prices ranging from 149 to 229 Euros are a compelling argument,” Rill points out. His cooperation with creator Claudio Parolini is close and amicable. Both wish to establish close, cooperative partnerships with the retail trade in order to meet demand precisely. “Claudio always works hard on optimising the new collection and inspiring everyone anew.” www.emmepi-italia.com

A vivid example of the rapidly growing retail landscape in China: the new Sowhat Boutique in Chengdu.

Sowhat

SYMBOL OF DIVERSITY Chengdu, a megacity in southwest China, defied the pandemic last year with its almost traditional economic growth. What is so different about Chengdu?

It boasts a diverse, wide-ranging multi-brand store landscape that extends beyond the large malls. In August, luxury retailer Sowhat opened a large boutique featuring international high fashion brands like Alexander Wang, Marni, and MM6, as well as local labels like Shushu/Tong, Minga Ma, and Dion Lee. Sowhat, 99 Xiadong Dajie Duan, 610042 Chengdu/China

The creative team of Agentur Igel impresses with fresh ideas.

Conceptstore Alte Gießerei Igel

THINK AHEAD

Niklas Rill wears and endorses The Nim.

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Cool location, smart concept: Detlef Igel‘s agency is breaking new ground in terms of personal shopping. It not only uses the premises of an old foundry near Erkrath in Düsseldorf as a sales agency, but also as a concept store. The key brand is Drykorn, which Igel has represented for parts of Germany for many years, complemented by Copenhagen Studios, Lola Clothing, interiors by Hay and Wuud, lamps by Artemide, and skincare by Oskar. Consumers can book a 90-minute time slot via the website and can, in addition to shopping, look forward to a delicious coffee, insider tips, a guided tour of the building, and parking spaces outside the door. Igel deliberately does not indulge in sale campaigns.

He prefers to inspire with his products and a special shopping experience. www.agentur-igel.de, www.alte-giesserei-igel.de

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Wunderfell

MINDFULNESS There are two changes in the sales setup of Wunderfell to report. Agentur Meike Schilcher has been hired to cover the Austrian market, while Agentur Klaus Knierer now handles Bavaria. “In fashion terms, the classic models are supplemented with sporty styles,” says Dirk Nienaber, Managing Director of Marlino GmbH. “Only high-quality merino skins from Spain, Lacon skins from South Africa or New Zealand, and fur from Iceland is used. All materials are processed exclusively in Europe. Retail prices ranging from 999 to 2,999 Euros mean we now cover several segments. Besides fair working conditions, it is extremely important to us where the fur comes from, where and how it is tanned and dyed. Sustainable processes are a top priority.” This aspect in particular has convinced some well-known new customers. www.wunderfell.de

Vic Matie is promoting its e-commerce activities in collaboration with its stationary retail partners.

Light, functional, and versatile: RRD offers properties that reflect the times.

Vic Matie

RRD

SHARED E-COMMERCE Vic Matie, a shoemaker from The Marches, is investing in digitisation and has revamped all its virtual media channels. The aim is to ensure the consumer experience is as pleasant as possible. The first step was taken in the B2B segment with the creation of a digital showroom. As of now, the collections are presented in person by Creative Director Silvia Curzi. During these presentations, buyers can submit their orders directly.

With regard to end customers, the brand strives to guarantee that their favourite shoes are readily available – be it online or offline. To this end, the brand has established a partnership with THESHHHOP. The Italian start-up provides a multi-brand platform that affords each brand its own “showcase”. What is new is that retailers who stock the brand have access to the platform too. If, for example, a colour or size is no longer available in the store, the retailer in question can use it to reorder. Online shoppers can utilise the geolocation feature to find out which store in their immediate vicinity has a certain shoe in stock. Collections and returns via stationary retailers are actively encouraged in order to strengthen this classic sales channel. www.vicmatie.com

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NEW AGENCY FOR GERMANY

Wunderfell switches between classic and sporty, but always remains as sustainable as possible.

As of the autumn/winter 2021 season, Italian premium sportswear brand RRD has a new sales agency in Germany, namely Dominik Meuer’s Munich-based Die Hinterhofagentur. Room With A View of Salzburg remains responsible for sales in Austria. “Sports and casual wear with a truly active character, real benefits for leisure and sports, and a modern look have significantly higher potential than before in the coming seasons. People spend more time outdoors than ever before, be it in the city, in the mountains, in the forests, or at the seaside. The RRD portfolio relies on a wide range of lightweight technical materials. Many years of experience in water sports, as well as adept development of high-performance hardware for kiteboarding and windsurfing, provide the relevant credibility. RRD offers a multitude of sporty, elegant hybrids with excellent day-to-day usability. In addition to coats and jackets, the collection is complemented by a wide range of trousers and tops.

In the past, the templates and inspirations for sportswear were primarily derived from the army and workwear sector, but now the trend is increasingly moving in the direction of the active and performance sports sector,” explains Dominik Meuer. www.robertoriccidesigns.com

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The Supreme Group Fashion Net Düsseldorf

STRONGER TOGETHER Aline Müller-Schade, Managing Partner of The Supreme Group, was elected to the board of the Fashion Net Düsseldorf association in December. “The city of Düsseldorf is close to my heart, especially as we have been promoting this location for ten years with Supreme Women & Men,” says Müller-Schade. “Therefore, it is only logical for me to be involved in the association, and to try and contribute to its bright future. The fashion agencies, brands, and Igedo Company are stronger together.” MüllerSchade is known for basing her commitment on intuition. “My sometimes unconventional way of thinking may polarise at times, but I am convinced that a breath of fresh air is beneficial if you want to make a difference. After all, the market is changing, and we players have to change with it.” www.fashion-net-duesseldorf.de

Aline Müller-Schade is committed to Düsseldorf, now also as a member of the board of the Fashion Net Düsseldorf association.

Neonyt

FRESH START IN FRANKFURT The Neonyt will take place as part of the Frankfurt Fashion Week from the 5th to 9th of July 2021, alongside the Premium and the Seek, at the city’s exhibition centre. The goal of the Frankfurt Fashion Week is for all exhibitors to commit to the Sustainable Development Goals by 2023, thereby achieving the UN’s sustainability targets. “It is our ambition to find solutions to societal challenges and to support the goals of international politics, for example the European Green Deal. The fashion and textile industry is required to be climate-neutral by 2050. We all need to pull together to achieve this. The Frankfurt Fashion Week invites all initiators and participants of concepts, congresses, and shows dedicated to sustainability to get together, debate, and make concrete decisions that allow us to achieve something great together,” says Detlef Braun, Managing Director of Messe Frankfurt.

Together with the Conscious Fashion Campaign, in collaboration with the United Nations Office for Partnerships as presenting partner, the Frankfurt Fashion Week aims to position itself as a resolutely sustainable platform that ushers in the “Decade of Action” by supporting the fashion sector in its evolution into a modern, resource-efficient industry. “In view of its global reach, the fashion industry is in a unique position to make a special commitment to climate protection, as well as responsible production and consumption,” says Annemarie Hou, Acting Executive Director of the United Nations Office for Partnerships.

“The Frankfurt Fashion Week and the Conscious Fashion Campaign summit form a leading, international conference platform for sustainability in the fashion world. As such, they will serve as an important and forward-looking stage for education and involvement of the textile industry in the ‘Decade of Action’”.

6th to 8th of July 2021 www.neonyt.messefrankfurt.com

Detlef Braun, Managing Director of Messe Frankfurt, invites exhibitors and visitors to explore solutions for a climate-neutral fashion and textile industry.

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They refuse to be discouraged: Très-Bien launched its menswear store in London in March 2020, despite the lockdown.

Très Bien

GRAND OPENING IN LOCKDOWN The first Très Bien store outside Malmö opened in London’s trendy Soho district in mid-March. Très-Bien, which has been synonymous with a sophisticated multibrand menswear range since 2006, is the brainchild of Swedes Simon and Hannes Hogemann. They mix international designer labels such as Our Legacy, Raf Simons, and Prada with sportswear brands such as Nike, Common Projects, and Stüssy. www.tres-bien.com

COSY CHECK PANTS alberto-pants.com CREATED IN MÖNCHENGLADBACH

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LSTNR

FRANKFURT FOR FUTURE Frankfurt-based store Listener receives an upgrade after seven years. The key focus is on a holistic shopping experience based on conscious consumption and a healthy lifestyle, as well as the evolution towards greater sustainability.

Owner Hakan Temür, who also manages the Brandpool agency, is expanding his store to 1,700 sqm, featuring a 180-metre-long shop window front. The store, now called LSTNR, has decided to relocate to the “Flare of Frankfurt” building on “Grosse Eschenheimer Strasse”, designed by renowned architect Hadi Teherani. Keywords of the new concept are culture, community, education and empowerment, conscious lifestyle, and mindful consumption. Alongside the first franchise store of Berlin food and health provider Daluma, other partners such as Atelier Markgraph, Spatial Design, Netguru, Technology, and Kemmler Kemmler have been invited to become involved in the implementation of the new project. The grand opening is scheduled for summer 2021. www.thelistener.de New benchmark in Frankfurt: Hakan Temür plans to expand his LSTNR concept to 1,700 square metres by summer 2021, with a clear focus on sustainability.

Retail milestone in Berlin: Alhambra Berlin will launch its experimental retail space in spring 2021.

Alhambra Berlin

EAGERLY ANTICIPATED Berlin‘s city centre will be enriched this spring by another trendy retail location.

Alhambra Berlin, a project space in the former Filmpalast on Kurfürstendamm, will open its doors to present an innovative co-retail format on 1,100 square metres. In more concrete terms, this entails a mixture of showroom, art gallery, store, and event space. “A space beyond just retail – a store beyond just shopping” is one of the snappy slogans the creators use to illustrate their ambition to break up traditional patterns of stationary retailing. Concept developer Tatjana Sprick relies on sophisticated tracking technology, similar to a data analysis of web shop users. Special software harnesses 19 cameras with 360-degree scanners to provide precise analyses of consumer behaviour in the store, as well as the acceptance of individual brands and products. www.alhambra-berlin.com

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“We offer presence with digital add-ons,” says Ulrike Kähler.

Gallery Fashion and Shoes

“A TRADE SHOW SHOULD NOT BE AN ONLINE SHOP” How does the Gallery plan to operate this season?

Ulrike Kähler, Managing Director of Igedo Company, Project Director Gallery Fashion and Gallery Shoes: Even today, I remain convinced that a trade fair depends on presence.

We present emotional products that require a look and feel. I embrace that personally, and that is what we are working towards.

However, experience has shown that we need to create virtual add-ons, for example when international visitors are unable to travel. Our new hybrid solution definitely allows our exhibitors to remain in contact with their customers.

What strengths can you exploit now?

For one thing, we provide a clear security concept with regulated entrances and exits. It allows us to track who is in the various halls, and for how long. This means the Gallery is safer than any shopping mall. Moreover, the halls in the Böhler complex are spacious and optimally ventilated. Secondly, we offer an exciting range of fashion, shoes, and accessories. Every stand is like a little store, which provides a certain level of order privacy. We will remain highly relevant as an ordering platform. After all, if buyers cannot see and buy something new, there will soon be nothing new in the stores.

How will Gallery evolve?

I would like to develop the event in a way that stimulates curiosity. I am inspired by concept stores that combine surprising ideas to create excitement. I explore this concept store approach for the Gallery, meaning I am always on the lookout for innovations that provide stimuli for our visitors. The September edition of the Gallery proved that this idea is very popular. We mixed the concepts of fashion and footwear for the first time, enabling some exhibitors to attract new customers.

Gallery Fashion & Shoes, 30th of January to 1st of February 2021 Gallery Showroom Concept, 28th of January to 1st of February 2021 Digital Hybrid, 28th of January to 15th of February 2021 Gallery Shoes & Fashion, 7th to 9th of March 2021 Gallery Showroom Concept, 5th to 9th of March 2021 www.gallery-dusseldorf.com

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Phil Petter

“CUSTOMERS WILL CRAVE INNOVATION”

Anja Grabherr-Petter is increasing the proportion of workwear jackets and overshirts at Phil Petter.

What has the challenging last year taught you?

Anja Grabherr-Petter, Creative Director of Phil Petter: We realised that identifying one‘s own strengths and applying them to perfection is more important than ever before. As a small family business, Phil Petter represents long-lasting, perfectly crafted favourite pieces that we produce in our own manufactory – far removed from any mass production. On the consumer side, the awareness of quality and European manufacturing is growing.

Both are firmly embedded in Phil Petter’s DNA. What do customers need most right now?

Besides a carefully considered product, they need excellent service. That is why we have invested in a NOS programme featuring high-quality shirts in our premium jersey quality. They have proved to be highly successful for years, and can now be reordered during the season. Knitwear and jersey are particularly in-demand now, so we have reduced the proportion of jackets in favour of a more casual look with plenty of knitwear and hoodies.

The latest additions are our Luxury Matching Sets of knitted jog pants and tops in Cashmerino, a feather-light, soft merino wool.

New 3D technology eliminates seams and makes them all the more comfortable. We are convinced that customers will crave innovation in the autumn. Many of our retail partners are very motivated by our products and are starting the new season with optimism. So are we! www.philpetter.com

Vicario Cinque

“DIVERSIFICATION IS MORE IMPORTANT THAN EVER” Stefano, what are the positives to report from 2020?

Stefano Lora, founder and CEO of Vicario Cinque: We enjoyed many positive experiences with Vicario Cinque last year. We succeeded in maintaining our numbers and our expansion course was only slightly curtailed. The planned expansion in China has been postponed to 2021, whereas we were able to open up the Polish market despite the pandemic. These are excellent achievements for such a crazy year. Furthermore, we have been working on our Nova Villa collection. The home-wear capsule consisting of a few pieces made of natural fibres is ideal for the home office. The idea came to us before everyone was forced to work from home. We have always believed in diversification, which is why we created our home line V5. Our intuition turned out to be right on the money.

What did you learn?

We learned how important the interpersonal aspect is to this industry. Relationships are cherished. People refuse to waste any more time on irrelevant matters. I hope that smart-working (Italian for home office) is here to stay, mainly because it is a highly sustainable form of working.

What will 2021 bring?

It will be a very exciting year for Vicario Cinque. We plan to relocate to our new headquarters. We bought Villa Piovene near Vicenza in 2018, renovated it in 2019 and 2020, and will finally be able to open our new offices this year. The villa dates back to the 16th century, has 3,000 sqm of floor space, 18,000 sqm of land, and is a real gem. Frescoes from the time when the Countess Adele Piovene lived there were revealed during the restoration work.

A beautiful view of Villa Piovene, the new headquarters of the Italian brand Vicario Cinque.

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Prudence and enthusiasm are a good pairing, as Munich Fabric Start proves.

Its Fabric Days event has been postponed to early March.

Munich Fabric Start

LATE DATE WITH EMOTIONAL IMPACT In view of recent developments, Munich Fabric Start has opted to postpone its Fabric Days to 2nd to 4th of March 2021. The organisers are fully committed to offering long-standing exhibitors and visitors an inspiring and safe physical trade fair for the spring/ summer 2022 season in Munich. The feedback from exhibitors was both understanding and sympathetic, which is in line with the excellent response to the inaugural Fabric Days. “The spring/summer 2022 season is highly emotional due to the extraordinary situation we find ourselves in,” says Managing Director Sebastian Klinder. “Our leitmotif ‘We are all in’ symbolises solidarity, the longing for personal exchange, and a return to what we are used to – the ‘new normal’. We are optimistic, hopeful, and ready to explore new avenues made possible by technological and social progress. We perceive progress with all our senses on a physical and digital level.”

Around 300 international suppliers are expected to present their innovations and material developments for summer 2022.

Fabric Days, 2nd to 4th of March 2021, www.munichfabricstart.com

DESIGN MEETS BIOMECHANICS Stinaa.J combines a patented orthopedic insole with a m i n i m a l i s t , m o d e r n a n d e l e g a n t e x t e r i o r.

The biomechanical insole has been developed through more than a million three-dimensional scanned feet, three decades of orthopedic experience and the use of high-quality materials from space technology.

Contact for retailers: N o r t h e r n G e r m a n y : a m a y @ s o o p - a g e n t u r. d e S o u t h e r n G e r m a n y : m a r t i n @ b u n d l e c h n e r. e u

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Goldgarn Denim

Travelling through Germany together.

The Dornschild team on the Fashion Road Trip 2020.

To be continued.

“WE WANT TO GIVE SOMETHING BACK” What positive effects has the crisis had on your business?

Kerem Oezcelik, founder of Goldgarn Denim: We have further enhanced our customer service for retail customers and deepened the direct exchange. The retailers really appreciated that, not least on an emotional level! At the same time, customers are more hesitant about visiting the showrooms, which is why we have used the time to prepare the launch of our own B2B shop in January. This means Goldgarn Denim can soon be ordered digitally and physically.

What has changed on the product side?

Our Goldgarn Essentials line for women is brand new. It features trousers made of 100 percent denim, completely elastane-free. Our accompanying slogan is: “Make it yours”. The jeans only develop their personal shape on the wearer. In addition to the main collection, we have also developed a concept comprising ten styles each for men and women, which will be available ex-stock throughout the season. This relieves retailers of the pressure to stock.

What else?

We are also launching an organic t-shirt capsule featuring selected print motifs by regional artists. Part of the proceeds are donated to our Goldgarn Charity foundation. Jeans cannot be produced 100% sustainably, so we feel a responsibility to give something back, for example by investing in drinking water wells in Bangladesh or reforesting woodland. We have great ambitions in this respect. www.goldgarndenim.de

Dornschild

ON THE ROAD AGAIN While the industry was embracing digitisation, you spent the summer of 2020 accompanying your friend and agent Lars Fischer on a real-life fashion road trip across Germany, and shared it via social media. Jörn, what was the factual output of the trip, apart from a superb live documentary on Instagram?

Jörn Boysen, co-founder of Dornschild: The most wonderful aspect was the gratitude and hospitality that Lars experienced at all our customers. Our plan was to establish personal contact and gain a better understanding of the retail trade, especially during these tough times. This resulted in friendships and profound trust. We even gained about 30 percent new customers, which really stunned us.

Will there be a sequel?

Definitely. Fashion needs to be felt and lived live. The next fashion road trip starts in summer 2021.

How did you calibrate the collection for the new situation in 2020?

We have decided to focus on the strongest key items and the essentials. As an off-season collection, we provide retailers with a product that is relevant all year round, regardless of season or weather. We are standing by this approach and will be adding a new silhouette next year. www.dornschild.com

Funky Staff

“WE MAKE SURE EVERYONE BENEFITS FROM ONLINE”

Goldgarn founder Kerem Oezcelik relies on excellent service and handcrafted jeans.

As sustainable as possible: Goldgarn Denim.

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Uwe, you describe your new online shop as a world premiere – can you tell us why?

Uwe Bernecker, owner of Funky Staff: We engage our retail partners to 100 percent. Upon checkout, all customers can see that they are not buying from the brand, but from Funky Staff retailers. They can specify a favourite retailer, who is then prioritised, while in all other cases an algorithm decides and selects which retailer delivers, based on criteria such as proximity and availability.

You offer social media training, you hire celebrities such as Frauke Ludowig to promote retail purchases, and you have a swipe-and-find function on social media. Why are you so unconditionally committed to retailers while many other companies attempt to generate sales themselves via their own stores or online?

I simply cannot think of a better way to mobilise customers than an enthusiastically managed store. 2020 was particularly instructive in this respect, because one can precisely analyse who really loves their store, their customers, and their brands. These retailers have successfully withstood the lockdowns. We supported them in this mission wherever we could.

We have achieved great things by combining covetable, short-term available, 100 percent “Made in Italy” fashion with the unwavering support of the entire Funky Staff community.

Now you are relocating to Frankfurt. Is that a message?

Yes, we need space! Funky Staff is on the right track and we still have plenty of plans. We listen to the market closely, which means we can deliver what our customers want and our retailers need to generate excellent sales figures. Partnership is more important than ever.

We are a partner, not a supplier. www.funkystaff.com

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A Fish Named Fred

AN EXCELLENT CATCH

Precise brand management: Steiner 1888 stands for loden. Period.

For the Netherlands-based brand A Fish Named Fred, the year 2021 is all about expansion. The new company headquarters near Amsterdam will provide more space for employees, an in-house photo studio, showrooms, marketing and product development departments, and a warehouse for follow-up deliveries.

In March, the next flagship store will open in the newest Westfield Mall near The Hague. A number of new shop-inshop concept corners are intended to strengthen the visibility of the brand.

True to its motto “Be Proud And Stand Out!”, A Fish Named Fred specialises in stylish and colourful fashion for men.

In addition to shirts, key areas of focus are blazers, waistcoats, knitwear, and jackets, as well as an extensive range of trousers. “Men who wear A Fish Named Fred are bold and energetic pacesetters.

For them, we transform boring menswear into something colourful with fresh and original designs,” explains CEO Rob Schalker. The collection, divided into two delivery dates, is inspired by seafarers’ tattoo designs in autumn/winter 2021: anchors, compass roses, rudder wheels, mermaids, lighthouses, seahorses, shells, hearts with sleeves, and sailing ships are used as icons or all-over prints.

Select Studio of Munich, with additional showrooms in Vienna and Düsseldorf, started representing the label in Germany and Austria in 2020. Switzerland is served by importer Vision Active Group. www.afishnamedfred.com

Steiner 1888

LODEN = FUNCTION + EMOTION What can Steiner 1888 draw from 2020, an extraordinary year in every respect, for the future?

Johannes Steiner, Managing Director of Steiner 1888: The relevance of a distinct focus became even clearer in the face of what was indeed an extraordinary challenge. What do we stand for? What is our core competence and market justification?

Steiner 1888 = Loden. That is a very simple equation. Nor is it a new insight per se.

Yet the logical next step is to explore how we can implement this pledge even better, more innovatively, and in line with the demands of a rapidly changing market.

Loden has always been an almost perfect combination of function and sustainability. Does the rapid emergence of these two topics have a noticeable effect on your business?

Definitely. The experience that the principles Steiner 1888 has always represented are becoming increasingly important, that we do not have to bend or reinvent ourselves in order to be future-proof, was very rewarding in this intense process of analysing our own company. We symbolise a great deal of what the informed con-

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sumer is increasingly looking for, or even demanding.

Our “Wollwelt” exhibition was a real crowd magnet this summer. Ultimately, we offer the highest level of transparency right there. Everyone can come and see what we do, and how we do it. I observe a feedback loop from the consumer to the retail trade, which has a very positive impact on us as a business.

Steiner 1888 shows what loden is capable of in many different ways. What are your most exciting projects at the moment?

In recent years, we have been very successful in promoting the topic of loden in the hotel, catering, and living segments.

Our project involving a chairlift with loden seat upholstery has also resulted in follow-up orders. The material is convincing both aesthetically and functionally.

What is high on our agenda for 2021 is the development of a high-quality, finely focused accessories collection. They will no longer be mere supplements, but a real line in its own right. This could even extend to modern luggage. Loden is predestined for this, because function and emotion exist in harmony.

A Fish Named Fred switched to the Select Studio fashion agency in 2020.

4. – 7. 5. 2021 Frankfurt am Main

PERFORMANCE. FUNCTION. FUTURE.

Erleben Sie die Zukunft.

Beyond innovation. techtextil.com

Die Techtextil als internationale Leitmesse für technische Textilien steht für Performance. Function. Future.

Erleben Sie in einem spannenden Messeumfeld einzigartige Innovationen aus den Bereichen Performance- und Funktionstextilien sowie inspirierende Impulse aus der ganzen Welt der technischen Textilien und Vliesstoffe.

parallel zu:

Ihr Ticket berechtigt Sie automatisch zum Besuch der Texprocess und Heimtextil. Besuchen Sie die drei führenden Messen der Textilbranche. Einmalig zur gleichen Zeit am gleichen Ort!

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Worschd

SAUSAGE FEST

Sandra Conçalves invests in sustainability and transparency.

Lightning Bolt has undergone major changes, but the casual, easy-to-wear style remains true to itself.

How we barbecued! The first lockdown in Germany has given outdoor cuisine a new lease of life. Reflecting on how many low-quality sausages find their way onto domestic barbecue grills, coupled with a different standard in product presentation, has prompted two fashionistas, of all people, to take action: Malte Kötteritz of Heritage Showroom teamed up with Michi Prues to launch The Worschd, an after-work start-up that markets a Nuremberg-typical grilled sausage that is handmade in a traditional butcher’s shop. The sausage is made of raw minced meat, which poses quite a challenge in terms of logistics. The duo has, however, proved that every problem is solvable. The Worschd is a fun side project for Malte and Michi. “Translating our fashion and lifestyle brand-influenced perspective into a product like a grilled sausage is great fun for us,” laughs Malte Kötteritz. www.theworschd.de

Lightning Bolt

“AGILITY AND CREATIVITY ARE CRUCIAL” What has 2020 sparked and changed at Lightning Bolt?

Sandra Conçalves, CEO of Lightning Bolt: Plenty. There is a strong and necessary urge for change in order to remain competitive. That is why we have expanded and accelerated our use of digital solutions, both B2B and B2C. Amid the COVID-19 pandemic, the way we buy from each other has changed, perhaps permanently.

What are the advantages?

Service, transparency, dialogue, and competence. By optimising digital channels, collaboration becomes more direct and efficient. We have also reviewed our social media strategies and

want to use the platforms to share our top success story, because we believe that storytelling will soon be even more important than simple, product-focused campaigns.

Lightning Bolt’s story has deep ties to nature.

Lightning Bolt is a brand of the ocean, so it is only logical to champion sustainability. We have been developing new fabrics, reusing material remnants, and thus redefined our design. We have also cut the destruction of unsold goods and now ensure that products can be repaired or recycled. We aim to have completed our material revolution by 2023. All our products should be 100 percent biodegradable or 100 percent eco-friendly. We are also committed to radical transparency throughout our supply chain. www.lightningbolt-usa.com

After-work barbecue? No, after-work project! Malte Kötteritz of Heritage Showroom and Michael Prues have transformed a Bavarian staple into a modern business model. The Worschd, a Nuremberg grilled sausage, is delivered by chilled express mail.

DU4

“SERVICE IS CRUCIAL”

David Dufour and Emanuel Dufour have sharpened DU4’s profile in line with customer demand.

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What developments did 2020 trigger?

David Dufour, Managing Director of DU4: Quite a few, actually.

Close collaboration allowed us to gain an even better understanding of our customers, meaning we were able to further sharpen our collection profile. The fashion proposition of the collection has become broader and reinforced by new qualities. Our learning: anything too basic and business-like does not work. This collection segment has been compressed and moved to our NOS programme.

What did you invest in?

Emanuel Dufour, Managing Director of DU4: We invested in said NOS programme, more than ever actually. As of January, we introduce several new qualities, some in a wide variety of colours, to our stock. Furthermore, we have decided to add more NOS programmes over time. Retailers can commit at short notice and bear minimal risk. Now more than ever, it is crucial to offer superior service.

Which innovations have proved successful?

David Dufour: We launched our Soft-Shirts series last year, which was very well received by retailers. We are continuously developing it by adding wintery looks combining Italian lightness and softness. www.du4.de

w w w. m o d e i s t . c o m ¡

modeistagency

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People of Shibuya

FEATHER-LIGHT WITHOUT FEATHERS

An urban jacket collection with Italian traveller attitude: People of Shibuya.

In the coming autumn/winter season, the main feature of the traditionally minimalist People of Shibuya jacket collection is urban softshell jackets with functional details. It represents an attractive alternative to lightweight down, both in quality and price, at the start of the season. With details such as paper-touch looks and form-giving stitching, reversible models, and resource-saving Thermore filling in place of down, the brand relies on lightweight tech jackets instead of thick down for the early delivery date from July 2021. www.peopleofshibuya.com

Fire + Ice

NEW TERRAIN Fire + Ice is breaking new ground for autumn/winter 2021 by launching an exclusive ski touring capsule collection, as well as individual styles in collaboration with young artist Jean-Vincent Simonet. The performance and urban street character of the brand has been reinforced within the new collection. “Our various lines enjoy autonomy under the Bogner umbrella. This holds especially true for Fire + Ice,” says Heinz Hackl, Co-CEO of Bogner. The guiding principles for the coming winter season are: take a risk, be brave, and advance quickly from idea to product.

In view of the corona-influenced skiing winter 2020, Fire + Ice decided to create its own ski touring capsule at short notice. It consists of a complete outfit each for men and women. Another highlight is the aforementioned collaboration with young artist Jean-Vincent Simonet. He photographed Fire + Ice freerider Nalu Nussbaum in action before artistically abstracting and editing these images to create special graphics for hoodies, t-shirts, and first-layers.

An order platform for the traditional costume industry: the showroom renters and temporary exhibitors at Brandboxx Salzburg work together. Photo: Sportalm

Brandboxx

SALZBURG REMAINS TRACHTEN ORDER HUB

Fire + Ice x Jean-Vincent Simonet.

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Brandboxx Salzburg, Austria’s largest fashion order centre, has seized the initiative in crisis-ridden 2020. Previously co-organiser of the Tracht & Country Premiere, it has decided to launch a stand-alone event for the traditional costume industry. The event consists of an order launch date on the 26th/27th of January and a larger platform from the 5th to 7th of March, when the full 6,500 square metres of the centre will be made available. Brandboxx Salzburg intends to guide the traditional costume industry through the economically challenging times with a high-quality decoration and stand construction concept. A location change later on is not ruled out. The target of at least 150 exhibitors has already been achieved for the first edition. “We strive to safeguard Salzburg as a location for the traditional costume industry,” says trade show manager Katharina Krassnitzer. A shuttle service will bring visitors to the Trachten manufacturers’ showrooms at Gusswerk.

HOT 1 Tracht & Mode Order Start, 26th/27th of January 2021 Trachten Order Days, 5th to 7th of March 2021 www.brandboxx.at

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Adventure Fashion

Die Hinterhofagentur

EXPERIENCING THE EXTRAORDINARY

“CLOTHING IS AN EMOTIONAL AFFAIR”

Dominik, what distinguishes Die Hinterhofagentur?

Dominik Meuer, owner of Die Hinterhofagentur: The product idea needs to appeal to us and suit our business model. Only then can we present it to our customers convincingly. Take our newcomer Fabulous Island, for example. The label offers cool jumpers and sweatshirts featuring retro, surf, and rock & roll prints, sustainably manufactured in Mauritius by Julie and Alban Macé. A share of the revenue is donated to NGOs committed to the preservation of the oceans.

What other news can you share?

Our outerwear label Ad Hoc is about to deliver a strong collection for autumn/ winter 2021/22. Material innovations paired with authentic styles such as parkas or field jackets make for an interesting blend.

Wool & Co is pursuing a path of qualitative trading up, which was already greatly rewarded in summer. All in all, everybody is making an incredible effort. I believe in a strong second half of 2021.

Marc, there are some reasons to look back on 2020 with a sense of satisfaction. What worked well and what lessons did you learn?

Marc Kofler, Managing Director of Adventure Fashion: From an agency point of view, we have plenty of positives to report.

We opted for continuity and refrained from changing our brand portfolio. This was a conscious decision. We were eager to support the brands and retailers, so we decided to pool our energies accordingly.

During this time, our agency, contrary to the trend, even reinforced its staff in order to be able to offer more efficient service. The decision has paid off. The key learning was that clothing is an emotional affair. Naturally, we had to digitise many processes and it is fairly easy to sell fast-moving items virtually. For new collections, however, haptics and personal advice are essential.

This is reflected in the number of customers who visited our showroom during the order rounds. The vast majority attended in person, which is a fantastic achievement in such an extraordinary year.

What is new in 2021?

We now represent CosyLovePure in Germany. It is a new cashmere label launched by two experts in the field: Dr Simone Peters and Dagmar Ingermann-Peitsch. The two friends, who have already successfully established Princess Goes Hollywood, decided to team up once more. We are delighted to be part of the project from the very beginning. The collection comprises jumpers, scarves, caps, and trousers made of cashmere in colours ranging from natural shades to really bright colours. It is cool knitwear that feels good and provides pleasure.

Labels: Ad Hoc, Bob, Bread & Boxers, Des petits hauts, Fabulous Island, Four.

Ten, Hamlet, Koike, Lightning Bolt, Manuel Ritz, Original Vintage Style, Portofiori, Prime Shoes, RRD, RR’s, Taylor Tweed, The Jacksons, Wool & Co Die Hinterhofagentur, Munich/Germany, info@diehinterhofagentur.de, www.diehinterhofagentur.de

Fabulous Island: great story, great product.

Agentur Klaus

PLAYING THE BEST HAND Christian, what is your focus?

Christian Klaus, owner of Agentur Klaus: We focus on cool, casual innovations. We are rolling out Humility in Austria this season. The labels contemporary womenswear originates from France, is simple and natural, and is manufactured in compliance with sustainability standards.

The creators of Freedomday have also committed to sustainability with their new Free Jacket line. The line is deliberately reduced, but offers a wide range of colour choices.

Which labels are your best performers?

The collections that outperform successfully embody a casual approach and offer an excellent price-performance ratio. Penn & Ink is a prime example. The label’s individual pieces are always special, yet also versatile. Generally speaking, the extraordinary is in demand. One example is Gustav’s women’s collection, which translates elegance into casualness. Such collections enable owner-managed retailers to demonstrate their expertise.

What can your visitors expect?

We have invested in the redesign of our showroom, which literally sparkles in a new light courtesy of a new lighting concept. This allows us to showcase our collections beautifully.

Penn & Ink facilitates versatile use by relying on individual pieces.

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Labels: Penn & Ink N.Y, Humility, Kyra & Ko, Freedomday, Free Jacket, POM Amsterdam, JcSophie, Gustav, Marc Aurel, Margittes, Oakwood, Resort Finest Modeagentur Klaus, Salzburg/Austria, office@modeagentur-klaus.at, www.modeagentur-klaus.com

Labels: 120%, Dekker, DL1961, Duno, Geospirit, iheart, K-WAY, Odd Molly, Orciani, Peuterey, Rosa & Me, Sebago, Tonno & Panna, TRVL DRSS, Zeneggi Adventure Fashion, Munich & Düsseldorf/ Germany, info@adventure-gmbh.de, www.adventure-gmbh.de

New: CosyPureLove

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Modeagentur Cocron

FAMILY POWER As a family business, Modeagentur Cocron is adept at combining strengths. “We have added another room, not merely to create space for new ideas, but also because our two sons have taken on important tasks within the agency,” says Uli Cocron.

Stephan Deinhamer recently launched a sustainable streetwear collection named Wise Enough. Florian Deinhamer, his brother, contributes his marketing expertise via Modeagentur Cocron Services, offering support for communication, as well as video and photo productions. “This allows us to provide optimal support to our brands and retail partners,” says Gerhard Cocron. The agency’s focal point remains Italian fashion by brands such as Vicario Cinque and Zanetti. They can rely on in-depth knowledge of the Austrian market and the agency’s cooperative spirit.

Labels: #7.0 Settepuntozero, 1978, Apart, Catnoir, Chiara b., Fine Mood, Ibu Jewels, Stegmann Hamburg, Vicario Cinque, Wise enough Fashion, Zanetti 1965, Zaubermond Modeagentur Cocron, Salzburg/ Austria, office@cocronmodeagentur.at, www.cocronmodeagentur.at

On a steep trajectory of success: Save the Duck.

The Wearhouse Fashion

RELIABILITY

Patrick, what is particularly important to you at the moment?

Patrick Ebnoether, owner of The Wearhouse Fashion: We have decided to focus on existing labels. Our customers also bank on reliable labels that have, by and large, delivered on time without compromising on quality. One example is Stone Island. Mason’s also did a great job communicating clearly what was available, and when. The customers were extremely satisfied.

Which collections are performing exceptionally well?

Save The Duck, especially as sustainability is gaining wider acceptance. The product is animal-free and features recycled materials.

These arguments ensure excellent sales.

Circolo 1901’s collection has a common theme that always echoes the previous one in terms of content. National Geographic and Daniele Fiesoli are on the right track, which is why we intend to expand their footprint.

Labels: Caliban, Campomaggi, Circolo 1901, Daniele Fiesoli, Deus ex Machina, Duno, GMS-75, Ibeliv, Le Bonnet, Mason’s, National Geographic, Paltò, Save The Duck, Stone Island, Tintoria Mattei The Wearhouse Fashion Trade GmbH, Erlenbach/Switzerland, patrick@wearhouse.ch, www.wearhouse.ch

Petra Esparza McAlpine Agency

“We are starting the season with gratitude and enthusiasm for the creativity of our retail partners,” says Petra Esparza

McAlpine. She is therefore eager to make her portfolio all the more exciting and diverse. New additions include premium denim by Pistola of L.A., which offers excellent value for money, and womenswear by Jonathan Simkhai of New York.

“Be it a pantsuit or jumpsuit, all styles have a feminine touch,” the agency owner explains. The collections will be presented in the agency showroom in Munich from the 15th of January to 15th of March 2021, as well as in another Munich location in collaboration with the Munich Connect collective. The venue will be communicated at short notice. www.esparza-mcalpine.de A permanent fixture at Cocron: contemporary fashion by Vicario Cinque.

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Super feminine: womenswear by Jonathan Simkhai of New York.

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MODEist

“I MADE EVERYTHING ACCESSIBLE TO EVERYONE” As we all know, Marion Hoferer of MODEist is not just an agent, but is also involved in the creative management of most of the brands she represents. In terms of product design, aesthetics, photography, and graphics, brands such as Pride to Be, Sold Out, Dolores, and Controfigure benefit from Hoferer’s vast experience. She has now decided to make all look-books, image series, and outfit combinations available to her retail partners in order to support their online activities. “We own all copyrights and allow our retailers to use all images for their specific purposes,” says Hoferer. Many of her customers are making good use of this generous offer.

Meanwhile, Hoferer’s son Timothy continues to expand “his” brand segment. After Rue de Tokyo, Alife, and Griffin, the agency now also represents Won Hundred.

MODEist, Munich & Düsseldorf/Germany, T 0049.151.64506485, info@b-kleidung.com, www.modeist.com Labels: Alife, Controfigura, Dolores, Griffin, Gudrun & Gudrun, La Milanesa, Lara Krude, Mitawa, Pride to Be, Rue de Tokyo, Sassenbach, SassiCara, Sold Out, Won Hundred, Yatay

In demand: jackets by Peuterey.

Michaelis Fashion Agency

Les Deux plans to launch a total of four upcycling programmes in 2021.

SURPRISE SUCCESS

Agentur Stefan Wittmann

SALES AREA EXPANSION

Stefan Wittmann‘s agency has, in the context of the restructuring of Danish menswear brand Les Deux, expanded the corresponding sales area. In addition to Central West Germany, the Düsseldorf agency now also covers the North and East.

The agency also represents Brosbi, Canadian Classics, Daniele Fiesoli, La Résidence, Maison Haussmann, and Wunderfell in various regions of Germany.

Labels: Annica Vallin, La Fée Maraboutée, Nalho, Shoe, Shoe Mini, Sylt Bohème Agentur Stefan Wittmann, Düsseldorf/Germany, stefan.wittmann@agentur-wittmann.de, www.agentur-wittmann.de

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Retailers of collections represented

by MODEist enjoy a unique privilege: the vast majority of images can be used for customers’ social media channels and web shops.

Who are your portfolio newcomers?

René Michaelis, Managing Director of Michaelis Fashion Agency: We now represent the minimalist, sustainable womenswear collection by Bellamy of The Netherlands in southern Germany. We have opted for a gentle start with our retail partners. The brand meets the zeitgeist of uncomplicated fashion. The feedback in terms of sales and reorders is exceptional!

What is the credo of your core brands?

Peuterey, a reliable and predictable partner of the retail trade, has achieved double-digit growth over the past season. The brand has also won back some customers with recognisable design innovations.

Absolut Cashmere is, in my eyes, one of the best cashmere brands at fair commercial prices. The label offers no less than 30 cashmere colours. The response last season was mega positive, which is why some retailers are planning a 20 to 30 percent increase in order volume for the current season. Yippie Hippie continues to cheer up customers with bohemian-inspired styles.

Labels: Absolut Cashmere, Bellamy, Peuterey, Yippie Hippie Michaelis Fashion Agency, Munich/Germany, mail@michaelis-fashion-agency.com, www.michaelis-fashion-agency.com

CANADIANCLASSICS.IT

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Room Nine Agency

“Naturally, we have news to report,” says Torsten

Müller, who starts representing the Michael Kors shirt collection, for which a master license was awarded, as of this season – to be followed by ties, ready-to-wear, and underwear. “We are proud to announce that we are now representing these lines in Germany. The whole group, with a turnover of almost two billion US Dollars, is huge, and the brand enjoys enormous visibility. The pricing is commercial and the cost calculation is reasonable.” Retail prices for shirts and suits range from 79 to 99 Euros and 399 to 499 Euros respectively.

Another newcomer is Holden from Venice, California. “The outerwear is modern and cool,” raves Müller, who is equally impressed by the washed, recycled, waterproof materials. www.roomninefashionagency.de

The licensed collection by Michael Kors is a prominent new addition to the Room Nine Agency.

Myths proves its innovative spirit with its Active Pants capsule.

Knallgrau Agentur für Mode

LUCKY FIND

Heritage Showroom

FULL THROTTLE “We are now the sales representatives of Esemplare in Germany and Austria,” says Michael Brockmann. “We are absolutely thrilled by the fact that the jackets combine a dressed-up street look with functionality.”

The wool qualities impress with their haptics, the inner seams are taped. Additional details make Esemplare a smart product choice.

The Myths collection follows a similar approach with its newly developed capsule.

“The Active Pants, made of technologically processed, natural materials, are breathable and water-repellent, yet the look remains casually Italian,” says Brockmann. The first step is to sell the trousers via a few carefully selected retailers. “We are forging ahead optimistically, strengthened and encouraged by the close cooperation with our excellent retail partners. It is time to go full throttle to do proper business with the specialised retail trade once more.”

Labels: Circolo 1901, Esemplare, Mey Story, Myths, Warm Me Heritage Showroom, Munich/Germany, info@heritage-showroom.de, www.heritage-showroom.de

The pattern usage of Shirtaporter has proved to be very popular.

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“Anything new needs to be special,” says Harry Heinrich, who struck gold with Pom Amsterdam.

“We have been representing the feminine-sporty collection in southern Germany and Austria since last summer. It has performed exceptionally. The materials are natural, the fits are excellent – at purchase prices between 49 and 59 Euros.”

Other strong performers include dresses by Italian label Shirtaporter featuring sophisticated patterns.

Since last summer, they are more restrained with less pattern blends.

Magnolya of Madrid also embraces the dress, focusing on individually designed prints and high-end qualities sourced from Europe. As of January 28th, Heinrich and Bettina Groeger present their ten labels in Sabine Lamann’s showroom in Düsseldorf. “We are optimistic about the future. Our retail partners have done a great job and rely on us,” says Heinrich.

Labels: Cha Boots, Floor, Magnolya, Maison Labiche, Pom Amsterdam, Poppy Field, Reiko, Shirtaporter, Uzurii, Wuth Cashmere Knallgrau Agentur für Mode, Munich/Germany, office@knallgrau-agentur.de, www.knallgrau-agentur.de

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Paul’s Selection

AT EYE LEVEL “We are a young agency with a fresh spirit,” says Paul Schulz.

“We meet our clients at eye level for genuine exchange that goes beyond the order – in fact, that is where it begins,” he argues.

Schulz’s portfolio focuses on contemporary collections that translate functionality and comfort into an Italian look. Prime examples include casual trousers by GTA and the complete collection by Traiano, which uses a high-quality, breathable bi-stretch fibre. Let’s not forget stretch leather shoes by Fabiano Ricci. Paul’s Selection represents the Sail Racing and Wahts Amsterdam brands in collaboration with Agentur Niklas Rill. Both partners share a showroom in Düsseldorf, and will also present their portfolios in Munich from the 11th to 17th of February 2021.

Labels: Fabiano Ricci, GTA, I am fine, Il Pantalone, Kired, Sail Racing, Traiano, Wahts Amsterdam Paul’s Selection, Düsseldorf/Germany, p.schulz@paulsselection.com, www.paulsselection.com

On Mont Blanc in a Traiano suit: Paul Schulz.

Handelsagentur Hanna “We focus on the partners with whom we work well at every level,” says Petra Hanna, owner of her

eponymous agency. Accordingly, she has streamlined the portfolio. “Henriette Steffens, 10Days, and Cotton Candy are striking a nerve right now, closely followed by Haan and Forest & Love.”

The newcomer Set off:line fits the bill: loungewear with a fashionable edge. “In Set, we have a label at our side that has always acted in the spirit of partnership.

They recognise and respond to demand very early on,” Hanna says. “We are really looking forward to the new line.” www.handelsagenturhanna.de

Maurizio Baldassari attaches equal importance to style and comfort.

Agentur Moormann

CONSISTENT

Klara and Timo Moormann have been committed to innovative thinking, individuality, and flexibility for years. They present their portfolio in their KAP 1 showroom in Düsseldorf and via Munich Connect in Munich. The exact location will be announced at short notice. “As product specialists, we value consistency,” says Klara Moormann. “Together with suppliers and customers, we are expanding the rapidly advancing luxury casual trend.” Maurizio Baldassari’s collection now includes knitted and cashmere jersey pieces such as blazers, swackets, and overshirts. “The definition of luxurious comfort,” explains Timo Moormann. Stephan Boya offers luxury loungewear for men and women. “Stouls remains a bestseller due to its washable stretch leather,” says Klara Moormann.

“Despite the regulations, we plan to create a relaxed, positive atmosphere in our showrooms to ensure that customers continue to enjoy their visits.”

Labels: Alessandro Gheradi, Grigio, Gimo’s, Inés Maréchal, Jürgen Claussen, Maison Lener, Maurizio Baldassari, Projekt E, Stouls, Stephan Boya, Valérie Khalfon, Zanieri Moormann & Co, Düsseldorf/Germany, moormann@moormann-co.com, www.moormann-co.com

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Set is a strong partner of Handelsagentur Hanna.

P REMI UM LAMBSKI N www.wunderfell.com

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Niklas Rill

JOINT ACHIEVEMENTS

Agentur Ventrella

“I am a firm believer in the stationary retail trade,” says Niklas Rill. “We can achieve great things together.”

As part of a co-agency alliance with Paul Schulz of Paul’s Selection, Rill recently assumed the distribution of Sail Racing’s outerwear. “The label is backed by a young, Swedish team that is open to cooperation and thinks ahead.” Rill also teamed up with Schulz for the distribution of premium contemporary brand Wahts Amsterdam. With Bowery NYC and The Nim of Italy, Rill has two projects of his own in store: “The Nim is the coolest denim line with the most beautiful washes. I have been passionate about these collections for a long time and still see a lot of market potential.”

Labels: Bowery NYC, Sail Racing, Scaglione, The.Nim Standard, Wahts Amsterdam Agentur Niklas Rill, Düsseldorf/ Germany, mail@maend.de, www.niklasrill.de

“WE NEED PIONEERS” Michele, how did you get through 2020 so smoothly?

Michele Ventrella, owner of Agentur Ventrella: It was not as easy as it may seem. We do business with Italian labels and feared the worst, but, looking back, we had a good season. My forecasts were surpassed and we fared extremely well. This is partly down to the fact that we have been collaborating with some of our brands for decades, meaning we have established solid and honest partnerships. We are now reaping what we sowed.

Which lessons did you learn in this time?

It has been confirmed that quality always pays off. People buy less now, but better.

End consumers think twice about what they really want, and opt for more quality, even if it means spending more money.

This more sustainable mentality, this reorientation, was crucial.

What does the future hold for the retail trade?

Difficult times require pioneers. It is essential to increase customer traffic and create real shopping experiences by investing in new concepts. Modern customers desire emotions. They need to be inspired in the store on all levels. It is no longer enough to merely sell a jacket or a pair of shoes. You need to sell a way of life.

Labels: 813, 820, Avant Toi, Backsideclub, Bazar Deluxe, Busg, Caliban, Cheeky Chain, College, Ennequadro, Giovi, Le Sarte Pettegole, NDV Project, Nove, Nine in the Morning, Pao, Tagiatore, Tintoria Mattei Agentur Ventrella, Düsseldorf & Munich/ Germany, mode@agentur-ventrella.de, www.agentur-ventrella.de

Michele Ventrella advises his retail customers to embody a lifestyle. He himself does just that with his agency in Munich and Düsseldorf.

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Statement pieces by Seventy are a new addition to Claudia May’s portfolio.

Claudia May Fashion Agency

“We believe in the future,” says Claudia May. “Many

of our customers had managed to match their previous year‘s results despite the spring lockdown, which encouraged us to look out for new, exciting brands.”

The Seventy collection of Venice represents contemporary tailoring with feminine details. The dresses, trouser suits, and coats are real statement pieces. “Our customers expect innovation,” argues May, whose agency specialises in predominantly Italian womenswear.

“Simultaneously, they monitor all the more closely which collections are selling well, such as Rosso 35 or Purotatto.” www.claudia-may.de

Denim by The.Nim Standard convinces with sophisticated washes and craftsmanship details.

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room with a view “Sometimes you simply have to do it,”

says Iris Obojes, referring to digital sales. The pre-collections offered a choice of three brands. Besides Christopher Mönch and Sabine Weissenbacher from the agency, the brands themselves also had their say. “We are here to strengthen the bond between brand, agency, and retailer.

We attach great importance to collaboration.” Iris and Christian Obojes want to encourage people to explore unusual paths. “With Colorful Standard, for example, you can easily arrange a pop-up. Out-of-the-box ideas are in demand.” room with a view always delivers such ideas. Whether it is Iris Obojes as host of the House of Beautiful Business or Christmas greetings from a business astrologer, inspiration is guaranteed. www.roomwithaview.at

Discovered during lockdown, a permanent fixture in the future: digital sales at room with a view.

Komet und Helden is expanding the urban street segment revolving around the cult brand Dickies (pictured). This is one of the reasons the Munich-based agency decided to open its third location in Berlin.

Stolz Modeagentur

“I want to contribute to ensuring that the Gusswerk-­ Brandboxx axis remains the most important ordering location for Austria’s traditional costume retailers,” says Hubert Stolzlechner.

He is willing to take unusual risks to do so. Stolzlechner has decided to expand his premises to 600 square metres to offer portfolio brands without showrooms a home during the order period.

He is equally willing to make temporary space available to other premium brands from the alpine lifestyle sector. “I think like a multi-brand retailer. I strive to offer an appealing mix that attracts buyers.”

Core brands such as Habsburg, Josef & Anna, Steiner 1888, Säckler Manufaktur, Merchen Medchen, and Grassegger definitely guarantee attractiveness. www.hstolz.at

Komet und Helden

“WE HAVE ALWAYS OPERATED ANTI-CYCLICALLY” The whole industry is in the grip of Frankfurt fever, yet you are opening a showroom in Berlin…

Henrik Soller, owner of Komet und Helden: The Berlin showroom constitutes a message in two respects. On the one hand, important customers, especially the vast majority of digital players, are located in Berlin and we want to extend a warm welcome to these clients. On the other hand, we are strengthening the segment centred around Dickies with brands like Universal Works, Deus ex Machina, or Lola, and these brands are a perfect fit for Berlin. We have assembled an independent team for this within the agency and are thrilled to be taking over the German distribution of Dickies with 350 established customers.

What attracts you to this segment?

Florian Ranft, owner of Komet und Helden: These labels are equally icons and classics, but in a different segment. We strive to offer customers who come to our agency for Dickies an environment of interesting brands.

How are you feeling heading into 2021?

Florian Ranft: We are satisfied, in fact pleasantly surprised, with the strong tailwind from the pre-order phase. Buyers are capable of separating very precisely between the current mood and what we all hope for when the goods are delivered. We all hope that the situation will look and feel very different in July and August.

Henrik Soller: A professional retailer’s current responsibility is to keep costs under control.

However, retailers are also aware that they need to buy well to sell well later. There is no doubt that retailers will still need merchandise for the coming season, and will have to ensure that sufficient merchandise is available. This can only be achieved by ordering now under the assumption that business will return to relatively normal in July and August 2021.

Labels: 7 for all mankind, AG, Aniven, Baracuta, Barena Venezia, Blauer USA, C.T. Plage, Deus ex Machina, Dickies, Halfboy, Hartford, Le Bonnet, Lola, ottod’Ame, Save the Duck, Universal Works, White Sand Komet und Helden, Munich, Düsseldorf & Berlin/Germany, info@kometundhelden.de, www.kometundhelden.de

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Steiner 1888, including its home collection, is one of the anchor brands in Hubert Stolzlechner’s showroom, which has been expanded to 600 square metres.

coming soon

Goldgarn Denim Essentials

www.goldgarndenim.de // IG: Goldgarndenim

- PREORDER FEBRUARY 2021 -

RIGHT NOW Ag e n c i e s

Meta Pesch “Let’s keep going,” says Meta

Pesch, who has freshly renovated the showroom for the Alpenherz label. “Traditional costumes are experiencing a particularly challenging time, which is why the collection has enhanced its fashion appeal by adding dresses, sexy bodies, and stylish blazers.”

Jackets by Derbe Hamburg have attracted some new customers. “The urban jackets defy all weather conditions, are produced 100 percent sustainably, and represent excellent value at prices between 199 and 219 Euros.” Pesch also represents cashmere-centred collection Daddy’s Daughters in Austria. “Power woman Meike Schilcher is full of surprises, and she has proved it once more with highly feminine loungewear.” In collaboration with Schilcher, Pesch recently also added Wunderfell to her portfolio. www.metapesch.com, IG: @meta.pesch_fashion.agent

Die Modeagentin Meike Schilcher

“We want to attend to our showroom visitors as safely and competently as possible,” says Meike Schilcher.

Parajumpers is a key brand within Agentur Schwarte’s portfolio, and thus guarantees success.

“Traditional fashion agencies are regaining importance as meeting points and close partners.”

Her most important brand is Luis Trenker, which Schilcher represents in eastern Austria. “We maintain a very personal relationship with our customers to ensure they feel well looked after,” she explains. “This year, Luis Trenker will be releasing some anniversary models to mark its 25th anniversary, which is something we all look forward to.” New portfolio additions are Wunderfell, which Schilcher represents in Austria in collaboration with Meta Pesch, and her own project called Amuse. The latter features casual jackets and blazers in expressive wool stretch qualities that founders Schilcher and Susanne Hannig felt were missing in the retail trade, and which they complement with fashionable thick mohair knits – all sustainable and produced in Germany. www.diemodeagentin.at

IDEALLY PREPARED Recycled down, young style: Agentur Schwarte launches Replumè in Germany and Austria. “It is a highly fashionable collection from the creators of Paltò, incorporating sustainable aspects within a commercial price structure,” explains Matthias Schwarte. “I also like the fact that Replumè offers strong womenswear, especially as we are eager to expand this segment.” This also applies to Weber + Weber, whose casual ready-to-wear clothing for women equally hits the mark in terms of style. Daniele Fiesoli embodies knitwear with fine details; the capsule made of recycled cashmere is particularly successful. “Parajumpers inspires with reliability and innovation alike, which is reflected in super sales figures,” argues Schwarte. He wants his agency to symbolise continuity and serve the specialised retail trade. “This has always been our credo, and today it is more important than ever. Whether orders are placed offline or digitally, we are ideally prepared. Whereby most customers love to visit the showroom to exchange views and experience the goods.”

Labels: Armani Exchange, 59 inches, Balr, Collezione 01, Daniele Fiesoli, Fil Noir, Mason Garments, Parajumpers, People of Shibuya, Replumè, Saucony, S.T.R.A., Sundek, Weber + Weber Agentur Schwarte, Munich/Germany, office@agentur-schwarte.de, www.agentur-schwarte.de

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Daddy‘s Daughters is synonymous with pure cashmere.

Prins-Juric

“We need to spread everything out,” says Damir Prins-Juric. The

order kicks off with a joint week in Kleinmachnow featuring all neighbours, then they head to the showrooms in Düsseldorf, Munich, and Hamburg. Henk Prins and Damir Prins-Juric are intent on spreading out showroom appointments. “We want to give our customers time, especially considering there is no flagship trade show.

They need the freedom to browse through the collections in our showroom without the pressure of deadlines,” explains Damir Prins-Juric. He is grateful: “We kept morale high and achieved excellent results in 2020.

What is painful for us agencies is when manufacturers cancel entire delivery dates, because we have already done our part.” www.prins-juric.com

Never hang your head, always lead by example: Henk Prins and Damir Prins-Juric spread optimism.

LUXURY WOMEN'S AND MENSWEAR

DÜSSELDORF 29 JAN – 01 FEB 2021 B1 / BENNIGSENPLATZ 1

MÜNCHEN 13 FEB – 16 FEB 2021 MTC / HAUS 1 INGOLSTÄDTER STR. 45 TAUNUSSTR. 45

THE SUPREME GROUP BY MUNICHFASHION.COMPANY

INFO@THESUPREMEGROUP.DE · WWW.THESUPREMEGROUP.DE

FALL WINTER 21/22

WANT IT

Seeking and identifying innovation is essential in a world of change. New ideas for product ranges create enthusiasm among end customers.

Anything Except Leather

nat-2. As a sixth-generation

shoemaker, Sebastian Thies is an absolute professional when it comes to manufacturing footwear. He still baffles his trade. Why? He creates sneakers made of wood, ox blood, olive leather, hay, roses, larkspur, corn, coffee grounds, paper, slate, mushrooms, natural rubber, wine corks, moss, and recycled Swarovski stones. His latest innovation is to make sneakers of recycled bubble wrap, meteorite rock, 100-year-old corduroy leather, and algae. Key accounts in the DACH region include Live Lab Studios, Homage, Amon, Manufactum, Altra Moda, Wertvoll, and Bongenie Grieder. On an international level: Rinascente, Sneakypanda, Galeries Lafayette, and Level Dubai. Purchase and retail prices range from 80 to 299 Euros and 199 to 699 Euros respectively. nat-2, Garching-Hochbrück/ Germany, T 0049.89.3244367, www.nat-2.eu

Female Power

Sabinna. From London to Vienna –

The Beautiful Life

Cristina Beautiful Life. Dresses

are in higher demand than ever for summer 2021. In the premium segment, Greek brand Cristina Beautiful Life offers particularly beautiful models. The brand, founded in 2012, is distributed by SASAtrend, which also markets brands such as Devotion Twins and Voluspa. Agencies such as room with a view and Prins-Juric ensure the brand is positioned accurately. The style? Boho girl meets vintage aesthetics, colourful and especially high-quality in details. The brand offers two collections per year, both manageable with a maximum of 70 pieces in sizes from XS to XL. At a mark-up of 2.7, retail prices range from 150 to 330 Euros.

SASAtrend, Aachen/Germany, T 0049.241.5570540, sara@sasatrend.com, www.cristinabeautifullife.com 058

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Sabinna always focuses on women. The reasons are a female management and cultivated sustainability. Sabinna conducts in-depth fashion research with feminine thoroughness that goes far beyond the mere “sustainability” label. Founder Sabinna Rachimova would rather ensure ethical conditions such as production in Europe and the use of natural fibres. Consequently, jumpers, cardigans, scarves, and caps are made of GOTS-certified cotton or Tencel. Meanwhile, Sabinna has settled down in both London and Vienna.

Strong silhouettes, vibrant colours, and high-quality knitting details, which are handmade in the Viennese knitting studio, characterise the label’s style. Prices for collection pieces start at 185 Euros.

Instead of the usual pre-orders, the brand relies on pop-ups at retailers.

Sabinna, London/United Kingdom, T +44.7515.137492, office@sabinna.com, www.sabinna.com

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Let It Rain

Ahirain. The Tuscan outerwear specialist was founded in 2016 by siblings Azzurra and Giampaolo Morelli and Andrea Pucci. The three have made it their goal to manufacture innovative jackets that not only guarantee uncompromising functionality (all models are 100 percent water-repellent and windproof), but also flaunt new silhouettes and volumes. Many models are non-gendered and non-seasonal, which is, according to Ahirain, the future. A hobbyhorse of both collections, women’s and men’s, are styles made of Thindown, compressed down that is processed into a thin fleece and lends the jackets lightness and warmth. The entire production process takes place in the Empoli area, where the parent company Pellemoda is based.

Japan Black, Munich/Germany, T 0049.89.38476388, www.ahirain.com

Upcycled Cashmere Scarves

Slow Sports Fashion

Runamics. Lena Rix, Henning Heide,

Atelier Alpiniste. The brand helps people help themselves by offering work instead of charity. In October 2017, our editor Kay Alexander Plonka literally stumbled into the project while hiking with friends in the Himalayas. Immediately after his return, he sold the first pieces in Berlin and Munich. The upcycled cashmere scarves are manufactured by elderly people who can continue earning a living by weaving the multicoloured scarves. They are available in five different shades at a purchase price of 39 Euros. The scarves are elaborately handcrafted on wooden looms, using cashmere sourced from unused sample pieces and production remnants.

The scarves are sold by stores such as Trüffelschwein, Hallesches Haus, April First, Cityjeans, Ralf’s Fine Garments, The Listener, and Matter Urban Market.

Atelier Alpiniste, Berlin/Germany, T 0049.171.8366268, kay.plonka@web.de, IG: @atelieralpiniste

and Steffen Otten founded their brand in 2019 with the aim of developing functional running gear free of plastic-based materials.

Financed by crowdfunding, the first collection, made of sustainable merino wool and wood-based cellulose, is now on the market.

The trio even uses plastic alternatives for trimmings, for instance cuffs made of natural rubber and zips made of biodegradable polyester. The range includes shirts, shorts, long and short tights, caps, and accessories.

Rather than changing product ranges seasonally, Runamics strives to expand its collection slowly while constantly improving its pieces.

Production takes place in Portugal, Poland, and Germany. Funding for the world’s first certified cradle-to-cradle tracksuit is currently underway.

Runamics, Hamburg/Germany, info@runamics.com, www.runamics.com

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WANT IT

A Drop-Out’s Dream

Practical Experience

Amalia O. One would think that fashion couple Tanja and Markus Eibl are kept busy by their store in Salzburg and their fashion agency. “I was, however, constantly disappointed by the fact that there is no brand that consistently focuses on beautiful dresses and skirts,” Tanja Eibl says. The Eibls are handson entrepreneurs, so they created the collection themselves. The dresses, handcrafted in Styria and Veneto, are reasonably priced at the premium end of the market. They are feminine with a slight touch of the 1950s, for women who like to dress womanly. Amalia O has now decided to pursue a cautious distribution strategy. “Five retailers in wholesale, that is all we want. It is a project for like-minded people who, like us, believe that a beautiful dress or chic taffeta skirt should never go on sale,” Tanja Eibl laughs.

Amalia O, Salzburg/Austria, shop@eibl.or.at, www.eibl.or.at

Simple Pieces

Bellamy. The label from the Neth-

erlands stands for understated design and sustainability. Created by Imke Bens and Mireille van Sprong, it manufactures exclusively in Europe, mostly in Italy.

Less is more: the pieces, made of certified materials, are minimalist and have no features of short-lived fashion whatsoever. This philosophy is also reflected in cashmere knits and so-called travel pieces. Bellamy operates ten successful stores in its Netherlands home market.

In Germany, Agentur Käthe Rotter and Michaelis Fashion Agency share the market. The latter is responsible for southern Germany. “Following a very promising start with a few retail clients, we now intend to expand the presence,” says René Michaelis. “Bellamy definitely has what it takes.” At a mark-up of 2.7, retail prices for dresses and cashmere range from 99 to 149 Euros and 149 to 199 Euros respectively.

Bellamy Gallery, GH Den Bosch/ The Netherlands, imke@bellamygallery.com, www.bellamygallery.com

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Fabulous Island. Self-esteem, ease, well-being, and close ties to nature are the values that form the foundation of Fabulous Island. The label strives to convey to its customers that everyone is special in their own way. Founders Alban and Julie carried all these values with them from France to Mauritius, where they subsequently launched their business.

The collections are manufactured on Mauritius in WRAP (Worldwide Responsible Accredited Production) certified factories. In addition, one percent of the label’s annual turnover is donated to NGOs working on saving the oceans. The sales representative for the German-speaking countries is Dominik Meuer’s Die Hinterhofagentur.

The brand presents two collections per year. Women’s jumpers featuring different prints are available in sizes S, M, and L at purchase and retail prices of 53 Euros and 149 Euros respectively.

Retail prices for t-shirts stand at 49 Euros, while sweatshirts and hoodies cost 79 Euros.

Fabulous Island, Mauritius, hello@fabulous-island.com, www.fabulous-island.com

WANT IT

Sneak It

Premium Basics. A shoe named Premium Basics cannot be particularly fancy, surely? Nonsense!

Italian start-up Premium Basics proves that all it takes to turn a classic white sneaker into an eye-catcher is a little imagination. Neon-coloured highlights are an integral part of the concept, as are individual models that feature striking sole designs.

Things become even more extravagant when a mix of materials and patterns comes into play, or when the sneakers appear in deep black.

The brand is the brainchild of Ivano Sabato, an Italian shoe designer with a green heart (Note: the sneaker is vegan with a high recycled content), and Jason Pfyffer, a footwear-experienced agent who handles the exclusive distribution concept.

Premium Basics, Agency Under Construction, Schio/Italy, T 0039.329.7255309, jason@agencyuc.com, www.premiumbasics.it

Sophisticated

Rue de Tokyo. Copenhagen-based Rue de Tokyo manages to reconcile French and Japanese aesthetics. Timothy Hoferer of MODEist, who introduced the brand to Germany and Austria, is impressed: “It is a highly modern, urban look, timeless and yet very fashionable in details. High-quality, simple materials meet discreet aesthetics.� Designer David Andersson Sahlin considers natural materials and sustainability to be important pillars of his brand. The price structure corresponds with the premium segment, without seeming unreasonable. The brand offers four collections per year, as well as a measure of re-order scope and NOS service. The high summer collection is now available to view and order at MODEist.

Rue de Tokyo, Copenhagen/Denmark, T 0045.92.829929, info@ruedetokyo.com, www.ruedetokyo.com

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From Antarctica to City

Groundtruth. The three Scott sisters

launched Groundtruth in 2017. Inspired by their work as documentary filmmakers, Georgia and Sophia sought to design products for both challenging destinations and urban environments. They also brought their sister Nina aboard, a specialist in technical fabrics. The collection revolves around the specially developed high-performance textile GT-RK-001, which is made entirely of plastic waste. The robust and modular accessories, bags, and backpacks are manufactured by a Bluesign-approved production partner. At a mark-up of 2.5, purchase prices range from 22 GBP for smaller items to 113 GBP for a 24-litre backpack.

Groundtruth, London/Great Britain, T 0044.7810.368089, georgia@groundtruth.global, www.groundtruth.global

WANT IT

Tuscan Classics

L’impermeabile. The motto of the label from the Landi stable: “Fashion is what is not fashionable”. Jacket manufacturer L’impermeabile is conscious of its heritage, which is why the range still includes classics from 1948. Naturally, the label uses modern materials and innovative details, but the basic styles remain the same: trench coats, field jackets, peacoats, and parkas. The classic jackets and coats have one thing in common: they are, as the name suggests, water-repellent. Moreover, all collections are manufactured exclusively in Italy. For the current season, Landi continues to expand its women‘s collection and focuses on the internationalisation of the brand. The collection has been well-received in Japan and South Korea, and it has more than 60 reputable point of sales in its home market. To name but two of the most prominent ones: Sugar Arezzo and Rinascente Milan.

L‘impermeabile/Landi s.r.l., Empoli/Italy, T 0039.057173003, info@irlandi.it, www.limpermeabile.it

Wear Change

Sustainable in Water

Seay Soseaty Collective. The start-up from Vicenza offers everything the cool, forward-thinking, and fashion-conscious customer desires: fashionable beachwear “Made in Italy”, 100% environmentally friendly. SEAY, launched in 2019, has been impressing ever since with imaginative prints and a sophisticated circularity concept.

Collaborations with artists such as Eduardo Bolioli establish a sense of originality. All swimming trunks, bikinis, and swimming costumes are either made of recycled polyester from post-consumer waste or polyamide reclaimed from Mediterranean fishing nets.

T-shirts and tote bags are made of GOTS-certified organic cotton. Is there more, you ask?

Yes! The company has also developed the socalled RE3 system: RE-Sell, RE-Use, RE-Generate. Every customer who returns an old piece, either in the shop or online, receives a 20 percent discount on their new SEAY product.

The returned piece is then either resold, donated, or processed into new yarn. The brand is still looking for representation in the German-speaking market and can currently be ordered ex-Italy.

SEAY S.r.l. Società Benefit, Vicenza/Italy, T 0039.351.5054460, stefano.rosin@soseaty.com, www.soseaty.com

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3 May. Taking risks pays off.

Patrick Röllin, an economist who was a long-standing buyer and fashion consultant at PKZ and later Gränicher, decided to launch 3 May in the midst of the pandemic of 2020. “I strive to design garments that rest on the wearer‘s skin like a talisman; that encourage them to take responsibility and accompany them throughout life,” Röllin explains. The majority of the short value chain takes place in the Zurich Oberland. The fabrics are knitted in Austria, finished in Switzerland, and sewn in Portugal. All processes are CO2 neutral. The result is timeless menswear made of high-quality Pima cotton. “We are the change we want to see in the (fashion) world,” Röllin argues. At a mark-up between 3 and 3.2, retail prices for Swiss Cotton pieces start at 28.20 Euros. All items can be reordered all year round.

3 May, Cham/Switzerland, Patrick.roellin@3may.ch, www.3may.ch

WANT IT

Let’s Dress the Boys

Quality

Saddler. The Saddler brand,

Doing His Thing

Wise enough. Stephan Deinhamer spent five years as Creative Director at sustainable label Erdbär. Now he is doing his own thing: the streetwear brand Wise enough. Prints, graphics, and lettering are polished and artistic; t-shirts, sweats, and hoodies for men and women are clean in design. All pieces, manufactured in Salzburg, are made of GOTS-certified cotton and recycled polyester. It is thus only logical that Deinhamer focuses on short production and delivery leads that are precisely aligned with demand. His studio is located in the Salzburg showroom of Agentur Cocron, owned by his parents, from where Wise enough is also distributed. “This means I am close to the customers and can respond to their needs,” says Deinhamer. At a mark-up of 2.7, retail prices for shirts, sweaters, and hoodies stand at 49, 89, and 99 Euros respectively.

Wise enough, Salzburg/Austria, s.deinhamer@wiseenough.eu, www.wiseenough.eu

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which relies on continuity despite rapidly changing trends, hails from the Swedish town of Kungsbacka.

The broad collection comprises bracelets, key rings, belts, wallets, shoulder bags, computer bags, and more. Stylish weekenders complement the range. Retail prices fall in the premium range, comprehensible and commercial. With a corporate philosophy that promotes long-lasting products, sustainability is inherent at Saddler. Various internal initiatives aim to respect environmental and social standards along the entire supply chain. The sales representative for the German-speaking countries is Select Studio.

Saddler, Kungsbacka/Sweden, customer.support@saddler.com, www.saddler.com

B spoken. “We aim to motivate young men to dress well,” explains Christopher Schaurte. He founded B spoken with Robin Halfmann and Linus Wabnitz. The store offers made-to-measure suits on demand at retail prices between 590 and 1,400 Euros. Jürgen Reschop of KingsmanHouse is backing the concept as a shareholder. “Our suits are manufactured true to the principles of tailoring.

They are unfixed and therefore of the highest quality, which distinguishes us from others in our segment,” says Schaurte, who is eager to establish a B spoken community. “Individuality is the priority. A suit can be delivered in four to six weeks.”

In addition to the online B2C business, B spoken will also be available at specialist retailers – the reception of the friendly business founders at the last Supreme was highly promising.

B spoken, Munich/Germany, christopher-schaurte@bspoken.net, www.bspoken.de

WANT IT

Simplicity

Humility. The desire for essentials is the leitmotif of Humility, a collection of timeless nonchalance and almost incidental elegance.

This season, Agentur Klaus is introducing the label to Austria. “The womenswear range is the new project of Frenchman JeanPierre Braillard, and he refuses to make any concessions in terms of quality and natural materials,” says Christian Klaus. “The brand caters for modern and sustainably-minded women who are looking for a comfortable everyday look.” Knitwear is a key component of the label, which is characterised by flowing silhouettes and enveloping feel-good pieces.

Humility offers two collections per year, manufactured in Italy and Portugal. Average purchase prices range from 45 to 50 Euros.

Humility SAS La Fee, Mably/France, ebarberet@lafeemaraboutee.fr, www.humility.fr

Cuddly Pieces

Mia Fratino. “We focus on sustainable

Nice!

Replumè. Niche identified:

jackets by Replumè, made of recycled down, close a market gap with fashionable coolness. As of this season, Agentur Schwarte harnesses this coolness for the German and Austrian markets. The design of the blousons, coats, and waistcoats plays with volume and metallic optics, preferably in strong colours, and features striking details. “Womenswear is on par with menswear,” says Matthias Schwarte. “At a mark-up of at least 2.75, the commercial price structure, with retail prices ranging from 180 to 550 Euros, is spot on.”

The team behind the collection, founded in 2019, is led by Creative Director Davide Tognetti and Design Director Matteo Vicentini of Paltò parent holding PGN International.

The certified recycled down is mostly sourced from Italy.

PGN International SRL, Altapascio/Italy, pgninternational@pec.it, www.replume.it

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knitwear and ethical, fair production,” says co-founder Amy Jones. Her Australian label uses natural and certified yarns, complemented by cashmere sourced from Inner Mongolia. “A real innovation is the so-called Eco-Furino, a soft, pilling-resistant blend of possum, silk, cashmere, and merino wool, which is processed into cuddly cardigans, oversized jumpers, coats, and accessories,” explains Claudia Flessa, whose agency represents Mia Fratino in the German-speaking market. At a mark-up of 2.8, purchase prices range from 120 to 140 Euros. The actual knitting takes place in the label’s own factory in Sri Lanka under fair working conditions in line with European standards. In addition, the founders have set up the Mia Fratino Foundation to support women in Sri Lanka.

Flessa Modeagentur, Buch am Buchrain/ Deutschland, flessa@flessa-modeagentur.de, www.miafratino.com

mou-online.com

WANT IT

Ethno-Chic

Bazar Deluxe. The Tuscan outerwear

label was created in 2013 out of a collaboration between the Violante family (owners of Visconf) and fashion agent/trendsetter Alessandro Squarzi. The aim was to design jackets and coats for women who desire the extravagant without compromising elegance and quality. Bazar Deluxe is a glamorous fusion of ethnic adornments, embroideries, finest fabrics, and Italian design. Textile company Visconf, which dates back to 1948, draws on the extensive know-how of four generations of fashion craftsmanship. Besides their optical qualities, the parkas, coats, and trenches impress with their perfect fit.

Alessandro Squarzi Showroom, Milan/Italy, T 0049.02.29419491, milano@alessandrosquarzi.com, www.bazardeluxe.it

For the Love of New York Bowery NYC. Claudio Paro-

Gentle Wave

ATP Atelier. Clean Scandinavian design made in Italy: Italo-Swedish couple Jonas Clason and Maj-La Pizzelli met while working for Filippa K before launching ATP Atelier in 2011. The move was inspired by timeless, high-quality sandals bought during a summer vacation in Puglia. Today, the shoe collection is complemented by bags. Manufacturing takes place in two Tuscan factories that operate as sustainably as possible. A recurring stylistic element on shoes and bags is a gentle wave shape. At a mark-up of 2.7, retail prices range from 220 Euros for mini-bags to 640 Euros for large shoppers. The sales representative for Germany, Austria, and Switzerland is Agentur Melagence. Retailers Lindner Fashion Dortmund, Zoe Saarbrücken, Bella Donna Regensburg, and Reyer Hallein signed up right away.

ATP Atelier, Stockholm/Sweden, sales@atpatelier.com, www.atpatelier.com

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lini’s love for New York is evident in the sophisticated prints on Bowery NYC’s t-shirts and jumpers. “The high-calibre, beautifully washed qualities, manufactured in Italy, are available in a wide range of colours,” says Niklas Rill, whose agency represents Bowery NYC in Germany and Austria. Casual menswear is complemented by a number of cropped shirts and oversized styles for women. “The pieces are fashionable to the core,” says Rill, who also boasts jeans collection The Nim, another Claudio Parolini label, in his portfolio. The price structure is convincing. At a mark-up of 2.8, retail prices range from 49 Euros for t-shirts to 89 Euros for sweatshirts.

Bowery NYC, Verona/Italy, sales@bowery-nyc.com, www.bowery-nyc.com

the fashion vest brand WWW.DORNSCHILD.COM

DESIGNED IN MUNICH & MADE IN EUROPE

WANT IT

Germany’s Next

On Own Behalf

Amuse. Casual wool stretch blazers in many designs and fluffy mohair knitwear mark the launch of Amuse, a spontaneous collaborative design project by Meike Schilcher with Susanne Hannig. “We noticed a lack of cool styles while strolling through Munich, so we decided to create them ourselves,” explains Schilcher, who is the creative force behind the Daddy’s Daughters collection and also runs a sales agency in Salzburg. Amuse sources its expressive fabrics and yarns from Italy. The colour scheme remains restrained and natural. The sewing takes place in Germany, and the mulesing-free mohair is knitted in Europe. “All materials are recyclable and sustainable,” Schilcher emphasises.

As a fashion agent herself, Schilcher acts as sales representative in collaboration with Meta Pesch.

Die Modeagentin Meike Schilcher, Salzburg/Austria, m.schilcher@modeagentin.at, www.diemodeagentin.at 072

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Lara Krude. Stella McCartney, patron of the Designers for Tomorrow award, which Lara Krude won in 2017, says of her: “Lara tells a very personal story. I feel her work is very relevant to the current disruptions in the fashion world.” In 2018, the year the label was founded, the Hamburg-based designer was also acclaimed in the Vogue Salon. Her respect for craftsmanship meets very modern silhouettes, earning favourable press reviews and renowned retail partners. To gradually expand the collection, Lara Krude now relies on MODEist as representative in the German-speaking countries.

Lara Krude, Hamburg/Germany, info@larakrude.com, www.larakrude.com

Artwear

Bleach on Lower Manhattan.

Martina Sossi returns with a cutting-edge, arty, and urban project. Born in Italy, Martina comes from a production-savvy family in Brescia, but has lost her heart to the US. She now combines these two worlds in Bleach on Lower Manhattan, a casual collection structured exclusively in capsules. The first drop features oversized shirts, jumpers, and jackets designed by street artists. Purchase prices start at 65 Euros and extend up to 150 Euros for shakets in unusual material combinations. This first drop of 15 pieces is deliberately compact. The label is in talks with renowned Italian retailers, each of which will benefit from its individual drop of handmade items.

Mpuntom Srl, T 0039.345.6198542, info@bleachonlowermanhattan.com, IG: @bleach_on_lower_manhattan

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FA S H I O N AREAL BÖHLER GALLERY-SHOES.COM

WANT IT

Cashmere BFF

CosyLovePure. Three words

Japanese Knitwear

C.T. Plage. Japanese knit-

wear with decidedly minimalist silhouettes is what C.T. Plage by Suwa Naomi and Kanaya Mikako epitomises. The two designers, who founded their label in 2007, used to market it directly via international trade fairs. Now Komet und Helden has assumed responsibility for distributing the insider tip from Japan. With retail prices between 199 and 549 Euros and a well-balanced selection of styles ranging from jumpers to long jackets, the knitwear is a perfect fit for upmarket stores. The mark-up stands at 2.6; the label offers two collections per year.

C.T.A. CO. LTD, Osaka/Japan, sales@ct-plage.com, www.ct-plage.com

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that express what knitwear should embody: cosy, lovingly designed, and pure in its realisation. By launching CosyLovePure, Dr Simone Peters and Dagmar Ingermann-Peitsch, who have been associated for more than two decades by more than just fashion, have fulfilled a common dream. The result is a combination of clean cuts and elaborate knitting techniques in serene colours. High-quality cashmere fabrics and light effect yarns are elegantly crafted. Trendy and lovingly detailed basics in seasonal colours complement the collection.

Stefan Brosius was brought onboard as a partner to handle distribution.

The label is represented by Adventure Fashion Agency and Knaus oder Knaus in Germany and Austria respectively.

Antevis GmbH, Cham/Switzerland, info@antevis.ch, www.cosylovepure.com

Next Generation Style

Lodenfrey Menswear. Like no

other, the Munich-based brand embodies style and tradition. It has been managed in sixth generation by Antonia and Leonard von Pfister since 2019. The “Gen Six” collection sees the siblings venture into the outerwear genre. “We are returning to our loden roots,” explains Leonard von Pfister.

“We, as the young generation, want to translate the fabric into the modern age and position ourselves between streetwear and fashionable classics.” Inspiration is drawn from history, especially iconic products from almost 200 years ago. Key pieces include bold and fashionably reinterpreted classics, such as a long vintage coat or a cleanly designed cape. “Naturally, we create our products as sustainably as possible, because we also wish to pay homage to the beauty of nature,” says Leonard von Pfister.

Lodenfrey Menswear GmbH, Garching/Germany, a.pfister@lodenfrey.de, www.lodenfrey.de

D I S T R I B U T I O N A U S T R I A & G E R M A N Y: D I E H I N T E R H O FA G E N T U R , W W W. D I E H I N T E R H O FA G E N T U R . D E

THE LONGVIEW

Caroline Brown “Always Marry the Impact To the Financial Benefit” The fashion industry’s transition to a more sustainable business model will require a lot of money – and there is also a lot of money to make. That has attracted the attention of investment firms like Closed Loop Partners.

Given Caroline Brown’s position as Closed Loop Partners’ managing director for fashion and beauty, you might assume she would talk exclusively from a financial point of view. But as the former CEO of Donna Karan International for LMVH, Brown draws from more than 25 years of working at the heart of fashion. In our conversation about circular fashion business models, including in retail, she even inspires us with the most traditional form of commerce: the farmers’ market.

Interview: Stephan Huber and Petrina Engelke. Photos: William Brown

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THE LONGVIEW

Caroline Brown is the managing director for fashion and beauty at Closed Loop Partners – and she thinks that financial impact is a major driver of movements.

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THE LONGVIEW

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aroline, what is Closed Loop Partners, and what are your priorities and goals?

Closed Loop Partners is a New York-based hybrid investment firm and innovation centre focused on building the circular economy. We invest across a group of funds that start as early as seed and preseed venture capital, growth equity, private equity, buyout, credit, and debt. Our investors include some of the largest consumer goods and technology companies in the world, which gives us a very unique lens on the challenges of scale in the conversation of circularity. We also have an innovation centre called the Centre for the Circular Economy. It works with large businesses – some of them also investors in Closed Loop Partners’ funds – to help them solve the bottleneck issues related to circularity. In our day-to-day business that means that we look globally to seek out some of the most innovative companies in the world, to meet them at whatever stage they are in their capital journey, and to capitalise them in order to scale circularity.

For me, one of the most exciting aspects is that this means we are now entering an age in which circularity is becoming a competitive economic model. While circularity or sustainability used to be primarily seen as a PR vehicle, now it is interesting to investors. Why do you think we are entering this phase now?

I think it’s a mandate of any smart business today to be looking closely at their social and environmental footprint, as that has been a clearly expressed value set for consumers. And we know that any business that has chosen not to align to consumer values won’t be here very long, so it is smart business to take this step. One of the major drivers that I attribute to where we are today has to do with the conversation about transparency. The last four or five years brought a cultural change where there is an expectation of transparency by consumers on pretty much any product that they are interacting with. Marry that expectation to the growth of the technologies that can enable this transparency, like Internet of Things or blockchain, and you see a huge shift. Unlike before, customers are able to have a full view of how their product is made, what their relationship is to it, how they use it, and what happens at the end of its life. And so they are making decisions wisely based on that new information.

Today, the discussion about these decisions is primarily driven by ideology, especially in Europe, with market criticism and talk about systemic change. But I believe that it has to be economically successful to be successful at all. I would like to hear your opinion about the driving force behind the topic.

One of the major drivers of movements is financial impact. If you cannot marry a change to some element of financial benefit, it will be a very difficult road. I’m encouraged to see the fashion industry now attributing financial metrics to the transformation to a more sustain-

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able and circular future. These are critical metrics that businesses are held accountable to. Look at some of the numbers: With the impact of waste, it is estimated that about $500 billion a year is lost in the fashion industry globally by operating in a linear way rather than a circular way. The opportunity for new use of recycled materials in the next few years is estimated upwards of $350 billion, and the development of fibres that are more environmentally friendly is expected to hit about $40 billion in the coming years. You can also see a reflection of the consumer mindset in the resale market: It is growing more than 20 times faster than the market for new products, and is on track to hit $62 billion in the next few years. These are meaningful numbers. And I think that it is our responsibility to always marry the impact to the financial benefit that companies can have. And you will find another benefit of a circular economy over a linear economy in fashion if you look at the number of customers that fashion companies lose every year. Companies are investing a significant amount of money to recapture, re-communicate and re-engage their customers. In a circular model, they inherently create an ability to have a continuous dialogue with that customer throughout the entire life cycle of the product, as well as when they are done with the product.

So you can reconnect with them and keep that relationship strong.

Going back to numbers as arguments for a circular business model: profitability is a purpose that doesn’t carry the burden of emotionally charged moral or social aspects, so expected growth might be a good selling point for an undecided company. Is it also worth looking at the costs?

Absolutely. Let’s take the very basic example of raw material resources. Companies in a linear model will spend a lot of money to acquire their natural resources and the raw materials that feed their supply chain. In a linear economy, those most likely won’t have a second use, but will end up in landfill, as 85% of apparel ends up in landfill today. In a circular model, companies are wise about recollecting those raw materials and enabling them to go back into the beginning of the supply chain. That alone is an enormous financial metric. And what we as investors love are not only individual solutions by category in the supply chain, but also these emerging business models where that type of mechanism is built into their DNA. Can you give an example?

We are invested in an organic basics cotton company in Los Angeles called For Days that works completely on a swap mechanism. There is no waste in the product lifecycle. That enables them to align to consumer values, but also to keep a continuous cycle of their raw materials through their supply chain. That requires a completely

“It is extraordinary how unregulated fashion is, given the size of the industry.”

SUSTAINABLE PREMIUM KNITWEAR SINCE 1973 A/W 2021-22 WWW.PHILPETTER.COM

THE LONGVIEW

different product lifecycle management system and a different tech platform; it’s a different business model altogether.

So, let’s say there is a fashion company that needs money for its transformation to such a circular model.

What kind of arguments are going to convince you or other investors to provide that money?

As investors, we look at companies that provide solutions for large corporations. We do not invest in large corporations, we invest alongside them, and many of them are investors in our funds. We allocate that money towards the early stage businesses creating the solutions for these companies to use across the whole supply chain. So we invest as early as design ideation, through merchandising, material science, clean manufacturing, transparency tools, recapture methods, renewed products, re-commerce, and advanced recycling solutions. Let’s take material science as an example: 95% of the product that we wear is made up by four or five fibres, and all of these are environmentally costly. Therefore, we are investing in solutions that can replace those fibres. Even to replace a small portion of a fibre with a sustainable solution would be extraordinarily meaningful when these large companies can then use them in their scale of a supply chain.

This could start with the complex topic of cotton.

Cotton is a very interesting topic, because consumers generally do not see its environmental weight.

Because it is considered “natural”…

Exactly. But actually, as we know, cotton is the largest user of pesticides. It takes a lot of arable land and clean water, and is an enormous contributor to water waste.

But consumers will first adopt the categories that are clear to them. What is clear to them now is the heavy footprint of leathers or understanding the use of dyes. I also would say the whole area of waterproof materials, particularly breathable waterproof materials. These are ones that we expect consumers to adopt first.

With your background in the fashion industry, you certainly know its mechanisms and structures very well. Was your insight into what is happening globally part of your decision to work in the field you are in now?

Definitely. Before becoming an investor, I spent 25 plus years on the operational side of the apparel industry. It became clear to me that there is a very exciting future in the transformation of this industry to its next evolution, which I see as based on a more sustainable and circular future. But the problems related to that transition are so complex that solving them requires the level of creativity that comes with highly innovative, experimental companies. That inspired me to find ways to capitalize early

“I think a triangle has to happen: an interdependent balance between incredible innovators, forward-looking companies and smart investors.”

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“A lot of experienced designers work the way they grew up with and they are comfortable with, which often means pencil and sketchbook. Migrating this workforce to, say, building 3D models will take time.”

stage companies that are not living within big fashion corporations. They are living in science labs; they are living in garages. This motivated me to look at the fashion industry from a different lens. I think the problems are so great in this particular sector that you don’t have to have come from within to have a positive impact in this movement. However, what has been extremely helpful for me is understanding the mechanisms into which these innovations need to be integrated. And secondly, I can see that one of the real issues is moving along a workforce to be able to work in a new way. Because the way clothing is made today has been fairly similar for the last 50 years, and it is important to understand what needs to happen to educate designers, product developers and merchandisers to even use these new tools.

Because the crucial thing in circularity is the design process…

The design process and the decisions made in the design phase predicate 80 to 90% of what happens at the end of life for a product. And if you can digitize that process, you can work simultaneously between design, merchandising and early stage production. Otherwise, it becomes three separate processes of physical products going back and forth. Once it’s digital, these teams can work in alignment, which saves in so many ways, including waste. But a lot of experienced designers work the way they grew up with and they are comfortable with, which often means pencil and sketchbook. Migrating this workforce to, say, building 3D models will take time. We can’t underestimate the time, money and focus that it will take to make some of these innovations viable in the execution phase.

Where do you see the biggest hurdles in the transformation that the fashion industry is facing?

I think number one is the enormous complexity and layers of the supply chain in fashion, which needs consistency and transparency. Number two is aligning capital. In this case, capital is the lifeblood of change.

There are a lot of businesses ready to scale to meet the needs of large companies, but they need infrastructure and capital investment. To make these things come out of fiction into real life, I think a triangle has to happen: an interdependent balance between incredible innovators, forward-looking companies and smart investors.

This makes me think of another element that might turn the triangle into a square: Is there a role for government in this, too?

There is a role for government, absolutely. It is extraordinary how unregulated fashion is, given the size of the industry. Government regulation would be an accelerating element to this conversation. Can we rely on that consistently, globally, within the next five years? Probably not. Will it be there eventually, and should companies be prepared and be preparing for it now? Absolutely, because it takes time to do so. Across the global landscape, there

THE LONGVIEW

At Closed Loop Partners, Caroline Brown - former CEO of Donna Karan International – invests in early stage businesses creating circular solutions that large companies then can use across the whole supply chain.

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THE LONGVIEW

are a few countries leading the way, but still, fashion regulation is only in its early stage. And in the interim and in the absence of regulation that triangle of investors, companies and innovators can begin to take those steps.

What are typical investment cases for Closed Loop Partners, apart from For Days?

For example, we invested in a company called The Renewal Workshop, which provides circular mapping for companies that can enable recapture, repair, renew, and re-commerce solutions for large corporations. This addresses one of the major gaps in the industry: If I produce a sweater that I say is recyclable, it doesn’t get recycled if it’s in the garbage. It requires a mechanism to get that sweater from your closet to the right centre which can recycle it. This is not the most glamorous part of the fashion industry, but it is critical. The Renewal Workshop is an enabler of a lot of the processes that help companies have a lesser environmental footprint and also participate in the secondary sale market of their own products, which is a great financial asset for them.

Do you also see a business model or an option for participation for retailers here?

Yeah, absolutely. In many cases, consumers are choosing second-hand first. And of course being able to offer what the customer wants is a great advantage for a retailer. Another one of our businesses is a company in Los Angeles called Thrilling, a tech aggregator of the very fragmented resale market for second-hand and vintage apparel.

This company provides a sales platform for independent businesses that looks consistent to the customer and can compete in a global marketplace. And they work directly with certain retailers to curate special shops and special kinds of collections that they can sell alongside their fullprice merchandise.

How will the transformation to circular models affect brick-and-mortar stores?

My personal view is that brick-and-mortar stores are a really important part of the retail experience. And I don’t think consumers divide in their mind: “I’m now communicating with this company on brick-and-mortar, on mobile, on my laptop.” I just think they think: “I’m communicating with this brand,” and they are agnostic to the medium. Secondly, stores have always been and still are an incredible opportunity to showcase brand stories, to design a visual ethos that can inspire your customers and send messages about the brand without even having words. What does this environment look like? What is the music? Who am I interacting with? Those are all storytelling elements for companies. And I don’t think we want to lose those as an industry. It is also proven in the metrics that the more channels a consumer interacts with, the more they will buy from your company. One does not sabotage the other, they both enhance the other in excitement or relationships around the brand.

“My personal view is that brick-andmortar stores are a really important part of the retail experience.”

“We have incredible provenance, we have craftmanship, we have top level design and we have stories that start as early as the farm. Not taking full advantage of this narrative is a missed opportunity.”

For a long time, the predominant story in our industry was something like: “Fashion is cool. It’s glamorous, but we don’t care about the rest.” In this huge topic that we are discussing here, is there also a chance for a new narrative?

From a storytelling perspective, this is such an incredible opportunity for the fashion industry, which has not been as competitive as some other sectors. Just look at the experience of food today, with farm-to-table: You go to the market, you are meeting the farmer who created the product, there is a picture of the sheep, you know exactly where it is coming from, and you know what? It’s fascinating. And it makes the whole experience of food purchases much richer. So why would we not take advantage of that in the fashion industry? We have incredible provenance, we have craftmanship, we have top level design and we have stories that start as early as the farm.

Not taking full advantage of this narrative is a missed opportunity.

I really like your comparison with the food sector and the farmers’ market. You go there, you see the producer, you get an authentic story – and that’s why you’re willing to pay more.

Exactly. And you also enjoy it more.

Caroline Brown is a Managing Director at Closed Loop Partners, a New York based investment firm and innovation centre that focuses on development of circular economies. She leads the practice in fashion investing at venture capital and growth equity levels, holding board positions at several early stage circular economy disruptors such as For Days, The Renewal Workshop, DAI and Retrievr. Prior to this, Brown held global CEO / President roles for leading companies such as Donna Karan + DKNY for LVMH, Carolina Herrera, Akris Inc as well as leading marketing & communications roles for Giorgio Armani. She is an advisor at MIT Sloan School of Management, Martin Trust Centre for Entrepreneurship. Caroline is a born and raised New Yorker with Argentine heritage.

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SUPPLY CHANGE MANAGEMENT

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Anyone who argues that the manner in which products become reality is changing is unduly under­ stating facts. No stone remains unturned in the chain from idea to consumption. We are experiencing arguably the most radical disruption since we stopped wearing mammoth skins.

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S U P P LY C H A N G E M A N AG E M E N T

THE TURNING POINT Let’s be honest, we really would not have needed 2020 to prove that our established supply chain is coming apart at the seams. And yet we did need 2020 to make us question said chain more fundamentally.

An opinion piece by Martina MĂźllner-Seybold

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ot a single link of the value chain remains the same as it was before. The most revolutionary disruption for quite some time is impacting design, prototyping, pattern making, pre-production, and the visualisation of patterns or fashion: virtual fashion.

This magic term represents something truly ground-breaking. All phases of the supply chain are currently undergoing a de-materialisation. Overcoming the physicality of the product is so much more than just a huge step forward in terms of sustainability. Even downstream processes such as marketing ideas, demand assessments, or market research can now influence the product at a much earlier stage. This is not only an enormous gain in efficiency, but also banishes traditional top-down hierarchies.

The idea that design, sales, and marketing must be intertwined has hitherto been a hollow phrase, at least in most cases. 2020 has put an end to that in a flash. Surprisingly, physical distance has disrupted many sluggish corporate structures and turned tankers into speedboats. Digital tools have facilitated the networking of teams and ideas, and this newfound agility has rendered meeting marathons obsolete. By being forced to make decisions quickly and boldly, the fashion industry has reclaimed its most essential quality: creativity.

2020 demonstrated just as clearly where systems claiming they are capable of eliminating all risk in fashion have landed us. It was a remarkable coincidence that the first to take refuge in bailouts were those who spent years trying to cram creativity into a zero-risk model. Yet true creativity cannot thrive in the confines of forecasts, systems, and Excel scenarios.

To save it, we need to unconditionally restore to fashion what really makes it tick. The changes within the supply chain allow us to do just that: efficiency in processes, creativity in creation.

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twice as nice Sustainability so sexy.

www.mey.com

Sp e a k i n g Q u a l it y.

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SEE CLEARLY The fog is lifting. Looking to the future is almost imperatively about trans­ parency. The most import­ ant message is that one does not forfeit one‘s se­ crets by disclosing them.

One merely shares them with a larger community and that is precisely what transparency does: it turns customers into confidants.

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PIONEERS IN SUSTAINABLE FASHION Deluxe Distribution, Germany

Room with a view, Austria

Eins Zwei Zwei Eins, Switzerland

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“SUSTAINABILITY IN FASHION IS NOT A PHILANTHROPIC QUEST” Eva Kruse is Mrs. Sustainability. As the founder of Copenhagen Fashion Summit, the largest sustainability forum on fashion in the world, she has made a significant contribution to elevating the issue to the international agenda. She has, however, never been dogmatic in her approach, mainly because she is as passionate about creativity and beauty in fashion as she is about the environment, climate, and human rights.

Interview: Martina Müllner-Seybold.

Photos: Copenhagen Fashion Summit

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hen was the moment you realised that the current fashion ecosystem needs to change?

Well, that realisation grew gradually over the years – in 2005 and 2006, I would say. In 2006, Al Gore’s Inconvenient Truth was released, which piqued my attention and gradually, I developed an increased consciousness for the climate, planet, and resources. This was enhanced by my upbringing. I grew up with parents who always encouraged me to look at the world around us as a means to think more broadly about social and environmental issues, even if they did not directly impact me.

I then started talking to members of the fashion industry about our impact, but many brands were not ready to talk about it then. They, themselves, had very little insight into how much the fashion industry contributed to pollution. At that time, people were aware of child labour and it created some headlines. But apart from that, we did not really understand the full impact of the industry.

Once we started digging a little deeper and found out more, I was simply paralysed by the fact that our impact was so enormous. The fashion industry is one of the world’s largest industries. It is also one of the world’s most resource-intensive.

It is said to be the second largest polluter…

That is not entirely correct. It depends on how you look at it. Nevertheless, it has a considerable impact on natural resources, not least on water, chemicals, plants, and CO2 emission. The industry is accountable for four percent of the world’s CO2 emissions. That is a significant amount!

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WHAT’S THE STORY

“50 percent of the fashion industry have started their journey towards more sustainable business practices,” says Eva Kruse, founder of Global Fashion Agenda and Copenhagen Fashion Summit. It is now up to politicians and legislators to increase the pressure on the remaining 50 percent. “Otherwise we will never meet our climate targets.”

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If you think back to when you started, how far along are we on the journey to sustainability?

How far is there still to go?

Brands and retailers across the industry are on their way. Only a few are far along, but at least 50 percent have started their journey towards more sustainable business practices. That also means that 50 percent have either still not embarked on the journey, or not come far enough. That is a staggeringly high percentage. That said, we still have a lot of work ahead of us.

What makes you feel positive about the future?

What makes this moment so exciting is that there is so much innovation right now. For example, the number of solution providers emerging with tools to optimise and minimise indicates the power and ingenuity of our industry. That is also the beauty of fashion – its ability to innovate.

Sustainability in fashion is not just a philanthropic quest. It is not just about doing good. It is also about doing good for your company, because anything that can minimise overproduction, minimise the use of natural resources like fabrics, water, and even chemicals, or optimise your business model, also has the capacity to improve your business as a whole. That has fortunately become a reality for leadership in fashion. Consequently, I am quite positive about what I see for the future.

Has the pandemic accelerated the shift towards sustainability?

At the beginning we were like: “Oh my god!

What is going to happen in terms of sustainability offers?” After all, being more sustainable requires extra offers from any company. It costs money and requires extra from your team. It is something that requires time and investment. We were wondering where things would head in an industry under economic pressure. However, we suddenly realised that we all, as consumers and citizens, have become increasingly aware of what creates value for us and what things really mean. When I spoke to people in our network across the world, that was a common denominator of sorts. We all talked about what really matters. That has since increased the focus on sustainability. Due to the pandemic, many companies are struggling to meet their margins, but for some, sustainability remains a top priority (which I find encouraging).

Do you agree that sustainability, especially in the luxury segment, has to become standard in the near future? Can you envisage anyone successfully selling luxury goods that have not embraced sustainability in five to ten years?

No, because it starts with the fact that luxury fashion has a more sustainable core in itself. The quality is better, the products last longer, and there is more resale potential. Many consumers now think more carefully about purchasing something that costs a little more, and which has required saving and planning for said purchases.

For me, luxury fashion has a different value, so slow fashion is undoubtedly also a part of the sustainability picture. I would assume that luxury clients, who pay thousands of Euros for a piece of clothing, not only expect brands to make better products, but also ensure that every hand that was involved in the process profited – even the farmers and production workers. They expect that the brands take care of people through the entire value chain.

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If you had a superpower that allowed you to make one aspect of the current, complex ecosystem of fashion more sustainable, what would it be?

I believe one of the most difficult things to change is, perhaps, the capitalist system. It is not that I am against any type of free market power, but the fact that we are basing all our societies and success parameters on growth can be very damaging.

In terms of population, we have already grown too much. As for consumption, we need to rethink our growth principle; but this is easier said than done, of course. Even if a few people stop consuming or producing, there will be others who will try to grab that market share and push other cheap goods of inferior quality into the market. A fundamental change in the idea of growth seems so tricky because we even measure a country’s success in GDP growth. It is embedded in our language.

Everything we do is based on a growth narrative, which emphasises that growth is the only means towards achieving success. So, I would choose to change that, even though I am not even sure what the other business models look like. However, it needs to become a more circular business model that operates within planetary boundaries.

This issue can only be solved on a global scale, right?

Yes, but that is the most difficult aspect. For instance, take societies in emerging countries. What are you going to tell people in countries that are emerging from the development stage and happily establishing a middle class? Of course, they want to continue consuming the way we have over the last decade. They want the same benefits and experiences. We cannot tell them not to do that. In a way, we have to – and then we all have to change and adapt.

It is going to require something from all of us.

Another difficulty is that it is very tricky to distinguish greenwashing from true sustainability.

Who can provide orientation for us?

It is difficult because it is never a one-size-fits-all scenario– especially when it comes to issues surrounding sustainability. For instance, the concept of organic cotton makes total sense to many of us. We have been accustomed to purchasing and ingesting organic food for a long time, particularly here in Denmark. The only thing is that organic cotton is equally consuming, particularly in the way it is produced. Think of how organic labels require a reduction in the use of pesticides. This does not discount that cotton still grows in a field and requires the same amount of water. That said, what kind of customer has the time to absorb all of that information every time they purchase an item of clothing composed of organic cotton? Another example lies with the complex nature of polyester.

It is an easily recyclable material and is usually not blended. So, it does not require much effort or resources to be recycled. However, it will always be polyester. On the one hand, recycled polyester is good. On the other hand, it is still a synthetic that leaves micro-fibres in rivers and oceans. In sum, these examples demonstrate that sustainability is multi-faceted, making it an even more complicated subject for journalists to tackle and for consumers to navigate.

Should we trust certifications and assessments?

One of our strategic partners, the Sustainable Apparel Coalition (SAC) and its member organi-

WHAT'S THE STORY

sations, provide a scoring assessment, reports, and tools to accurately measure and score a company or product’s social or environmental sustainability performance. They will also soon provide a new product module. This will actually become the first clear guidance available on consumer shelves. The reason that it has taken nine years to develop is that it is extremely difficult to dissect and evaluate the social and environmental aspects of a particular product. The environmental side is definitely a little more measurable. But how do you accurately capture the social component?

I think the new SAC scorecard is encouraging and will have a massive impact, because the Sustainable Apparel Coalition represents close to 40 percent of the global shoe and apparel industry.

So, it is a pretty large chunk of the industry. If this is implemented, it is going to be much easier for us to navigate and purchase sustainably made products.

In other words: transparency is fundamental?

Yes, transparency is on page one of the textbook of sustainability. Transparency and traceability are critical, and those were the two pieces of the puzzle that were missing when I embarked on my own journey. That did not mean that companies were not willing to share information about how their products were made. In many cases, they simply did not know where and how their products were made. For many years, our industry had a structure that involved retailers and brands producing through agents. If you were a small or medium-sized company, you sometimes did not even know what factories operated beyond the agent whose services you employed. Even if you knew, maybe you had no idea where the buttons came from or where the soles of sneakers were sourced.

As consumers continue to ask for more transparency and traceability, we need to have answers.

Whether it involves chips, RFID, QR codes, or Bitcoin, we will see tools that educate consumers on where and how the products were made.

This information will also help in terms of after-sales and recycling…

Definitely, we have to move away from the stage where landfills are growing by 70 percent and where most of the items that end up there fail to be recycled. We need to put a circular resource management system in place. That said, it is critical to work with politicians and policymakers so we can elevate this agenda and gain more support.

Could politics also help us protect our markets from being flooded with cheap crap? The EU is one of the largest markets in the world, so surely we could quite easily determine sustainability standards – as easily as we imposed duties on US denim. Why are there no duties on products that exploit nature, resources, and people?

Yes, I definitely think we need politicians to define the rules for our playing field. As I mentioned earlier, 50 percent of the industry is on the move, while the other 50 percent is not moving at all.

They need to be pressured by legislation—whether it is the price of water, chemical minimums, or other regulations. I even encourage politicians to get a little more involved in pricing. One could, for instance, determine the minimum price of a product. I know that I am now touching on a really toxic field, because we have a free market that basically allows people to charge what they want.

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"Transparency is on page one of the textbook of sustainability."

The more we push down, the less respect consumers have for the product. When we buy more cheap products, we should scrutinise the entire system. We should start talking about why it is still profitable to pursue a business model that involves overproduction and subsequent marking down. It is so unhealthy for the entire industry. We need to talk to the EU, particularly about this point.

For instance, how many times a year should companies have a sale? What do constant mid-season sales tell consumers about the worth of the product? What type of commoditisation is happening with this continuous sale policy? It basically says that the product you just bought is something you do not have to value. We need politicians to provide support in this respect, even in an era of free trade. If they do not offer help, we will not be able to meet any CO2 reduction targets.

So, should we abandon fast fashion and completely rewrite the fashion ecosystem?

Whether we really need 52 collection a year is definitely part of the conversation. We have to ask ourselves if we can narrow it down. During the pandemic, for instance, Dries van Noten started a fantastic dialogue about how many collections we need per year and when we should go on sale.

There has been this tendency to deliver pre-fall in April, meaning that trends at their highest at the time are suddenly outdated and have to be marked down. That is a really unhealthy system. When it comes to H&M and others in that category, we still need fashion at different price levels for a different wallet. The vast majority of people, even in Europe, do not have the money to spend on expensive luxury goods. Thus, I firmly believe that democratic fashion is still important. It merely has to be made better and the price needs to reflect all external costs. Right now, with T-shirts available for one or two Euros, where does the invoice reflect the polluted river, the damaged forest, or the person who manufactured the product? We need prices that capture all these aspects. Prices would not be that high either. A T-shirt would probably cost ten or 15 Euros. We need to arrive at a place where all people can buy clothes while still being part of the healing process – looking great and enjoying fashion.

What is your viewpoint on digital fashion? Do you think it could help solve some sustainability issues?

For me, that is crazy. It would never work for me, yet I have been amazed by what works in our day and age, and by how new generations are living more digitally than they are in the real world. I am sure that will work. It will bring back fun and creativity to the fashion world. Of course, it would save resources if we rent a Gucci outfit that was never actually produced physically to show it off on Instagram. What I am a little afraid of is that we may be more digital than physical one day. I am constantly anxious about what our world is going to look like if we do not look up and look each other in the eye from time to time.

THE FINEST IN CASUAL

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FI L- NO I R. CO M

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H A NEW– OONESTY R:

AT ROLE WILL WH

For a very long time, the fashion industry was in a position to leave us in the dark as to how environmentally friendly and socially responsible production actually is. Today, standard brand promises are no longer enough.

Consumers are increasingly demanding more transparency and honesty. What form can this new honesty take and what challenges does it pose for the production chain? And can transparency evolve from a competitive advantage to a catalyst? Industry experts share their opinions.

Text: Nicoletta Schaper. Photos: Interviewees

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TRANSPARENCY EQUALS OPPORTUNITY

Dirk Nienaber, Managing Director of Marlino Group “More transparency is absolutely necessary – and possible. Anyone who is determined, committed, and enthusiastic about disclosing individual steps within the supply chain will succeed in doing so.

Certain audits, certifications, and initiatives such as ‘Grüner Punkt’ and the Supply Chain Act are instruments to hold brands and chains to account. The issue lies with the large low-cost players, because their pricing policies prevent them from committing and, if they did, they would be forced to reveal the anti-social and unsustainable factories in which they manufacture.

After all, it is the only way to guarantee low prices. Transparency is arguably a question of mentality. We are always afraid that we might lose our competitive edge if we are too open. Transparency is not a threat, but an opportunity to overturn market mechanisms. We have been actively addressing this topic for several years. Today, 80 percent of our production takes place in Europe and only 20 percent in the Far East, instead of the other way round. I am self-critical enough to acknowledge that we are not yet sustainable enough, but we are constantly working on improving all processes. Ultimately, transparency and honesty empower consumers to decide on the impact of their purchase, which is no longer solely based on price, but takes product performance and manufacturing into account.”

TRUST

Martin Höfeler, CEO Armedangels “As a brand, it is our job to ensure that the customer can trust us completely. The first prerequisite is internal transparency.

Most companies have no clue who is involved in their respective supply chains, who actually supplies their raw materials or yarns. We have detailed knowledge of every link in the chain and only work with certified companies, which affords us control and security.

At the end of the day, true transparency can only be achieved by working as partners! We pass on this internal transparency. For each of our products, we can disclose manufacturers, certificates, and – above all – how much water or toxic chemicals were saved in the production process compared to standard products. It is almost impossible for customers to check everything and navigate the complex environment of certificates.

All the more reason for them to rely on us. They need to be able to trust that everything we do is 100 percent sustainable and fair. We are constantly working on living up to the trust they place in us.”

WE NEED TO SHARE THE STORY

Anja Buchcik, Sustainability Manager at Organic Basics “When we launch a product, we explain how it is manufactured and what it is made of, be it our organic cotton or recycled cashmere. The more detailed we are in sharing the story, for example in our web shop, the more willing consumers are to accept higher prices. In our case, transparency pays off, and we make sure that our production partners are also certified, for example with GOTS and SA8000. A brand’s credibility increases when it adopts ethically correct and environmentally friendly production as its foundation. We question our actions on a daily basis, including the emissions caused by each step.

This is how we learn every day.”

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CHANGE OF CONSCIOUSNESS

Christian Klemp, Managing Director of Modehaus Zinser “The ‘Love my planet’ campaign in our stores highlights the topic to consumers. The demand is increasing palpably. I can sense a change in consciousness, especially among the younger generation. Yet interrelations remain highly complex: it is unclear what individual brands represent and what certifications actually mean. We started our communication campaign last autumn, via corresponding corners in stores, displays, hangtag information, and our employees. The latter are still an authority in terms of orientation for our customers. For me, transparency will evolve into a mega topic, and only those who address it will be successful in the future.”

THE INITIATIVE MUST BE CREDIBLE Matthias Mey, Managing Director of Mey

Matthias, will transparency develop into a competitive advantage and economic factor?

It could be a competitive advantage, but mostly in niches. Organic products still only account for five percent in the food sector, and in terms of clothing the share remains less than one percent. True sustainability and transparency cost more money, meaning customers must be willing to pay more. We are still miles away from transparency being an economic factor.

Some Mey products are certified with the “Grüner Punkt” seal.

Yes, we are part of the movement in our capacity as one of Germany’s most sustainable companies. However, I consider the guidelines of most certifications to be inconsistent and barely transparent for consumers. For example, a low-priced product manufactured in Bangladesh at minimum wage can still qualify for the GOTS seal. I firmly believe that real sustainability means not only taking the environment into account, but also working conditions.

What is Mey doing to increase transparency?

We are in the process of relaunching our packaging and intend to use QR codes to provide more information on the production process. We are currently working on neutralising our CO2 balance, but only via initiatives that suit us. This could be, for example, the promotion of soil regeneration in regional sustainable Demeter agriculture, to ensure that the soil absorbs more CO2. We are not capable of doing this on a large scale off the cuff, but the farmer, who I know personally, operates in our region. This is our approach towards more sustainability and transparency – and it enhances our credibility.

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SENSITIVE DATA

Henriette Pieszak, CEO of Tomorrow Denim “The future of fashion is a form of sustainability that is impossible to achieve without transparency and traceability. Therefore, transparency equals economic value and growth. As a brand certified by the Nordic Swan Ecolabel and the EU Ecolabel, it is required that our entire supply chain and products are 100 percent traceable.

Better access to information and high-quality data leads to better decision-making and improved accountability. From our own business perspective, however, 100 percent transparency can also be a bit of a challenge in the sense that all the hard work we have put in regarding our supply chain, as well as how and where we produce, is also our unique selling point as a brand and therefore is information that can feel too sensitive to share.”

GREENWASHING AND LACK OF TRANSPARENCY

Gerhard Flatz, Managing Director of KTC Group “In short, most players are not in the least interested in producing fairly and ecologically. Everyone is basking in the fact that others are not doing any better.

What most companies are currently doing is ‘greenwashing’ at best. CSR is still an alien concept for most CEOs. Personally, I have never met a CEO who proactively promotes a CSR agenda.

At present, the whole industry is utterly non-transparent. Trust between each other and from consumers can only develop when the industry becomes transparent.”

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PIN 1876

TRANSPARENCY IS EVERYTHING

PIN 1876, a scarf manufacturer from the Botto Giuseppe stable, is a shining example of the perfect interplay of “Made in Italy”, transparent production chains, sus­ tainability, and innovative thinking. An interview with Managing Director Alberto Zia. Interview: Janaina Engelmann-Brothánek. Photos: PIN 1876 by Botto Giuseppe

Managing Director Alberto Zia considers sustainability to be the most natural thing in the world. PIN 1876 and its parent company have been operating sustainably for almost 150 years.

Alberto, PIN 1876 by Botto Giuseppe is a relatively young company with firmly rooted values: 100% “Made in Italy”, supervised production chains, sustainability, and the highest quality. Has making the right choices from the beginning been worth the effort?

For us, the aforementioned values are a matter of course, they have always been embedded in our DNA. Our owner Lanificio Botto Giuseppe dates back almost 150 years. The actual “lanificio” was initially the first building in the village and our workers settled in the surrounding areas. Consequently, it was very obvious that the water of the nearby river must not be polluted. However, we do not regard sustainability as mere environmental protection. At PIN 1876, as at Botto Giuseppe, people are an essential resource, perhaps the most essential of all. Social fairness and the dignity of work have always been fundamental to us. We thrive on this close relationship between the company and the people who are part of it. Sustainability should, in our eyes, never be exploited for marketing. Let me return to your initial question. Yes, it pays off – even financially. Our sales are increasing and the German market in particular seems to have grasped our product and its underlying philosophy. Plenty of credit must, of course, be given to our agents Joern Meier and Marco Rybinski. They have internalised our values and are passionate about selling the product.

You have the capability to monitor every production step meticulously, even though cashmere is not an Italian raw material. How? Our production chains are a vertically integrated system. The only step that does not take place in our Italian production facilities is the procurement of raw material. All other steps are performed exclusively in-house: weaving, dyeing, finishing, and the actual manufacturing of the scarf. In terms of material, we

source from China, more precisely from Inner Mongolia. We collaborate with carefully selected farmers, and we check the working conditions and goat breeding practises on site every year. We are currently working on a project to help local farmers with other cashmere specialists. We are also hoping to establish a common certification seal.

What are your hopes for the future of the Italian fashion industry?

My wish is that consumers, especially young customers, re-engage with the “culture of the product”. Our children need to understand that buying a synthetic jumper for five Euros will ultimately harm themselves, because those plastic particles will find their way back into the sea. We must make them understand how valuable natural fibres are. If they are treated well, they can be regenerated again and again. It is all about buying quality in order to waste less money and reduce pollution. style in progress

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GANT

“SUSTAINABILITY IS NOT A DOMAIN FOR COMPETITION”

Gant believes it is essential to never stop learning. The company has set itself ambitious goals in terms of sustainability and transparency.

To achieve these goals, Global Sustainability Director Jessica Cederberg and her team have outlined a clear strategy.

Interview: Nicoletta Schaper. Photo: Gant

Will sustainability and the traceability within the supply chain determine brand success in the future?

Absolutely. The growing demand in both B2B business and on the part of the consumer proves this is the case. I think that’s great! Transparency is the key to maintaining a profitable fashion company. Vague promises no longer suffice, and we, as a brand, strive to ensure that the steps in the supply chain are traceable: from raw materials to fair working conditions in factories, all the way to the consumer.

Sounds like a complex challenge.

It sure is, and one needs to address every single step. It is not impossible to solve the issues. Our fundamental realisation is that, above all, you need reliable partners throughout the supply chain.

This can only be achieved through close collaboration. The path to sustainability cannot be trodden alone, nor is sustainability a domain for competition.

What goals have you defined?

In our strategy paper published early 2020, for example, we state that our cotton should be procured from 100 percent traceable, sustainable sources by 2022. By 2025, we aim to ensure that all our core materials are sourced 100 percent sustainably. The current ratio is 55 percent. Equally important are social and ethical aspects, which we are addressing in a social compliance programme that runs until 2023. All suppliers and production partners must comply with the guidelines. Their compliance is even audited by independent third parties. We are also part of various affiliate programmes and initiatives such as the Better Cotton Initiative and the Fashion Industry Charter for Climate Action, to name but two examples. All in all, an open corporate culture is firmly embedded in our brand tradition. We want that to reach the consumer, be it via the website, social media channels, or hangtags that provide information about the materials.

We at Gant are not the only ones who will invest in digital tools to improve traceability. It is self-evident to me that the chain of responsibility does not start with the consumer, but with us as a company.

Does this imply that a sustainable and traceable product has a higher price?

By and large, we did not increase prices for consumers when we switched to more sustainable materials and improved transparency. This was made possible by maintaining a clear, concise collaboration with our suppliers and external third parties. When it does happen, the higher quality of the product pays off. A shirt made of high-quality cotton is durable and can be washed more than 300 times. This is exactly where sustainability begins.

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Gant Global Sustainability Director Jessica Cederberg: “Sustainability is a never-ending learning process. This is an exciting process that presents many opportunities.”

S ee C lea r ly

WHAT’S THE STORY

MEINDL AUTHENTIC LUXURY

“TRANSPARENCY MEANS TRUST”

With his Authentic Luxury collection, Markus Meindl has created icons that shine in both urban and alpine environments. Be it a biker jacket made of deerskin, long leather trousers in a cool 5-pocket cut, or skirts and dresses for women.

Thanks to their chamois or vegetable tanning, Meindl products offer a crucial advantage: they are pollutant-free.

Interview: Martina Müllner-Seybold. Photos: Meindl

Markus Meindl narrates the story of the brand in his own words. After all, he is its best role model.

Markus, there is hardly any other product where there is so much to do right or wrong in the manufacturing process as there is with leather. Are consumers aware of this?

They are becoming aware, yes. Many consumers have, for example, an acute awareness of chromium. It is, however, often half-knowledge. In such cases, products that are free of chromium-VI or chromium-IV are perceived as the holy grail, even though we know that chromium-III can turn into the carcinogenic chromium-VI under certain conditions – for example, exposure to sunlight.

What is your great advantage?

We know the entire supply chain, more often than not from the animal and its hunter to the finished piece. This not only guarantees animal welfare, but also the health of the people who process our leather.

The chamois tanning process we use is purely natural.

The keyword is sustainability. Some brands are abandoning leather completely and using substitutes. I assume that will never be the case with Meindl?

Exactly. I do not consider it remotely sustainable to replace an animal product, which is degradable at the end of its life cycle, with plastic and then celebrate it as “green”. In many respects, we have lost all sense of proportion. It starts with the fact that children no longer know how the actual cycle of nature works.

Hunting a deer or a stag in observance of applicable rules and then transforming its leather into a product that can be worn for generations comes very close to my understanding of sustainability. I find it quite grotesque that we demonise such cycles and then wear something that was synthetically produced and has travelled thousands of kilometres.

Meindl has created product icons such as the Daytona jacket.

Do you rely on seals or certificates to demonstrate your short supply chains and natural production methods?

I rely on my customers trusting our brand. To achieve that, we definitely need to share more about our products and explain what comes naturally to us.

Anyone who follows our social media channels will see that we do this with great dedication. We share insights into all production steps – in a candid and authentic manner, as you would expect from us. style in progress

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S ee C lea r ly

THERE IS NO ALTERNATIVE TO INVESTMENT

Hrishikesh Rajan, co-founder & CSO of TrusTrace “There is definitely a much higher demand from consumers, retailers, and regulators for more transparency. We at TrusTrace have seen a dramatic rise in such respects over the last three-and-a-half years of working in this area. In fact, many consumers are demanding transparency data and latest inputs suggest a ten-fold increase in searches for sustainable products during the pandemic. Everyone within the ecosystem needs to make an effort to be more transparent. This means more investment in data gathering, audits, and certifications. This applies to all retailers, brands, and suppliers. However, the costs can fall drastically with scale and cooperation between players.”

RESPONSIBILITY

Adam El-Zayat Hjorth, Sales & Marketing Director at Colorful Standard “Transparency will definitely have an impact and influence the market, and a fast-growing segment of the fashion industry is already paying a lot of attention to sustainability.

However, a vast majority of clothing businesses are still driven by traditional production that is not particularly responsible. To provide an example: organic cotton only accounts for one to two percent of global cotton production, even though it is a well-known fact that conventional cotton production is a real threat to the planet. That is why we exclusively use organic cotton and produce in Portugal in our own factory staffed by people we know. Customers are always welcome to visit our factory and tour the facilities.”

EVEN IN HIGH FASHION THERE IS NO ALTERNATIVE TO TRANSPARENCY

Florian Braun, Managing Director of Unger “Do consumers in the luxury segment not care how fashion is manufactured? On behalf of Unger and Uzwei’s customers, I can honestly answer to the contrary. Sustainability is not a trend, but rather a lifestyle with which we, as retailers, move along. It is no coincidence that we collaborate closely with Stella McCartney, who is 90 percent leather-free, via a shopin-shop concept, or that we sell 500 pairs of Veja sneakers a year. Nobody has asked us for sable pieces – which I consider a relic of the 1980s anyway – for two years now. We are by no means dogmatic, but a progressive luxury house that strives to make sustainability transparent in a playful manner via storytelling. There simply is no alternative to transparency. In the near future, it will no longer be possible to muddle through with a lack of transparency – not even in high fashion.”

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TRANSPARENCY IS NOT MARKETING Marco Lanowy, Managing Partner of Alberto

For a very long time, the industry was able to conceal what was being produced and how. However, an increasing number of consumers are demanding more transparency.

To me, transparency is not marketing. Anyone who asks us where and how we produce gets a 100 percent honest answer. We launched a survey in our store, among other things about how important sustainability and transparency actually are. The result shows that our customers attach the utmost importance to the fact that we manufacture in companies with fair working conditions. This is guaranteed by the production partners who cooperate with us as passive contract finishers. We even had them BCI certified, which benefits them as much as other brands that manufacture there.

What could be the other side of the coin though?

Collaboration with producers relies on trust.

If, for example, larger retailers were to approach producers to manufacture the same product, featuring our fits and materials, at a much lower cost, I would certainly place a question mark behind it. The product would be subject to price dumping, which would harm both us and the production partner.

For me, transparency is first and foremost a matter of communicating openly and honestly, with educating consumers in mind. We perceive that as our duty.

Wenn wir etwas ganz nahe an uns heranlassen, um uns zu wärmen und zu berßhren, wollen wir genau wissen, woher es kommt und woraus es gemacht ist. steiner1888.com

WHAT'S THE STORY

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LENZING GROUP

“BRANDS CAN ONLY BENEFIT FROM TRANS­ PARENCY”

As the global market leader for sustainable, wood-based cellulose fibres, Lenzing Group is taking strides towards disclosing its sustainability credentials. Florian Heu­ brandner, Vice President Global Business Management Textiles at Lenzing Group, explains how transparency throughout the supply chain can be achieved – all the way to the consumer.

Interview: Nicoletta Schaper. Photo: Lenzing Group

Life cycle assessment and socially responsible production have long been fringe issues within the fashion business. Is there an increasing demand for honesty on the part of consumers?

Yes, definitely. This demand is evident, as confirmed by an in-house study involving more than 9,000 consumers worldwide. There is, in fact, also an increasing demand from brands. Anyone who advocates sustainability must start with the material, and also ensure its traceability.

How do you meet this demand in practice?

On the one hand, we use physical tracers in the fibres to verify whether they are really sourced from Lenzing. On the other hand, we employ blockchain technology and have launched a corresponding pilot project with some brands in autumn. We create a digital fibre coin for every kilogramme of fibre. This digital twin is sent to the spinner, who, in turn, passes it on to the weaver. The process continues all the way to the brands. This allows them to see what percentage of lyocell the product contains, and which route the supply chain has followed. We went live with this in November and received overwhelmingly positive feedback, especially from the sustainable value chain participants. We firmly believe that the vast majority of brands can only benefit from transparency. We are currently working on convincing them of the benefits through webinars.

How can transparency extend to the consumer?

One option is to attach QR codes to hangtags. This would allow brands to communicate that they are committed to a more regional supply chain. It will be interesting to see whether brands only leverage transparency internally, or to what extent they reveal to consumers whether a product has flown halfway around the world. We not only want our products to 106

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“True sustainability is impossible to achieve without transparency,” says Florian Heubrandner, Vice President Global Business Management Textiles at Lenzing Group.

contribute to reducing the ecological footprint, but we also explore alternative approaches such as sending our goods to China by train rather than by ship. By the way, the demand for sustainable fibres in China is increasing sharply. There is no alternative to transparency. Young people in particular question where goods come from and are, in turn, prepared to spend more money on sustainability. In order to reach them, we harness social media, www.tencel.com, and – to an increasing extent – our co-branding partners such as Bestseller Group, Levi’s, Closed, and H&M. We consider this to be a highly effective strategy, because both sides benefit from each other’s reach.

WHAT’S THE STORY

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FIL NOIR

“WE TAKE OUR RESPONSIBILITY VERY SERIOUSLY”

The past year has brought a lot of developments and changes. It has also ensured, yet again, that brands like Fil Noir pursue their path all the more stringently. Heiko Storz, founder of Fil Noir, explains why.

Text: Nicoletta Schaper. Photos: Fil Noir

Heiko, first of all, what positives has 2020 brought to Fil Noir?

The spring/summer 2021 season brought us a double-digit increase in sales compared to spring/summer 2020. This proves that we made many right decisions: classic order business and no minimum order allow us to avoid overproduction and surpluses. We rely on passive contract processing, source our fabrics and ingredients ourselves, and can have even the smallest volumes produced by our manufacturer. This makes us extremely flexible, which has been particularly beneficial to us in recent months, and is certainly a reason for the excellent delivery rate.

Which aspects are you reinforcing now?

Our holistic sustainable thinking. Our company is 100 percent plastic-free and our shipping, which is free for customers, is 100 percent carbon neutral. We are particularly proud of our sustainable packaging concepts made of recycled paper, something we were the first shirt supplier to implement two years ago.

Furthermore, we launched the GOTS-certified Fil Noir Respect capsule in spring/summer 2020. Our packaging with deposit system is also a novelty in the European shirt market. The GOTS-certified bag made of recycled cotton can be passed on as a goodie or returned. Fil Noir returns it to the production cycle in line with its zero waste principle. For each returned bag, the retailer receives a credit of two Euros for the next order. We have relied on European production from the outset, enabling our two partner companies to pay up to 50 percent above the standard national minimum wage.

What is happening on the product front?

We have become significantly more relevant as a permanent fixture in the upmarket retail sector. Now of all times, tried-and-tested products count, as do durability and quality. Our casual core statement is all the more contemporary, especially since formal wear is not an option in the home office. Fil Noir Donna accounts for a third of our sales volume, and we believe there is still considerable potential for

Heiko Storz puts his heart and soul into the Fil Noir collection.

Casual to the core and always innovative: shirts and blouses by Fil Noir.

growth! After launching Fil Noir Donna in Canada in autumn/winter 2020, we are following suit with Fil Noir Uomo this season. Overall, with a delivery rate of 99 percent and a returns rate of 0.3 percent, we can consider ourselves a reliable partner for retailers, as well as taking on a leading role as innovation drivers in our segment. We are continuously expanding our brand in order to live up to our responsibility. This means: growth yes, but only when it makes sense.

What is more critical is investing in innovative ideas to remain what we are: the finest in casual. style in progress

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STETSON EUROPE

“PROVIDING TRANS­ PARENCY WITHOUT LOSS OF KNOW-HOW”

Offering fair products at fair conditions is deeply en­ grained in the brand DNA of Stetson Europe. However, how much sense does supply chain transparency make for a company whose competitive advantage is partly based on its ability to engage the right home-based and manual workers? An interview with Stetson Europe CEO Klaus Kirschner.

Interview: Stefanie Buchacher. Photos: Stetson Europe

Klaus Kirschner, CEO of Stetson Europe, views complete transparency as a danger of being copied, and consequently losing competitive advantages.

What steps does Stetson take in terms of transparency? What is the idea behind Stetson Wiki?

We endeavour to be 100 percent transparent without compromising our know-how. We thrive on the fact that we research the best manufacturers for each product category all around the globe. If we were to make these names and addresses publicly available, we would forfeit our competitive advantage. However, we have been specifying the country of origin in every article for a long time, allowing each consumer to make their own choice. Our Wiki is a service for consumers that was created because some stores that stock Stetson are not staffed by salespeople who have in-depth product knowledge. The Wiki allows the consumer to access all information by simply scanning a QR code.

Transparency is currently subject to widespread debate. What are the challenges in providing transparency and traceability throughout the entire supply chain? Does a more sustainable and traceable product imply higher costs?

It is feasible to a certain extent, but since we sell products that depend heavily on manual labour, many of our partners employ subcontractors or homeworkers.

These tend to alternate, which is, of course, a competitive advantage for our production partners. Naturally, they have little interest in introducing us to each homeworker or subcontractor personally. The process becomes extremely time-consuming if one wants to document and regularly inspect all this. This brings us to the issue of costs: I believe that it is feasible to pay close attention to the entire supply chain, to encourage partners to produce fairly, and even to terminate collaboration with non-compliant partners without incurring major additional costs. We are already doing that. Documentation and the burden of proof are, however, cost-intensive.

Transparency, in particular through the Supply Chain Act, establishes responsibility for individual production steps. What are the consequences?

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This means that each production step requires exact documentation, which, in turn, creates bureaucracy.

Do you see risks in disclosing information about the entire production process, including, for example, information about production partners?

Yes. Companies like us, who develop and optimise new, innovative production in collaboration with partners instead of copying from others, need to invest a great deal of time and money in such developments. Others, who merely copy a product, avoid such investment. Complete disclosure would deprive us of one to two seasons competitive advantage over the imitators.

SOFTSHIRTS AUS REINER WOLLE. NACHHALTIGE PRODUKTION VEREINT MIT BESTEN EIGENSCHAFTEN.

Sorgfältig und fein ausgewählte Stoffe der besten Weber in Italien bilden die Basis der Premium Hemden. Unsere Soft Shirts werden in den höchstmöglichen Standards nachhaltig produziert und bestehen zu 100% aus reiner Wolle.

Vereint mit besten Eigenschaften sind unsere Soft Shirts treue Begleiter der Herrengarderobe – Tag für Tag.

DU4 Fashion GmbH | Rudolfstr. 10 H | 41068 M‘Gladbach | www.du4.de

WHAT'S THE STORY

Managing Brand Director Marino Edelmann has been reshaping Strellson since 2019. His approach as the new head coach of the traditional club: “We want to be more dynamic, play on the front foot. We strive to play modern attacking football.”

STRELLSON

“TO BE SUCCESSFUL, WE MUST CONSTANTLY QUESTION OURSELVES” Managing Brand Director Marino Edelmann has been committed to radically changing the traditional Strellson brand ever since his appointment in autumn 2019. He firmly believes that the task requires courage and a certain mindset. Interview: Stephan Huber. Text: Stefanie Buchacher. Photos: Strellson

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WHAT’S THE STORY

M

arino, you can look back on an exciting year – more exciting than originally planned.

What were your most formative experiences?

Nothing could be more formative than the recent months. I knew to some extent what to expect in terms of branding. The task was always challenging, and has become even more so due to the coronavirus. However, as difficult as recent times have been, they have propelled us into the future at full speed. We started changing things as early as January, for example strengthening our sportive attitude. This came to fruition in July and August – very successfully too. Retailers were open to change, not least because of the challenges the industry is currently facing.

You were, to use a football reference, appointed as Strellson’s head coach. What are your plans for such a traditional club?

We want to be more dynamic, play on the front foot. We strive to play modern attacking football. In terms of brand and products, we are trying to be more innovative. Each season, we need to ask ourselves what was good. What do we take away from this? What should we redevelop, and where is the market heading? My conviction is that, in order to remain successful, you have to question yourself constantly. Success does not come from playing the same way you have over the last ten years. For the first new campaign, we developed the claim #wearindependent. Every man wants to be independent, but it is also a reference to our Swiss roots. We communicate that internally and externally – and it is extremely well-received.

Ready-to-wear has become quite a challenge, not least because it will never be the central pillar of menswear again. At the same time, ready-to-wear has always been an integral part of Strellson’s DNA. Is that something that can be changed easily?

One should never change a brand’s DNA. The Strellson DNA comprises the Swiss Cross jacket and ready-to-wear clothing.

Strellson embodies excellent ready-to-wear apparel, and this strengthens brand recognition. Our customers can rely on quality, fit, and craftsmanship. What changes is the style.

Suits will continue to be relevant, but they

will be different. You need to revitalise the DNA. The brand has always represented innovation and progressiveness. Over the years, we have lost courage in some areas, and now we need to regain it.

Is the fact that innovation and creativity have played a rather subordinate role in our industry, especially in recent years, not a systemic problem? In other words: inventory turnover trumps idea?

One thing is perfectly clear. It is a question of relevance. Punctuality, product availability, and quality is what we do well. For us, this means refocusing on attitude and values in the nearer future.

How do you manage to address consumers effectively? On the one hand, target groups have become more ambiguous. On the other hand, the number of channels has increased massively.

The crucial factor is how you perceive yourself as a brand, and where you feel most comfortable. I believe in social media, because it provides the speed we need and suits our visual identity. Even communication is all about evaluating and experimenting every season. It always requires a willingness to break new ground. I am in favour of “trial-and-error”. Needless to say, you have to accept the risk that something might not work out. That is why we started tackling these issues in 2020, simply because we wanted to give it a try as a brand.

The last few months have allowed the entrepreneurial, owner-managed specialised retailers to emerge from the crisis stronger than before. How does Strellson position itself in this hybrid retail landscape?

I am an avid supporter of the specialised retail trade. Together with strong partners, it is possible to create an extremely powerful brand platform. Many specialised retailers have reacted to recent challenges in an innovative and prompt manner. That represents entrepreneurial spirit and willingness to innovate, a mindset that, even before the coronavirus, you either have or do not have.

This vibe and flexibility of smaller compa-

nies is what I try to build for us as a larger corporation. In our case, it was a digital order tool that we implemented within a very short time. We had taken photos and digitised everything by July, allowing us to work on large screens in the showroom. We were able to address our customers either at home or in our showroom while providing them with additional digital content. This set-up will be enhanced even more in January. Collaboration with our specialised retailers also involves experimenting with new ideas, as well as acting unconventionally and pragmatically.

Despite the digital order tool – how relevant are trade fairs for you?

The decision to cancel upcoming trade fairs is responsible and correct. In our current situation, however, trade fairs would be enormously valuable as a meeting point to explain the brand, communicate our journey, and demonstrate how Strellson is evolving.

We will have to try and convey this digitally now, with a very different impact.

What do you expect from a future, joint platform representation of the industry?

We should consider this from the customer’s point of view, meaning the retailer who desires as much input as possible within three days, swiftly and in concise form. Together with trade fairs, we now need to think about how we can make life easier for retailers, and how we can encourage them in the most efficient way. I am really looking forward to Frankfurt. I expect we will experience a spirit of optimism there.

Let’s be optimistic and assume we can expect to have settled into a new form of reality in the first quarter of 2021. What will it entail for our industry in particular?

There are plenty of theories. One suggests what is referred to as “revenge buying”. I believe we will experience a new sense of optimism by March at the latest. I expect us to rediscover an extreme joie de vivre, not least to compensate for the dreariness we are experiencing now. I also believe we will travel less. One thing that will survive the current situation is that brands retain their relevance through core values and stories. This is an important foundation for customers and employees alike. It is all about being an attractive club that people enjoy playing for. style in progress

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American Vintage founder Michael Azoulay wants to do the right thing.

AMERICAN VINTAGE

Jersey, fleece, and knitwear are core elements of American Vintage.

BACK TO ESSENTIALS Social responsibility is not merely a slo­ gan reflecting the zeitgeist for Michael Azoulay. Rather, he attempts to embody it on behalf of American Vintage. In our interview, the American Vintage founder discusses his understanding of values and what he has learned from the chal­ lenging year 2020.

Text: Nicoletta Schaper. Photos: American Vintage, Charlotte Lapalus

Corporate Social Responsibility is a term that is of great importance to American Vintage. How do you interpret it?

I attach great importance to how we work together and that we give our staff an opportunity to develop. We strive to encourage and strengthen them so they can feel free, be open to new ideas, and act independently. That is my top priority. Accordingly, we invest heavily in the business and our values.

When we built our new headquarters in 112

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2011, for example, we integrated a fitness room and spa for all our employees. Furthermore, we invest in coaching to equip our employees for our challenging business.

What about sustainability?

As a brand launched in 2005, we are not a company that has been sustainable from the outset, but we are moving into that direction progressively. For example, we are increasingly using organic cotton and now manufacture jeans at a sustainable producer that significantly reduces water consumption.

For us, it is not about pushing for more at all costs, that would not reflect the values of our company. It is about doing the right thing.

We strive to avoid exerting pressure – neither with goods on the market, nor by pushing consumers to consume even more. We prefer organic growth, in line with our company philosophy. We must never forget that American Vintage is about emotion and passion for the product.

How does this manifest itself?

In our core product, the t-shirt, which we are refocusing on. Jersey, fleece, and knitwear are, and will remain, our strengths. In addition, we are increasing the volume of denim made of 100 percent cotton. The recent addition of jackets and coats completes our collection.

What have you learned from 2020?

A great deal! For example, that we have to return to the essentials. We have all learned that we do not have to travel as much to conduct successful business together. That is why we have invested even more in digitisation, which I believe to be a tool that enables us to communicate our strengths, including our excellent service, all the more swiftly and directly to the customer. I prefer not to be surrounded entirely by artificial intelligence.

I honestly believe that the essentials can make us happy. Yes, at the end of the day, I am content with bread and butter.

begehrlich verlässlich leidenschaftlich visionär partnerschaftlich schnell

WHAT'S THE STORY

S ee C lea r ly

“The customers have taken Les Deux to their hearts, and we will work even harder to do their trust justice.” – Les Deux CEO Andreas von der Heide

The complete package is spot on: Les Deux is developing into a strong brand, not only in Germany.

LES DEUX

“WE WANT TO BECOME EVEN MORE RELEVANT” How does a brand manage to thrive dynamically in the market despite difficult times? Andreas von der Heide, CEO of Danish brand Les Deux, provides answers.

Interview: Nicoletta Schaper. Photos: Les Deux

Andreas, Les Deux is currently highly successful with 800 retailers and a revenue gain of more than 50 percent in the European market.

Yes, we are in the process of expanding in the European market, whereby the focus is on Germany. Our advantage: Les Deux is a fresh, untapped label that perfectly suits the German market and its consumers. Not being one of the biggest companies, we are also exceptionally flexible, which is yet another advantage over some larger players. Above all, we have the right partners in Stefan Wittmann‘s agency in Düsseldorf and the Masch Agency in Munich to provide optimal support for retailers across Germany.

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What exactly do you mean by that?

Collaboration at eye level is important to us, meaning that we not only supply distributors and retailers with sufficient merchandise, but also ensure they achieve a good sell-out.

This includes staff training, special events, and pop-up store solutions developed in cooperation with the retailers. We also want to expand shop-in-shop concepts, like the very successful one at Engelhorn.

What else sets you apart?

We offer a 3.0 mark-up and a demand-driven rhythm. In addition to the two main collections, we provide two pre-collections and capsules that are straight-to-market. We also have goods in stock, on which we can fall back on short notice. Despite this extent of growth, we strive to be as sustainable and transparent as possible. We are gradually increasing the use of certified, organic materials and recycled polyester, but these styles do not cost more than those made of conventional materials. Moreover, we want to improve our communication regarding which producers we have been working with, where they

are located, and how much they pay their workers. Last summer, we launched a major rollout in our home market of Scandinavia with our so-called Rewear. Customers can return worn Les Deux pieces at the store in exchange for a ten percent discount on our new styles. We clean and refurbish the pieces before selling them in our online shop as Rewear.

What else is happening on the product side?

Les Deux is on its way to becoming a lifestyle brand. We strive to create a Les Deux universe. That is why we are now complementing our menswear with bags and shoes, which we will soon present for the first time in our two new large showrooms in Munich and Düsseldorf. We are particularly proud of our denimwear, which got off to a very promising start last season. The styles are organic and we were successful in reducing the water required for production to a mere seven percent of the industry standard, just as we managed to reduce the CO2 footprint by 75 percent. This will make our denim the most sustainable on the market.

KEEP GOING & STAY STRONG U N T I L W E CA N M E E T AGA I N

# M U N I C H FA B R I C S TA R T

M U N I C H FA B R I C S TA R T

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W W W . M U N I C H FA B R I C S TA R T . C O M

WHAT'S THE STORY

Meike Schilcher not only creates her Daddy’s Daughters collection, she embraces it personally. On top of that, she understands her target group’s desires very well.

DADDY’S DAUGHTERS

“I AM SUCCESSFUL

BY NOT BEING GREEDY” She definitely has courage. Meike Schilcher personifies her label Daddy’s Daughters, enhancing it with her per­ sonality. She is willing to tread unusual paths to promote the cashmere-based collection. Her customers love her all the more for it.

Interview: Nicoletta Schaper.

Photos: Daddy’s Daughters

Meike, not many people model their own collection. How did that come about?

I started doing it last March, because we needed a catalogue for the new collection.

The great feedback from retail customers, my own sales team, and friends was a genuine surprise! They like it, because it proves that I back my collection 100 percent and that, in essence, it is all about personality.

And about being closer to the customer…

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we can improve. They rarely get that from other brands! I strive to be a partner and collaborator, which is why we do not have an online shop and do not cater to large chains.

We now have around 180 customers in the German-speaking market and South Tyrol.

This season we are entering the Benelux countries, where Daddy‘s Daughters is represented by the Bo Terry Fashion Agency in Amsterdam. I am excited!

How open to experimentation are you?

I love to surprise with special capsules to complement the two main collections, which feature 100 percent cashmere pieces alongside blouses, dresses, and skirts. Two years ago, I discovered a new yarn: cashmere-covered spandex that is mega fluffy and elastic.

The style of Daddy’s Daughters is rather sporty, but now I have developed a feminine loungewear capsule in collaboration with Salzburg-based makeup maestro Sylvia Spitzbart. I try to anticipate developments for our customers. If I believe in something and can communicate that belief to the customer, the first step into new territory is not a risk.

You used to work for Otto Group and were later the central fashion buyer for external

and private brands at Eybl Austria. Does that benefit you now?

Yes. I operate conceptually and believe I understand what retailers and end consumers desire. My product expertise acquired over 30 years in the textile industry, as well as my small, excellent network, help me enormously. I prefer to work with smaller businesses for which I feel socially accountable. Our cashmere from Inner Mongolia is also produced there. The blouses, dresses, and skirts are manufactured in two certified factories in Portugal. Wonderfully cosy alpaca coats are the latest addition. The material is sourced from Peru, while production takes place in the Czech Republic.

What makes you so successful?

Success is a big word. I firmly believe that we, and our product for that matter, are appreciated for being genuine. Maybe the fact that I am not greedy contributes too. I am happiest when we have created a beautiful collection that is acknowledged and respected by our customers. Last but not least, Daddy’s Daughters allows me to do something truly fulfilling alongside my second main job as a fashion agent.

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The Stinaa.J footwear collection promises excellent wearing comfort, timeless design, and quality.

WHAT’S THE STORY

Creative Director Stina Andersson and CEO and orthopaedic technician Peter Hedström strive to empower women by providing high heels that cause as little pain as possible, even after prolonged wear.

STINAA.J

POWERFUL PRESENCE High heels that cause the wearer no pain? Swedish entrepreneur Stina Andersson was convinced that this feat must be achievable. She has teamed up with orthopaedic technician Peter Hedström to prove her point with the Stinaa.J footwear collection.

Interview: Nicoletta Schaper. Photos: Stinaa.J

Until recently, high heels and orthopaedic shoes were a contradiction in terms.

Peter Hedström, CEO Stinaa.J: Absolutely right. Many women who wear high heels are in pain and simply do not feel comfortable in such shoes. Stina Andersson was eager to address this problem and approached me, not least because, as an orthopaedic technician for the sports shoe industry, I was developing soles based on orthopaedic principles.

Stina Andersson, Creative Director Stinaa.J: I adore high heels, because they make me feel strong and self-confident! However, I also suffer from aching feet in the evening after being constantly on the move all day – in the past as a civil engineer and PR consultant,

today as a mother of three and entrepreneur.

Until now, high heels were always designed for the observer, not for the woman wearing them. That is how the idea for Stinaa.J, a high-quality shoe collection combining sophisticated fashion standards with medical functionality, came to me.

What is the secret?

Peter Hedström: We have developed a three-layer biomechanical insole based on the analysis of one million 3D foot scans and founded on 30 years of orthopaedic experience. The materials originate from the world of sports footwear, combined with advanced cushioning technology from the aerospace industry. The impact of footfall is absorbed and stress on the joints is more evenly distributed. Moreover, an extended forefoot zone, a stable heel cap, and a padded heel area prevent injuries caused by twisting.

Our footwear technology allows the foot to roll in similar fashion to a natural running movement despite the high heel.

Stina Andersson: We launched the business

in 2016, initially in our online shop, at selected Swedish multi-brand retailers, and in our studio in Stockholm. The latter is known internally as our test lab. We have devoted a great deal of time to further developing the product, and we listen very carefully to customer and retail feedback. Furthermore, we have since added flatter models such as sneakers, pumps, ballerinas, and, most recently, boots to the collection. We offer a shoe for every occasion.

Peter Hedström: We are now venturing into the German-speaking market in collaboration with Soop Handelsagentur and Agentur Martin Bundlechner. We are, however, still looking for distribution partners in Austria and Switzerland. In order to improve continuously, we attach great importance to selective distribution and exchange with partners. It is a wonderful feeling when a customer visits our studio to tell us that she has not worn high heels for years but, can now do so again thanks to our technology. That is the best part of our job! style in progress

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ACT NOW Those who strive for value creation within the limits of our planet’s capacity in­ stead of over-consumption, can rely on the support of an ingenious partner: inno­ vation. It is a powerful lever that turns utopias into prac­ tical solutions, driven by the two most important axes defining the future of our industry: digitisation and sustainability.

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HOW CAN ITALY REINVENT ITSELF?

Our new normality requires major changes: digitisation, transparency, sustainability, and fairness. How will Italy, by definition the country of fashion and the world’s creative soul, rise to this challenge?

Text: Janaina Engelmann-Brothánek.

Illustration: Claudia Meitert@Caroline Seidler

DOUBLE SOMERSAULT

REDISCOVERY, NOT REINVENTION

Cinzia Macchi, owner and designer of LaMilanesa “To be honest, that is not an easy question to answer. Offhand I would say that we need a magic wand. (laughs) In my mind, it is more about rediscovery than reinvention. We need to rediscover our values, guided by technology that brings us together, even though we are currently (and have to remain) distant. In our case, we plan to ensure that we support craftsmanship, quality, and ‘Made in Italy’ even more than before. At the same time, we intend to invest heavily in our community by listening to and understanding our social media followers and in-store customers.”

Camilla Zambelli, Brand Manager of Les Copains “In the case of Les Copains, the ‘new normality’ coincided with an adventurous relaunch. It was, so to speak, a double somersault in terms of design and expanding horizons. We perceived this new era as an opportunity, not a constraint. Naturally, our collections have been digitised. We allow the images to express the design language and emotions in order to reach even the most remote customers and suppliers. We strive to fill this digital space, which is why we sent our partners little parcels containing samples and yarns in all colours of the upcoming collections. These little tastes of Les Copains allowed our customers to experience the company’s tactile emotions and know-how.

Italy, like us, will reinvent itself once more, not least thanks to the creativity engrained in our DNA. I am convinced that craftsmanship, inventiveness, and collaboration will always be an integral part of the Italian fashion companies’ identities.”

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MID-TRANSITION

Marisa Selfa, CEO of North Sails Apparel “Finding a balance between these new elements and its core values of tradition, improvisation, and craftsmanship is, in fact, a challenge for a country like Italy. I believe that Italy is already in the midst of a transition into the new era, because the country is seriously addressing issues such as technology, strategic planning, innovation, and digitisation. Perhaps it requires a touch more flexibility and creativity to identify the right instruments and apply them in a way that preserves the identity of Italian products. Another major challenge for the Italian fashion industry is, of course, the environment. North Sails recognised this issue a long time ago and will continue to play a major role in preserving the oceans and reducing plastic contamination. This commitment reflects the core DNA of the brand.”

PHYGITAL!

Giulio Di Sabato, Sari Spazio Fashion Showroom, President of Assomoda & co-founder of Best Showroom “The fashion world will look very different in the future. We will need to rely on Internet 4.0, the Internet-of-Things. This is a global shift in the course of which we Italians, more than any other country, should continue to focus on maintaining our strengths such as artigianato (craftsmanship) and unique production chains. ‘Made in Italy’ is our strength. It is a way of life that will one day return to the pleasure of shaking hands, exchanging smiles, and spending pleasant evenings discussing work face-to-face. Today, more than ever, we understand that interpersonal relationships are irreplaceable. We need the correct balance of digital and physical. Italy has taken the lead by being the first and, for now, only country in the world to organise a hybrid, phygital fashion week.”

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ADAPTABILITY IS OUR STRENGTH

Enrico Accettola, Chairman of Emporio ADV & CEO of Izmee “I firmly believe that the question of how to deal with the new normal is not exclusively an Italian debate, but a global one. However, we Italians have one major advantage, an innate quality: the ability to adapt. We are creative by nature and always have a solution ready when difficulties arise. I doubt that a ‘colder’ and digital age can reverse this attitude or the recognition that ‘Made in Italy’ has earned. It is an asset, a hallmark that ensures us an advantage on the market. Anyone who is aware of this, and persists with their project despite the climate of mistrust, will win.”

Germany-Austria-Switzerland

Niklas Rill

Müchen Römerstrasse, 14 80801 – Müchen (11-17 February 2021)

+49 176 84837541 mail@maend.de

Düsseldorf Cecilienallee, 40 40474 – Düsseldorf

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WRÅD LIVING

“LINEAR PRODUCTION CHAINS LEAD TO POLLUTION AND EXPLOITATION” Matteo Ward, Silvia Giovanardi, and Victor Santiago quit their well-paid jobs in the fashion industry in 2015 to start a movement based on green thinking. The project was given a name and shape in 2017: WRAD Living – an educational workshop on sustainability in the fashion industry for schools, universities, companies, and institutions. Speaking with style in progress, Matteo Ward offers his thoughts on the future of the Italian fashion industry.

Matteo Ward is co-founder of WRAD Living, serial start-upper, activist, and TEDx speaker. His clear goal: fashion must be redefined through sustainability and innovative thinking.

Interview: Janaina Engelmann-Brothánek. Photos: WRÅD Living

“Challenge the status quo” is your motto. To what extent has this crisis contributed to taking the green revolution, for which you have been fighting for years, to the next level?

The coronavirus crisis has only reinforced me as an individual, as well as the WRAD team as a whole, in our values such as sustainability and fairness. Of course, these topics have also gained momentum in the fashion industry. One could even say that they are now household topics. We both know, however, that the problems of the textile industry cannot be attributed to Covid-19. The pandemic has merely brought old problems to light. Linear production chains lead to pollution and exploitation. We knew that before the virus.

Could reshoring and “Made in Italy” be the answer?

The first step would be to redefine “Made in Italy”. I say this in a legislative context. What does “Made in Italy” even mean today? If “Made in Italy” were a strict seal like in the food industry, then I would be able to tell you whether “Made in Italy” could be the answer. I believe that the term is still too vaguely defined. I would also exercise caution in terms of complete reshoring. Is it fair to deprive the people in other countries of everything by relocating production to Italy after years of exploitation? I am more interested in how and by whom my t-shirt is produced, not where.

We need a compromise and a global rethink. Consumers must fill the value-action gap (Note: discrepancy between consumer attitudes and actions), the financial sector needs to consider human capital and the environment alongside profit, and the political class has to support movements like ours.

So what is the solution in terms of creating a healthy fashion system that can also remain competitive?

It is a question of looking to the past, especially in Italy. Not back to the 1990s or 2000s, when profit was all that mattered, but back to the days of our grandparents. They understood the art of craftsmanship, they created wonderful things 122

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Silvia Giovanardi and Matteo Ward pictured with a resident of Monterosso Calabro. The small town in southern Italy has been using graphite powder for dyeing textiles since ancient Roman times.

This is where WRAD Living’s idea for GRAPHI-TEE® was born. It is the first t-shirt worldwide to recycle up to 20 grams of graphite that would inevitably have ended up in a landfill – and therefore later in our soil.

from nothing. This Italy still exists to this day. It is made up of SMEs, artisans, designers, and innovators, where a young generation that is also capable of mastering present-day, digital instruments is at work. We must embrace this generational leap. If we make room for these people, they will seize the opportunity to transform Italy into a humane, healthy, and productive country.

What will you do next?

I am seriously considering getting involved in politics. Our revolution, like any other, started at grassroots level, but now needs to reach other dimensions. We are the last generation that can really make a difference. See you at the elections in 2024. (laughs) I would vote for you!

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CRUNA

THE AIM IS ALLEMBRACING SUCCESS Cruna, a trouser manufacturer from Vicenza, is expanding despite the global crisis and has identified the DACH region as a new focal point. style in progress met with Alessandro Fasolo and Tommaso Pinotti, the founders of the brand, to discuss recent insights and future prospects.

Interview: Janaina Engelmann-Brothánek. Photos: Cruna

As a brand that was only launched in 2014, Cruna is still relatively new to the market. Is this start-up mentality an advantage in these trying times, for example in terms of digitalisation?

Alessandro Fasolo: Digitalisation is an important topic, but we knew that before the crisis started. Forecasts for 2025 predict that thirty percent of fashion sales will be generated online. The pandemic has undoubtedly accelerated this trend. We have established a digital showroom and a B2B platform, so the digital sales channel is an important pillar of our business plan. We have extensively researched social media and are committed to an omni-channel strategy. Nevertheless, we are a wholesale-oriented company and our asset is the relationship we have with our B2B partners. Our expertise is the physical channel, but with a digital approach. We used to call it a “phy-gital” approach that often engaged stores in a joint digital strategy. Furthermore, as a young-generation company, we believe we have the flexibility and fast-pace adaptability to navigate this changing environment.

We are capable of responding to customers’ changing needs together with our partners as one voice.

What is your position on sustainability?

Tommaso Pinotti: For us, sustainability implies a product that is locally produced and of the highest quality. We have all our collections manufactured here in Veneto by small and medium-sized companies. We are in daily contact with these artisans and are capable of supporting all processes. A pair of beautifully finished trousers is something you wear forever. That is truly sustainable. In addition, we have recently launched the Natural Wonders capsule. The collection is made of 100 percent natural fibres: cotton, linen, and wool. We are delighted with the result and will continue these capsules.

What findings has 2020 revealed?

Tommaso Pinotti: We have realised how important effective communication is throughout the supply chain. Last year, frank communication with suppliers and retailers was essential in improving processes. This created incredible solidarity. We are a team, meaning the goal is all-embracing success, not individual suc-

“A pair of beautifully finished trousers is something you wear forever. That is truly sustainable,” says Tommaso Pinotti of Cruna.

The Italian brand is preparing for entering the DACH market.

cess. We believe in an open universe, where cooperation and an inclusive approach are essentials. Despite the advance of digitalisation, human exchange has prevailed. We have grown closer, which benefits the company and everyone associated with it.

What does your future hold for you?

Alessandro Fasolo: We mainly concentrated on the domestic market for the first few years and are proud of our achievements. We have approximately 120 points of sale in Italy. Now though, the priority is international expansion to ensure our brand is recognised abroad. In our strategy, we have identified the DACH region as a priority, especially given the attention that these consumers pay to quality manufacturing. With this in mind, we have collaborated with our agent, Elvis Giglione of Elvis Fashion, on a collection specially developed for this market, and are very optimistic. For the future, we have great ambitions.

We want to become a men’s brand that represents Italian style abroad. We strive to be recognised for our speciality: premium trousers. style in progress

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JACOB COHËN

“PRODUCT REMAINS KING” Significant developments at Jacob Cohën. style in progress sat down with new CEO Luca Roda to talk about constants and lessons learned over the past year.

Text: Janaina Engelmann-Brothánek. Photos: Jacob Cohën

Luca Roda was appointed as Jacob Cohën's new CEO in April 2020.

He intends to focus on the women's collection and sustainability in the coming seasons.

Luca, it must have been an interesting year for a newly appointed CEO. How are things going?

2020 cannot really be compared to any other period, it is a sui generis year in which all economic and social parameters have shifted. This was advantageous for me when I took up the post of CEO, because I was able to start immediately with new tools and goals without looking back at previous programmes.

I also considered it a strong gesture of trust that the owners offered me this position after five years of working together. My efforts are appreciated and I appear to have the right qualities to cope with the challenge. We have assembled a well-tuned team that shares the enthusiasm and confidence in Jacob Cohën’s growth…

Casualisation has gathered momentum again, which suits Jacob Cohën...

It has long since ceased to be a mere trend, it is a veritable evolution. It is all about abandoning ties and wearing sneakers. Jacob Cohën has epitomised casual since its beginnings. “Product is King” is not just a slogan for us. Our trousers are based on true craftsmanship and unbeatable in terms of quality. In addition, we manufacture in Italy. “Made in Italy” has always been – and remains – a seal of excellence.

Jacob Cohën represents luxury casual, exactly what this new normality needs.

A further development is the emergence of the women’s collection, right?

We have been discussing a dedicated Jacob Cohën women’s collection with President Jennifer Tommasi Bardelle for a long time, and have finally assembled an independent team to develop it. Naturally, we will retain the brand’s heritage, but for a woman who stands firmly on her own two feet, no longer in the shadow of the typical Jacob Cohën man. We have invested heavily in this project. We are aware that women are more versatile in terms of fashion. They buy entire outfits and are more demanding. We have high expectations, not least because it is an important step towards further internationalisation.

Sustainability is the talk of the town these days.

What is your position on this topic?

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Product is king, obviously also in the store located in Milan's Via della Spiga.

There is no alternative to sustainability, especially not in the fashion industry. I have children, as does Jennifer Tommasi Bardelle. We know that we must work hard for a better future. Nature is the most beautiful form of art, that alone merits our taking the subject seriously. It is not always possible to reconcile genuine sustainability with production requirements, but we have made it our goal and are already investing accordingly. For us, sustainability needs to be truly embraced, not just used for marketing purposes. We are working on recycled jeans, we try to avoid paper use, we strive to drastically reduce plastic, etc. The topic is high on our list of priorities.

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TOM RIPLEY

“THERE IS NO ALTERNATIVE TO ITALIAN QUALITY”

“The Italian Way of Americano” is the subline of polo and knitwear collection Tom Ripley. The driving force behind the collection are the owners of polo and casualwear specialist hajo. Tom Ripley, however, focuses exclusively on Italian quality.

Brand owner Wolfgang Müller believes that pairing it with German organisational talent guarantees success. Text: Martina Müllner-Seybold. Photos: Tom Ripley

“A

German fit is still in a league of its own,” laughs Wolfgang Müller. His father founded hajo-Strick GmbH, a real powerhouse in Germany in terms of men’s polo shirts. “While we maintain our own factories for hajo in China and India, it was clear from the outset that the Italian style of our premium collection Tom Ripley would require production in Italy,” Müller explains.

What are the Italians better at? “The country’s creativity never fails to overwhelm. In 2020, I took the time to visit all our suppliers in Italy and was really impressed,” says Müller. “In particular, developments towards sustainability are now gaining momentum in Italy. Thus, Italian Fully Fashioned production allows us to conserve resources.” Size and fit, however, still originate from Germany. “We draw on years of experience and inspire with jumpers and polo shirts that also fit larger men well.” In addition, the collection's entry-level pieces remain below the magic 100-Euro threshold – despite “Made in Italy”. “With our merino V-neck jumper made of the very best H2DRYK-WOOL, we offer retailers an attractive entry-level that is perfectly suited to male shoppers. After all, if a jumper fits perfectly, even men are likely to buy a second or third.”

QUALITY PROMISE

Tom Ripley’s pledge is well received by retailers. The range is almost self-explanatory due to its excellent price-performance ratio. Innovations such as H2DRYK-WOOL are thoroughly explained on hangtags. This highly functional wool grade originating from Italian spinning mill Zegna Baruffa in Valle Mosso is breathable, elastic, crease-resistant, and easily maintained.

Besides this novel wool quality, the brand uses Merino Extrafine, Stereo System (wool outside/cotton inside), and, as of autumn/winter 2021/22, Pure Cashmere.

The 30 pieces of the collection impress with a variety

Italian quality paired with fits that perfectly suit the DACH market: Tom Ripley deliberately chooses to be a product specialist – first for polos and jumpers, now also for sweatshirts.

of knitting patterns such as lattice, vertical herringbone, chevron in diagonal gradient, and a mix of waffle rib and seersucker.

The compact product range is being expanded to include jersey and sweat in the current season: “It reflects the casualisation trend and home office looks,” explains Müller. The brand will, however, avoid losing the thread. “Sensible additions to the collection are possible, but we remain product specialists. Both buyers and end consumers should have a clear idea of what Tom Ripley stands for.” style in progress

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SALON DIALOGUE

LET’S GO! As a country of fashion, Italy looks back on a challenging year in human, economic, and political terms. Many have utilised the lockdowns to promote change, be it regarding digitisation, transparency, or sustainability.

Here, crisis is synonymous with opportunity, progress, and reinvention. style in progress organised a Zoom talk featuring Dondup CEO Matteo Anchisi, Save the Duck CEO Nicolas Bargi, FGF Industry CEO Giuseppe D’Amore, Uashmama co-founder Giulia Marconi, and author and Italian Fashion Revolution coordinator Marina Spadafora.

Interview: Janaina Engelmann-Brothánek.

Illustrations: Simona Gala Baronti

D

espite all the alarmist predictions, many conversations have shown us all how positively the industry is reacting to the Covid crisis. Is this impression deceptive or can you

confirm it?

Marina Spadafora, Italian Fashion Revolution: During the first lockdown and in the months that followed, I repeatedly expressed in innumerable Zoom calls and webinars that this period also represents a great opportunity. I work as a consultant for a number of brands, so I know that it obviously was, and still is, a difficult time for brands and the fashion industry as a whole. It is really tough. However, we can emerge from this crisis stronger by embracing the path of innovation and sustainability. We have observed that buyers and end consumers have also used these months to reflect and gain a more in-depth knowledge of issues such as the environment and social justice.

This reorientation, this revolution of sorts, cannot happen overnight. It is evident that the industry cannot change everything from one day to the next, nor do we expect it to. The small steps in the right direction, however, will prove to be rewarding. All brands that are already adapting, or even started to do so before the crisis, will benefit from this approach. All others, we forecast, will lose a third of their sales over the next few years.

Matteo Anchisi, CEO Dondup: It goes without saying that anyone running a business today has to contend with difficulties, some of them bigger than others. We at Dondup have not been hit particularly hard, mainly because we started what we call the detox process some time ago. We emstyle in progress

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barked on this journey very sincerely and conscientiously.

We invest in our region and exclusively produce locally.

Moreover, this rethinking process not only involves where and how our product is manufactured, but also by whom.

We were keen to create an even more pleasant environment for our employees. Our canteen exclusively uses local products and in summer we shorten the working hours to allow our employees to enjoy the beautiful weather, to name but two examples. That is our investment. Is it already reflected in our turnover? No, but we can afford it in the knowledge that we enjoy the backing of a fund, for which I am very grateful. Funds pursue long-term strategies and this ownership structure affords our projects the necessary time. We can already see results: our employees are happier and more productive – that is important to us.

Nicolas Bargi, CEO Save the Duck: We are perhaps a somewhat atypical business, because our reorganisation process between 2008 and 2012 was already founded on the very principles that are so relevant today. So even back then, we were strongly committed to sustainable thinking and developed a completely animal-free product: no down, no wool, no silk. That was in 2012, when nobody else within our industry was sincerely discussing sustainability.

Furthermore, we strove to unite outdoor and fashion, following the example set by American and German manufacturers. The fact that we take environmental issues very seriously resulted in us becoming the first B Corp company in the Italian fashion industry. Achieving sustainability is a mammoth project and can only be accomplished with a certain financial structure and firm attitude.

Incidentally, I fully concur with the view that the time for change is now, not least because the next generation demands change. Young consumers have been urging us to do something for the environment for years. Being eco-friendly and fair has evolved into a modern mindset, perhaps in protest against the parental generation that allowed this catastrophe to happen. Nevertheless, brands will have to take these steps in the next ten years, or they will certainly lose a significant number of customers.

Giuseppe D’Amore, CEO FGF Industry: The young generation is an excellent place to start. This generation definitely attaches greater importance to sustainability, yet it is also fairly easy to influence. All it takes is an influencer to market a product that is not environmentally friendly, and suddenly the issue is less relevant. Besides, I would like to point out that the purchasing power of Gen Z is still limited, meaning they cannot consume as sustainably as they might like.

Does this mean that sustainability must be profitable in order to have a broad impact?

Giuseppe D’Amore: Yes, sustainability must be feasible on an industrial scale. Our group markets 700.000 jackets per year under our brands Blauer USA, BPD, and other labels.

One hundred percent sustainability is not yet possible with such volumes. We offer capsules that are animal-free and try to replace down. However, the road to a complete transition is arduous. Sustainability also needs to be financially viable for the brand in question. A company is obliged to operate economically, and this is where I believe the problem lies: the whole production chain must be reorganised, suppliers need to rethink, prices have to be adjusted. Moreover, we require more support from politicians.

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Nicolas Bargi: Correct, a change in mindset is important, but so is evaluating this change. It is not acceptable to completely reorganise all processes in a way that could ruin the company financially. You may be sustainable at the end of the process, but you are also bankrupt and no longer capable of investment. That is obviously not the point of the exercise. You need a plan – first for three years, then ten years. These plans also have to be communicated adequately. We communicate issues that are important to us and our progress. This transparency pays off.

Marina Spadafora: As external consultants on sustainability issues, our philosophy is to accompany the industry and brands on this path by showing great attention, patience, and even love. It is not our intention to point fingers. We do not expect the industry to run a marathon on the spot.

Figuratively speaking, I prefer to picture it as a child learning to walk. Personally, I applaud companies that start with a capsule collection or even reorganise parts of their business accordingly. The key is to take the journey seriously and not use sustainability as a fig leaf for communication.

After all, sustainability also encompasses continuity. If sustainability is only treated as a one-off event in collections, it is, unfortunately, nothing more than greenwashing.

Giulia Marconi, co-founder Uashmama: Compared to others in this group, we are a relatively small company.

For family businesses like ours, which not only produce fashion, but also home and fashion accessories, it is probably easier to tackle such a big topic as sustainability. We manufacture products made of washable paper, exclusively in Tuscany. The environment has been our priority from the outset, and this approach has ensured global success.

Italy is now also firing on all cylinders in terms of digitisation – by necessity of course, but still!

Matteo Anchisi: Digitisation was a blessing in the tough months of the lockdown! Digital tools allowed us to stay in business. I also believe that technology has brought us closer together. Since March last year, we have established a number of WhatsApp groups that are incredibly helpful.

This is exactly where the interaction between technology and humanity comes into play: we used a technological device to exchange ideas and encourage each other. The smartphone enabled us to share the warmth and affection we Italians are known for.

Giulia Marconi: Uashmama is very traditional in many respects. We are a typical Italian family business: my father, my mother, my three sisters, and I are all involved. Our paper products are produced almost entirely in-house and 100% in Tuscany. Even the organic cotton is woven between Florence and Lucca. Nevertheless, digitisation is a major topic for us, too. We have accelerated our plans for the next two years and invested heavily in our online business. We have, for example, translated the website into further languages and increased our activity on social media channels. Online sales have held up well due to the interaction with our followers, especially in Germany. Today, we are all the more pleased that we were open to innovation.

This process also involves a mental effort.

Naturally, we miss trade fairs and personal contact with our valued customers. Our product needs to be seen and touched. We manufacture a very special material, a washable paper that feels like leather. It is almost impossible to convey, and completely impossible to explain, this aspect

Modeagentur Klaus fashionpalais Salzburg modeagentur-klaus.com

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online. That is why trade fairs are essential for us in terms of customer acquisition.

Giuseppe D’Amore: A trade fair has long since ceased to be a mere showcase for the latest collection – it is a meeting place for the key players of our industry. I thoroughly enjoy meeting these people in person a few times a year to exchange information and ideas. We have, of course, also made our collections available to order online. That works in terms of sales. Let’s not forget that travelling less means we are doing the environment a favour. Nevertheless, we really miss the personal touch and hope that we will soon be able to return to doing business as we did before Covid-19. We Italians need that, and I am sure other countries do too.

Marina Spadafora: The crisis has made innovation more visible. Italy has some wonderful companies that have made great developments in the field of materials, such as Orange Fiber, Vegea, or Frumat. These companies convert food waste into fabrics, imitation leather, and more. There have also been some major developments in the field of dyeing, for example involving graphite or brick. I am delighted that this young Italy is now gaining visibility. These companies have a decisive advantage: they were conceived with sustainability in mind from the outset, meaning they are more agile than those forced to convert existing structures.

Nicolas Bargi: Innovation requires courage, especially when dealing with highly traditional structures still in place at many Italian companies. Forest, my grandfather’s business, was the largest Tuscan textile company of the post-war period and had more than 500 employees at the time. He would turn around in his grave if he knew that I produce our jackets in China. This step was emotionally painful on a personal level, but absolutely essential to develop a financially viable animal-free jacket. In China, I have found five partners who meet all my stylistic and technical requirements for our product. I would have had to involve a grotesque number of small businesses in Italy, about 40 in all, to produce the volumes we require. This fragmentation would have involved far too many variables. Just consider the varying quality standards of forty different companies.

It is important to me that we retain the Italian design, which means that our products combine the contemporary Italy with the culture I remember from my grandfather.

Matteo Anchisi: We, by contrast, have decided to manufacture everything in Italy again, because I believe this represents our brand more consistently. What about the others? Giulia, you manufacture in Italy? Giuseppe?

Giulia Marconi: Yes, we want to maintain production in Italy despite having gained a global foothold and operating our own mono-brand stores in the US and Australia.

“Made in Tuscany” or “Made in Italy” is an enormous asset abroad, and we live off exports.

Giuseppe D’Amore: As a manufacturer of premium jackets, we simply cannot produce in Italy. Firstly, because the required volumes are not possible. Secondly, because the processing of high-tech materials is more advanced in Asia.

At the end of the day, it is also a matter of price. A Blauer USA jacket manufactured in Italy would be beyond the financial means of the majority of our core target group.

We would not sell a single jacket.

Nicolas Bargi: I agree with Giuseppe. You can easily manufacture large quantities of t-shirts, trousers, and other clothing in Italy, but not jackets. At least not our jackets 130

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featuring innovative materials, not in the required volume.

Save the Duck manufactures 600,000 jackets a year.

There is much speculation about Italy’s future – let’s venture a glimpse into the future...

Matteo Anchisi: This crisis has united us as a country. We have used the time to reflect, both as companies and as a society. I see many positive signs and think that the more Italy remains true to itself, the more successful it will be in mastering the future.

Giulia Marconi: This period has taught us how crucial the exchange between generations is. Our parents and senior staff are more resistant to crises and have a lot to contribute. At the same time, we can share our digital know-how with them. There is so much magic in this exchange.

Nicolas Bargi: Our corporate DNA is sustainable, and in two years’ time our range will consist of 80 percent recyclable products or jackets made of recycled materials.

As far as digitisation is concerned, I believe it should not be pushed to extremes. Digitisation must be adapted to the culture it addresses. Of course, we all need to be prepared online, but life and business also continue on a physical level. We must never forget the end consumer, neither the online shopper nor the retail customer. A company has to master all channels in order to serve all types of customers successfully. I firmly believe in an integrative future of digital and physical.

Giuseppe D’Amore: We at Blauer USA will continue to manufacture our jackets to the highest standards. We will work on the digitisation of processes and address selected sustainability issues. I agree with Nicolas Bargi when he says that we need the right mix of digital and real world.

Retail will remain important, so we must continue to attach great value to it, from larger department stores to small provincial stores. I am not concerned about the future of Italy. We have an incredible ability to adapt, we will manage change successfully.

Marina Spadafora: For the sake of the future of this industry and for Italy as a whole, I would like to see transparency, reliability, and a desire for a new start, but also continuity. I also sincerely hope that the aid we receive from the EU will be invested in innovation and the younger generation.

Young people who want to make a difference must be supported by institutions and with subsidies, otherwise we risk losing an entire generation. Italy must recognise this and act boldly, also on a political level.

Do we all agree that Italian politicians need to do more?

Nicolas Bargi: My first question would be: Which institutions? It is a difficult topic. I travelled extensively in Italy throughout 2020. I suspect that our tourism industry is still stuck in the 1970s. I mean, what do we expect if we even refuse to invest in our flagship sectors such as tourism and fashion…

Giuseppe D’Amore: We have politicians with excellent, alternative political programmes. They are, however, not in a governing position…

Matteo Anchisi: Italian politics failed to help us during the crisis. We have survived because we are healthy companies that fortunately stand on their own two feet. The crisis will, of course, lead to a selection process within the Italian fashion industry. Those who have functioning business models, or are willing to reinvent themselves, will survive.

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CIRCULAR RATHER THAN LINEAR It is undisputed that resources must remain in material flow. On the path to a circular economy, an increasing number of business models revolve around the stages “Sharing & PreLoved” and “Reuse & Upcycling”, even all the way to “Closed Loop”.

For the circle to truly close, the industry and the retail sector need to contribute – as do consumers.

Text: Stefanie Buchacher. Photos: Manufacturers

valuable services instead of short-term products.

Instead of maintaining a short-term profit-based and ownership-oriented economy, the fashion industry needs to contribute to creating a long-term prosperous and sharing-oriented global economy.”

M

ore than 100 billion new items of clothing are produced every year. Less than one percent are recycled. While the world population is expected to grow to 8.5 billion people by 2030, leading to a 63 percent increase in clothing production, raw materials are becoming increasingly scarce. The linear economic system is inevitably reaching its planetary limits.

What needs to happen now? Sustainability pioneer Stella McCartney believes we need radical transformation. Dr Anna Brismar, founder of the Circular Fashion Network, adds: “We must focus on creating

CIRCULARITY BEGINS IN THE DESIGN PROCESS

In stark contrast to a linear take-use-dispose system, the aim of a circular economy is to keep materials and resources permanently in flow after procurement.

Used clothing should not be thrown away. Rather, its life cycle should be extended through multiple use until the materials are recycled into “new” resources that can be utilised to manufacture other recyclable products. Another option is for the garments to decompose completely without residue, thus returning to the biological cycle of nature. Sebastian Klinder, Managing Director of Munich Fabric Start, firmly believes that the mindset of buying, owning, and disposing of products must be overcome.

“The value of a product is measured in its longevity,

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productivity, functionality, and regenerative ability.

This evolves clothing into a resource depot,” says Klinder, who, when looking back at recent trade fairs, has noticed an enormous increase of interest in the topic amidst a surge in the volume of innovative textiles. “The foundation for viable circular fashion is laid in product development: the design process is becoming increasingly complex. Not only look, feel, fit, and functionality are now important aspects, but also zero-waste capability, reversibility, modularity, longevity, reparability, and recyclability. The chemical and physical properties of the fabrics, too, must be measured against new standards.”

THE MONSTER IN THE WARDROBE

A change in mindset on the part of the industry and society as a whole is evident. The concept of a sharing economy, a system increasingly influenced by younger generations, is gaining momentum. It has long been common practice to do more than merely share beds or form carpools. NGOs and foundations have been promoting an economic system in which the consumption of resources is reduced to a minimum for years. In order to effect real change, however, the entire textile industry needs to pull together and, above all, more companies need to embrace this vision. In 2017, the Ellen McArthur Foundation launched its Make Fashion Circular initiative, while the Global Fashion Agenda called for the signing of the Circular Fashion System Commitment, in which more than 160 companies committed to defining recycling targets and (further) developing new circular business models, more sustainable materials, and eco-friendly technologies. In 2019, it was revealed that the signatories had achieved a mere 21 percent of the 213 targets for a circular fashion economy. In short: fashion remains well short of being truly circular.

Despite the fact that an industry that has been relying heavily on fast rhythms and cost cutting for decades cannot be transformed overnight, industry giants, as well as start-ups, utilise capacities to experiment with sustainable systems, concepts, and technologies. On the path to a circular economy, an increasing number of business models revolve around the stages “Sharing & Pre-Loved” and “Reuse & Upcycling”, even all the way to “Closed Loop”.

CIRCULAR BUSINESS MODELS

Even though Tchibo discontinued its “share service” at the end of 2020, a clothing subscription remains an important business model. German start-up Fairnica, for example, rents out clothing packages consisting of matching Fair Fashion outfits, while a Rent The Runway membership allows you to rent designer clothes and accessories. Only recently, Swiss running shoe specialist On launched the world’s first subscription service for running shoes and clothing. The Cyclone model, a high-performance running shoe made of more than 50 percent organic-based materials, can be exchanged for a new model after a certain time of use.

The returned pair is fully recycled. In recent years, pre-loved fashion has made headway in both online 134

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shops and at specialised retailers. It has even forged a path into the high fashion market. Carefully curated ranges of high quality from Vite En Vogue, as well as additional segments at players such as &Other Stories and Zalando, have made this development possible.

All the aforementioned examples have managed to integrate second-hand fashion in a manner that appeals to customers. The RealReal is a prime example in the luxury sector. It offers pre-worn designer clothing by Burberry, Gucci, and other household names. Brands such as Nu In, Silfir, Mud Jeans, and Ecoalf – as well as sneaker labels such as Nat-2, Womsh, and Thousand Fell – have all started to actively promote circularity from the outset by using sustainable materials, designing beyond seasonal influences, ensuring recyclability, and establishing their own recovery programmes. Even industry giants such as H&M, Asos, and C&A have placed recyclable collections or campaigns on their agenda. Zalando, for example, recently launched a circular fashion pilot project in collaboration with Berlin-based start-up Circular.

Fashion. The resulting capsule collection, titled “redeZIGN for Circularity”, was developed following the principles of circular economy as an end-to-end solution. A sewn-in QR code not only provides information on materials and production, but also on care and how to return the piece to the cycle.

WHAT ARE THE BENEFITS FOR SPECIALISED RETAILERS?

“This is a unique opportunity for stationary retailers – not only to position themselves as a sales point, but as an activity point,” argues Timo Schwenzfeier, Show Director at Neonyt. “They can transform into a point of attraction for customers – in order to involve them personally or interactively, thus increasing brand loyalty, or to create new sources of revenue.” A transformation towards a circular business model not only helps to counteract environmental and resource challenges, but also enables retailers to remain relevant in a retail landscape characterised by the emergence of sustainable alternatives. Lisa Fiedler of outdoor specialist Vaude agrees: “Specialised retailers play an incredibly important role in a circular economy. They not only show customers the right choice of clothing or equipment, but also highlight options available to them, such as proper care, repair, possible resale potential, and sensible return programmes.” The retail trade also takes centre stage in the return or collection of clothing, as it can team up with the industry to establish return systems that can act as an interface with recyclers. Lisa Fiedler believes that the triedand-tested recycling structure needs to be expanded simultaneously: “Ideally, we should be able to dispose of disused garments through the garbage disposal system we are familiar with, along the same lines as we already separate organic waste, plastic, and glass.

That would, however, require an underlying recycling concept that transforms old textiles into recycled fibres for new textiles.” At any rate, the circle can only be truly closed if the return of used clothes is made as easy as possible for the consumer. “Given that we are in the early stages of this revolution, there are several ways that can succeed,” says Timo Schwenzfeier.

“Every little step counts. What is essential, however, is to collaborate instead of competing.”

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Alina Bassi is among Forbes’ “30 Under 30” in the “Manufacturing & Industry” category.

“WE CONVERT TEXTILE WASTE INTO A FULLY SUSTAINABLE MATERIAL” After experiencing first-hand the effects of clothing being dumped in landfills in various developing countries, Alina Bassi founded the start-up Kleiderly in Berlin in 2019.

Which technology do you use?

I have developed an industrial process for converting textiles into a plastic alternative.

Kleiderly prevents textile waste from ending up in landfills or incinerators. The result is a robust, resilient material that is 100 percent recyclable and follows the principles of circular economy. The material can be utilised as seamlessly as regular plastics, meaning it can be employed to make anything from clothes hangers to plastic anti-theft labels, furniture, suitcases, and much more. The possibilities are infinite. Our technology has been registered for patent protection.

What is the main challenge in a circular economy?

The greatest challenge in terms of circular economy is a lack of relevant education and information about what exactly circular economy design is, and how it can benefit us both from a social and an ecological point of view. This is one of our missions at Kleiderly.

We systematically share content about waste management issues, where waste ends up, what landfills or incinerators are, and how a circular economy can help us meet these challenges.

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“CIRCULAR FASHION CAN NO LONGER BE IGNORED” Marcus Schönhart, Managing Partner of Reverse Retail, firmly believes that resale will develop into a perfectly natural extension of the fashion trade in the future.

How do you predict the development of resale/circular over the coming years?

There are reliable studies that suggest the circular fashion market will exceed the current fast fashion market in a few years. Irrespective of whether these forecasts are correct, it has already become clear that the circular fashion market has established itself and will play a relevant role within the fashion industry.

What are the advantages of integrating resale into well-assorted retail businesses, both online and stationary?

There are two sides to this. On the one hand, we organise acquisition events with established retail partners such as Breuninger, KaDeWe, and Engelhorn. During these events, consumers can swap the fashion items they no longer love for a voucher redeemable at the respective retailer. These events thus contribute directly to the retail partner’s revenue stream. On the other hand, we sell second-hand fashion to consumers via online collaborations or in offline pop-up areas. Furthermore, teaming up with us directly enhances the retailer’s sustainability strategy. This benefits everyone involved: the retailers, the customers, and us.

Resale supports first sale: “In the automotive sector, it is perfectly normal and established that every car dealer sells both new and used vehicles,” argues Marcus Schönhart of Reverse Retail.

“CIRCULAR FASHION REVOLVES AROUND TRACEABILITY AND INFORMATION” Circular.Fashion, co-founded by Ina Budde, consults businesses on circular economy issues.

The company recently teamed up with Zalando to launch the latter’s first circular collection.

Ina Budde of Circular.

Fashion: “There are many technological solutions – now we need to scale them to ensure that regenerative fibres become economically viable.”

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What does Circular.Fashion actually do?

We develop tools and services for circular designs and help improve infrastructure, such as recycling and sorting processes, in order to facilitate true fibre-to-fibre recycling. To this end, we have established a network connecting recycling and sorting companies, suppliers of recyclable materials, and fashion companies. We link all stakeholders on our platform and offer fashion brands the services of this network. In addition, we have developed circularity.ID, a scannable label that allows the tracking and retrieval of all relevant information about a garment: production, material composition, care instructions, and suitable recycling companies. It is essential to involve customers actively.

How can the switch to a circular economy succeed?

Many companies are concerned about not being 100 percent circular from the very beginning. The eternal question is: Where does one start? Should you make all products fully circular before devising a return programme? Or does it require a return programme before it makes sense to develop circular products? We strongly believe in the importance of a holistic vision, which is why our solutions provide direct support on both levels simultaneously. The key is, however, to take the first step while not losing sight of the ultimate goal. In this context, it really does not matter what the first step is.

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Marco Götz and Patrick Braun: “Even unpredictable times harbour opportunities – and that inspires courage for the future.”

DRYKORN

“DISSOCIATE FROM INDIFFERENCE” Like so many others, Drykorn also expe­ rienced a tough last year. A year that the company has used to address challeng­ es with innovation, reliability, and a clear mindset. We caught up with Managing Director Marco Götz and Head of Brand Communication Patrick Braun.

Interview: Stephan Huber. Text: Stefanie Buchacher.

Photos: Drykorn

2020 was a very turbulent year, rocking the whole economy. Nevertheless, Drykorn has launched many innovations. Is the crisis also a catalyst?

Marco Götz: In our case, definitely. We have significantly reinforced various areas, for instance our own e-commerce. Above all, we have modified our digital processes, including a complete integration of collection 138

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development, which is now entirely digital down to the design of individual pieces. This extends to image material and digital orders.

A year ago, I would have said we need five years to achieve this, but it took us no more than three months. The urgency levels were off the charts.

Across the industry, one can observe that many companies have been forced to take a more detailed look at their own activities, and have learned many valuable lessons for the future in the process.

Without wanting to gloss over the past few months, can we conclude that our industry is emerging healthier, more future-oriented, and more focused?

Marco Götz: Companies that have, or have had, the opportunity to adapt swiftly to change will certainly experience positive

results in the future. It takes strength and dynamism to succeed in the market. The calm and temporary standstill allowed companies to explore not only the technical market possibilities, but, more importantly, their own possibilities within their corporate structures.

What resources do I need to achieve certain results? How do I use them correctly? A great deal of reflection has taken place in this respect.

Comparable effects can also be observed at owner-managed retailers in particular, which have proven to be much more resistant and sustainable. To what extent does this also apply to specialised retailers, most of whom can look back on positive results?

Marco Götz: The last few months have called for entrepreneurship, a short opinion chain, and courage to make decisions. This favoured

WHAT’S THE STORY

Fashion that also conveys attitude: Drykorn.

owner-managed retailers and boutiques, as they were forced to act quickly. Previously, they were capable of acting, but now they had no other choice. This lack of options was transformed into motivation in many cases. Anything that may not have seemed relevant from a return or cost perspective in the past, was suddenly perceived as a way to generate revenue and connect with customers as one would via Instagram. Smaller players fared better than large chains in this respect.

The standstill also showed how important customer contact is, and how strong customer loyalty to the retailer really is. Advice is a personal matter and it is always about how to offer the customer added value. This shows that even unpredictable times harbour opportunities – and that inspires courage for the future.

In recent months, Drykorn’s external communication has become rawer, a strong change in narrative with very clear messages. What is the idea behind this?

Marco Götz: We wanted to dissociate ourselves from indifference. There are things we care about and want to communicate without being overly political.

Patrick Braun: We used to primarily communicate in a tongue-in-cheek manner, utilising the so-called Drykorn irony. Not taking oneself too seriously was a fine stylistic device.

Lately it has become more important to us to communicate our attitude, and we wanted to convey messages that would reassure people, especially after the lockdown. An example is a cooperation with artist Eike König, which resulted in our “Future Now” campaign. By starting to communicate more directly, a genuine dialogue has been established.

Marco Götz: For example, we sent “Future Now” shirts to our retailers to show that business life goes on and that we are navigating this crisis together. Even though it was only a small gesture, we still received positive feedback weeks later.

Many conversations have revealed that partnership, and the need for it, has gained in importance. Is it the realisation that when you find yourself in the same boat, you might as well row together?

Marco Götz: That always depends on the circumstances. Fortunately, we can look back on years of success, which allowed us to act in a spirit of partnership, to be accommodating, and to provide assistance. We are more interested in presenting an optimistic future.

I am convinced that there will be a bounceback effect, and I firmly believe that we, as an industry, will be able to operate successfully again from next spring as long as we demonstrate flexibility.

The rigid seasonal corset is increasingly disintegrating in favour of topical capsules or limited editions. Will the demands of the past few months lead to a shift in rhythm?

Marco Götz: The production rhythms are relatively rigid. We try to change things rooted in short-termism. It is not a question of meeting short-term demand, but of identifying and satisfying future needs. Our two main collections form the foundation of our business. We complement them with an increasing number of additions that allow us to convey our attitude, experiment with new ideas, and ensure we remain attractive and relevant to our consumers. We now offer about eight to ten initiatives per year. They are not based on fashion-related themes, but focus on topics from other areas such as our “Verantwortung tragen” and “One Warm Winter” campaigns. In this context, the aim is not to sell a large quantity of clothing, but to create a certain level of uniqueness and exclusivity.

Patrick Braun: We use capsules to address relevant topics of the zeitgeist and to draw attention to important issues, such as the aforementioned “Verantwortung tragen” initiative. We designed a corresponding t-shirt and promised to donate the proceeds to the Sea Watch organisation. Again, this is not about politics, but about humanity. Such campaigns are not motivated by marketing considerations, but because we really want to do them – and do something good in the process.

The shift in work culture also influences the culture of clothing in favour of increasing casualisation. How does Drykorn handle this paradigm shift, especially considering that ready-to-wear clothing is a core brand component?

Marco Götz: Ready-to-wear clothing is always an important component, but there have been signs of a slight decline for a few seasons now, which we have been able to compensate with other product groups and topics. Purchases will become more demand-oriented. I expect the demand for ready-to-wear clothing to increase slightly again, but not to the level we were once used to. Irrespective of this, fashion will continue to change, simply because our children do not want to look like their parents.

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The teaser for the BPOP capsule was lovingly designed in collaboration with internationally renowned illustrator Francois Berthoud.

“The strength of the Bogner brand in international perception never ceases to impress me,” says Heinz Hackl. In his capacity as Co-CEO, he is responsible for sales, design, and marketing & licences at Bogner in Munich.

BOGNER

NEWNESS WITH CAPSULE COLLECTIONS Bogner refines its fashion statement with exclusive capsule collections for the coming autumn/winter season 2021. The ingenious coup: creative collaborations, such as with British Pop Magazine and fashion editor Tamara Rothstein, lend Bogner an extra dose of coolness and open up new target groups. The collabo­ ration collection, titled BPOP, is inspired by heritage styles and Lady Diana, who was reportedly a huge fan of the Bogner brand.

Text: Martina Müllner-Seybold. Photos: Bogner

Slimmer, more agile, more flexible – this is precisely the image Bogner conveys under the leadership of the two Co-CEOs Gerrit Schneider and Heinz Hackl. For the coming autumn/winter 2021 season, the tradition-steeped company cleverly combines its extraordinary brand history with contemporary design accents.

Munich-based Bogner has steadily increased its fashion grade over the last few seasons, in part due to collaborations with global wholesale partners from the luxury segment such as net-a-porter, Matches Fashion, and Mytheresa. “Creating something new involves more than just looking in the rear-view mirror,” says Hackl. "Our customers expect 140

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a fast pace, progression, and a high level of exclusivity. Bogner has consistently embodied a distinctive athleticism, but always with fashionable elegance. Our exclusive Capsule Collections allow us to address current customer trends while still remaining true to our brand profile.”

GRANDMASTER OF STORYTELLING

In 2021, Bogner plans to take the next steps towards sustainability by defining its own Bogner Circular Mission. In this context, the Bogner x Econyl capsule is scheduled to launch as early as autumn/winter: a focused selection of strong styles made from Econyl, a recycled nylon yarn. As part of the sustainability drive, recycled cashmere will be used for the first time this winter.

“Hypes pick up speed much faster nowadays, but they are often very short-lived. It is of crucial importance to strike a chord with the times and not lose sight of the sustainability issue,” Hackl argues. The storytelling element of the individual capsule collections is therefore already an important aspect during the creation process. Bogner’s exclusive BPOP Capsule, which is set to launch in September 2021, was created in collaboration with British Pop Magazine. Renowned fashion editor Tamara Rothstein pays tribute to the 1980s with an oversized look inspired by Bogner heritage styles and iconic colourways,

reminiscent of the looks of Lady Diana or Madonna. No more than 30 selected customers worldwide will have access to the BPOP capsule in winter 2021. The capsule will also be showcased in a more than 30-page spread by German-Korean fashion photographer Heji Shin in the autumn/ winter issue of British Pop Magazine. “With his films and his ability to stage collections as stories, Willy Bogner performed invaluable pioneering work as early as the 1960s/70s.

The same spirit resides in our way of modern Bogner storytelling,” Hackl adds.

“As an organisation, we have gained speed,” Hackl is pleased to say. Yet agility is just one component, continuity being the other. Icons such as the Bogner Jacket, which is offered in different variants in both summer and winter, are firmly embedded in the Bogner DNA. Maria Bogner developed her first interpretation of the down jacket as early as 1957. What followed was a continuous development of today’s classic in every single collection. Such iconic styles are brand anchors that increase recognition and meet customer demands. Heinz Hackl summarises: “Our focus is on customer centricity and we are very lucky to have so many loyal customers who have been Bogner fans for years. Our task is to remain true to our style whilst infusing the collections with the right athluxury zeitgeist.”

WHAT’S THE STORY

Marco Lanowy can do both: look far ahead and live in the moment.

ALBERTO

INTO THE COMFORT ZONE Premium specialist Alberto is relaxed about the renewed push towards casu­ alisation in trousers and jeans. “Being able to lounge comfortably on the couch in our trousers is our standard anyway,” says Managing Director Marco Lanowy in an interview with style in progress.

Casualisation? Alberto’s trousers have long imbibed this spirit. Even when they look slick, men primarily buy them because of their comfort factor.

Text: Martina Müllner-Seybold. Photos: Alberto

“I am currently deeply immersed in ethics,” says Marco Lanowy, demonstrating the mindset of a forward-looking managing director who never loses sight of the big picture, even in turbulent times. Aloof? No. It is practical, because is it not precisely the attitude of a brand that is so crucial these days? “Our job is to sort out the fuses long before they catch fire. For example, when the December/January lockdown was already on the cards, Alberto contacted all retailers to ask whether the January delivery dates should be executed as planned,” Lanowy explains.

CODE OF FUTURE

“There are more excellent retailers out there than one might suspect. That is one of the great learnings of 2020. With such entrepreneurial personalities as partners, a specialised retail brand is fit for the future. Yet, especially when dealing with these extraordinary people, it is important to me that calculation and conditions do not take precedence over everything else. Pardon my French, but cal-

culations and conditions really look like shit in a shop window,” Lanowy smiles. “I feel the same way about sustainability and transparency. The way we communicate today is information for a hangtag, but certainly not for what is supposed to happen at the point of sale. A physical encounter is about emotion, enthusiasm, and desire. We should engage deeply with the magic only a store can offer through its very humanity.” Alberto itself has devised a format for communicating all the puzzle pieces that constitute the brand’s attitude. AZine is an editorially driven format on the website that introduces many exciting personalities, from long-time trouser models to golf pros. The deeper you immerse yourself in the Alberto cosmos, the better you understand: trousers reflect a lifestyle.

GROWTH THROUGH EFFICIENCY

Will it require much more casual chic in 2021, we ask Lanowy: “It has always been

our standard that you can spend a leisurely evening on the couch in our trousers. If a customer understands this comfort better when there are two jogging cords dangling from the waistband, then of course we provide them. In our store, however, we are currently making a very interesting and different observation: trousers that look particularly valuable and haptically sophisticated are very popular. Maybe the customer is already getting tired of sweatpants.”

Nevertheless, the company in Mönchengladbach knows very well the strength of a specialist is to offer one and the other, not one or the other. “In the next few years, growth will only be possible through more efficiency. Accordingly, we strive to offer a diverse yet precise collection. Constantly honing one’s competence is a very basic form of sustainability, and sustainability requires the right mindset,” Lanowy says, coming full circle. style in progress

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Mattia d’Orlando is responsible for Myths’ export management.

Myths‘ trousers are characterised by extensive research and a love of experimentation, but also by Italian style.

MYTHS

“WE ASPIRE TO BE INCOMPARABLE” Myths embodies innovation like no other trouser collection, especially in terms of materials. Export Manager Mat­ tia d’Orlando sat down for an interview to explain how Myths intends to gain a unique status within the market.

Interview: Nicoletta Schaper. Photos: Myths

Mattia, is it possible to reinvent trousers?

To some extent, yes. Myths has made it its mission to create a new concept for trousers.

Our strengths include very distinctive vintage effects and sophisticated treatments to make our trousers incomparable. Our Frosted Wool, for example, is an innovation which we were the first to bring to the market. The vintage effect of the garment-dyed pieces is truly unique, as is their feel. Today, Frosted Wool is one of our signature styles, especially as it has opened doors for us in all markets.

We will continue to build on this success.

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How does the Myths team go about making the incomparable possible?

By showing the courage to experiment and the patience it takes to innovate. In the course of 40 years, our company, GDM, has refined its know-how and product. For the current season, we are complementing our Frosted Wool and Frosted Flannel styles with a garment-dyed cotton corduroy that undergoes a similar process. This creates a well-rounded range of trousers featuring our special vintage effect, and in many colours to boot. Another new addition are our Active Garment Dyed pants made of wool and cotton, which draw from all our research over the last four years and are, in a sense, our masterpieces. We are responding purposefully to the discerning market with special capsules and are launching only 499 trousers in our Limited Edition Luxury line.

The latter contain a high-quality blend of recycled wool and recycled polyester, delivered in special packaging. In June, another capsule will be available to order with a September delivery date, designed in collaboration with

renowned product designers Spalvieri & DelCiotto. Once again we strive to deliver something truly unique. Despite innovation, it is important to us to maintain our price-performance ratio. Retail prices for cotton trousers and Frosted Wool pants range from 169 to 199 Euros and 249 to 279 Euros respectively.

Your strongest markets besides Italy are Scandinavia and Germany. What is the status-quo and what are your ambitions for the future?

In the last two seasons, menswear has seen a 10 percent increase in sales, womenswear 30 percent. This is an excellent performance for a difficult year. We are proud to count top retailers in Germany and Austria, such as Daniels, Lodenfrey, Helmut Eder, and Dantendorfer, among our partners. Together with Heritage Showroom, we intend to further deepen our retail partnerships, for example with collaborations, shop windows, and popup spaces. We share the same vision and can only prosper together.

WHAT’S THE STORY

SoSue is an all-season brand: pullovers, dresses, jeans, jumpers, cardigans, hoodies, and skirts can be worn all year round.

Sue Giers combines interesting stories with excellent fashion.

SOSUE

APPROACHABLE Sue Giers is the perfect role model for her brand’s fans. Her cosmos compris­ ing the SoSue label, her own blogzine, and the corresponding multi-label online shop allows her to keep the community up to date on Instagram on a daily basis.

However, genuine intimacy is also culti­ vated during personal order sessions for retail customers and at in-store events.

Interview: Kay Alexander Plonka. Photos: Anna Daki/ SoSue

SoSue is not only represented at major online retailers such as Douglas and About You, but also at owner-managed independent stores such as Lindner and AprilFirst.

How come both worlds feel so compatible?

About You and Douglas are excellent sales platforms. We believe in them because they are not only mainstream, but also driven by content. Douglas, especially Tina Müller’s new strategies regarding premium segment expansion and her commitment to diversity issues, has convinced us in particular. We are the first fashion label on the Douglas marketplace and it is working really well. As I myself am an ageless beauty ambassador for Douglas and write regular columns for the

Douglas Magazine, selling via this particular platform is a logical move.

The retail trade in cities is also very important to us though. They are the offline windows into our community, who are always keen to experience a “handfeel” and a real shopping experience close by. It is always exciting to observe how differently the retail trade purchases according to region. For many, our tops and dresses are a wonderful addition to their product ranges. Retailers such as Frl. Schumacher and Ortner even perceive us as a full collection.

What mistakes must be avoided to prevent the offline business from being cannibalised by online sales?

We believe that it is much more effective to provide advice in stores, which is something that is not as easy to offer online. A salesperson knows her customer and can authentically convey what exactly suits her and how to style it. Online, we can inspire and show different combination options. These are real images of real women, not look-book models. At pop-up events, we like to bring our laptops along to show how our styles have been combined online.

How important is it that you yourself regularly visit your retailers and what do you learn from the discussions with end

consumers for the development of your collection?

We would not exist without the enthusiasm of, and our proximity to, our customers and followers – both offline and online. We need real and virtual feedback. We are happy to tune colours and materials with our followers by inviting them to vote. This helps us enormously during the order processes, especially in terms of quantities. Nothing is more enjoyable than receiving direct feedback at our events. Experiencing the shining eyes and body language of a customer who loves a style is simply priceless. That is what motivates and inspires us. Creating tops that are diverse, and therefore really fit many women, is both an aspiration and challenge for us.

Our retailers are also very keen to give us feedback. We do not employ a sales agency.

The approximately 40 retailers in Germany, as well as the five in Austria and Switzerland, all approached us proactively. It demonstrates their genuine interest and passion to stock SoSue. In return, we handle requests from retailers in the same city transparently and fairly. We take a close look at such situations.

Our decision who to supply is not always strategic, but often emotional.

Read the full interview online on www.style-in-progress.com

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BE PART Where do we humans figure in this new system?

The answer is simple. We are the ones who pull the right levers with determi­ nation and entrepreneurial spirit. Such virtues have resurfaced throughout the crisis that was 2020. The future belongs to those who shape it.

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BACK TO THE FUTURE European icons such as Harrods, KaDeWe, and Galeries Lafayette appear to be immune to the coronavirus. This immunity, however, does not extend to the industry as a whole.

Department stores are disappearing, struggling to survive for years, or, as in the case of Galeria Karstadt Kaufhof, being forced to merge. Meanwhile, horror scenarios are spilling over the Atlantic from the US. Is the crisis an opportunity?

Text: Petrina Engelke. Photos: Lupi Spuma, Interviewees.

A DOOMSDAY SCENARIO AS STARTING POINT

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study conducted by Green Street Advisors in summer 2020 predicted that more than 50 percent of the department stores that serve as anchors for US malls will have disappeared by New Year 2021. At any rate, only few of the more than 200 names that shaped the US department store landscape throughout the 20th century are still in business. Neiman Marcus made a firm counterstatement in 2019 by signing a 50-year for premises in New York’s brave new world known as Hudson Yards. Only 16 months later, the luxury department store was no longer there – and bankrupt.

The same fate was suffered renowned US department stores such as Barneys, Lord & Taylor, J.C. Penney, and Sears.

The phenomenon was already known as “Retail Apocalypse” at a time when nobody could foresee that a virus would threaten human lives and businesses in 2020. Now, it is hard to imagine a more nightmarish scenario. The future of department stores begins in an apocalyptic climate. It is therefore a question of perspective as to what shape this future will eventually assume. Is the result of the demise of the long-established department store landscape a vast wasteland – or a void that can be populated with fresh ideas?

US department store expert Jan Kniffen boasts decades of industry experience, making him a sought-after consultant for investors and supervisory boards.

He believes that opportunities arise when more stores close than new ones open: “That is retailing. The creative destruction and rebirth is more prevalent in retailing than in any other part of the economy.”

Despite thousands of closures in recent years, there was still an average of just under 2.2 square metres of style in progress

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retail space per inhabitant in the US at the beginning of 2020. In Great Britain the figure stood at a mere 0.4 square metres, in Germany at 0.2 square metres.

Hence, the mass closures in the US could be viewed as the moulting of an industry that is shedding superfluous volume. Ideas for what is to become of vacant properties across the pond may, however, also benefit European department stores and shopping centres.

IDEAS WRAPPED UP

The Alderwood Mall in Lynwood, a suburb of Seattle, is considered the ideal testing ground. After the demolition of an abandoned department store, owner Brookfield is building a new anchor for the shopping centre: housing. 300 residential units should be ready for move-in in 2022. Around 8,300 square metres remain for retail outlets and gastronomy. Brookfield is banking on a change in American society: the desire for managing everyday life within walking distance.

Before working outside your own four walls became unfashionable, Brookfield considered creating offices.

The ailing traditional department store Lord & Taylor, for example, sold its flagship store in New York to co-working space provider We Work. Amazon took over the building just a year later.

The largest mall operator in the US now intends to plug the gaps left by anchor department stores such as J.C. Penney and Sears with the same e-commerce colossus. The irony, right? One sticking point, however, is the traffic situation: a solution would have to be found for the necessary employee parking and the substantial truck congestion caused by such logistics centres – a solution that does not alienate store owners and their customers alike. Quite apart from the question of whether this step would merely introduce the fox into the henhouse.

FROM OBLIGATION TO VOLUNTARY EXERCISE: UNLIMITED SHOPPING

“Department stores, like all retailers, have to learn to sell online, provide curb-side pick-up, in-store pickup, delivery, and free shipping both ways,” argues Kniffen. Some sales measures born out of necessity during the pandemic, such as curb-side pick-up, prove that the barrier separating online and offline is nothing more than a mirage. Stationary and digital services can become one.

In this context, a fashion range benefits department stores greatly. Despite the pandemic, many customers feel the urge to feel products – a huge advantage for those who are well-positioned both stationary and online. In his day-to-day job as a board member of Austrian department store chain Kastner & Öhler, Alexander Petrskovsky, for example, observes an increasing interest in digital purchase preparation.

“Click & Reserve” allows customers to choose products online before booking an appointment at the store itself. They can try on the pieces and ask sales staff for advice, maybe even add to their purchase.

However, Petrskovsky believes it would be difficult to handle such offers without an already functioning online channel: “I can only offer ‘Click & Reserve’ if I present products in the web shop, have enough stock on site, and make them reservable.”

THE HIDDEN ONLINE ADVANTAGE

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“The creative destruction and rebirth is more prevalent in retailing than in any other part of the economy,” says US department store expert Jan Kniffen.

the primary beneficiaries. It did benefit greatly, but trading giant Walmart outpaced the online giant with pick-up offers. 90 percent of the US population live within a ten-mile radius of a Walmart branch – and people are creatures of habit. Department stores can use this to their benefit by consciously strengthening their reputation in their immediate vicinity. After all, the affluent clientele from Asia or Russia is no longer a suitable foundation for financial concepts in the new environment we now face.

Petrskovsky regards the uniqueness of the department shop in the setting of most city centres as a great advantage. This is exactly what consumers who are fed up with the ever-same retail chains are demanding.

“Any well-managed department store will, most likely, ultimately be the last remaining engine of a functioning city,” he claims.

THE SAVIOURS OF THE DEPARTMENT STORE

Staff have a very important role to play in this respect.

Even if a department shop manages to conceptually distinguish itself from e-commerce with bistros, wellness oases, or events, the customer experience ultimately depends on people, not ideas. To illustrate this point, Kathy Gersch, COO at management consultancy Kotter and a former Nordstrom executive, references US electronics retailer Best Buy. Customers do not visit the chain’s stores because of their great selection, but because they are able to consult staff that is extremely adept at explaining technical details in an understandable manner. According to Gersch, the same principle now applies to department stores: “To attract consumers, retail staff is going to have to be more knowledgeable and more part of the experience than simple clerks.”

To achieve this, the management is not only required to set up specialist training courses, but also ensure an attractive corporate culture and salary. This also benefits the brand image. Improved payment and appreciation of retail staff is currently widely accepted among the population. After all, the pandemic has demonstrated that nothing would work without the “heroes of everyday life” at supermarket checkouts and in mail order hubs.

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THE COVID-POLICE – PROTECT AND SAVE

The coronavirus is stealthily changing the role of sales staff. They are now also responsible for in-house security. Employees, however, not only need clearly communicated health rules and readily available protective equipment to succeed, but also practical training on how to enforce the rules. Not least, they must be taught how to deal with customers who endanger others by neglecting the rules. Naturally, this requires time and money. The benefits outweigh the risks though: “The more an employee feels equipped and supported to operate in the current environment, the more secure they will feel themselves – which translates directly to the confidence of customers in the store,” Gersch says. She defines the key question in terms of customer service as follows: “How do you make service feel personable again in a six-feet-apart world?” The coronavirus will, after all, seemingly influence everyday life for quite a while still.

WHAT HAPPENS ON THE SALES FLOOR

The pandemic has also had an impact on the sales floor itself: the size of changing rooms and distance between product displays are suddenly no longer solely aesthetic choices. “The old Austrian saying that business is done where asses rub together may still exist, but it will not be applicable anytime soon,” argues Petrskovsky.

Sometimes the clothes rails disappear completely.

“A gastronomy section featuring a hotel or function room can complement department stores,” says Petrskovsky naming the Muji flagship store in Tokyo as an example. He also highlights the increased importance of food in customers’ day-to-day lives: “I wouldn’t say no to an Eataly store in the cellar.”

One of the more radical concepts is the recycling department store subsidised by the City of Berlin.

Theoretically, this approach could also be implemented on a single floor or in a special area. Customers are not only invited to hand in and buy second-hand pieces, but can also have them repaired or learn how to in workshops – all excellent reasons for people to visit department stores.

“Any well-managed department store will, most likely, ultimately be the last remaining engine of a functioning city,” claims Alexander Petrskovsky, CEO of Austrian department store chain Kastner & Öhler.

INVESTMENT > INVESTORS

Sadly, innovation is often hindered by one of the fashion industry’s most basic principles: its rhythm.

Shorts in February, fur in August – the corresponding order windows burden business accounts months before the goods are actually sold and narrow the profit margin through price reductions soon after. Even an online trading pioneer like Nordstrom, initially perceived as a potential beneficiary of the corona crisis, discreetly put 15,000 products on sale in October – at discounts of up to 40 percent. Lockdown-related liquidity problems have also uncovered how many department stores rely on investors that expect dividends and withdraw funds rather than using them for improvements. Kniffen consequently ranks the “debt trap” first among the vital factors that department shops need to keep an eye on. “They, like all retailers, have to be careful with leverage.”

BACK TO THE FUTURE

“How do you make service feel friendly and personable again in a six-feet-apart world?,” asks Kathy Gersch, COO at US consulting firm Kotter.

The true mantra for the department store elite is not new, says Kniffen and quotes it as follows: “Give the lady what she wants, when she wants it, where she wants it, and at a price she is willing to pay… and make it fun.” An equally familiar USP is currently developing into a future opportunity too. “It would appear that, in times of this corona pandemic, the fashion house is the last socially acceptable place to meet other people,” says Petrskovsky referring to a Saturday in October that harked back to the 19th century. Back then, it was unthinkable in the higher social classes for a woman to leave the house alone – unless she was planning to visit a department store.

It remains to be seen whether department shops can actually fulfil a social function. In any case, the vast expanse between the neighbour in the new residential complex and the inner-city centre of social life leaves plenty of room for new ideas. style in progress

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RETHINK THE TANKER

While high-profile department stores are expanding into new cities, the question on everyone’s mind is: What does a modern department store of larger dimensions actually have to be capable of in order to successfully refinance its floor space concepts in the medium term?

A green oasis in a metropolis, resale initiatives, and digital touchpoints for multi-channel shopping – the spectrum of new ideas is vast.

Text: Isabel Faiss. Photos: Stores

Karstadt on “Hermannplatz” in Berlin made almost half of the third floor available to the B-Wa(h)renhaus pop-up store.

B-Wa(h)renhaus/Berlin

LARGE-SCALE RESALE The department store of the future – what does it look like? A question that the Berlin city administration, supported by the Senate Department for Environment, Transport, and Climate Protection, answered in the form of a temporary resale area in collaboration with Galeria Kaufhof. The slogan “Reduce, Reuse, and Recycle” encourages a more mindful use of products. In September, a multi-product pop-up store opened on the third floor of the Karstadt building on “Hermannplatz” in Berlin, hosting exhibits by various start-ups and companies. The role of the support act is played by sustainable hospitality formats and workshops. All reuse initiatives – including Nochmall of Berlin’s urban maintenance force, the Re-Use association, and Repair Café – come together under the B-Wa(h)renhaus umbrella. B-Wa(h)renhaus, which is just one part of the Senate Department’s Re-Use initiative, is initially intended to be a six-month pilot project. www.berlin.de/re-use

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Jewel/Singapore

THE WORLD’S LARGEST INDOOR GARDEN A new shopping mall of superlatives opened at Singapore’s Changi Airport in 2019. It features five floors above and five below ground, an integrated sound system, and authentic air-conditioning. Jewel links all three airport terminals, but more importantly, it reintroduces nature to the metropolis. In addition to waterfalls, climbing plant gardens, and woodlands, architect Moshe Safdie has designed a green oasis filled with surprises such as suspension bridges, climbing nets, and mazes in the areas separating the 280 stores and cafés. www.jewelchangiairport.com

Breath-taking impressions, authentic sounds, and encounters with nature. The new mall at the airport in Singapore lives up to its name: Jewel.

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A green roof park overlooking Vienna‘s city centre is the centrepiece of the KaDeWe department store in Vienna, scheduled for completion in 2024.

KaDeWe/Vienna

HYBRID TRADITION The plan behind this mammoth project in Vienna is to create a blend of shopping, catering, hotel, and non-commercial zones. Completion is scheduled for autumn 2024. When the new KaDeWe in Austria’s capital opens its doors, it will send a strong message in support of the stationary retail trade. The location in the now traffic-reduced “Mariahilfer Strasse”, in the premises of the former Leiner furniture store, is perfect for a message of this kind. “This landmark project affords us, the KaDeWe Group, a unique opportunity to reinterpret the 21st century department store at this exceptional location in a future-oriented way,” said Vittorio Radice, Executive Chairman of La Rinascente and KaDeWe Group, at the accompanying press conference in Vienna. www.kadewe.de

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Breuninger/Nuremberg

RELAUNCH ON 11,000 SQUARE METRES Holger Blecker, CEO Breuninger, spoke of a shopping experience for all senses when the Breuninger flagship store in Nuremberg’s city centre reopened at the beginning of September last year: “Especially in challenging times, it is our job as retailers to champion the revitalisation and attractiveness of city centres.” The redesign focused on two central themes: the integration of digital solutions on the sales floor and the introduction of innovative services. In concrete terms, this entails, among other things, digitally interconnected changing rooms, multi-channel touchpoints as an information service regarding cross-store product ranges, Click & Collect offers, individual beauty rooms, and personal shopping. www.breuninger.com

A long-established Nuremberg institution in new guise: Breuninger reopened in September following a comprehensive relaunch and digital makeover.

Kastner & Öhler already had 14 branches across five Austrian provinces.

Innsbruck was added as the 15th branch in September.

Kastner & Öhler/Innsbruck

TYROL’S LARGEST FASHION STORE Kastner & Öhler literally wrote the headline by opening its branch in Innsbruck’s Kaufhaus Tyrol in September. The store covers 6,500 square metres across three floors. “The stationary retail trade is alive and well. That is why we are delighted to have opened such a special store in Innsbruck,” says Martin Wäg, CEO of Kastner & Öhler. “Naturally, the online trade also plays a significant role. Our commitment to both worlds means that we feel well prepared for the future.” In the new Innsbruck branch, this commitment entails Click & Collect and Click & Reserve services, as well as personal shopping sessions. www.kastner-oehler.at

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An Italian in Copenhagen: Andrea Baldo worked for Marni, Maison Margiela, and Diesel before he became CEO of Ganni.

He inherited this role from founder Nicolaj Reffstrup a few months after he and his wife, creative director Ditte, sold a majority stake in the company to US private equity house L Catterton. Both founders are, however, still with the company.

Andrea Baldo is based in the Ganni offices in London.

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GANNI

“HOW CAN WE HACK THE SYSTEM?” Together with the founding duo of Ganni, Ditte and Nicolaj Reffstrup, Andrea Baldo, CEO of the contemporary brand, is making headway on many future issues. Be it sustainability, communication, 3D design, or transparency, the brand is setting new standards. In an interview with Stephan Huber and Martina Müllner-Seybold, the Italian reveals why multi-brand distribution is a priority, why chapters can sometimes be better than whole stories, and what he learns from his Lego-crazy son.

Interview: Stephan Huber, Martina Müllner-Seybold.

Text: Manfred Thurner. Photos: Ganni

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anni has set itself very ambitious sustainability goals. Can fashion ever be sustainable?

That is the question we posed ourselves when we started the Ganni Lab project two years ago. We were very ambitious by looking at the entire value chain. We wanted to find out if it was possible to create a completely CO2-neutral product. As always, when you set the bar high, you discover that there are plenty of opportunities that can be utilised in day-to-day production to ultimately create such a collection. Our 100 percent recycled jersey collection “Ganni Softwear” is a result of the Ganni Lab and was launched a couple of months ago. It is our most responsible collection to date using entirely recycled yarns, a combination of both recycled cotton and polyester. This initial Ganni Lab project allowed us to achieve 75 percent traceability in stages one to three of the supply chain across this collection, but our goal is to reach 100 percent traceability in the future. Sustainability is a path of constant improvement that needs to be high on the agenda in all departments of a company. It is not merely vital for production and sourcing, it also needs to be considered in terms of design, the way we communicate, our approach to retailing.

As a company that has embraced its community from the outset, our social media channels prove that sustainability is a topic that engages an increasing number of followers.

It triggers, at times, more engagements than dropping a new collection. That is why our approach to being more responsible is addressing the issue openly and transparently.

Do you think the topic will ultimately evolve into a business factor? After all, the modern consumer in this market segment already demands products that take responsibility issues into account, more so than in the past.

Yes, the topic has found its way into the hearts and minds of consumers, especially those willing to pay a premium for fashion. At our price levels, behaving responsibly becomes a matter of communication and a contributing factor in the consumer’s decision-making process. Our numbers show that the online conversion rates of responsible products are higher. Basically, this proves an increase in interest in the topic. At the same price level, people style in progress

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tend to choose the more responsible option. They are, however, not willing to pay a higher price for sustainability – at least as far as we know.

Are you, in your capacity as CEO, committed to sustainable goals? Is it part of the targets you need to meet?

When I joined the company, I was really amazed by how many sustainability projects were already set in motion, and to what extent sustainability was already embedded in the corporate culture. Nikolaj, one of the founders, can even be considered an activist of sorts. The topic has been embraced by the entire team. That is why we need to place it at the centre of our narrative. Consequently, we have embarked on a journey to create what we call the “4P game plan”: product, planet, people, and prosperity.

Given that Instagram has long since developed into the natural and organic communication of our brand, we decided to create an independent Ganni Lab account, which we use to provide more in-depth information and to illustrate how we are evolving. We made the conscious choice to be completely transparent. Our approach is to say that we are honest, but not perfect.

Due to the pandemic, you were forced to cut the collection by 50 percent. What lessons did you learn?

That less is more at times (laughs). I think the situation was most difficult for Ditte and the design team. They had mapped out the entire collection, and then they had to cut it. I think they swiftly discovered that it is still possible to tell a story in less words. The second thing we have been learning is that our brand is in a constant process of change as it evolves into a monthly drop concept. We are, so to speak, moving towards “buy now, wear now”. This evolution actually adds more chapters to the story. It is a matter of rephrasing a collection narrative into a chapter-based narrative, which is utterly amazing.

We are a brand that revolves around innovation, not newness for the sake of it. We see that our customers react extremely well when we drop new products – they are really excited about what comes next. Our core customers visit our stores eight times a year, so very frequently.

Reducing the number of products while increasing their frequency might allow us to reduce waste and reiterate products that work. Instead of having the same piece in stock in high volumes, the availability will be limited. We will, however, react swiftly to feedback on what actually works. Reinterpreting silhouettes, or entire products, allows us to create newness.

Customer centricity is a major buzzword at the moment. As you are a native data- and insight-driven company, can you share some lessons you have learned from mining data, or maybe from simply listening more closely to your customers?

We talk a lot about localisation, about how we could engage the US West Coast in a different way than we would Copenhagen. In a way, not least from a product perspective, we need to speak different languages. Then again, there are products that turn into global bestsellers.

What baffles me most is the difference between Gen-Z customers and our core customers aged 24 to 34. The younger customers tend to visit stores, they love the idea of enjoying an experience. Millennials, on the other hand, often come in touch with Ganni via the likes of net-aporter.com, as they prefer to shop online.

Is the fact that the younger generation in particular has a strong interest in physical stories not a super-interesting finding?

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“Curating, introducing innovations, and being a step ahead at all times – that is exactly what multi-brand stores do best.”

Yes, absolutely. Let me share a very personal example. My son really loves Lego. If he wants another Lego set, he says: “Let us log onto Amazon and buy one!” However, every time we find ourselves in the centre of a city, be it London, Milan, or Copenhagen, he insists on popping into a Lego store. He craves the engagement these stores offer. He needs to engage his senses. If we only think of stores as points of sale, then we are missing the point completely. In 2020, a warehouse needs to be online, but an actual shop is no longer a place to merely store goods. Stores need to be reassessed in terms of discovery potential, engagement, and storytelling potential. I firmly believe the same applies to the multi-brand segment, because they breathe life into the concept of curation.

What does that mean in terms of interaction between brands and retailers? Or maybe it is even an interaction between brands , retailers, and consumers?

As a CEO, I can give a clear answer to that question. The customer acquisition cost per end consumer is still lowest when the new customer is engaged via wholesale. New customers purchasing via a wholesaler is much cheaper than any other way. Opening own stores involves extremely high base costs, so acquiring new end consumers that way is much more expensive. Economically speaking, it makes total sense to invest in wholesale.

Our readers, who are mostly multi-brand retailers, will love to read that…

I firmly believe that excellent multi-brand stores are basically curators. They actually know their respective communities and carefully hand-pick their brands. That is an ideal situation, because we, as a brand, can learn from them too. In the beginning, we had a very tight distribution concept, positioning us as the leading contemporary brand. We operate with less than half the “doors” than our competitors, because we strive to collaborate with the ones that introduce the brand to the right people.

Your brand does not have to compete in terms of price in those stores, as the customers in question are in discovery mode. If they switch to shopping mode, they can also buy online – and there is no doubt that an increasing number of people will buy online. In my eyes, however, the internet is not a good medium for discovery. Just look at Instagram. When they launched the shop-able function, many thought it would kill e-commerce and retail in general. The commercial success of this Instagram aspect is, however, extremely low, because people on Instagram are in discovery mode, not in buying mode. So, let me return to the question of what the role of the multi-brand channel actually is. Every channel plays its part. As long as you are dedicated to discovery, you are obliged to curate, to introduce innovations, and to be a step ahead at all times.

That is exactly what multi-brand stores do best.

Consequently, that means we should probably re-write fashion’s business model. Until now, retailers are paid for the sales they generate. If everything you said – and we do agree with you – about discovery mode is true, a retailer should no longer be paid for sales, but for engaging a customer who then maybe buys online or directly from the brand.

Yes, I do believe that we need to change this approach. I

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Showroom Düsseldorf 27.01. – 03.02.21 „Sturmfreie Bude“, Georg-Glock-Str. 3, Nähe Kaiserswertherstr.

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15.01. – 25.01.21 05.02. – 26.02.21

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Ditte and Nicolaj Reffstrup founded Ganni as a contemporary brand. Accordingly, their approach to many topics, be it sustainability, communication, or distribution, is equally contemporary.

think the marketplace model will be the best option for fashion in the future. As you said, it could be economically beneficial for both sides. The art aspect is covered in the store in order to convey the experience, the story. The purchase model is then implemented elsewhere. So, how can one connect these two models? My feeling is that the marketplace model is gaining momentum. Just look at Amazon and Alibaba, or even Farfetch. In most of these cases, the brands own the stock presented on the marketplaces. The brand shoulders the risk, and the marketplace in question takes a commission for making the purchase happen. The more brands can afford it, the more they will place their own stock within the respective ecosystems.

They will also play their part in forming a connection with the consumer, ensuring that brands can refocus and draw lifelong value from the customer. The store owners’ value proposition is their list of locations, their own ecosystems created around their premises, their communities, and their respective product ranges. In other words, they really need to act as curators. Consequently, we have to find a way to make this model economically viable for multi-brand stores.

Only producing what can actually be sold is maybe the most important issue in sustainability…

If we can make the most of the inventory we have, we can actually maintain the same level of growth – because we would grow without waste. In order to achieve that, you need to retain control until the last mile.

Do you think the latest developments in 3D design and virtual fashion will boost sustainability?

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While the effect is still subject to speculation, it is clearly something we have in mind. Our target for 2021 is to produce a viable digital model, not a physical one. The question we ask ourselves is whether we are capable of designing a digital dress that actually looks like a real one.

Our aim is, of course, to put that dress on somebody, even if it is not real. The plan is to assess the reaction to it, which would allow us to produce the piece based on demand. So, what we are basically asking ourselves is: “How can we hack the production system?” Our idea is to make a purchase decision possible without wasting any resources until then. Plenty of other issues can be solved by hacking the fashion system, for example by implementing better data and processes in forecasts, sizing, and future demand. This will, in a way, compress the supply chain. If and when we manage to produce less waste and persuade more customers to buy at full price, we can allow ourselves to have higher production costs for the piece in question. This can ultimately even result in improved quality. I believe that our fashion ecosystem has to change from being economic by batch to being economic by piece.

Imagine a world in which you can reach out to all influencers with digital fashion, not physical fashion...

We also need to take the digital – or virtual – identity of people into account. Members of the gaming culture, for instance, take great care in maintaining their digital identities. Again, we only need to engage kids to foresee changes in consumer behaviour. Kids are using Snapchat

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and the like to create their own personas. They are used to utilising digital tools that help them sample lipstick shades. Just imagine all those kids experimenting with virtual fashion as soon as the technology is ready. They already have this idea incorporated in their lives.

So, when will we be able to see Ganni’s digital fashion?

We are at an early stage and, due to the pandemic, we have to wait and see how much funding we will have for this particular project. Just like every other company, we had to prioritise mission-critical projects. So we may have to do mock-up in 2021, and then we will most likely see an impact in 2022. Embarking on this journey is already super-important for fashion companies, as we have to ask ourselves how we can dematerialise all stages that lead to the actual product.

Let’s have your take on another buzzword that is currently disrupting the fashion industry: circularity.

The most important question for every brand should be: “How can we keep our items in the circle as long as possible?” This means that we need to provide products that are long-lasting, so they can remain in use much longer.

This aspect is incredibly important when addressing a younger generation. Young customers are really interested in rental and second-hand fashion. They almost perceive products as capital, as valuable items that can be used

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“If we only think of stores as points of sale, then we are missing the point completely.”

and resold. For us, circularity also involves dismantling and recycling products at the end of their increased lifespan. Both aspects have a huge impact on design.

At the moment, working with truly circular products is very frustrating for designers, because truly circular items look like they have come straight out of Orwell’s 1984 (laughs). The technology has simply not reached the necessary level yet. That will change, obviously.

There are so many innovations in the works. Allowing our designers to dive into the deep end of circularity has, nevertheless, already changed our brand’s approach significantly. Just by thinking about the resale option, they have designed new pieces that are fully adjustable in size. These items can still be worn when your body changes, or can be sold to people who have a different size than you. I am immensely proud of my team. This is the beauty of nurturing a learning culture within the company. We can progress from idea to mock-up super-fast.

Ganni Software is a jersey collection with which Ganni aims to demonstrate its commitment to the responsible use of resources.

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YOU HAVE REACHED YOUR DESTINATION! The primary purpose of a store has changed fundamentally: from a space where people view products to a unique, shareable, and sensual real-time experience. The so-called “Destination Store” is detached from scale and concept. Immersion is the key to success, because digitisation facilitates the miniaturisation of experiences, for example through virtual reality. Online shopping is unrivalled in terms of product range and convenience, but cedes the fields of atmosphere and emotion to stationary retail businesses. Store owners around the world have embraced this challenge as an opportunity to create next generation “Destination Stores”. Shopping is no longer the primary objective, but a logical consequence of participating in the overall experience. These stores are cultural meeting places, digital playgrounds, or platforms for identity-forming lifestyles. Shopping is not the main focus, but happens quite incidentally. Text: Isabel Faiss. Photos: Stores

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Carefully coordinated experience: the windowless room changes at every turn due to light reflexes and sensor-controlled special effects.

The free Hipanda Now app allows customers to encounter the master of the house throughout the store: the grim panda that acts as Hipanda’s trademark.

Hipanda/Tokyo Digital Ghost Train Anyone who hopes to captivate “Generation Goldfish”, known for its average attention span of eight seconds, in a vibrant city like Tokyo needs an offering that is quirky enough to attract all smartphone cameras. The new Hipanda store puts this into practice as a spooky blend of art, streetwear, and gaming.

Where Is the Host?

When viewing the store through the Hipanda Now app, which can be downloaded free of charge via a QR code at the entrance door, customers encounter Hipanda, the grim panda bear acting as the trademark of the streetwear brand, throughout the premises in a virtual reality environment.

He wanders through the store like a ghost, leaves traces, and disappears again in the blink of an eye. The store is literally haunted. Coat hangers magically swivel analogous to the viewer’s movements and shop windows fill up with a dense fog, only to clear up seconds later. Mysterious light reflections on the floor and walls constantly alter the proportions of space.

Just a Game Hipanda can serve as a gallery for modern art, as a multi-dimensional experience space, or as an experiential video game. Japan-based design team Curiosity teamed up with the AR specialists of WOW to blur the boundaries between reality and the virtual realm. The underlying principle of the store, however, is as old as the history of mankind and does not need augmented reality to be successful: the fun of the game.

Hipanda Flagship Store, 4-21-8 Jingumae, Shibuya, Tokyo/Japan, www.hipanda.jp style in progress

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The store crew welcomes their customers in a mixture of hotel lobby and airport VIP lounge for a virtual foretaste of the trip they are about to book.

Digital special effects, such as this cabin with touch screen, are designed to give customers the very best holiday experience before booking. Digital side windows simulate the view from the aircraft.

The highlight of the store: short films in the secret movie theatre provide first impressions of the respective destination.

Virgin Holidays/Liverpool Safari in a Cinema Chair The journey begins at the ticket office, but the experience begins before booking. Virgin Holiday launched its most innovative V-Room concept to date in January 2020 in the Liverpool One shopping centre. The objective of the store is to whisk the customer away from everyday life in a multidimensional, sensory manner before booking a trip.

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agency needs to be structured in order to maximise the holiday experience while choosing and booking a trip.

The answer is an interplay of digital tools and personal service. Customers are, for example, handed a drink of their choice at the entrance.

Pre-Journey Travelling The entire store is arranged as a blend of hotel lobby and fluffy “Senator Lounge”, the service staff even wear the cherry red uniforms of flight attendants. A cabin featuring a so-called “Sensory Pod” invite customers to be inspired by travel destinations. Impressions of every destination are provided in highest VR quality. The absolute highlight of the new store, however, is a secret cinema room that brings the journey to the customer on a large screen before the trip has even started – in surround sound, no less.

Virgin Holidays, Liverpool One, 5 Wall St, Liverpool/England, www.virginholidays.co.uk

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Slowear18/Milan Drinking in Style Good taste has always been a primarily Italian attribute. Slowear18, which opened its doors to the public in Milan in early 2020, interprets this compliment quite literally.

During the day, fashion by private labels Incotex, Zanone, Montedoro, and Glanshirt, flanked by brands such as Norse Projects or Arc’terix, takes centre stage in the small store in the heart of the historic old town district of Brera. In the evening, the premises transform into an aperitif bar.

Big Player Slowear CEO Roberto Compagno’s multi-label concept is represented worldwide with 29 stores in cities such as New York, Seoul, London, and Paris. The aim of Slowear18 in Milan was to create a store that would set itself apart from the prominently occupied neighbourhood of Milan’s shopping streets: not through its range of products, but rather through its character as a convivial meeting place. “By day, the two souls of the store coexist peacefully side by side. However, the interior literally transforms in the evening,” says Giorgio Di Bernardo of Visual Display.

He is the creative mind behind shopfitting and design.

Aperitivo Slowear18 identified the Franciacorta Consortium as a strong partner for the bar business. The consortium’s goal is to make sparkling wine as famous as prosecco. The moment the fashion store officially closes, a standing bar descends around the merchandise rack in the centre of the room. The team then seamlessly switches to serving Italian aperitifs, small snacks, and selected spirits.

“The objective of the bar area is to create a space for Italian aperitif tradition and the convivial atmosphere that characterises our stores, thus once again pioneering the development of new reference points between our products and customers,” says Slowear18 CEO Compagno.

Slowear18, Solferino 18, Milan/Italy, www.slowear.com

Transformation at the touch of a button: Slowear18 in Milan is a store with a café during the day, and a traditional Italian-style aperitif bar in the evening.

The cornerstone of the concept is the mobile standing bar, which slides over the merchandise rack in the middle of the room after the store is closed.

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The Nordstrom Local concept constitutes a sophisticated service campaign for customers: delivery and pick-up services, alterations, and orders. Such a concept is integrated in the New York flagship. The Nordstrom Local stations in other districts act as mere service points without merchandise.

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Nordstrom/New York A Truly Radiant House When Virgil Abloh, chief designer at Louis Vuitton and creator of the hype surrounding streetwear brand Off White, revealed himself as an advocate of the re-commerce ideology in an interview, a jolt went through the industry. Actually, let’s call it an earthquake that can be substantiated in figures. According to the ThredUp Resale Report 2019, the second-hand market has grown 21 times faster than the traditional retail segment since 2017. The study even predicts a higher market share for the segment than fast fashion by 2028.

A Pilot Who Soared Nordstrom paid tribute to the re-commerce hype with the launch of See You Tomorrow in January 2020. In the New York flagship store, which opened in October 2019, Olivia Kim, creative director at Nordstrom, headed up the development of a pilot shop-in-shop. At the launch event, it primarily offered products that were returned from Nordstrom’s online business in recent years. Those who wanted to contribute vintage pieces themselves were invited to bring them into the store, where selected pieces were added to the catalogue. With See You Tomorrow, Nordstrom once again pioneered the idea of reinventing itself as a department store on a daily basis.

The Nordstrom Local concept was honoured as Store Concept of the Year in 2019. Since 2017, Nordstrom has been opening small shops without merchandise under the Nordstrom Local brand to complement the large department stores. They act as pure service stations for customers to pick up or exchange ordered goods, to have pieces personalised, or to seek assistance with orders and style advice.

From Day Spa to Concierge Service, variety, and constant change are integral parts of the company’s philosophy. To this end, it has further

expanded the experience world of its New York flagship store, both online and offline. The result is a full-service business, featuring catering and beauty services such as the in-house Nordstrom Day Spa. It also houses a hairdressing team always willing to touch up a hairstyle. Nordstrom now also offers free store services such as a support concierge, a 24/7 pick-up and delivery services, a virtual styling chat without purchase obligation, various personalisation workshops, and an in-house creative studio where customers can design handbags under professional guidance. To name but a few…

Nordstrom NYC, 235 West 57th Street, 10019 New York/US, www.nordstrom.com

In October 2019, Nordstrom opened its largest flagship store in New York, which has since become the benchmark for department stores of comparable size. The credo of creative director Olivia Kim: service excellence and continuous change.

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Stil Premium Goods/Vienna The Style Conglomerate The first shutdown was creatively used to prepare the opening of another shop in Vienna. “We wanted to prove that there will be life after the pandemic and we are already looking forward to it,” said Michael Paul during the soft opening last April. Since its opening in 2005, Stil Premium Goods Store at “Lindengasse 51” has established itself as a trendy meeting place for premium streetwear and sportswear in Vienna’s city centre. Directly opposite, at “Lindengasse 46”, the team has now opened Stil Skate Goods. It features a so-called “Personal Record Room” curated by Superfly FM host DJ Preddy.

Coffee and Kids In addition, the existing Stil Premium Goods store has been fitted with its own café offering a play corner for children. Both stores are meeting point, platform, and backdrop for the community spirit they embody. A spirit that is expressed by the staff and its close relationship with customers, as well as the business’ own skateboarding team.

Stil Premium Goods, Dodo Coffeeshop, Lindengasse 51, 1070 Vienna/Austria, www.stil-laden.com Stil Skate Goods, Personal Record Room, Lindengasse 46, 1070 Vienna/Austria, www.stil-laden.com

Since the grand opening of Stil Premium Goods in 2005, the store has become a Viennese institution in the fields of sneakers and streetwear. A second store, featuring a Private Record Room, was added diagonally opposite in April 2020.

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The Stil team has been serving direct-trade coffee from South America, vegan desserts, and ice-on-a-stick from Austria in the integrated Dodo Coffeeshop since its launch in October 2019.

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A store like a walk-in lifestyle magazine: Cai Chongda has made a name for himself in China as a prominent author, editor, and designer – not least with projects like Magmode.

Magmode/Hangzhou The Readable VIP Lounge Is it a three-dimensional magazine? Or should one rather describe it as a readable store? No matter how you look at it, the concept of Magmode in Hangzhou was and is a pioneer in the Chinese retail landscape. The discreet and subtle appearance, the depth of content, and the prominent executive management line-up make Magmode an authentic innovation lab for local designers and international brands.

The White Pages Magmode is stocked by parent company Mintang through collaborations with local and international

Every area tells a different story. Cai Chongda usually entrusts prominent local or international designers with the task of staging themselves and their products. Magmode provides the platform, while the team develops the product range through cooperation.

designers. The entire store is, in fact, structured like a magazine. The individual stories are store areas that various designers feed with their collections. Cai Chongda, creative mastermind and founder of Mintang, also offers unknown local artists and designers to receive support throughout the entire product development process, right up to the actual sale of the respective merchandise.

Networking Right from the outset, Cai Chongda understood that some clever name dropping would ensure that his store format establishes itself as a platform and incubator for the art and fashion scene. Masha Ma, Sun Xiaofeng, and Sean Suen were among the first Chinese designers to be introduced through Magmode. This list now includes more than a hundred names. As former creative director of the Chinese edition of GQ and contributor to local lifestyle magazines, Cai Chongda not only knows the value of new trends and topics, but also of famous names.

Magmode is an experiment that has gained cult status.

Magmode, Hangzhou Kerry Center/China, www.magmode.com style in progress

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Designed in the style of a Parisian flat, the private styling lounge creates a familiar, intimate feel-good atmosphere in the middle of the vibrant mall.

The private styling lounge at Shoppes at Parisian is its latest service highlight. Here, customers can meet stylists for personal shopping sessions.

Shoppes at Parisian/Macao Showdown of Superlatives Size does matter, especially in China. Huge casinos, shopping malls, and hotels are lined up along Macao’s Cotai Strip – mostly built and operated by Las Vegas-based Sands Group. Among them are hotels and shopping malls that pick up on the international and multicultural history of the Chinese special administrative region and lay it on incredibly thick.

Little Paris Shoppes at Parisian is just one of many luxury malls: an empire consisting of a hotel featuring an integrated mall with 150 luxury boutiques, a theatre, restaurants, and day spas. As the name suggests, the mall was designed in the style of magnificent French buildings, framed by replicas of Parisian landmarks such as the Eiffel Tower in a 1:50 scale and the Champs Elysees, as well as cafés, bistros, and patisseries. The reference to the French capital is well received by the Chinese consumer society. The mall’s register reads like a who-is-who of international luxury labels.

Privacy Shoppes at Parisian launched the Private Styling Lounge in autumn 2019 as its latest innovation and service campaign. This concept allows free-spending customers to enjoy a private shopping event with stylists in a secluded wellness oasis. Designed like a Parisian flat of the neo-classical era, the discreet room creates the perfect illusion of a private retreat in the midst of the bustling shopping mall. Reservations for such private sessions, ranging from 30 minutes to 3 hours, can be made online.

The Parisian Macao, The Cotai Strip/Macao, www.parisianmacao.com

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Forsthofgut/Leogang Home Away From Home “Our ambition is to ensure our guests take home a taste of our atmosphere, positive associations, and pleasant memories of their vacation at the Forsthofgut,” says Christina Schmuck, describing the philosophy of her concept store.

The family business first opened the doors to its own inhouse store, called Lieblingsdinge, in October last year.

The Tree as Symbol Grounded attachment to nature and a high standard of quality and comfort represent the motto that the Schmuck family consistently implements in their resort. The treeshaped logo on Forsthofgut’s own products reflects this approach perfectly. In response to the many requests from hotel guests for individual decorative and furnishing items, the management developed the idea of setting up a separate destination store with a sales area of around 170 square metres to celebrate designer styles and the love of beautiful objects. Christina Schmuck herself is responsible for purchasing, with a particular focus on a healthy mix of sustainably produced goods and regional merchandise. In addition to fashion by brands such as Veja and Ecoalf, the range includes upholstered furniture made of deerskin from the company’s own game reserve, homemade culinary gifts, and self-developed products created in collaboration with local manufacturers.

The store epitomises the ambience and overall concept of the luxury resort.

Positive associations with a holiday, memories of the last stay, or a local speciality: every customer can take a piece of Forsthofgut home.

The Interior Concept “In terms of product range, we collaborate closely with partners such as room with a view fashion agency in Salzburg,” explains Christina Schmuck, who has set up her store to resemble a luxurious flat divided into rooms staging corresponding product genres. Thus, Lieblingsdinge conveys a certain dramaturgy that runs through all areas of life and environment. “For us, this store is a logical consequence of current developments to place the feeling of well-being in our own rooms in a completely different context.” Time and again, Christina Schmuck also develops her own ideas in cooperation with local companies, such as a small knitwear collection made of locally sourced wool or decorative cushions created in collaboration with a Tyrolean carpet manufacturer.

Forsthofgut, Hütten 2, 5771 Leogang/Austria, www.forsthofgut.at

Christina Schmuck regards in-house store Lieblingsdinge as an ideal extension of the Forsthofgut concept.

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WHAT MUST TRADE FAIRS OFFER?

The era of habitual trade fair visits is well and truly over. Apart from stringent hygiene concepts, what must trade shows offer to regain their international appeal?

Text: Stefanie Buchacher. Illustrations: Claudia Meitert@Caroline Seidler

HIGHER OUTCOME

NETWORKING PLATFORM

Henning Korb, Creative Director at Apropos Concept Store “Over the past few months, I have realised how important these events are for our business and how much I miss them. A trade show is a networking platform, a place to exchange ideas, and to hear and understand nuances. It is an opportunity to identify and analyse trends and moods, to compare collections before deciding what to stock. Zoom, Teams, Skype, and the various order systems will never be able to replace that. Even international Fashion Week locations suffer from the lack of interaction, the absence of a stage and its audience. Prime examples were the eagerly awaited debut collections by Raf Simons and Miuccia Prada, as well as Matthew Williams for Givenchy. They merely received brief attention on Instagram and were unable to create the necessary buzz.”

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Alexander Lochner, owner of Lochner Top Fashion “We expect absolute inspiration, otherwise it is a pure work fair. In recent months, exchange with suppliers has been conducted almost exclusively in digital form. It is no longer like before Covid-19, when you held talks at the beginning of the season and then during the order process. Information provided by existing suppliers about their collections is often even more comprehensive than before. Our information and research takes place all year round anyway. More often than not, we discover new brands on Instagram and contact them directly.”

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PLACE OF INSPIRATION

Kerstin Görling, owner of Hayashi Store “A trade show needs to be more than an order platform – a mood board of sorts that does not focus exclusively on fashion brands. I want to be inspired by art and interiors, above all by trends, fabrics, colour, store design, and merchandising. I would be willing to pay a high admission fee for that. I can always view brands in showrooms or virtually. I need creative input, trend lectures. A trade show must develop its own spirit, not unlike a trip to an unknown, colourful, and creative city. This requires curators similar to those in museums. Visitors should leave the event with new ideas. That would make retail more exciting again. Retail needs to regain its magic, and the only way to achieve that is by surprising customers.”

FASHION WEEK AS DIGITAL LOCATION

NEW GENERATION

Marco Voigt, co-founder of Greentech Festival “We at Greentech Festival are committed to the festival concept. What is so special about this particular format? It allows us to bring together enthusiastic people who are not yet stubbornly stewing in their own juices. Formats from the US, such as the SXSW, are important sources of inspiration for us. Everyone, from CEOs to nerds, meets to enjoy beers and music on small and large stages while exchanging the latest news. Entire city districts transform into new playgrounds. This holistic approach is also reflected in the digitisation of events. We firmly believe that hybrid events, a blend of live elements with purely digital formats that work on a global scale, are the future – also in terms of sustainability.”

Rebekka Sommerhalder, owner of Glore Schweiz “For us, trade fairs represent inspiration and the cultivation of relationships.

How will the Fashion Week be in the future? Perhaps it really will be a digital location. Images, videos, and messages explain the collections and give buyers an overview. Maybe there will be personal video calls, if requested. However, this would make appointments in showrooms all the more important, because haptics, cut, play of colours, and wearing comfort cannot be conveyed via a screen – at least not yet.”

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Two aces up his sleeve: Leo Padulo, Commercial Director at Max Moda, the parent company of the two jacket highfliers Freedomday and Outhere.

A trademark of Freedomday are the photo prints inside the jacket. Outhere stands for technical innovation.

MAX MODA

NEW STIMULI FOR THE END CONSUMER Max Moda is an Italian enterprise that has specialised in outerwear for two generations. It has been passionately managing two jacket labels for the past seven years: Freedomday and Outhere.

Commercial Director Leo Padulo dis­ cusses the brands and their potential.

Text: Janaina Engelmann-Brothánek.

Photos: Max Moda

Leo, tell us how Max Moda has changed in the last few years.

Max Moda has been managed by the Russo family for two generations. During this time, the company has evolved from a white label producer of sports outerwear to a successful company that produces and distributes two proprietary jacket labels. The innovative collections by Freedomday and Outhere are intended to provide new stimuli for the fashion industry and offer the end consumer an unconventional product.

What is the concept behind Freedomday and Outhere?

Freedomday and Outhere are different in terms of their appearance, but they also complement each other. Both share the values of Max Moda. “Travelers of the World” is a slogan that defines Freedomday’s identity and 172

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mission in a nutshell. This label fulfils a need deeply rooted inside every human being: to leave one’s comfort zone and explore the world. Curiosity is the driving force that encourages humans to exceed their own boundaries in a bid to rediscover themselves in a new place, with a new outlook. Freedomday garments are for interested and ageless explorers willing to contradict stereotypes, for contemporary globetrotters that love the thrill of getting lost in the experience of traveling. Yet the label always gives a nod to fashion, too.

On the other hand, we have Outhere. Technology, research, and ongoing innovation form the leitmotif that allows Outhere to both surprise continuously and evolve constantly. The philosophy of the brand entails pushing the final buyer to the highest form of self-expression by making escape from everyday routine a way to pursue freedom.

The utmost expression of research, innovation, and experimenting was, however, poured into our Advance+ line: the most innovative and advanced materials were used with the clear purpose of creating an emotional reaction to an extent that is absolutely amazing.

So, Outhere is our research laboratory, so to speak. This is where we strive to break

with all conventional patterns by focusing exclusively on technology and innovation.

The line features “glow-in-the-dark” jackets that “charge” themselves with light during the day, as well as “H2O Reactive” jackets on which slogans appear when the outside comes into contact with water.

What are the company’s plans for the two brands in the DACH region in the coming season?

The pandemic is transforming consumer behaviour, as well as the way fashion and luxury companies communicate and sell.

Rapid digitisation has allowed the market to increase the percentage of goods being sold online, and small and medium-sized enterprises are no exception. However, we believe that the retail trader is more important today than ever. There is one thing that, even in a digital environment, could never be replaced: the “touch”. This means we will increase our investment in the retail sector, also in the DACH region. In my opinion, close interaction and communication with the end consumer should be at the heart of any business strategy to foster a real sense of community. In addition, you need innovative products with real added value to lure customers into the store. That is exactly what Freedomday and Outhere offer.

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Unmistakably Mou: the Italian license partner of the boot brand founded by Shelley Tichborne is successfully promoting expansion plans.

Brand Manager Katiuscia Baccani hopes to prosper in the German-speaking market.

MOU

COSINESS AND COOLNESS Mou enjoys cult status. The label, launched in the early 2000s by Lon­ don-based designer Shelley Tichborne, specialises in ethno-boots. Important strings converge in the background at Italian licence partner Artcrafts Inter­ national: production, marketing, and sales. Brand Manager Katiuscia Baccani reveals what it takes to position a brand so distinctly.

Text: Janaina Engelmann-Brothànek. Photos: Mou

Katiuscia, what is the secret of Mou’s success? How did a small label from Portobello Road come to be so coveted, worn by VIPs like Demi Moore or Jessica Simpson?

It seems to be a combination of several factors. Firstly, the shoe boasts a unique design.

Shelley (Tichborne) had the idea of developing a comfortable, warm boot that was cosy, but not boring, just really fashionable. She obviously succeeded in doing so, the boots have an incredibly high recognition value.

Secondly, each pair is handmade by Mou using only the highest quality materials.

Thirdly, the company has always attached great importance to a selective distribution strategy. This means the boots still enjoy niche product status. Furthermore, celebrities such as Demi Moore, Jessica Simpson, Gwyneth Paltrow, and Paris Jackson, who all wear our shoes, have helped a great deal to raise the brand profile.

How does Mou differ from other boot manufacturers?

There are indeed plenty of lined boots, but Mou has always distinguished itself by its design. A Mou is meant to be a comfortable boot, but with a certain twist. Consequently, our models are often embellished with sequins, embroidery, or special patterns, which has proved very popular. We present new models and colours every season to ensure that customers have a broad choice. What never changes is our unique recognition element: the hand-sewn crochet stitching, which has been a feature of almost every model since the beginning. I daresay that

a Mou wearer creates an outfit around the shoe, not the other way around. We get this feedback very frequently – the shoes are not just an accessory; they are an eye-catcher.

What are your plans for the immediate future? What are your expectations for the DACH region?

We intend to expand the slipper collection even further. We have spent a lot of time at home over the last year, and the demand for comfortable shoes for at home has increased drastically. Homewear is also a major topic in the field of footwear. As far as the German-speaking countries are concerned, we have discovered how much we sell online, not just last year. We reckon that there is considerable growth potential for wholesale in this region. We firmly believe in the synergy between stationary and digital commerce, and we want to immerse ourselves in precisely this area to continually strengthen our presence in the German retail sector.

Currently, we count 50 and 15 POS in Germany and Austria respectively. Our shortterm goal is to increase these numbers. style in progress

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Alongside its jackets with an excellent price-performance ratio, Canadian Classics is now attracting new retailers with capsules and its Recycled jacket.

Canadian Classics is one of the jewels in his portfolio: Simone Ponziani, owner and CEO of Artcrafts International.

CANADIAN CLASSICS

CONSTANT RENEWAL IS VITAL Italian outerwear label Canadian Clas­ sics has been around for 30 years. To­ day, the company manufactures jackets and has taken the first important steps towards sustainability with its Recycled line. We sat down with Simone Ponziani, owner and CEO of Artcrafts Interna­ tional, the parent company of Canadian Classics.

Interview: Janaina Engelmann-Brothánek.

Photos: Canadian Classics

Simone, Canadian Classics has been synonymous with understated and accessible outerwear for 30 years. How has the label developed over the last couple of seasons?

Canadian Classics was initially an accessories label. At the time, we were the first to introduce “convertible” gloves to the Italian market. Today, we specialise in manufacturing jackets. It is important to us to create and sell items that are of excellent quality, yet affordable. We have succeeded in doing this by 174

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maintaining a mark-up of 2.8 since the very beginning. It may now be the standard for most competitors, but that was not always the case. Now, we are eager to experiment a little more and have, in addition to the Basic Urban collection, created a capsule featuring more fashionable jackets that are intended to appeal to young women. We explore different volumes, cuts, and innovative materials. The capsule includes models like The Eugenie, reminiscent of Asian silhouettes, as well as models made of iridescent mother-of-pearl fabric and reflective materials. This has, over the last few seasons, allowed us to successfully engage retailers who had perceived Canadian Classics as too commercial in the past.

Gaining access to many different retailers is a great achievement.

You have also launched a sustainable line – Recycled.

Yes, and we are very proud of the line. I firmly believe that sustainability is an essential issue, which is why we were determined to produce a jacket that is 100 percent sustain-

able. All pieces of the Recycled collection are made of regenerated and reused materials – from the polyester in the lining to the zip.

We are talking about materials that are, in some cases, also very fashionable, like the metallics with iridescent effect. This involves a major effort in terms of production, especially if we wish to maintain our pricing policy. Nevertheless, we have pulled it off and are delighted to have taken these initial steps in the right direction. These pieces are particularly popular in Germany.

You mentioned Germany there. What are your plans for this market in 2021?

We value the German-speaking region greatly, not least because it harbours both large, successful multi-brand department stores, of which we tend to have fewer in Italy, as well as many interesting, small and medium-sized retailers. Besides Italy, the DACH region is our most important market. We intend to generate further growth in this market and will devote the required energy to achieve our goals. That is what we are known for.

WHAT’S THE STORY

Gennaro Dargenio, CEO and creative head of Circolo 1901, embodies the style of his brand.

Circolo 1901 is for everyone, even for seriously casual skateboarders. That is the new motto of the brand from southern Italy.

CIRCOLO 1901

NEW IMAGE, SAME DNA Observing the visual language of the last campaigns and the latest activities of southern Italian label Circolo 1901 on social media, one notices a change – a shift away from the classically elegant.

We spoke to Gennaro Dargenio, owner, founder, and creative head of the brand, about its new image.

Interview: Janaina Engelmann-Brothánek.

Photos: Circolo 1901

Gennaro, what is happening to the image of Circolo 1901? Is it a clean break or rather an evolution?

To be honest, it is neither. It is more of a return to oneself. We undertook a “reshoring”, so to speak, of our marketing and communication efforts. By bringing these processes back in-house, we can present our authentic selves and communicate without filters: an ageless total look for women and men, from millennials to boomers, who like to dress

well while remaining extremely casual. Our collections are multifunctional and transcend style. You can always wear Circolo, not just for a special occasion. I always argue that our collections are perfect for the office in the morning and for an “aperitivo” in the evening.

Yet the Easy Jacket remains your icon piece…

Yes, of course, because it embodies exactly this spirit by combining comfort with style.

In addition, the demand for such products has increased enormously over the last year.

Deconstructed jackets like our Easy Jacket, made of jersey, are ideal for home offices and informal business meetings. We are, however, much more than just the Easy Jacket. Circolo 1901 encompasses a whole universe and we want to communicate that more effectively. We want to be perceived as a total look brand, especially in the DACH region.

You mentioned the DACH region right there. What are your plans for the German-speaking countries?

Germany is our most important market.

The guys from the Heritage Showroom have really done a wonderful job. Germany in particular still harbours great potential and I think we can offer the right products at the right time. Casualisation is playing into our hands in this respect. We will continue to invest in these countries and intend to expand our focus to the womenswear collection. As I said, our rediscovered identity, as well as the image that goes with it, will certainly open more doors for us.

What are you looking forward to in 2021?

We will integrate young artists into our communication strategy. We want Circolo 1901 to be perceived as authentically as possible.

To achieve that, we do not need VIPs, but real personalities who are capable of showcasing our style creatively and naturally. style in progress

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Brothers Renato and Roberto are now the managing directors of Maurizio Baldassari Brera, a menswear label founded by their father Maurizio in the 1980s that has grown into a successful family business.

The product should be self-explanatory – just like one of the label’s bestsellers, the Brenta swacket.

MAURIZIO BALDASSARI BRERA

THE RISE OF THE SWACKET The name of Milan-based menswear label Maurizio Baldassari Brera implies more than meets the eye: the founder’s name, the owner family, and the neigh­ bourhood the brand calls home today. style in progress sat down with Renato Baldassari, one of Maurizio’s two sons, to talk about family business and casu­ alisation.

Text: Janaina Engelmann-Brothánek.

Photos: Maurizio Baldassari Brera

Renato, Maurizio Baldassari was a successful, yet rather classic, menswear label.

When did the brand become more casual?

My father Maurizio founded the label in Milan in the mid-1980s. He had worked as a buyer for Rinascente for many years before he felt the urge to set up his own business.

That is how Maurizio Baldassari came about: tailoring for men “Made in Italy”. We were successful on a global scale from the outset.

Our brand was, for example, one of the first Italian collections to be stocked by Takashimaya in Tokyo. We expanded into the US in 176

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the 2000s, and even then we started to diversify and offer not just suits, but a wider range of high-end products. When my brother Roberto and I finally got involved in the family business, we soon realised that we would have to make a few adjustments in order to achieve the same level of desirability we enjoyed as a young label. That is how Maurizio Baldassari Brera was conceived a few years ago. Brera not only refers to the Milanese district that houses our headquarters, but also to everything that this neighbourhood embodies: the Milan of the bohemians, the art lovers, the casual and relaxed “Milanesi”.

They embrace casualisation.

How have the collections changed?

We wanted to create an alternative to the classic business look. The business suit in particular has lost much of its appeal, so it was important for us to introduce something to the market that combined leisure and professional clothing. Consequently, we started focusing on products like the swacket.

The definition of swacket originates from the American and refers to the fusion of jacket and cardigan. It has become our bestseller,

because we invested heavily in quality and presentation. We do not want products to be overly complex. They should be self-explanatory, at the very latest when you try them on. Naturally, it is still nice when a salesperson explains which exclusive, specially produced jersey or cashmere some items are made of, or that they are 100 percent “Made in Italy”. Our ambition is to convince the end consumers the moment they slip into the garments for the very first time.

What are your plans for the future?

We would like to remain a “brand to discover”. We are a niche product and intend to merely grow selectively in markets like the US: we are content to be represented in the 60 shops relevant to us. As far as Germany and Austria are concerned, there is definitely still potential. We are grateful to have found Timo (of Moormann & Co. Textilvertrieb).

He has internalised our philosophy and history, achieving extremely good results.

Retailers like Braun, Dantendorfer, Helmut Eder, or Lodenfrey make us very proud and we are looking forward to establishing further partnerships.

WHAT’S THE STORY

White Sand represents comfort and style made in Italy. Its womenswear is particularly promising in terms of market potential.

WHITE SAND

THE VISIONARIES When GDM founded the White Sand jogging pants label five years ago, the Italian company demonstrated vision and intuition. Now White Sand is to be transformed from a mono-product into a brand.

Text: Nicoletta Schaper. Photos: White Sand

The evolution of fashion is working in White Sand’s favour. Jogging styles are not only rehabilitated due to their unbeatable wearing comfort, but are even in greater demand than ever – even more so when they are delivered with an Italian fashion sense, as is the case with White Sand. The label was launched by Mauro Russo and Simone Bernardi, owners of trouser specialist GDM, in 2016. to combine sophisticated smart casual materials, largely sourced from Japan, with Italian manufacturing traditions to provide sweatpants that can be worn by both men and women.

“In 2016, these trousers were still too casual for many consumers, but that has changed dramatically,” says Export Manager Mattia

d’Orlando. “Today, comfort is precisely what makes White Sand so successful.” Season on season, the collection has achieved a 20 percent increase in sales; the goal for 2020 was to sell 100,000 pairs of trousers. “We are proud to have achieved our goal in this difficult year.”

ENERGY AND POWER IN THE PRODUCT

The collection has all the right ingredients for further growth. It reinterprets classic trousers in its distinct, casual manner. Cargo trousers with drawstrings, or trousers with one or two pleats, are among the White Sand icons.

This distinctiveness is also evident in exciting materials and sophisticated treatments, a core competence of GDM, which considers itself to be more of an innovator than a simple manufacturer. “We invest a considerable amount of work and energy in the development of unique styles, and our customers feel and appreciate that,” explains d’Orlando.

Core retail prices ranging from 169 to 189 Euros and a 2.8 mark-up also work in favour

of White Sand. “Now our ambition is to go from being a mono-product to an international brand.” New key items like overshirts to match the trousers underline this ambition, creating casual, reinterpreted suits in both the men’s and women’s collections.

The most relevant markets are Italy, Japan, and South Korea; Louisa Via Roma, Antonia, Barney’s, and Isetan are among the retail customers. In Germany, White Sand has been represented by fashion agency Komet und Helden for two years. The trend indicates expansion, but with a strong focus on specialised retailers. The White Sand Instagram profile highlights collaborations with selected retailers, starting with Lodenfrey Munich and Greta & Luis Berlin in November. Further collaborations, such as pop-up spaces and capsules, are in the pipeline. “We are now ready to invest heavily in the German market,” says d’Orlando. “We are convinced that Germany will become our most important market alongside Italy within a few seasons.” style in progress

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DIGITAL FASHION Digital fashion challenges the materiality of large parts of the established supply chain. The virtual world emerges as a new canvas for creativity. Creating fashion not only loses its compulsory physicality, but also its top-down logic. Why on earth should we design and market pieces before knowing whether they ap­ peal to consumers? In view of the urgency surround­ ing climate change, this is a business model that is in desperate need of overhaul – at least if we want to avoid going the same way as the dinosaurs.

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HYPERPERSONALIZATION

DIGITAL FASHION

SIZE & FIT RECOMMENDATION

CURATED SHOPPING ON DEMAND PRODUCTION

FUTURENOW!

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KISS THE FUTURE Is it possible to solve complex problems faced by the fashion industry with the assistance of artificial intelligence and software? The community of experts surveyed by style in progress answers unanimously in the affirmative. The opinions on how, however, differ greatly, because the possibilities offered by a holistic approach to digitisation – including the collection creation process, 3D tools, and communication with end consumers – are boundless.

What they all have in common is that they open up completely new playing fields for the expression of unlimited creativity while conserving natural resources: cost-cutting on the one hand, expansion on the other – all in a sustainable manner. Digital design tools and system-controlled process optimisation are the new playground of fashion. Text: Isabel Faiss. Lead image: Maro Kim. Photos: Designers

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The blurring of boundaries between the analogue and digital creates new opportunities that benefit everyone: customers, industry, and nature.

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THE FABRICANT

DETACHED FROM THE PHYSICAL At what point does a product actually begin to exist?

On paper, as a virtual three-dimensional rendering, or once it can be haptically experienced? Kerry Murphy is a visionary in this particular field. He strives to change the mindset of fashion, make it more sustainable, and liberate creativity from physical constraints.

Photos: The Fabricant

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hey call themselves “fashionauts” within the team.

The Fabricant, launched in Amsterdam in 2018, is the brainchild of film director and visual effects expert Kerry Murphy, his vehicle to explore the possibilities of design by creating virtual fashion that will never physically exist. He does not need a crystal ball to tell him that a market for such products exist – the demand proves its existence.

Kerry Murphy enjoys VIP status in the digital design community.

The Fabricant is his vehicle for redefining the industry as a whole.

A FUTURE MARKET

Murphy is convinced that digitisation creates countless opportunities and unlimited flexibility for the entire industry. His analysis of the status-quo makes perfect sense: an increasing number of people are adopting a digital alter ego. Self-expression is not an exclusively analogue concept. Young people in particular are increasingly digital beings. According to Murphy, this target group sees hardly any divergence between the digital and analogue world. Virtual 3D design enables “Digi-Sapiens” to actively influence fashion. Digital fashion is not constrained by materials, dimensions, seasons, trends, fits, or prices.

This sounds like what fashion was once meant to be: an immeasurably large universe for experimentation, staging, and consumption.

Kerry, tell us more about your business case. How does one earn money with fashion that only exists virtually?

An excellent question that requires a multi-faceted answer. We have defined four different lines of business in which we collaborate with other companies. The first is the general digitisation of the design process in form of virtual 3D samples, lookbooks, and digital showrooms.

Furthermore, we are capable of accompanying and optimising the entire collection creation process. We also create digital content, as well as marketing and advertising campaigns, most recently for brands such as Puma or Off White. Those are the lines of business that generate commercial revenue. Our fourth area is certainly the most experimental, as it involves designs that will never physically exist. We create an interactive experience by harnessing technologies such as game engines used in the

gaming industry. This concept is still completely alien to most people. We are still at a very early stage of acceptance. I, however, see enormous potential here, not least for webstores, social media platforms, and the gaming community. There are no limits.

Is it not also completely alien to pay for something that does, in fact, not exist?

We are currently experimenting with digital-only fashion at prices between one and 10,000 US Dollars. At such an early stage we have hardly any references in terms of price acceptance. One thing is certain, virtual fashion transcends the confines of physical ownership. This constitutes a significant added value for a growing number of consumers. An added value for which they are willing to pay. Besides, it solves a problem that is widely acknowledged in this target group. Virtual fashion conserves natural resources and does not produce waste. A prime example is when an influencer orders designer clothing for an Instagram post online, but then returns the entire order. That is an economic and ecological disaster. However, this demand can be met virtually.

In 2018, you curated four temporary pop-up stores in Hong Kong, Beijing, Shanghai and Paris. Were these pilot projects a first harbinger of a game changer for the fashion industry?

It was a fantastic project in collaboration with Hong Kong-based luxury retailer I.T to celebrate the latter’s 30th anniversary. We virtualised the milestone collection and created a pop-up store devoid of physical merchandise. It presented an image film and all individual collection pieces in an animated three-dimensional environment. The collection – featuring designs by the likes of Helmut Lang, Alexander McQueen, and Marques Almeida – was displayed on large, square columns equipped with screens. The pieces were only produced after orders had been placed. We introduced the concept to the sales floor very early in 2018, but it was an exceptional success in terms of highlighting the potential of digital fashion. www.thefabricant.com style in progress

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ALBERTO LOVISETTO/MONCLER

THE INFORMATION INCUBATOR Alberto Lovisetto was one of the first 3D designers world­ wide to turn his attention to fashion’s most sacred asset: haute couture. As an expert for digital sportswear and luxury fashion, when he helped in the product development process for some pieces of Moncler Genius couture, the whole industry was abuzz. This showcase project coincided with the global coronavirus pandemic. Suddenly, the subject of digitisation gained so much momentum that Alberto Lovisetto became the shooting star of the community.

Photos: Moncler, Alberto Lovisetto

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e has a very pragmatic approach. Digital fashion design has one premise: to provide clarity for everyone involved in the collection creation process. When Alberto Lovisetto started designing motorbike suits and jackets with Clo3D at Dainese five years ago, the advantages were obvious: no more unanswered questions about details.

He has been the head 3D project coordinator at Moncler for two years now, and has been keenly observing how digitisation is gaining momentum. During the coronavirus pandemic, he won the Clo3D global design competition – the KTTA Award 2020. Such successes generate a certain publicity and reward digital design with the attention it deserves, not least for economic reasons.

A big challenge for digital fashion design: Alberto Lovisetto helps with 3D in the development of haute couture pieces for Moncler.

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You joined Moncler two years ago. Today, Clos3D is nearly integrated in the development process of the collections. How is that even possible in such a short time?

The pandemic has increased the demand for digital solutions exponentially. All of a sudden everyone seems to understand the potential of 3D, because the manifold advantages are evident. You can view the prototype as a finished product with corresponding proportions and in all colour variations.

As a pioneer in terms of 3D design, the haute couture and 3D is a big challenge. You helped with 3D to develop the haute couture pieces. Was that a milestone?

Most definitely – and it was a huge challenge. Combining the possibilities of 3D design with the craftsmanship and principles of traditional haute couture was a ground-breaking achievement. It was completely new territory for everyone involved. It was an invaluable advantage, especially for fashion technicians, to have a virtual representation of exactly where each pattern graphic has to be placed. I sincerely hope that decision makers in the fashion industry will soon realise that 3D as a tool is a useful asset rather than public enemy number one. We are, however, still at the very beginning in this respect.

Can Italy extend its leading position in the fashion world to the field of 3D design?

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Alberto Lovisetto is among the pioneers of 3D design in fashion, motorcycle and ski garments. He is 3D project coordinator for Moncler.

To date, the topic and all its advantages have not yet been fully anticipated by the Italian fashion industry. This rings especially true for the acceptance that 3D is a useful asset rather than competition. If digital design tools are successfully integrated into the traditional collection creation process, it brings huge benefits in terms of timing and lead times, as it creates realistic models within hours, thus saving internal and external costs and conserving resources.

The ultimate buzzword is clarity. Virtual three-dimensional samples deliver an unsurpassable level of detailed information for all departments and people involved in the collection creation process. The digital representation is a simulation of reality, as it has the correct aesthetics, cut, proportion, colour, and pattern. Clo3D allows you to model patterns and fabrics with all their features on a virtual mannequin. When a 3D sample rendering originates directly from the design department, the information that subsequently circulates through all areas of the company is clear and consistent. Everyone benefits from this, even the marketing and sales departments for catalogues, merchandising, or POS campaigns. 3D is a very powerful tool offering optimisation potential for all business units. I find that absolutely incredible. Another added value is that virtual design reduces the distance between designer and consumer to a minimum. Ideally, the avatar on which you model something is that of the customer.

How will digital and analogue design processes interact in the future?

I am convinced of the technology and would advise everyone to invest more in digitisation in order to establish 3D design as the norm in the fashion world. If the 3D designs are integrated into a factory’s product lifecycle management, it saves time and coordination meetings. The company of the future will be based on a closed, digitally driven goods system. 3D will serve as an information incubator for the entire industry. At present, awareness is growing exponentially. I believe that digitisation will have tripled its penetration within our industry by 2030. www.moncler.com

Alberto Lovisetto’s Covid-19 outfits won the 3D Global design competition - KTTA Award 2020.

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Taisia Karpova is Head of 3D Design at SC Fashion Co Ltd in Utrecht in the Netherlands. www.scfashion.online

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Embracing pioneer status: AlphaTauri CEO Ahmet Mercan.

AlphaTauri is far ahead in terms of digital design processes and perceives this field as, among other things, a great opportunity to redefine the logic of market need and demand.

ALPHATAURI

PULL RATHER THAN PUSH Ahmet Mercan, CEO of AlphaTauri, believes that the digitisation of the design and production process is a great opportunity to bring about a cultural change in the demand economy of the fashion industry. Ever since the brand was launched, the company has been working hard to forge links between online and offline.

Photos: AlphaTauri

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r Mercan, your ultimate goal is the end-to-end digitisation of the entire company. Which specific steps of the collection creation process are already impacted by digitisation?

One of our core competences within the collections, besides outerwear, involves 3D knits. All our knitwear is now designed using 3D knit technology. Advantages include a more sustainable production process, as well as seamless knitwear with significantly greater wearing comfort and fit. We even go as far as creating jumpers tailored to the individual body size profile.

Where do you envisage the greatest potential and economic opportunities?

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There lies great potential for the fashion industry in turning a push market into a pull market. For far too long, the industry has been plagued by the misconception that products are developed by creative people and pushed into the market via even more creative marketing campaigns in order to create desire. The approach of questioning what the customer actually wants in a consumer-oriented way is much more interesting and sustainable. AlphaTauri goes one step further and offers the consumer solutions for needs that the consumer did not even know the fashion industry could satisfy. Examples include a 3D-Knit jumper made to match my own body measurements in the desired colour and yarn composition, or a water-repellent merino jumper that does not look functional.

What influence does digitisation actually have on the collaboration with retail partners?

Via the AlphaTauri DSA-01, our retail partners have been afforded the opportunity to experience the transition between the physical showroom order process and digital tools since last season – without compromising human elements. The DSA-01 is a digital sales and studio assistant developed specifically for AlphaTauri. It allows buyers to visit and experience the showroom via Teams, Zoom, or similar programmes to facilitate the online ordering process. The usually self-guided robot features a free-moving studio camera that can, if so desired, be navigated through the showroom by the retail partner. In view of the necessary dynamics in the fashion industry, the DSA-01 can be applied in many ways. For example, we have already implemented onboarding measures with new AlphaTauri employees via the DSA-01.

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Emily Switzer is freelancing from Toronto.

The Gucci outfit was her entry for the 2020 Digital Innovation Fashion Awards. www.emilyswitzer.com

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Yun Kyung Lee is a freelance 3D designer and is, among other things, dedicated to the digital cataloguing of materials.

He lives in Cypress near Los Angeles. www.instagram.com/adl.3d.dream

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Melinda Manunta has launched her own digital tailoring business in Budapest.

She combines 3D design with classic tailoring. www.artstation.com/virtailor

She specialises in the digital design of shoes and accessories at Polish company LPP. Katarzyna Kanturska lives in Gdansk. www.behance.net/katarzynakanturska

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Seoul-based 3D designer Maro Kim calls this model “22nd Century Jeanne d’Arc”. He won the CLO Digital Design Contest 2020 Award in the After Covid-19 category (see title picture). www.instagram.com/3dbymaro

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Sizolution, the Russian market leader in the field of size-and-fit apps, is also active in Europe for companies such as Hirmer, Nu-in, and Hugo Boss.

SIZOLUTION

VIRTUAL FASHION CONSISTS OF DATA Vahe Taamazyan has a vision of how to turn the industry, including its existing production systems, completely in­ side out by means of clever data management. He believes it is time to finally saddle the nag from the front.

Photos: Sizolution

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t all started with Sizolution, a size-and-fit app that has been on the market for three years and is being used by numerous international webstores and brands. According to Vahe Taamazyan, the first step of Sizolution, namely the simulation of a virtual fitting in order to optimise e-commerce by minimising returns, can be scaled up to ultimately benefit all involved parties: the industry, customers, and nature.

The primary product of Sizolution is an avatar based on a 3D scan. What doors does this open in terms of digital fashion?

A size-and-fit app like Sizolution primarily provides data, the very fabric that virtual fashion with a sincere economical claim is made of. Not only do we know the customer’s fit, we also learn much about their taste and preferred materials. In my opinion, there are infinite possibilities to consistently expand our business model into further fields of digital fashion.

What are realistic scenarios in which digital fashion can enrich and optimise the fashion industry?

We spend an increasing amount of time online and even in this virtual parallel world we maintain an identity and image.

An incredible volume of fashion is already being produced exclusively for the purpose of creating virtual content, be it for online shops, pre-orders, or social media. Imagine the resources that would be spared if all this were covered virtually.

Or imagine if an online shop could filter out 50 pieces with a perfect fit based on the customers’ figure, measurements, and style preference instead of suggesting 1,000 arbitrary products. Today’s fashion industry still relies on the concept of a

With Sizolution, Vahe Taamazyan bridges the divide between digital fashion and its customers by creating an avatar with exact measurements.

designer creating fashion that is produced before the consumer has seen it. It would be far more economical and ecological to allow the customer to select and try on a product virtually before producing it on-demand. This is exactly where we come in, by identifying the correct fit of the customer. The biggest advantage of virtual fashion is that there is no classic overhead structure: no logistics, no inventory, no production cycles. A digital item is much easier to tailor to the individual needs of the customer, customisation is achievable within a few steps.

How will this impact communication about fashion?

Imagine that customers are no longer shown random photos of products as advertisements, but highly professional renderings of fashion tailored to them and their style. In short: fashion that fits and pleases them. This would save time, resources, and effort for everyone involved. www.sizolution.com style in progress

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Susana Meiras is a freelancer in Esposende, Portugal, responsible for the Ad-Tech collection by Adalberto.

She virtually created the 100 percent biodegradable collection for the European market leader in 3D printing. susanameiras.com

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This capsule collection with Save the Duck was created under the guidance of Creative Director Margerita Maccapani Missoni.

It is made from vegan Plumtech and contains no down at all. www.savetheduck.it

Maximilian Rabe has been working as a menswear designer for G-Star in Amsterdam since 2017. On the side, he creates his own 3D designs, which he publishes on his Instagram account @resilient_official.

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As a pioneer in this field, Nike transposes the possibilities of digital design tools into the world of retail. www.nike.com

He has his roots in the gaming scene. Christian Zollinger won the Marvelous Designers 3D Apparel Creation Contest with his “Hunter� in 2020.

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Taisia Karpova, www.scfashion.online

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HEIKO SCHÄFER/HUGO BOSS

THE DIGITAL SPEEDBOAT

When speaking with pioneers of 3D design, they often refer to Hugo Boss as a benchmark. The company from Metzingen was not only among the first to esta­ blish digitisation in the design process on the industrial front, but also one of the most systematic in terms of the roll-out process. Hugo Boss has indeed set new technological industry standards – across the entire product cycle. Photos: Hugo Boss

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ugo Boss flipped a number of key switches concerning digitisation at an early stage, and has been steadily working on the implementation of the subject in all areas since 2015. Heiko Schäfer, Chief Operations Officer at Hugo Boss, firmly believes the fact that the company operates its own production facilities, and has the required manpower to act as an innovation incubator, represents a great opportunity. However, it also represents a challenge to establish uniform technological standards for everyone.

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Mr Schäfer, Hugo, as your digital speedboat, is a vessel for testing innovations before rolling them out via your Boss flagship. How is the race unfolding?

Yes, Hugo is indeed a vessel that allows us to experiment more freely. At the end of the day, however, the two brands are in no way inferior to each other today. Like many others, we opted for carefully exploring the topic by establishing a digital showroom for Hugo in 2017. We then, in the same year, started to systematically integrate digital tools into the collection creation process, initially as a project involving a cross-functional team of designers, technicians, and 3D visualisation experts. The large-scale digitisation roll-out and establishment of new standard processes followed in 2019.

In 2020, we finally launched the first completely digitally developed collection under the Boss brand.

What volumes are we talking about?

Across all collections and brands, we have designed and developed significantly more than 50 percent of the styles for our spring/summer 2021 collection digitally. In the case of Hugo Menswear, however, we already stand at almost 75 percent, in the case of Hugo Womenswear at almost 50 percent. The percentage is also rising significantly for Boss.

Our goal is to develop 80 percent of our collections digitally by the end of 2021 – across the board.

If one considers digitisation as a holistic approach, where do you stand at present?

We start as early as the textile preliminary stage, which involves digital material development and the digitisation of existing materials. In order to design a piece of clothing digitally, the fabrics, raw materials, and components such as buttons must first be available digitally. We are currently hard at work on digitally mapping all required materials in collaboration with the relevant suppliers. In this respect, our status presently stands at around 40 percent.

How effective is the collaboration with pre-stage suppliers?

We are truly one of the pioneers in the industry in setting technological standards. Our goal is to engage our suppliers to ensure that we can operate consistently within a certain logic. If we fail to draw up clear guidelines on aspects such as data formats, the communication across the supply chain becomes inefficient. That, in turn, would cause many complexity costs for suppliers. Moreover, the challenge not only involves depicting the virtual appearance of a material, but also, for example, fully simulating the physical properties of a fabric. These issues need to be addressed before an item of clothing can be presented on an avatar.

The second step is to use these digitised materials in the design process, followed by the joint digital development of a style with the involvement of producers. The key issue here is digital interaction with production. How can we effectively exchange information on styles with suppliers in a way that makes it relatively easy for them to implement all necessary details in their respective production processes? Ultimately, the product is presented in the showroom as a 3D rendering.

It is thus merely produced as a physical sample in a very limited volume.

Hugo Boss is setting a high pace and demands a certain degree of professionalism. Are your partners in the industry following suit?

We perceive a high degree of fluctuation in this respect. In the preliminary stage, the level of professionalism is, in many cases, still relatively modest. Here we are, in fact, in the process of establishing standards. 3D prototypes and renderings are, however, commonplace for many of our production partners. Digitisation has penetrated many areas already.

Hugo Boss Chief Operations Officer Heiko Schäfer is leading the way.

Digitally designed and developed: an average of 50 percent of pieces across all Hugo Boss collections are already produced digitally.

What direct effects does digitisation have on your internal resources?

Wherever we consistently implement digitisation, we can shorten the development calendar by up to 70 percent.

Speed and flexibility constitute an incredible advantage. In terms of sustainability, too, we are talking about a significantly reduced use of materials. Process standardisation allows us to automate procedures, but also enables us to make better decisions at an early stage of product development.

Firstly, the coronavirus pandemic has greatly accelerated the process of eliminating physical samples. Digitising samples can, in fact, save us eight-figure sums.

Secondly, we have, as part of our Industry 4.0 strategy, implemented digitally assisted work processes in our own factory in Izmir. Thirdly, we employ tools such as robotic process automation in many administrative areas. This allows an automated bot to directly undertake simple, repetitive work steps within the IT environment.

What possibilities do you identify in terms of communication and consumer involvement?

The next logical step is to link 3D design data with customer avatar data to enable a simulated fitting for the consumer.

This also facilitates the personalisation of products, for example in the made-to-measure segment. “Production on demand” can then later become an overriding goal with regard to sustainability. www.hugoboss.com style in progress

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REGINA TURBINA/REPLICANT.FASHION

ARTIFICIAL INTELLIGENCE CREATES FASHION

Regina Turbina has a vision: the next major step in digital fashion will be based on augmented reality, a new level of reality which she believes will have established itself on a commercial level in five to ten years. Her latest innovation: virtual, neuronally-designed fashion based on artificial intelligence.

She was the first in Russia to sell a digital clothing item for real money. When Regina Turbina launched her online store for virtual fashion in 2019, she could hardly believe how rapidly the demand increased.

Photos: Replicant.Fashion

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egina Turbina has just designed a virtual fashion collection by harnessing artificial intelligence for translating neural networks into fashion. With Replicant.Fashion, she proves that boundless creativity, detached from the laws of physics, results in a business case that, until now, only very few people had on their radar.

Regina, how does one sell fashion that does not actually exist in the physical sense?

I perceive digital and physical fashion as one. When I became the first designer in Russia to sell a virtual design in 2019, the media and public attention suddenly led to so many orders that it made sense to launch the Replicant.

Fashion online store as a platform for the growing virtual fashion community. Initially, we digitally translated and sold physical collections by brands such as Akoa or Yuliya Yefimtchuk. We added purely digital designs a little later.

At present, we are selling two variants: the digital version and, upon demand, a physically produced, personalised version. This is a business model that others such as The

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Fabricant, Carlings or Tribute Brand are also pursuing.

Dress-X-Marketplace was launched a few months after us.

This gives us hope that the market will grow rapidly.

Are you, as Replicant.Fashion, also a curator of digital fashion?

Yes. Contemporary designer Passgoaltriple is a prime example. He has always had a unique vision of fashion and his own unique visual language. Replicant.Fashion now allows him to share his vision with a broad audience. He has no constraints when it comes to selling digital fashion.

You also collaborate with brands such as Puma. Why? It is incredibly important that major brands embrace digital fashion as a topic and promote the opportunities it offers. We teamed up with Puma to develop the brand’s first digital collection. It was not only made available to influencers, but was also presented at a live event and was subsequently made available for sale online. The collection, named Unitgravity, received fantastic feedback from the customers who tried the pieces on virtually. The collection is currently sold out on our platform, but we are hoping for another limited drop collection. www.replicant.fashion

THE FUTURE IS WIDE OPEN! ...AND THE STYLE IN PROGRESS NEWSLETTER IS A SMART GUIDE TO GET THERE.

www.style-in-progress.com www.facebook.com/styleinprogressonline/

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Pinar Eris lives and works in Los Angeles, where she runs a small studio that produces and sells her hand-designed prints and collections. www.pinareris.com

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“Working with 3D design is all about experimenting, trying new things, and implementing new ideas to share with others,” explains Maria Ruano of Madrid on the Instagram page of her label Hacer Virtual Fashion, describing the motivation behind her work. www.mariaruanodesign.com

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Innovative and sustainable: Esemplare jackets tick both boxes.

Fulvio Botto and Francesco Martorella, founders and owners of Esemplare, in their headquarters in Turin.

ESEMPLARE

“DIGITISATION IS AN INVESTMENT, NOT AN EXPENSE” Esemplare, a high-end outerwear brand from Turin, com­ bines all essential attributes of contemporary fashion: innovation, sustainability, and tradition. Positioned ac­ cordingly, Fulvio Botto and Francesco Martorella, foun­ ders and owners of Esemplare, now hope to conquer the German-speaking market.

Text: Janaina Engelmann-Brothánek. Photos: Esemplare

E

ven before Esemplare was launched, you teamed up to found Pattern. How did you two find each other and what was the idea behind Esemplare?

Fulvio Botto: Our history actually begins before Pattern.

We have been working together since 1987 – first as colleagues at large fashion companies, then on our joint projects since 2000. We have already lasted longer than the average marriage (laughs). Our experience in modelling and prototype development for large fashion houses prepared us well for entrepreneurship. Pattern swiftly developed into a leading engineering and pattern-making partner for major brands. In 2014, we had the ambition to invest in our own brand, so we bought Esemplare. In the beginning, Esemplare represented for us a space dedicated to research and development, a real laboratory in which to experiment with cutting-edge materials and processes that, in some cases, we decided to offer our customers too. In the last two years, however, we have chosen to undertake a new path of growth by investing seriously and long-term in the brand to allow Esemplare to enjoy greater market visibility.

You are among the pioneers in terms of supply chain digitalisation and other processes. What is the next major development?

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Francesco Martorella: We started investing in Digitisation 4.0 early. Digitisation is an investment, not an expense. For example, we established an in-house 3D team two years ago. This gave us an enormous advantage during the first lockdown, allowing us to present our collection without delay. We are constantly working on transparency and the further development of our supply chain. We are implementing an innovative storage system in which RFID labels play a fundamental role. Our focus is, however, not limited to internal topics. We have just created an Esemplare jacket whose RFID label contains all the information from raw materials to finishing. It is a jacket with a CV, so to speak. I firmly believe that we will soon be required to provide this transparency throughout the entire supply chain.

Esemplare is driven by future and innovation. How does that dovetail with craftsmanship and Italian fashion heritage?

Francesco Martorella: We are highly innovative and have futuristic ideas, but we are deeply committed to our country and its craftsmanship. Technology is capable of much, but not everything. We do not process steel, but fabrics and fibres full of life. Some things can only be created by hands.

We are very conscious of this, which is why we support smaller “eccellenze” from our industry and invest in these small businesses when they encounter financial difficulties.

It is about preserving skill and expertise.

Fulvio Botto: This is not only important for us, but also for the future in general. We have to attach appropriate value to human capital and support these smaller businesses, especially now. We need to remain united, empower each other, exchange know-how, and benefit from these synergies.

D igital Fashi o n

WHAT’S THE STORY

ERMINA AVDISHA/NAPAPIJRI

THE DIGITAL AMBASSADOR Ermina Avdisha creates bridges between two worlds which, in her opinion, are neither mutually exclusive nor replace each other: digital and analogue design. As a trained designer, seamstress and passionate 3D design pioneer, she knows exactly how to mediate. Her vision is a systematic reorientation of consumption in relation to physical products in favour of boundless creativity.

Photos: Ermina Avdisha

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rmina Avdisha has a background in classic fashion production. As a trained seamstress and designer on her past jobs, she acquired the relevant know-how in the production and design departments of sportswear brands such as Colmar during the day. At night she studied 2D and 3D design software by herself. As a 3D apparel technology specialist, she closely monitors developments in 3D design and has been implementing them at Napapijri since April 2020.

Ermina, you know both worlds and their conflicting interests. How do you interlink them?

They really were two separate worlds early on, when everything was still categorised as analogue or digital. Due to my training, I know the requirements and problems of production, as well as the solutions provided by 3D software. I often encountered prejudices initially, and was involved in some quite bizarre debates. 3D does not replace anything that previously existed. It is a completely new world with its own legitimacy. Digital design tools assist us in making decisions, but the digital will never truly replace the tangible. It simply opens up previously unimaginable possibilities.

What else is digital fashion capable of?

I could envisage that we will wear significantly less physical fashion in the future, instead being given the opportunity to use 3D technology to stage ourselves more creatively and individually without consuming even more.

Whenever the virtual can replace a physical product, it makes sense to do so in terms of saving resources. Maybe, one day, we will all wear simple black or white basics on which individual designs are virtually projected through

augmented reality glasses?

Digital fashion allows us to tap into our creative potential without limitations. At present, a consumer has access to an almost unlimited supply of clothing and a comparatively small measure of creativity.

Some fashion brands have already accepted the challenge of being creative without producing more. The technologies to accomplish this exist, but the consumer must embrace them first. A prime example is Zoom. It has been around for ages, but it took a pandemic to convince us that a virtual meeting can replace flying halfway around the world. www.napaijri.com

She is passionate about the possibilities that 3D design offers in terms of creativity and sustainability: Ermina Avdisha of Napapijri.

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WHAT'S THE STORY

D igital Fashi o n

She is one of the high potentials of the next generation of 3D designers: Tiany (Tenny) Chen is studying fashion design at Hanyang University in Seoul and is particularly passionate about virtual 3D design. www.instagram.com/ctychenty

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D igital Fashi o n

WHAT’S THE STORY

Being a digital fashion house, Kerry Murphy and Amber Jae Slooten’s company The Fabricant has also established itself as a pioneer in the field of digital-only fashion. www.thefabricant.com

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FASHION

Nothing else

mat ters

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FASHION

The year 2020 has, rather unexpectedly, changed the course of fashion. It has accelerated long-evident trends that have, however, been ignored in a somewhat offhand manner. Digital tools are transforming the product development process, traditional seasonal rhythms are continuing to disintegrate, and the end consumer is increasingly becoming the focus of attention as a responsible decision-maker.

Fashion is more topical than ever, because, regardless of how social contacts take place, self-staging is thriving. At the same time, there is a growing yearning for nature and freedom, for self-determination and fulfilment – all emotional playgrounds that fashion can serve perfectly.

Editor: Isabel Faiss. Photos: Brands

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FASHION

The Big Easy

Fashion has evolved into a personal retreat, a luxurious comfort zone. This constitutes a rejection of decoration, glamour, and intricate looks: dominant colours, hardly any patterns, relaxed sporty silhouettes, and a fine balance between leisure and luxury.

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Wunderfell

Penn & Ink

Silk Sisters

Bogner

Marc O’Polo

Circolo 1901

F 65.0

American Vintage

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FASHION

Stephan Boya

Lara Krude

Bob

Freedomday

Gustav

Premium Basics

Vicario Cinque

Dornschild

10 Days

Mou

LiebesglĂźck

Maurizio Baldassari

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FASHION

Just Me, My (Better) Self, and I

The work-leisure trend continues unabated. Many collections focus on intelligible, easily combinable non-colours, comfort with a chic twist, and reduced looks whose style and quality can be easily expressed digitally. The home office has turned into a PoS and shop window, not only for the virtual counterpart, but also for the retail trade. Esteem and comfort form a special liaison. Following the rise of sweatpants, the longing for self-expression, for facing everyday life well-dressed, returns.

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A Fish Named Fred

Daddy‘s Daughters

Circolo 1901

By Malene Birger

Joop

Dondup

Les Deux

Canadian Classics

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FASHION

Pride to Be

Incentive Cashmere

Tom Ripley

Funky Staff

Controfigura

JC Sophie

Fil Noir

TRVLDRSS

Sophie Schnoor

Minimum

Cruna

StinaaJ.

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FASHION

Never Out of Style

The rejection of classic seasonal collections is a commitment to all-year collections that are justifiable regardless of space and time, wind and weather. The styles simply meet the zeitgeist. This is not a tribute to basics and NOS, but rather the courage to define the justifiability of a product through parameters other than the time of release and the scheduled seasonal sales. These collections attain their relevance based on the design idea, not the season.

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Blauer USA

Wool & Co

Aymuse

Mey

Save the Duck

AlphaTauri

Phil Petter

RRD

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FASHION

Mey Story

PIN 1876

Les Deux

Windsor

Steiner 1888

Fil Noir

Parajumpers

Lightning Bolt

Sportalm

Warm Me

Outhere

StinaaJ.

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FASHION

Size Matters

They are way ahead once more. Trousers have regained their unique status in collections. The variety of cuts, lengths, and silhouettes suggests a hint of the panic provoked by the recent, rather sudden, focus on tops. The pre-stage now shows what it is capable of: massive denims, luxurious wool blends, and soft-flowing cotton fabrics. The design department turns them into striking breeches, casual joggers, retro flairs, or shrill skinnies.

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Dondup

AmĂŞ

White Sand

Dolores

Penn & Ink

Drykorn

The Nim

Alberto

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FASHION

Sand

Phil Petter

Goldgarn

Funky Staff

Dante 6

Marc O’Polo

Cruna

Myths

Munthe

Myths

Nümph

TRVLDRSS

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FASHION

We Want Out

The outdoor theme remains a success story after the initial gold rush. The stay-at-home experience has resulted in nature and being outdoors becoming our greatest asset. The retail trade benefits from positive associations and emotions. An urban look remains an absolute basic requirement for outerwear.

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Freedomday

Alberto

Strellson

People of Shibuya

Parajumpers

Pride to Be

IQ+ Berlin

Nobis x Serge Ibaka

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FASHION

Sportalm

Capobianco

Sebago

Canadian Classics

RRD

Esemplare

American Vintage

Goldwin x Maison KitsunĂŠ

Bogner

Mou

Peuterey

Stetson

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IN STORE

STOREFRONT Traffic?

We Generate It Ourselves!

TICKER

Challenge accepted! The global crisis has created scope for experiments, with a healthy appetite for risk and a clear commitment to trial-and-error. This is a golden opportunity to illustrate the inherent strengths of the multi-label retail sector. These retailers have embraced the opportunity to inspire their customers anew with personality and creativity.

By posting “Look of the Day” videos on Instagram, Mirela Stanoiu, Lara Güner, and Anna Lena Fischer hope to inspire customers to return to the store.

Text: Martina Müllner-Seybold, Nicoletta Schaper.

Photos: Stores

Donna, Hannover Heidrun Schloen focuses on creating a feel-good atmosphere, and on innovation in the product range.

WANT-HAVES

“It almost doesn’t matter what we wear in our video posts on Instagram. Our customers want it,” laughs Donna owner Mirela Stanoiu. She started presenting a “Look of the Day” in March, alternating with her younger colleagues Lara Güner and Anna Lena Fischer. They all have their own personal style.

“We invest a lot in the posts, but the effort is worth it. We sold quite a lot via that channel during the first lockdown.” The Instagram videos are here to stay, especially as they are now noticeably promoting customer traffic. “Our personal presence on social media channels has become indispensable. Even though we prefer to consult customers in the store, there is hardly anyone who doesn’t seek inspiration on Instagram & Co.”

Braun, Hamburg

STATEMENT OF COMPETENCE

Heidrun Schloen, Kiel

MOMENT OF HAPPINESS Heidrun Schloen decided to change as little as possible to ensure maximum normality and continuity in her store. “We operate during normal opening hours,” she explains. “Consequently, we have placed all the more emphasis on impulses and excitement in our product range. Too much caution would be misplaced.” Those who visit Heidrun Schloen crave something special. “Our selection offers clear orientation, which is received with gratitude. When the colourful imagery of niche collections blends harmoniously within the store, it results in moments of happiness for everyone involved.”

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Lars Braun’s Journal 365 presents a convincing range of high-quality, luxurious, timeless menswear.

“Why should customers visit our store?

Because they can expect something new,” says Braun owner Lars Braun.

To mark the relaunch of the web shop, Braun sent out Journal 365, featuring never-out-of-season styles, to its customers for the first time – a statement of competence, high quality, and luxurious standards. “The positive feedback was not only reflected online, but also resulted in many customers buying in our stationary stores. It is like the menu of an excellent restaurant, which appetisingly arranges classics. This performance continues in the store with the beautiful presentation of exciting merchandise.” Lars Braun intends to continue down this path, offering regular online updates and another print edition for the summer. “We must go the extra mile, not shy away from investment, and be even more creative.”

IN STORE

Brownie & Kleid, Ebenhausen

VACATION FOR THE EYES

Katja Jelinski and Nicky Keyl are known for their positivity. Upon entering the store, one is taken aback by how much is on show in a fairly small space. The range includes fashion, but also mini-greenhouses and Danish liquorice. “It’s a vacation for the eyes,” smiles Katja Jelinski. “Here, in the rural outskirts of Munich, we have parking spaces right outside our door, meaning that anyone who has had enough of the city doesn’t hesitate to visit us. They place their trust in us and we always surprise them anew, for example with a home-baked brownie.” In 2020, the duo discovered Instagram, improvised a lot, and learned. One lesson was that it is beneficial to show your own face on Instagram. “All the more reason for people to return to our store. We succeed in literally touching our customers’ hearts.”

Martina Schormann is not only the fashion authority at Dresscode, but also the perfect hostess.

Katja Jelinski (left) and Nicky Keyl brighten their customers’ spirits with fashion and plenty of heart.

Dresscode by Martina Schormann, Detmold

SOLID AS A ROCK

“Hang on, let me make you some warm organic ginger.” This is how Martina Schormann greets her customers when the weather outside turns bad. “Relieving pressure is incredibly important!”

Customers perceive Schormann’s store as a solid fashion foundation. Every morning, she asks herself how she would like to be welcomed in a store, and motivates her team accordingly. “My instinct is crucial, not least for the order,” Schormann emphasises.

“We can’t rest on the laurels of twelve successful years. We need to take the customers by the hand, and help in the decision making process. They are so grateful for such advice! We have intensified this connection significantly.”

PKZ Women, Switzerland

PERSONALITY

PKZ Group celebrates its roots as a Swiss family business with personalisation. The image shows stylist Luisa Rossi during one of her highly successful Instagram session.

PKZ Group, with 39 branches and 580 employees, is one of Switzerland’s largest fashion retailers. The online shop, launched in 2011, and the Inside magazine have been instrumental during the pandemic. The personalisation strategy of PKZ CEO Manuela Beer is successful: private shopping and designated consulting areas are included in all new premises or refurbishment projects, as are bars, lounges, children’s play areas, and treats for dogs. Private shopping and style workshops are an integral part of PKZ’s concept, especially for members of the regular customer club. Furthermore, PKZ has hired a real social media star. Swiss stylist Luisa Rossi coaches customers in live Instagram sessions, at times for as long as 30 minutes.

The online traffic proves her right. The videos are viewed by up to 3,500 users. And the figure is rising…

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IN STORE IN STORE

IN SPITE OF EVERYTHING

Admittedly, 2020 was not necessarily the best year to launch a new store. Or perhaps it was? After all, the real miracle of the first year of the pandemic was that small, independent, and local stores navigated the maze of lockdowns much more successfully than the gigantic, uniform, and monotonous concepts. The power of ideas is a reliable force within the retail trade, especially when the ideas are backed by people capable of making the impossible possible.

Text: Martina MĂźllner-Seybold, Kay Alexander Plonka, Nicoletta Schaper, Veronika Zangl

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IN STORE

The Viennese Guy / VIENNA

LOCAL HEROES

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scaping the hamster wheel to turn one’s back on hectic everyday life is a dream harboured by many. Markus Radakovits made this dream come true by withdrawing to New Zealand for a few weeks. “Auckland is full of stores that offer products they manufacture themselves, or are manufactured by local businesses.” This inspired the former accountant who felt professionally unfulfilled. “I launched my own label upon my return. I started manufacturing my own gym bags.

After a few months, I was ready to open my first small store. Back then, The Viennese Guy had a sales area of almost 18 square metres, sufficient room for four to five designers.”

In the meantime, The Viennese Guy has relocated to larger premises featuring a café. 19 designers from Vienna and the eastern region are currently tapping into the potential of the concept store: the range includes fashion, bags, jewellery, cosmetics, stationery, and food.

“The phrase ‘Support your local’ was probably mentioned more than any other last year. We have embodied those three words right from the outset. All our products are local, fair, and sustainable. I strive to highlight what our region has to offer by providing the people behind the products a stage.” Radakovits simply cannot imagine life without his new passion. “The brand has developed a dynamic that sweeps me off my feet and inspires me anew every day. It proves I have the best job in the world.”

Photos: The Viennese Guy

A time-out in New Zealand inspired Markus O. Radakovits to conceive The Viennese Guy. His concept store provides a stage for regional designers and manufacturers.

The Viennese Guy’s aim is to create a relaxed atmosphere that allows visitors to browse and unwind undisturbed. The aim is to ensure customers feel valued and well-advised.

The Viennese Guy Wiedener Hauptstrasse 113, Vienna/Austria www.conceptstore.wien, IG: @ thevienneseguy Opening: 16th of September 2017 Owner: Markus Radakovits Sales area: approx. 60 sqm Brands: Anne Hermine Recycling & Upcycling, Anna Illustrationen, beeQueen, Die Lena, Die Schlawienerin, Fabulous Flamingocorn, fleck., goina, holy shhht!, House of Q, Just Cute, Knor Bio Hof, Lovely, Midsummer Illustrations, NDCM, The Fabulous Winery, The Viennese Guy, StegoPrint, Urban Prey

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IN STORE

LesDeux Men / ZUG

PLAYGROUND FOR MEN

Define statement of intent? Silvio Bischof’s answer is a brand new, 660-square-metre concept store for men spread over two floors.

Bischof is, however, not an unrealistic fantasist, quite the opposite. He is simply a man who excels at multitasking.

LesDeux Men’s interdisciplinary concept creates excitement on the sales floor. Be it fashion or furniture, coffee or wine: everything is for sale.

Bischof, who considers himself an open-minded and creative networker, loves such technical gadgets. “I have picked up many new ideas on my travels. I strive to offer the customers something that only we stationary retailers are capable of offering.” To ensure sufficient traffic, Bischof has indeed come up with something special. His concept store is also the outfitter of the elite Swiss ice hockey team EVZ. “This particular connection has already attracted many customers. It has also, in some cases, lowered the inhibition some new customers might have towards such a modern store,” Bischof laughs.

The LesDeux Boutique retail company, which is currently managed by two generations, is a well-established name in Switzerland. Founded 25 years ago by Angela Billi-Tosio, the company welcomed daughter Fabienne Bischof-Billi and her husband Silvio to the management board in 2013. The latter now run all four stores: LesDeux Men and three successful womenswear stores located in Flims, Horgen, and Zug. The menswear store has also made room for two siblings. Kajo Bischof is responsible for the wine selection, Janine Notter-Bischof for cosmetics.

Together they form a formidable team with infectious enthusiasm, always fully motivated and friendly.

LesDeux Men Bahnhofstrasse 28, Zug/Switzerland, www.lesdeuxmen.ch Opening: 17th of August 2020 Owner: Silvio Bischof Total area: 660 sqm Sales area: 450 sqm Brands for men: among others 7East, Alberto, AD.M, Azado, Baldessarini, Burlington, Calvin Klein, Colours & Sons, Fynn Hatton, Joop, Les Deux Copenhagen, Mayser Hats, Neumühle, Nudie Jeans, Øeste, Paul & Shark, P.F. Candle Co., Rubirosa, Seidensticker, Siech Cycles, Sneaky Steve, Windsor

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Photos: CLesDeux

B

ack to his roots: Silvio Bischof completed his retail salesman training in the 1990s on the exact same sales floor now occupied by LesDeux Men. The place looks very different now though.

The reduction of merchandise on display is fully intentional. The stage for less products is set in a modern feel-good oasis designed

by Bischof in collaboration with Studio63 Raumprojekte.

It features concrete floors, vegetated walls, a tailor’s workshop, a corner dedicated to cosmetic treatments, a hairdresser who trims beards, a wine bar, and an Italian café. “Everything on display in the store is for sale,” says Bischof. This not only includes the bicycles and furniture, but also the remote controlled foils applied to the walls of the changing rooms. They can be rendered opaque by the touch of a button.

IN STORE

LesDeux Men owner Silvio Bischof: “For me, the concept always comes first, followed by personnel, service, and – last but not least – brands.”

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IN STORE

The Ragaller sisters Sonja (l.) and Stefanie (r.) have done it again!

After having established Almliebe, a store and online shop for traditional costumes, they are now turning their attention to sustainability. Ecollections is their recently launched online shop.

Ecollections

T

he siblings Sonja and Stefanie Ragaller boast years of experience in the fashion industry. They have been jointly managing Almliebe, a multi-label store specialising in traditional costume fashion in the centre of Munich with an affiliated online shop, since 2012. Now the duo have launched a new sustainable fashion project called Ecollections.de.

“Everyone can change the world to some extent. We start where our passion lies: in fashion. Our new online shop is our response to fast fashion, throwaway mentality, and the resulting catastrophic environmental impact. By consuming fashion more consciously, we can reduce marine and air pollution and prevent the waste of resources,” says Sonja Ragaller. Her sister Stefanie Ragaller adds: “We already relied on sustainability while building a successful online business focusing on traditional costumes and heritage.

Ecollections is aimed at consumers who want to shop in an environmentally conscious way without sacrificing fashion and style. We choose our suppliers very carefully, checking their values and goals.”

Numerous sustainability criteria influence the selection of products and brands. These include environmentally friendly production facilities in Europe with the lowest possible use of chemicals and water, and creating as little waste as possible. They also include a commitment to respect human dignity, no child or forced labour, observance of regular working hours, decent wages, and safe and clean workplaces. The core range features products made of natural fibres and organically cultivated raw materials, as well as products that are recyclable or made of recycled materials. In addition to Givn Berlin or Lovejoi, which produce in a strictly sustainable manner, the online store with the catchy name also features major brands such as Drykorn, Set, and Closed, which are gradually manufacturing an increasing number of products from environmentally friendly materials.

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Ecollections offers green and fair fashion in the premium segment.

www.ecollections.de Launch: Autumn 2020 Owners: Stefanie and Sonja Ragaller Brands: A beautiful Story, Alienina, Armed Angels, Closed, Drykorn, Elvine, Freequent, Givn Berlin, Just Female, Langerchen, Lanius, Lovjoi, Madara, Minimum, Nui Cosmetics, Samsoe Samsoe, Set, Soulbottles

Photos: Ecollections

IMPLEMENTING CHANGE ONLINE

IN STORE

Solefood / MUNICH

HEART AND SOLE

I

f you harbour a passion for sought-after sneakers and excellent food, Solefood in Munich’s Gärtnerplatz district is the place to be. Co-founder Philip Mönius started collecting rare trainers seven years ago. The unique feature of Solefood is that it sells sneakers that have long since disappeared from classic retail outlets.

“During my media and communications management studies, I always procured the shoes my fellow students desired to own. Eventually, I had so many shoes in stock that selling three-quarters of my collection was enough to launch my own shop. However, it was never my aim to open a conventional resell store. That is why, in collaboration with my best friend and business partner Alaa, who arrived in Germany from Syria three years ago, I combined the sneakers shop with a city food concept featuring vegetarian delicacies from Arabic cuisine,” Mönius explains.

The 27-year-old stopped eating meat for ethical reasons more than ten years ago.

He strives to prove to his customers that fresh and healthy delicacies are a good way to reduce meat consumption without compromising on taste. The Arrabito, which combines the appearance of a burrito with an Arabic filling similar to the traditional Moghrabieh, was created for exactly this purpose. The menu allows customers to choose from a wide variety of ingredients to create their own individual wheat flatbread, bowls, or salads. Since its grand opening in mid-April, Solefood has quickly become a preferred destination for the Munich sneaker community. And it can claim to offer the best Arrabito in town.

What unites Arabic cuisine and sneakers? The close friendship of Philip Mönius and his business partner Alaa.

The Arrabito is a Solefood speciality.

Photos: Solefood

Solefood Reichenbachstrasse 38 80469 Munich/Germany www.sole-food.de

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IN STORE

Retail experiences as social communicators: Matter Urban Market always revolves around personality, warmth, and attention.

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IN STORE

Matter Urban Market / HAMBURG

PRACTICE WHAT YOU PREACH

Photos: Matter Urban Market

He is back! After closing his own store on Hamburg’s “Gänsemarkt” many years ago, Andreas Feldenkirchen spent some time developing formats and concepts for brands and fellow retailers. Now he has transformed a brick clinker building from the 1920s into a destination for discerning customers.

“Change creates the most beautiful things,” claims Andreas Feldenkirchen.

M

atter Urban Market is located in a high-frequency residential area between the Eppendorf and Eimsbüttel districts, in the immediate vicinity of Hoheluftbrücke underground station. The building was initially a dance hall of the neighbouring restaurant, later a savings bank branch, and most recently a bridal fashion store.

Today, “Matter Urban Market” is emblazoned in large letters across the front of the building.

Andreas Feldenkirchen handled the conversion and renovation himself. The result is a space with gallery character, not least due to huge windows and skylights, as well as six-metre high ceilings. “Customers love beautiful and exciting items.

We strive to provide them with new experiences in an exhibition-like setting,” Feldenkirchen explains. “Our retail concept is based on ‘Design by Doing’, so it is a constant beta test. We develop our sales elements and merchandising in-house and experience immediate customer feedback. New retail experiences act as social communicators. We swiftly implement new ideas on the sales floor. Our shopfitting is an expression of zeitgeist and therefore customer-oriented. It is no longer bound to a five to eight year depreciation period.”

The range includes a variety of

lifestyle products such as scented candles, posters and prints, street art photography, notebooks, furniture, tableware, books, perfume, wine, and chocolates. A large counter, at which a barista prepares coffee and offers cakes and sandwiches, completes the concept. In addition to being a retail space featuring partner areas and a café, Matter Urban Market also serves as a showcase for Feldenkirchen’s JTL PoS software solution. The merchandise management and cash register system also includes a marketplace-ready e-commerce tool.

Feldenkirchen strives to create added value for customers too: “It is important to identify new approaches and act in a neighbourly manner. We have, for instance, introduced ‘Shop Local Days’. Apart from smaller events in the evening or on weekends featuring individual brands or designers, such as the individual embossing of Leuchturm notebooks, we intend to host larger multi-day events with market or trade fair character once a quarter. The idea is to allow the whole spectrum of the online world to unfold on the sales floor, in real life.”

Matter Urban Market Schlankreye 71, Hamburg/ Germany, www.matter-hh.de Owner: Andreas Feldenkirchen Employees: 3 Opening: 24th of October 2020 Sales area: 250 sqm Brands: 101CPH, Aeoeaa_act, Archiv-Studio, Atelier Alpiniste, Autry, Kindheit, Castart, Geschlossen, Bunter Standard, Dawn & Dare, G-Lab, Howlin, Karhu, Kragenweite, Leuchtturm1917, Maska, Monokel, Plty, Serax, Stetson

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IN STORE

Lanzer Loft / GRAZ

LET’S GO AGAIN

Stephan Lanzer has made a radical new start. His Lanzer Loft now resides on the outskirts of Graz. The store is characterised by a progressive brand mix, extraordinary architecture, and plenty of personality.

front of my store. Finally, I can implement ideas and collaborate with companies from other industries.”

EXPLORING FREEDOM Lanzer has also allowed himself plenty of creative freedom in terms of product range. Some brands, with which he still had close ties from the Knilli era, have relocated with him. He has supplemented them with primarily contemporary labels such as Ganni, MSGM, and Aspesi.

Bold procurement is facilitated by his long-standing partnership with Farfetch. “On the one hand we secure early cash flow via online sales, on the other hand we can show our Graz-based customers pieces that I would not have purchased if I did not have Farfetch as a sales channel,” argues Lanzer. “I, of course, also dreamed of establishing my own online shop, but however you calculate it, the effort involved stands in no relation to the potential result. We local retailers have other options such as social media. This our medium of choice, because it backs up our storytelling concept,” Lanzer says. He is determined to find the time to tell stories to his customers personally, because: “Who could do a better job than us proprietors, especially as we are so closely involved with the brands in question?”

LNZR Loft Selected Labels MP09, Liebenauer Tangente 4-6, Graz/Austria, www.loftselected.com, IG: @lanzerloft Opening: Autumn 2020 Owner: Stephan Lanzer Sales area: 440 sqm Brands: Aspesi, Autry, Avant Toi, Barena, Closed, Drykorn, Dsquared, Etro, Ganni, Golden Goose Deluxe Brand, Harris Wharf, Helmut Lang, Heron Preston, Holubar, Isabel Marant Etoile, On Running, Polo Ralph Lauren, MSGM, New Balance, Roberto Collina, Tonello, Zadig & Voltaire The look of newfound freedom: Stephan Lanzer has dared to make a radical new start.

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Photos: Lanzer Loft

“T

he current situation is not easy for anyone, but I have never been the complaining type,” Stephan Lanzer laughs, wiping the current number one topic off the agenda effortlessly.

His new Lanzer Loft, featuring the Selected Labels subline, is, in fact, a pandemic-proof concept, situated in the spacious and modern MP09 conference centre, instead of Graz’s confined old town. The spectacular building offers roomy 440 square metres with a huge forecourt, as well as parking spaces right outside the door. Despite the fact that 20,000 cars pass the business premises every day, it requires both intent and desire to come here for shopping. “It is absolutely perfect for someone like me. Anyone who still relies on customers visiting by chance is doomed anyway,” Lanzer argues. “If the atmosphere on Saturday is good, we crank the music up on the DJ console and open a bottle of wine,” he smiles, rejoicing in this newfound freedom. “I enjoy the fact that I no longer have to ask for permission for every flag I want to display in

IN STORE

Modern, bold and designed for a store that stands out with personal advice: Lanzer Loft in Graz.

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Lindner Fashion / DORTMUND

QUEEN OF WELLNESS SHOPPING

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The first floor – featuring brands such as Christian Wijnants, Dorothee Schumacher, Acne Studios, and Hidnander – offers complete privacy.

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“More than ever, creativity will be essential to survive,” says Lindner Fashion owner Susanne Lindner.

Lindner Fashion Kleppingstr. 12, Dortmund/Germany, www.lindner-fashion.com Reopening: 6th of August 2020 Owner: Susanne Lindner Sales area: 200 sqm Brands: among others Agolde, American Vintage, ATP Atelier, Citizens of Humanity, Ganni, Harris Wharf London, Lala Berlin, Lis Lareida, Loulou Studio Paris, Pomme D’Or, Simone Wild, Totême, Tol Eyewear, Nili Lotan, Veja

Photos: Nick Leuze

irst Floor, First You” is the motto with which Susanne Lindner advertises her new concept. The idea is that while fashion, accessories, and shoes can be purchased on the ground floor, the first floor is reserved for private shopping by appointment. “The customer is queen and is free to enjoy an hour of wellness shopping to her heart’s content,” Lindner explains. “Immediately after the launch in summer, we realised that this brings back the fun for everyone. It was a real revelation!”

Lindner has retained her independence as a retailer for 38 years, probably precisely because she is not afraid of making necessary changes. “I have a flair for trends and am capable of understanding larger contexts very quickly.

As a small retailer, I am fortunate enough to be able to act seamlessly, which is certainly a virtue.” Lindner acquired the capacity to be a team player and to deploy employees according to their talents by means of holistic coaching.

Her directness can sometimes be deliberately discomforting, meaning that she cannot be fooled by sales representatives. The new concept is equally controversial in some quarters. “Anyone who tries something new has chosen a difficult path, but I am convinced that half the smaller multi-brand retailers will follow suit in two years’ time.

Our concept means that we can devote ourselves entirely to those who really appreciate our fashion and advice.”

IN STORE

At Voice in Kassel, progressive sportswear is lined up alongside temporary ranges such as books, wine, small furniture, outdoor furniture, gadgets, and the like.

Voice Store / KASSEL

After 20 years, Manuel Milbert and Michael Maciejewski gave up the old location with a heavy heart – but the move paid off. Voice now unfolds its full potential on 300 square metres.

NEW ADDITION TO KASSEL’S CITY CENTRE

Photos: Voice Store

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bull in a china shop? In the case of Voice, it is no more than a lean specimen with a penchant for premium fashion. The analogy stems from the fact that Manuel Milbert and Michael Maciejewski took over the premises of a former porcelain store in 2020. “We were forced to vacate the old location after 20 years with a heavy heart, mainly because the road was mutating into an administrative zone of sorts. The new address, a neighbourhood defined by individually managed businesses, is completely different in this respect,” Milbert explains enthusiastically. “We were lucky to take over a beautiful store from retiring owners. The unique layout afforded us an opportunity to expand our product range and create additional space for temporary topics. As a special bonus, the shop features a roof terrace, which we use as an event location and showroom for outdoor furniture.”

Thinking outside the box is key. This is not only evident in the progressive premium sportswear segment of Voice. “I firmly believe that sustainability is a matter of course and that it stems from passion. We are guided by zeitgeist in our selection process, but only work with brands and partners who also focus on timelessness and a long-term perspective, such as Stone Island.” Given the degree of individuality, it goes without saying that planning and design are the result of personal effort. The furnishings of the old store were largely preserved and complemented with new furniture. Another form of sustainability.

Voice Store Wilhelmsstrasse 4a, Kassel/Germany, www.voice-store.de, IG: @voicestore Opening: 2013 / 09/2020 Owners: Manuel Milbert, Michael Maciejewski Sales area: 300 sqm Brands: among others Ahirain, Axel Arigato, Kanadagans, Geschlossen, Ferm Living, Hoffnung, Jonny Love, Lala, Les Deux, NN07, Samsoe, Stone Island, Transit, Veja, Woolrich

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IN STORE SALZBURG

SALZBURG Room for Us

More than nine million day tourists: this makes Salzburg, in relation to its actual population, one of the most frequently visited cities in the world. 3,308,801 people spend a night in hotels every year, resulting in a very comfortable average occupancy rate of 80 percent. The year 2020 has, however, banished these impressive figures to the past. Thus, the so-called City of Mozart exemplifies all those regions that have been robbed of their business model by the pandemic. Despite all uncertainties, the hometown of style in progress is also an example that inspires courage. We would like to highlight entrepreneurship, and in particular the many spirited women who are transforming the crisis into an opportunity.

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Schneiders

HELLO, SALZBURG!

Schneiders proudly declares its hometown in the brand name.

The love relationship was recently blessed with a store launch.

Veronika Schneider, Head of Marketing & PR, is delighted: “Our first own Schneiders store has turned out great. We can finally present our full range in a manner befitting our status as a premium brand.”

The “Griesgasse”, where the store is located, benefits from recently being declared a traffic-reduced zone.

AlphaTauri

OPEN EAR FOR THE CUSTOMER

AlphaTauri considers its hometown store to be more than a flagship. VP Tanja Gündling used to run her own business at the same location and remains in constant dialogue with the store in the centre of the well-known “Getreidegasse”. The experienced retail manager insists there is no alternative to listening to the customer. The modern, understated store is not merely a place to test fashion appeal, but also prominently features the brand’s latest retail technology.

Sportalm

UPSWING

Sportalm maintained its retail expansion course in 2020: in collaboration with Lodenfrey am Dom in Munich, under its own management in Salzburg. Incidentally, this is the brand’s second store in Mozart’s hometown.

The brand opened a store in the Europark shopping centre a while ago. Sportalm now runs six stores across Austria. The prime location in the tourist-oriented “Getreidegasse” is intended to serve as an international showcase.

Eibl

PERFECT MATCH

Tanja and Markus Eibl can look back on a good year: Tanja Eibl managed to compensate for most of the pandemic-related shortfalls with unwavering personal commitment. Many potential customers have only just discovered this gem hidden in the foothills of the old town through her almost daily social media posts. The line of beautiful dresses and skirts designed by Tanja and Markus Eibl is performing remarkably well.

They are produced in small batches in northern Italy. Dressy and uncomplicated, these pieces make women feel even more beautiful.

Since the line is so popular, the two have involved a couple of fashion retailers they consider friends. A prime example of a real-life success story.

Unternehmer mit Herz

SOLIDARITY AND EXCHANGE

Manuela Schirlbauer of Misc and Julia Gehmacher of Gehmacher are fashion entrepreneurs who distance themselves from inner-city rivalries. With “Unternehmer mit Herz”, they have created a platform to facilitate informal exchange between owner-managed businesses in Salzburg’s historic city centre. The first meeting attracted more than 30 people.

Many ideas were implemented immediately: a treasure hunt, locally sourced Lebkuchen hearts, a scaled-down substitute for the cancelled “Rupertikirtag”, and jointly decorated Christmas trees as a substitute for the ice-skating rink that usually attracts customers during the advent season. “Unternehmer mit Herz” does not shy away from sensitive topics either.

They are trying to persuade its members to agree on pushing the start of the sale period back.

SALZBURG IN STORE

Madl Couture

By adding a new area to the “Grünmarkt” premises, Carolin Sinemus has established a creative concept store to serve as a touchpoint for the Madl Couture Atelier on the first floor.

“LIKE DIOR IN THE 1950S”

Photo: Madl Couture

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hen Carolin Sinemus talks about the Madl couture studio in the centre of Salzburg, she does so with passion and optimism mingled with a great deal of respect. This is also reflected in the new owner’s roadmap for Madl: a gentle modernisation process that is mindful of heritage.

The purchase agreement for Madl, an institution in Salzburg’s famous “Getreidegasse”, was inked in April. As an experienced designer, new owner Carolin Sinemus intends to inject her passion for traditional costumes and couture, as well as her enthusiasm for craftsmanship and special qualities, into the business. In addition to the shop on the first floor, she also agreed to take over more than 10 employees (some of whom work in the in-house tailoring studio), an extensive fabric collection, and an invaluable archive of couture and traditional costumes.

With what is probably the last full-service couture house in a prime location in the city centre, Sinemus has not only acquired a rare breed of business, but also access to a very prominent, international, and discerning regular clientele who appreciate and demand exceptional service. She intends to transform Madl into a complete concept that will make the fascination for the extraordinary more accessible to younger, urban customers. “We conceived a small, more progressive 30-square-metre area in our showroom overlooking ‘Grünmarkt’ in December. We created a lifestyle world around exquisite vintage models from our house collection. This is also where we integrate products from other brands, jewellery, and accessories,” Sinemus explains. “Madl is a gem, a privilege. It is a fashion treasure that reminds me of Dior in the 1950s. I wish to remove the cobwebs from this treasure trove and return it to its former beauty.” Sinemus also envisages such beauty in a crossgenre cultural programme that she would like to present at Madl in the future, including art exhibitions and events. “I intend to establish Madl as a meeting place for an exciting, international clientele, providing plenty of inspiration and input from the art scene. I wish to connect great people who share a love for the extraordinary.”

Madl Haute Couture und Tracht by Carolin Sinemus Getreidegasse 13, Universitätsplatz 12, Salzburg/Austria www.madlsalzburg.at Owner: Carolin Sinemus Reopening: April 2020

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“If you buy a dress from me, you can be sure there are only two or three of its kind in Salzburg,” Andrea Kriechhammer explains. With Wow inStyle, the former model and owner of an event agency has realised her dream of owning a boutique.

Wow inStyle

“F

ashion speaks before you do yourself. It allows me to express how I feel. I can dress the way I want to be perceived.” Andrea Kriechhammer lives for fashion. She entered the modelling business at 16 years of age, then founded her own event agency later. So has she achieved everything already? “I have already experimented a great deal within the industry,” the businesswoman muses. “But I had never dabbled in retail.” Consequently, Kriechhammer launched her first boutique in Salzburg’s “Griesgasse” last July. “It is actually a 1B location, but that is proving very beneficial for us. The reason for this are the tourist crowds that flock to ‘Getreidegasse’ every day. Many locals escape to us to escape the masses. Our customers are extremely lovely and tough businesswomen. They manage family, job and household, but still take the time to style themselves beautifully.” Kriechhammer designed the store interior herself. “We planned everything in-house and commissioned a carpenter to implement our vision. I was inspired by various boutiques that I came across over the years in cities like Paris and Milan.” The vaulted premises are ideal, she argues. She chose stucco for the ceiling, marble for the walls. “We concluded our order window at the exact time the lockdown was announced. Naturally, that triggered some doubts.

But I have a positive mindset by nature, meaning I perceive this crisis as an opportunity. So far, there are no regrets.”

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Wow inStyle Griesgasse 6, Salzburg/Austria www.wowinstyle.at, IG: @wow_instyle Opening: 16th of August 2020 Owners: Andrea Kriechhammer, DDr Gert Üblagger Sales area: 90 sqm Brands: Anine Bing, Bacon, Custommade, Dream Sister Jane, Edward Achour Paris, Ella Silla, Eric Bompard, Entoure, Ephyre, Hanky Panky, Holy Caftan, Hermina Athens, Kubera 108, Luna Sarah, Maison Ravn, Naturae Sacra, Paige, Philosophy di Lorenzoni Serafini, SLY010, Utzon, Vanessa Bruno, Ventcouvert

Photos: Wow inStyle

FROM MODEL TO BOUTIQUE OWNER

SALZBURG IN STORE

Gehmacher

A FAMILY EXPANDS

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The entrepreneurial Gehmacher family of Salzburg only recently opened a clothing store in January.

When several adjacent stores became available, they decided to seize the opportunity and open four more.

Gehmacher Judengasse, Salzburg/Austria, www.gehmacher.at, @gehmachersalzburg Owners: Familie Helmut und Heidi Gehmacher

Photos: Gehmacher

single company with clear structures – perhaps this is the Gehmacher dynasty’s secret recipe for success. The family have been running a high-end home and interior store on “Alter Markt” in Salzburg for many years. They recently expanded their scope by opening a fashion store at the beginning of 2020.

The Gehmachers have a habit of seizing opportunities with courage.

When four premises in the directly adjacent “Judengasse” became available, the family made their move. The decisive factor was daughter Julia’s commitment to pursuing her professional career at her parents’ company: “I realised how valuable a family business like ours is.” Mother Heidi Gehmacher is delighted with Julia’s decision: “She has developed into a passionate entrepreneur. Everyone has their own area of responsibility within the business. I love speed and change, while Julia has a penchant for planning. Consequently, I am responsible for fashion and Julia handles marketing and the home division. My husband has a firm grasp of the finances and deals with everything pertaining to construction negotiations, landlords, and the like. We complement each other perfectly – not only as a family, but also as entrepreneurs.”

“Why build up when adding width is just as successful,” Heidi Gehmacher smiles brimming with enthusiasm. The family opened the first of the new locations, just a few steps away from the original premises, in October. More will follow, including a separate store for collections by Rettl and other curated brands. “We are aiming for a high-quality concept. It will be slightly more upmarket in terms of price than our previous store, but not out of this world. The next Gehmacher Home branch, which also stocks clothing, is just across the street.” The businesswoman reveals that the selection of new brands is still being fine-tuned. She even provides more detailed insight: “My roots lie in wholesale purchasing, which is why I initially always ordered an incredible volume of accessories for the home division.

My customary lots came in pallets or containers, so I had to learn to exercise discipline first,” she laughs. “Deep down I still struggle with ordering just one or two pieces of anything.”

The Gehmachers are a truly resolute family. “Maybe our name sets the tone. It does have a very proactive ring to it in German,” Heidi Gehmacher jokes. In terms of expansion, this could just be the beginning. Four new stores are quite an impressive feat, but there is hunger for more. “After all, we have just hit our stride,” she concludes.

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IN STORE SALZBURG

Golden Soul

TRIBUTE TO MINDFULNESS

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magine a full lockdown getting in the way of your scheduled grand opening. Lisa Leitner experienced exactly that with her concept store Golden Soul. “The first shipments were a real challenge. We had everything delivered to the flat. Fortunately, my brother had just moved out,” Leitner recalls with a smile. “The situation had its upsides too though. It allowed us to go about our business in a relaxed manner from home while listening to great music.” The grand opening was pushed back a month. “We opened right after the lockdown on Whit Monday, without a grand announcement. Only two people were allowed in the shop at a time. It was extremely difficult to anticipate the response.

We were all the more surprised when everything spread out so well. We enjoyed a wonderful start and are still very satisfied with how things are going.” The product range is extensive. “Our aim was to create a store that does not exist yet in our city, a place with a special holiday feeling.” Leitner relies heavily on Scandinavian interiors, beauty products, and companies with exciting background stories, brands like cashmere label Warm Me and Saturday and Sunday. The latter is a family that creates necklaces at the weekend. Leitner attaches great importance to personal touch and promoting small businesses. This attentiveness is also reflected in the store’s name: “Golden Soul is a tribute to my father, who died in a car crash two years ago. He may be gone, but his soul remains with us forever.”

Golden Soul Kaigasse 22, Salzburg/Austria, www.goldensoul.at, IG: @golden.soul_salzburg Opening: 1st of June 2020 Owner: Lisa Leitner Sales area: 50 sqm Brands: among others Colorful Standard, House Doctor, I am in Peace, Love Stories, Meraki, Saturday and Sunday, The Glow, Warm Me

Photos: DGolden Soul

The Golden Soul concept store is defined by its versatility and openness.

“We created the shop concept ourselves, but commissioned a Salzburg carpenter to implement it,” says Lisa Leitner, pictured with her mother.

“I really enjoy collaborating with regional specialists.”

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SALZBURG IN STORE

Diva Salzburg has a new owner. Katrin Koller-van Eersel ensures modernity and dynamism.

To celebrate the takeover, Katrin Koller-van Eersel gave the luxury shop in a side street of the wellknown “Getreidegasse” a little makeover.

Diva

NEW BEGINNING

Photos: Diva

K

atrin Koller-van Eersel took over Salzburg-based luxury boutique Diva in the midst of the corona pandemic. This is, however, by no means the dynamic fashion entrepreneur’s only project.

“Dynamic, modern, and occasionally witty,” is how Katrin Koller-van Eersel describes the new character traits of Diva. The entrepreneur acquired the established boutique in the heart of Salzburg after a transition phase of almost three years. Incidentally, the entire Koller-van Eersel family relocated from Regensburg to Salzburg. “My husband is Dutch. He did not hesitate for a second when I put a move to Salzburg on the table,” Koller-van Eersel recalls. Living closer to the mountains meant fulfilling a life-long desire. “I have always reserved a special place in my heart for Austria. I spent a lot of time in Kitzbühel as a child, and even got married there.” Accordingly, she finds it fairly easy to approach Salzburg‘s clientele. “I harbour a great passion for this industry,” the economics graduate explains. “I am a passionate entrepreneur. It has always been important to me to work the way I prefer to.”

Koller-van Eersel caters for modern women who are bold enough to mix Acne with Gucci, or Ganni with Herno. Women who wear major labels with the same confidence as sought-after new discoveries such as Paris Texas. “Designer brands are deeply engrained in our concept’s DNA, but 2020 has put many aspects of our industry to the test. We can no longer rely on the business of festival guests or tourists.” A Farfetch online shop, an inspiring Instagram account, a delivery service by the name of Fashion Agent, innovative vouchers including video messages – Diva has already embraced omni-channel retailing as a reality. After all, it has never been Koller-van Eersel’s style to wait in the store until customers come marching through the door. She loves to think big. For example, the store’s WeChat channel has prompted the fashion entrepreneur and her husband, Marco van Eersel, to establish commercial ties to China. The result is a cross-border commerce business named Weretail. Furthermore, an alliance within Austria has been established between Casa Moda and Diva.

Koller-van Eersel is thus in charge of buying and organisation for Casa Moda in Linz and St. Pölten, Knilli in Graz, and Tom Ford in Munich. How much time does that leave her for her new venture in Salzburg? “More than enough at the moment,” Koller-van Eersel laughs. Anyone who has so much humour in the midst of a second lockdown has a bright future.

Diva Sigmund-Haffner-Gasse 5, Salzburg/Austria Owner: Katrin Koller-van Eersel Takeover: June 2020 Employees: 6 Sales area: 400 sqm Brands: Acne, Balenciaga, Dolce & Gabbana, Frame, Galvan, Ganni, Gucci, Herno, Hogan, Iro, J Brand, Loewe, Max Mara, Missoni, Paris Texas, Red Valentino, Dorothee Schumacher, Simfinity, Stella McCartney, Talbot Runhof, Tagliatore, Tom Ford, Victoria Beckham, Zimmermann

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EDITOR‘S LETTER

The Stress Test

Why I am, in spite of everything (or precisely because of it), full of optimism going into 2021.

I have avoided commenting directly on corona in public, at least as far as possible. In fact, to quote the genius of Karl Valentin in a slightly adapted way, everything has been said… in the age of social media by almost everyone. This subjectivity overkill was and is definitely part of the problem, not the solution. I am, however, only interested in solutions.

Even though we are only just coming out of a hard lockdown and the actual impact of the recently launched vaccination campaigns is still a long time coming, I am nevertheless entering this new year full of confidence and with a great deal of positive excitement. I would like to explain why and perhaps establish a different perspective.

Without doubt, 2020 was a stress test of historic dimensions, both individually and for society as a whole. It is a destabilisation to which we, the post-war generations of Central Europe so blessed by good fortune, are not at all accustomed.

Many describe corona as a “fire accelerant”. A rather skewed picture, especially if one understands the role of forest or steppe fires within natural cycles. The term “accelerant”, however, is unquestionably accurate. In fact, it is accurate in both directions, and thus has developed a great deal of thrust in the direction of the future. One example is the ongoing push towards innovation. The spring of 2020 was arguably more fertile for the digitisation of the fashion industry than the years before. On all levels, an often hesitant “We probably should…” swiftly became a decisive “Now, and quickly!”.

This is especially true for the brick-and-mortar retail trade.

Even if some of you have had to read this sentiment quite often, I still believe this retail segment will emerge stronger in “The New Normal”. Forced to focus and put to the existential test, entrepreneurial spirit and courage have been released. In many cases, this has culminated in solutions that not merely represent a plan B during an exceptional situation, but an actual expansion and improvement of the respective company’s business model. Be it a successful Instagram sales channel, personalised styling advice via video chat, or a local delivery service – all these new offers are so much more than just an emergency plan, but rather a sustainable answer to the volatile shopping behaviour of a hybrid consumer, today and in the future. So many have suc-

ABOUT US

Publisher, Editorial Office, Advertising Department and Owner style in progress B2B Media GmbH Lasserstraße 13, 5020 Salzburg, Austria T +43 664 3583488 info@style-in-progress.com www.style-in-progress.com facebook.com/styleinprogressonline Management Stephan Huber

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Editors-In-Chief Stephan Huber stephan@style-in-progress.com Martina Müllner-Seybold martina@style-in-progress.com Editorial Staff Stefanie Buchacher Petrina Engelke Janaina Engelmann-Brothánek Isabel Faiss Kay Alexander Plonka Nicoletta Schaper Veronika Zangl Art Direction, Design, Production Elisabeth Prock-Huber elisabeth@style-in-progress.com

ceeded in combining the best of two worlds: human touch, high-quality service, and in-depth knowledge, the latter about both customers and product ranges.

The consumer, in turn, has rediscovered the multi-layered quality of local retailers. More often than not, something needs to be lost before it can be consciously sought and rediscovered. Much of this sentiment will prevail. It will become particularly noticeable when the consumer climate begins to swing back into positive territory in the course of the spring. If I am proved wrong, you are more than welcome to throw this statement back in my face.

So, I am genuinely convinced that the confrontation with a challenge that was unimaginable only a year ago has, in many respects, resulted in a very positive acceleration. We should collectively leverage this momentum to give fashion a different, better meaning for society as a whole.

The future is wide open!

Yours truly, Stephan Huber stephan@style-in-progress.com P.S.: I would like to take this opportunity to thank our partners and all our readers from the bottom of my heart.

Everything I outlined above ultimately also applies to style in progress. We, too, have questioned ourselves, developed further, and deepened our content proposal for the industry.

All your positive feedback was the perfect motivator – and it felt incredibly great!

Advertising Stephan Huber stephan@style-in-progress.com Advertising Representatives Berlin: Kay Alexander Plonka kay@style-in-progress.com Italy: Janaina Engelmann-Brothánek janaina@style-in-progress.com

Image Editor Johannes Hemetsberger English Translations Manfred Thurner Printing sandlerprint&packaging 3671 Marbach, Austria

Accounting Verena Wigoutschnig verena@style-in-progress.com

Printing Coordinator Manfred Reitenbach

Online Editor/Newsletter Veronika Zangl veronika@style-in-progress.com

Next Issue 29 June 2021