style in progress 4.15 EN

style in progress

#4/2015

HUMANS DON’T WANT TO BUY FROM A MACHINE. DAVID SCHNEIDER

€ 6,90

Rethink. Why We Need to Question Everything /// Multi-Channel. From Buzzword to Business /// Follow Me! Instagram as a Research Tool /// About Perfect Timing. Are Seasons Out of Date?

004 EDITORIAL

Nothing New

Cover Photo: Bernhard Musil

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Welcome to these lines.

We said goodbye to the notion that everything is new a long time ago. As a matter of fact, one could even assert that the media industry is facing exactly the same challenge as the fashion industry. The speed with which breaking news reaches the readers, makes the paper we print on look ancient. Therefore, our aim shouldn’t be to find something new, but to look at what we supposedly already know from new perspectives. “Rethink” is the central topic we chose for this issue. Companies that are willing to rethink their approach to fashion do exist. Lo and behold, most of these businesses don’t even subscribe to the delusion that one always needs to reinvent the wheel. A delusion which - let’s face it - has brought our industry to the brink of ruin. Kay Alexander Plonka travelled to Flimby (God Save the Sneaker, from page 077) and to Hartha (Craft with Future, from page 075) to tell us about products that are only as excellent as they are because they are not constantly reinvented. Granted, no manufacturer can get away with not being up-to-date, but up-todateness will never be a problem as long as creative minds and craftsmen are allowed to pursue their passions freely.

David Schneider, a management board member at Zalando who sat down to talk with Stephan Huber and Quynh Tran for this issue’s Longview (from page 022), is an online pioneer and therefore has an obligation to think. He thinks about alliances that one wouldn’t expect. And he does so with an absolutism that shouldn’t come as a surprise to anyone: “At the end of the day, we want to be the first point of contact for any question or problem in terms of fashion.” His ideas are not omnipotence fanta­ sies, on the contrary. Shouldn’t this be the goal of all retailers and manufacturers?

“We’ve always done it that way” is no longer an appropriate modus operandi. In 2015, it’s time to finally allow the 21st century to start. The paths available are digitalisation, transformation, and new ways of thinking.

Daniel Grieder, the CEO of Tommy Hilfiger, is justifiably

proud to have set a new milestone with the brand’s digital showroom (Everything Is Changing, from page 046). But hang on, the “large players” are not the only ones who can reinvent themselves. Smaller retailers who are courageous enough to cross boundaries are just as exciting as online shops that are willing to try their luck in the stationary retail industry (The One Hand And The Other, from page 050).

Carsten Bange, a software expert and digitalisation visionary, gives us a glimpse of the future in his interview with Nicoletta Schaper (We Are In The Midst of a Revolution, from page 042). At first glance, his theses may sound daring, but they soon seem quite understandable and, finally, perfectly reasonable. “Even advice can be automated to a certain extent.” Does this sound like a declaration of war against your business model? If it does, then you’ve got even more reason to read this issue!

Enjoy your read, Your style in progress team

006 CONTENT

004 EDITORIAL Nothing New

010 RIGHT NOW THE LONGVIEW 022 “The Vision is to Link Everything” Zalando co-founder and management board member, David Schneider, on the future of e-commerce and his cohabitation with the stationary retail industry 022

WHAT’S THE STORY 028 Luxury or Quality?

Always the same brands? – think again: the upscale shoe market has regained momentum

RETHINK 032 The End of the World Stephan Huber on the duty to rethink old patterns 034 Where Are We Heading?

How rethinking can lead to improvement – industry professionals speak up 042 “We Are in the Midst of a Revolution!”

Carsten Bange has no taboos when thinking about the future 046 Everything is Changing Digitalisation is not a nightmare, but an important step into the future 034

049 “Fashion and Technology are Increasingly Interconnected” Mona Nijoor challenges the classic order slip 050 The One Hand – And The Other Crossing borders – the order of the day for both e-commerce and stationary retailers 056 Follow Me! I Instagram, therefore I am – the industry’s new favourite media channel 059 “Multi-Channelling is Reality” Susanne Lindner loves the little square 060 #asseenoninstagram Hot labels straight from the Internet 062 No Season!

The right goods at the right time – it’s not as easy as it sounds 065 Just in Time How American Vintage minimises risk through speed

056

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066 They Have a Common Cause!

Why networks guarantee survival – not just today

008 CONTENT

071 One For All… Is Jürgen Wolf a bouncer now? This is how you can join Club Homeboy…

072 Close & (Always) Here It’s clever to produce in China? That’s what you think!

075 Craft with Future Stetson Europe feels at home in East Germany 076 Be Brave!

Quantum Courage does a lot differently, and gets it all right 072

077 God Save the Sneaker Rough climate, cool shoes – New Balance produces in Flimby

078 WANT IT FASHION 082 What Summer Taught Autumn A preview of the trends for the coming season(s)

IN STORE 092 The Style Council Trunk Clothiers/London 094 All or Nothing Walser Leder & Mode/Hohenems 096 Be Incomparable Casa Moda The Concept Store/Salzburg 082

098 Diplomatic Fashion Septième Etage/Geneva 100 Times Two Bungalow/Stuttgart 102 Sleeves Up & Go! Die Stiefväter/Lucerne 103 A Treasure Chest The Box/Hamburg 104 One Step Ahead Runway/Ho-Chi-Minh-City 106 Perfect Isn’t Perfect Room Nine/Bonn

108 EDITOR’S LETTER New Thinking 092

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108 ABOUT US

B O T T O M U P FA B U L O U S L O W WA I S T

germany berlin - munich - info +39 059 7362111 • austria info Office - bergheim +43 6646312802 • LIUJO.COM

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Baracuta First Womenswear Collection For the first time in the more than 50-year history of the British brand Baracuta a women’s collection was presented at the Pitti Uomo trade show in Florence. The 15-piece capsule collection for the spring/summer season 2016 presented models such as the classic G9 Harrington with the iconic Fraser Tartan lining in slim, tailored cuts. In addition to classic colours such as navy and dark green, the brand also offers pastel shades such as iris, candy, and mint green. The line is completed by versions made of black smooth leather and blue suede.

Besides the feminine blousons, the product range also includes a line of rain jackets. In addition to a loose-fit fishtail rain coat with hood, Baracuta offers a two-row trench coat, an urban canvas cape with rounded edges, and an oversized dust coat with shawl collar. In Germany and Austria, Baracuta is represented by the fashion agency Komet und Helden. www.baracuta.com

Tatras let its creative playfulness run wild once again - Kevin James Morely translated his ideas into an exciting capsule collection.

Tatras Playful Curiosities Tatras, the Japanese-Italian jacket brand developed by Masanaka Sakao, offers yet another, very promising capsule collection for the spring/summer collection 2016. In collaboration with Kevin James Morely, a London-based designer, Tatras created a 20-piece collection including down jackets, which Morely re-designed in his own charismatic, ironic, and playful manner. The results are glamorous designs, which combine the formal elements of blazers with the sporty attributes of anoraks. Tatras can look back at a long and successful history of creative collaborations. Kevin James Morely can therefore add his name to a list of design icons such as Eley Kishimoto, Loro Piana, and Robert Geller, who have all designed a capsule collection for Tatras in the past. Since its inception in 2000, the innovative, progressive brand with Japanese roots has managed to bridge the gap between Japanese traditions and its design philosophy based on Italian production know-how. Highest quality is always the priority, which is why all down feathers are obtained exclusively from the best Polish suppliers. www.tatras.it

IQ+ Berlin Anniversary Edition The parka is one of IQ+ Berlin’s key pieces. To celebrate its fifth anniversary, the label has decided to launch a limited edition (named “Anniversary Edition”) of its parka model from 2010, which means that the authentic chequered lining is making a comeback. In addition, the Berlin-based team has enhanced several details and revised the styling. The parka is available in the colours olive, black, and stone. The limited edition consists of 500 numbered parkas. The purchase price for the jacket with rabbit fur trimming is 192 Euros, while the model with rabbit fur and Finn Raccoon costs 211 Euros. The retail prices range from 499 to 549 Euros. The parkas will be delivered in the last two weeks of November. The limited edition will be distributed directly via IQ fashion GmbH. British style icon - Baracuta jackets are now also available for ladies.

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Not only for cold winter days in Berlin: the re-interpretation of the classic parka.

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“Stories by Parajumpers” tell the stories of individuals - in this case the story of a horse farmer in Reykjavik. Photo: Parajumpers

Parajumpers Storytelling The story is about three girls who breed Huskies. Then there’s Chris, an American GI and paratrooper who’s on a rescue mission. How about that Italian architect talking about his work in New York City? Parajumpers’ short films tell real stories about individuals, their lives, and their passions. At the same time, they act as testimonials for the brand itself. This is how Parajumpers has decided to promote its winter season 2016. The brand has therefore chosen a more subtle, yet certainly not less efficient way of advertising. The image films, titled “Stories by Parajumpers”, are released on a monthly basis until December. They can be viewed on Instagram, Facebook, the Parajumpers website, and as PoS videos. “It’s all about storytelling and emotions”, says Matthias Schwarte, whose Munich-based agency represents Parajumpers and therefore supports the new advertising campaign.

“This is an exciting approach in terms of product marketing and we have received a lot of positive feedback.” www.parajumpers.it, www.agentur-schwarte.de

Warm-Me Hat Meets Shirt It’s one thing to be a single product brand, but it’s a completely different thing to remain a one-season brand. Does it come as a surprise that Warm-Me, which has been highly successful with its cashmere beanies, wants to prove its competence throughout the year?

However, the decision to add another product to the brand’s portfolio is not based primarily on commercial considerations. It’s a very practical challenge - the challenge to utilise the knitters in Nepal all year round. After all, the four co-owners of Warm-Me - namely Iris and Christian Obojes, Theresa Steinbacher, and Thomas Brugger - feel responsible for their knitters. This commitment dates back to before the recent, devastating earthquake, which also affected the families of Warm-Me’s knitters.

However, “charity for show” is not Warm-Me’s style. The brand wants to create a beneficial working situation and it strives to achieve that with two new t-shirt models. Warm-Me has developed unisex t-shirts with long and short sleeves, with a simple size key. The shirts are available in all colours and fades of the brand’s hats. It goes without saying that all t-shirts are made of 100% pure cashmere. The purchase price for the new shirts is 104 Euros and they will hit the shelves as year-round products with a retail price of 269 Euros. www.warm-me.com Only beanies? No. Fashion enthusiasts can now also purchase t-shirts made of 100% pure cashmere.

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“It is beautiful to see that the idea of two friends can blossom into such a wonderful project”, says Nova Meierhenrich, the co-founder of HerzPiraten.

NoBrand’s Superlova sneakers are one step ahead.

NoBrand Footwear for Nightlife This autumn, NoBrand has - based on a concept developed by Think Inc. Communications - launched the so-called Superlova, a high-end leather sneaker with a luminous LED sole. It took the Portuguese brand no less than a year to develop the new sneaker model. The transparent soles can light up continuously for several hours, but can also flash intermittently. The shoes’ batteries can be charged via an USB port. In order to promote the model in the clubbing scene, NoBrand has decided to co-operate with renowned DJs, who have agreed to wear the sneakers during their performances. The Superlova made its first appearance on the party island Ibiza, before embarking on the Superlova DJ World Tour, during which the sneakers will be part of DJ performances in the world’s hottest party locations. The list of Superlova DJs includes household names such as Carl Cox, Nakadia, Möwe, Nervo, and Henri Matisse. www.nobrand.it, www.thinkinc.de

Freaky Heads x HerzPiraten Something for the Heart The Hamburg-based fashion label Freaky Heads has decided to support HerzPiraten, a non-profit organisation that helps children with cancer, by launching a special capsule collection. Freaky Heads, which specialises in cool beanies and caps, teamed up with the founders of HerzPiraten, namely TV presenter Nova Meierhenrich and professional sailor (and aspiring doctor) Malte Kamrath, to design two sets each for children and adults. A set consists of a hat and a scarf. One fine-knit set is in trendy grey and sports a printed HerzPiraten heart, while another chunky-knit set boasts a fashionable plait pattern. Freaky Heads has decided to donate five Euros to the organisation for every sold accessory. The capsule collection has been up for sale in selected boutiques and in the brand’s online shop since October 2015. www.freakyheads.de

Münchens Erste Häuser Form Community of Values

Strong quintet (from left to right): Sporthaus Schuster’s Flori Schuster, Kustermann’s Caspar-Friedrich Brauckmann, KautBullinger’s Christin Lüdemann, Hirmer’s Frank Troch, and Bettenrid’s Robert Waloßek.

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At the beginning of October, five of Munich’s most renowned family-owned retailers - Hirmer, Sporthaus Schuster, Kustermann, Bettenrid, and Kaut-Bullinger - teamed up to form a community of values named “Münchens Erste Häuser”. Frank Troch, the managing director of Hirmer, explains: “We are not just another sales promotion or marketing association, but an organisation that wants to prioritise our shared values, strengths, and culture.” The five tradition-steeped family businesses can look back on a combined 740 years of retail experience. They all enjoy an excellent standing in Munich’s retail environment and now want to jointly strengthen their understanding regarding shopping and service culture, learn from each other, and pool their expertise. “Tradition, typical elements of Munich, quality, service, advice, and the appreciation of our employees are assets that all companies share. These shared values are the basis for our co-operation”, says Caspar-Friedrich Brauckmann, the managing director of Kustermann. In terms of menswear, sports equipment, kitchen/dining/ living culture, good sleep, and bathroom items - as well as office, school, and writing supplies - each of the co-operation partners is a true specialist. “These unique retailers are characterised by their personalities and distinctive philosophies, which they have formed over decades and, in some cases, even centuries. Their charisma has ensured that Munich is considered a unique place all over the world and is different than all the other exchangeable international shopping locations”, says Flori Schuster, the managing director of Sporthaus Schuster. www.erste-haeuser.de

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Josef Einwaller, Nepalhilfe x Warm-Me Trekking with Added Value

Diesel has decided to establish a new corporate structure for the European market.

Less than six months have passed since the devastating earthquakes in Nepal, but it seems as if the public has a short memory. Josef Einwaller, the Innsbruck-based fashion retailer and passionate mountaineer, has teamed up with the owners of Warm-Me to ensure the public does not forget the Nepalese tragedy. A group of 16 people plans to set off on a trekking trip through the Rolwaling Valley in October. The expedition pursues three lofty goals: to deliver the funds raised since May (almost 500,000 Euros) in person, to actively contribute to the reconstruction efforts, and to set an example as tourists. Einwaller believes that nothing is more important than to help the country to return to normality, especially as the guides for tourists contribute significantly to the income of many families. WarmMe, which has its products manufactured in Nepal, has always donated one Euro to various Nepalese aid projects for every hat sold. The trekking team includes Christian Obojes and Theresa Steinbacher, as well as Yuri Catania, a photographer tasked with documenting the efforts of the privately organised aid project. Would you like to contribute too? Donations remain vital and are therefore very welcome.

For example, a donation of 140 Euros is enough to purchase a solar panel.

Josef Einwaller Nepalhilfe Warm-Me helps: IBAN AT762050303301646364, BIC SPIHAT22

Rolling up the sleeves - the private aid project for Nepal organised by mountain enthusiast Josef Einwaller strives to make a difference.

Diesel New Structure In September, Diesel announced Quantum Courage Show Us What You’ve Got!

Veronique Schröter and Christina Bischof showed courage to win the Quantum Courage Challenge.

The brand Quantum Courage and Munich-based agency Think Inc teamed up to set a special challenge for female bloggers over the summer. True to the brand name, the bloggers were asked to show some courage in the form of individual photographs. The only condition was that the black brand shirt had to be worn. A jury - consisting of photographer Andreas Ortner and Quantum Courage’s Maximilian Köhler, as well as Think Inc’s Holger Petermann and Florian Metz - selected the two winners: Christina Bischof (christinabiluca.com) and Veronique Schröter (veroniquesophie.com).

Their submissions won them a luxury weekend in Cannes at the expense of Quantum Courage. Caro Daur, a wellknown fashion and lifestyle blogger, was invited along as a special guest. www.quantumcourage.com

that it has decided to pursue a highly ambitious plan involving the reformation and re-structuring of its global retail structure.

The ultimate aim is to manage all related European business processes from the corporate headquarters in Breganze (Italy), thereby making said processes more direct and, above all, more effective. For this purpose, the brand established Diesel Europe as a separate region. Joanna Onland, who has years of managerial experience at Diesel, has been appointed as general manager for the new region. The main goal of the new structure is an optimisation of existing operational business lines and a more direct management of Diesel’s most important key accounts. The latter is focused on multi-brand retailers, department stores, and major image stores. Diesel Europe strives to support the entire region with targeted marketing measures and is eager to advance the brand within the retail industry. www. diesel.com

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Aco Germany High-Flyer

“We are investing in new lines of business: luxury sportswear and accessories”, says Michael Schulz, the managing director of Aco Germany. He has added two new luxury sportswear brands to the agency’s portfolio. The first is Hydrogen, an Italian heritage collection inspired by the world of tennis with a unisex sportswear range. The second is Superjeans of Sweden, a brand that specialises in denim. Furthermore, the agency has added Rebecca Minkoff, a US accessories brand, to its repertoire. Aco Germany has teamed up with Munich-based Select Trading to re-position Rebecca Minkoff, which is already listed at a number of local department stores, on the German market.

The existing Aco Germany collections include Pinko, which Michael Schulz describes as “a real high-flyer”. Schulz continues: “In recent seasons, we have established a strong presence in department stores and well-known, selected retailers, and have achieved a significant awareness in Germany.” The agency is, in particular, focused on expanding its footwear and accessories operations. To this end, the Hydrogen, an Italian collection inspired brand works with biweekly instant programmes during the season. by the world of tennis, is a new addition to the portfolio of Aco Germany.

Labels: Anne Claire, Dsquared Underwear, Ebony & Ivory, Front Row Society, Fracomina, Fusalp, Gas Jeans, Geospirit, Hydrogen, Iceberg, Just Cavalli, Moschino Underwear, Parosh, Peuterey, Pinko, Rebecca Minkoff, Superjeans of Sweden, Space Style Concept, Versace Collection, Versace Underwear Aco Modeagentur, Düsseldorf/Germany, info@acomode.de, www.acomode.de

CP Fashion New Jeans in the Portfolio The latest addition to the portfolio of CP Fashion is AOS - Articles of Society, a jeans brand from LA. The concept of the brand, which is positioned in the premium segment, is focused on offering classic jeans models with excellent fits at reasonable prices. Articles of Society was founded in 2012; its team consists of people who formerly worked for brands such as Hudson, Antik Denim, Theory, and Vince.

“In contrast to established brands, this label is experiencing double-digit growth and has already become one of the largest premium jeans suppliers for the renowned American retailer Nordstrom. The price/performance ratio has become one of the most important factors in the jeans segment. Jeans with retail prices ranging from 100 to 150 Euros and a reasonable price calculation are increasingly in demand, also in Germany. However, excellent fits and high-quality looks remain prerequisites”, says Reinhard Oberstein, the agency owner. He adds: “Lately, we have started taking a closer look at the topic of larger sizes. In addition to Silver Jeans, we now also offer tops by the brands Chaser and Debbie Katz for this particular market segment. The feedback is very good.”

Labels: Articles of Society, Chaser, Debbie Katz, Greywire, King Baby Studio, LA Gang, Michael Stars, Robin’s Jeans, Silver Jeans Co., Soia & Kyo CP Fashion, Bad Säckingen, Düsseldorf and Munich/Germany, info@cpfashion.de, www.cpfashion.de

Die Hinterhofagentur Rethink “For the first time, we can sense a change of approach in terms of product ranges and purchasing policies”, says Dominik Meuer, the general manager of Munich-based fashion agency Die Hinterhofagentur.

“The buyers are increasingly looking for new, fresh labels that have an individual product statement and are not yet over-distributed.” Die Hinterhofagentur can offer such collections in many fashion segments.The men’s collection of Wool & Co currently offers an extensive warehouse and POS programme for the winter via its own B2B portal. From summer onwards, the brand will manufacture items in sizes up to 3XL. Breco’s men’s collection has a comprehensive selection of sports jackets, coats, and suits for the off-the-peg segment of the autumn/winter season. The Cape Horn brand offers an instantly available range of high-quality processed down jackets. Des Petits Hauts’ French women’s fashion collection is particularly strong in terms of follow-up orders due to its extensive stock programme. Despite the warm weather in August and September, Dominik Meuer is satisfied with the run-up of stock business so far. “During the pre-order phase of the past spring/summer season, we once again experienced an increasing demand for an athletic collection for women and men. Alongside product specialisation, there is once again an increasing demand for a co-ordinated product programme. We might add another brand in that segment to our portfolio for the upcoming season…”

Labels: 0039 Italy Men, BOB, Breco’s, Cape Horn, Des Petits Hauts, Koike Escayola, Out of Order, Sophie, Wool & Co Die Hinterhofagentur, Munich/Germany, d.meuer@ diehinterhofagentur.de, www.diehinterhofagentur.de

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Articles of Society is the latest addition from LA to the portfolio of CP Fashion.

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room with a view Hello There, Michel!

Newcomer from Amsterdam - the jewellery collection of Anna+Nina.

40 big brands and a commercial product range - room with a view is eager to distance itself from this image. “First of all, a collection must tell a story, preferably one that focuses on sustainability, quality, and - above all - self-reliance”, says Christian Obojes, the owner of the agency. This means that the portfolio becomes considerably sharper. In Austria, the agency focuses on a healthy mix of perennial favourites such as Canada Goose or 7 For All Mankind.

In Switzerland and Germany, it also remains true to its strategy. Speaking of Germany: Michael Schreittmiller has agreed to handle all collections represented by room with a view in that country with immediate effect. “Our brands are simply in line with his clientele and he loves niche collections such as R13, Warm-Me, Nemen, and NLST”, Christian Obojes says with enthusiasm. The corresponding customers can be found where the retailers hunt for truffles.

They can be found in Milan or Paris, as well as in locations such as the Reservat in Düsseldorf, where various agencies create excitement and inspire retailers by collaborating. “We have realised that some of our brands need the international stage in order to be perceived accurately”, Christian Obojes summarises.

Labels: Austria: 7 For all Mankind, Aglini, Bands of L.A., Briston Watches, Canada Goose, Ecoalf, George Gina & Lucy, Giorgio Brato, Hanky Panky, Nemen, NLST, Moon Boot, Peuterey, Philo-Sophie, Pomandere, R13, Roque Ilaria Nistri, Tkees, Tyoulip Sisters, Wood’d, Warm-Me; Germany: Nemen, NLST, R13, Warm-Me; Switzerland: Giorgio Brato, Nemen, NLST, R13, Warm-Me room with a view, Salzburg/Austria, christian@roomwithaview.at, www.roomwithaview.at

Another Souvenir The Product Specialists Over recent seasons, Vanessa Baroni-Wieler and Tommy Wieler, the owners of Another Souvenir, have successfully enhanced their expertise in special product and accessories collections. This autumn, the agency welcomes Anna+Nina, an Amsterdam-based jewellery brand, to its portfolio. Anna+Nina offers an avant-garde collection with an eye for details in the shape of stars, pearls, and tassels. Another new addition is the Paulo Coelho label. As the name suggests, the driving force behind Paulo Coelho is the eponymous famous author. The agency’s existing collections have not been idle either. “Bread & Boxers, our Swedish underwear brand, has launched its lounge wear collection consisting of hoodies, jogging pants, and sweatshirts made of organic cotton, which are available in the classic Bread & Boxers basic colours, grey melange and navy.

Briston, our Paris-based watch brand, has also launched two new lines: the Gentleman Driver Edition in gold combined with colours and the Alpine Hunter line with matt, masculine designs”, Vanessa Baroni-Wieler reveals.

Labels: Anna+Nina, Bands of LA, Bread & Boxers, Briston, La Môme Bijou, Nach Bijoux, Paulo Coelho, Vanessa Baroni, Wood’d, Zinga Another Souvenir GmbH, Leinfelden/ Germany, tommy@anothersouvenir.de, www.anothersouvenir.de

New representative with a well-known face for room with a view in Germany: Michael Schreittmiller.

D-tails Successful All-Rounder

The service of Alpha Studio convinces Patrick Coppolecchia Reinartz, the owner of D-tails.

“Our biggest commercial success is the Alpha Studio collection. Thanks to a stock programme with approximately 40,000 items, our customers can expect to receive repeat orders within two days via DHL delivery. This brand is willing to take risks in order to achieve success and we appreciate the collection as a real all-rounder”, says Patrick Coppolecchia Reinartz, who is very satisfied with the brand’s positioning in the upscale segment. D-tails added the Austrian brand Weber+Weber to its portfolio two seasons ago. Weber+Weber offers urban, casual menswear with an Alpine touch.

“This brand fascinates me, mainly because the look is perfect for customers from the Alpine region who feel equally at home in New York.

It’s a truly exciting product”, Coppolecchia Reinartz adds.

Labels: (+) People, 81 Carati Collection, Alpha Studio, Anna F., Bark, Borbonese, Bruno Parise, Gherardini, Costumein, Cruna, Essent’ial, Globe-Trotter, Graziani Jewels, Liverani, L(!)W Brand, Massimo Alba, Pollini, Quinto Ego, Rialto 48, Spektre Sunglasses, Vintage de Luxe, Veeshoo, Wally Walker, Weber+Weber D-tails, Munich/Germany, info@d-tails.de, www.d-tails.de

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Deluxe Distribution Milestone Birthday The year in which Deluxe Distribution, the Berlin-based fashion agency, celebrates its tenth anniversary offers plenty of reasons to celebrate. The newcomer Ben Sherman Footwear, for which the agency also acts as distributor, has exceeded all expectations after a mere two seasons and will, via Deluxe Distribution, enter the Czech market from the upcoming season onwards.

“Minimum’s Extended menswear line was particularly popular in Germany and Austria, especially at the large department stores”, says Ilya Morgan. “Our first appearance with Minimum at this summer’s Premium trade show was also a great success, mainly because we managed to approach a whole new clientele.” The Danish label now has more than 300 customers in Germany and Austria.

The Deluxe Distribution GmbH was founded on the 1st of September 2005 by its current managing directors, Ilya Morgan and Antonio Sanchez-Camara. The idea was born on the beach of the island Hydra and was executed instantly.

Today, the agency, headquartered in the Berlin-Mitte district, has 15 employees, as well as in-house departments for PR and warehousing/logistics. After all, the general agency also acts as distributor for the brands Ben Sherman Footwear, Kling, Smash, United Nude, and WeSC. Utilising a network of more than 20 agencies and free trading agents, Deluxe Distribution does not only cover the German, Austrian, and Swiss markets, but also represents some brands in the Benelux countries. “We are looking forward to many exciting new seasons with our customers and have a lot of free capacity to add new brands to our portfolio in the future”, Morgan explains.

Labels: Ben Sherman Footwear, Kerbholz, Kling, Minimum, Minus, Schutz, Skunkfunk, Smash, United Nude, WeSC Deluxe Distribution, Berlin/Germany, info@deluxe-distribution.de, www.deluxe-distribution.de

Mey Story’s finest white t-shirts deserve their “Handmade in Germany” tag.

The Wearhouse Fashion Trade When Less is More Patrick Ebnöther, who enjoys training his customers in detail to maximise the performance of individual brands, has streamlined his portfolio, but has also added a new label to his repertoire. The new addition is Mey Story, which mainly focuses on providing the finest white t-shirt made of hand-picked, high-quality Peru Pima Cotton and is handcrafted in Germany. In addition to its t-shirt collection, the newly launched brand offers an underwear collection. Upon request, every Mey Story item can be personalised with initials. With Mey Story, the family-owned company Mey has managed to create a completely independent brand world for men, thereby appealing to a new, highly demanding target group. Mey has received several awards for sustainability and is still managed by family members.

Labels: Barena Venezia, Caliban, Campomaggi, Caterina Lucchi, Circolo 1901, Freedom Day, Giuglielminotti, GMS-75, Hunkydory, Mason’s, Mey Story, Michael Stars, Nabholz, Paltò, Rude Riders, Siviglia White, Stone Island, Tintoria Mattei 954 The Wearhouse Fashion Trade GmbH, Erlenbach/Switzerland, wearhouse@wearhouse.ch, www.wearhouse.ch

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Happy birthday! Deluxe Distribution celebrates its tenth anniversary.

In the photo: Ilya Morgan and Antonio Sanchez-Camara.

Aco Austria French Spirit Made in Italy Space Style Concept is a trend-oriented, French-inspired collection that is manufactured in Italy. The label was added to the portfolio of Aco Austria in autumn 2015. The collection, which was launched by Simona Corsellini ten years ago, mirrors its founder’s preference for femininity and elegance in a timeless and contemporary manner.

The label is currently experiencing strong growth. The strongest performing markets are Europe, Russia, and China; the label has also identified the Middle East and Far East as target markets. “Our approach to entering new markets has proven to be successful, which is why we plan to consolidate recent results while remaining on the lookout for new sales opportunities”, says Rudolf Kail, the managing director of Aco Austria. The agency, which has offices in Salzburg and Vienna, focuses on the Austrian The feminine and elegant collection and Eastern European markets. Its of Space Style Concept is a new adbrand portfolio is divided into three dition to the portfolio of Aco Austria. complementary lines of business: designer brands such as Versace and Just Cavalli, sportswear such as Napapijri, and premium fashion such as Maliparmi, Steffen Schraut, and Pinko. The agency plans to add one to two new brands to its portfolio for the autumn season.

Labels: Allegri, Atos Lombardini, Elisabetta Franchi, Etoile du Monde, Furry, Gas, Geospirit, Hotel Particulier, Just Cavalli, Maliparmi, Napapijri, Pinko, Riani, Space Style Concept, Steffen Schraut, Trussardi Jeans, Versace Collection, Versace Jeans Aco Austria, Salzburg/Austria, info@acomode.at, www.acomode.at

CO SY PA N T S

www.alberto-pants.com

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Panorama Trade Show 4.0 “Expect the unexpected” is the motto of the Panorama trade show for the autumn/winter season 2015/2016. “We are introducing the trade show 4.0, which is nothing less than the greatest revolution in the trade show industry since the existence of fashion exhibitions”, says Jörg Wichmann, the chief executive. The new project transforms the Panorama into an interactive trade show; the individual stands of the exhibitors can be visited in virtual world of the Internet from the second day onwards. Additionally, the event offers insight into look-books and other special features. These innovations make the event particularly attractive for retailers who do not have time to visit the trade show in person. In addition, the so-called Nova Concept, a platform with a sharp, contemporary niche range of fashion and non-textile products, technology innovations, and IT solutions for the retail industry, is expected to emancipate itself even further.

In this case, the term “contemporary” stands for a mix that focuses on fraction. This creates exciting settings by placing authentic and traditional specialist collections next to smaller designer labels and accessories, as well as room fragrances and home products. The Nova Concept in hall 9 is also expanded on a spatial level: combining hall 8 and 9 adds a total of 10,000 square metres of exhibition space. In addition, hall 8 will be utilised to implement a new concept. The Panorama strives to establish a 3,000 square metre area dedicated to shoe and accessories collections. The trade show wants to reflect the importance of the aforementioned segments and present the products in a fashion context. The Pop Mart Area, located in hall 5, presents young fashion on 2,600 square metres, while the Now area is dedicated to instant order collections. The core segment of the Panorama, which focuses on commercial collections, continues its optimisation process and is located in halls 1 to 4.

An independent Food Hall is dedicated to the subjects of food and relaxation and perceives itself as an alternative to the Berlin Street Market in summer. There, a number of food trucks offer culinary delights from all over the world. 19th to 21st of January 2016, www.panorama-berlin.com

Gallery Change of Location The move into Böhler Areal heralds a new era for Düsseldorf’s Gallery trade show. As of January 2016, all segments of the order event will relocate to the atmospheric industrial site.

All areas will be united under one roof in a former spring factory and an old forging hall: Gold Area, Silver Area, Designer Brands, White Area, and Red Carpet. As in the Botschaft location, both agencies and showroom concepts can also present their collections beyond the regular runtime. In addition to more atmosphere, the new location offers a lot more space (13,000 square metres instead of 5,000), free parking, and a shorter distance to the city centre. Therefore, the Gallery trade show has named its new location “The 15 Minute Venue”.

As before, the event will offer a shuttle bus to other central order locations. “We have

Supreme Women &Men New Alliances with Strong Partners French and Italian brands are showing an increasing interest in entering the German market.

The Supreme Women&Men trade shows in Düsseldorf and Munich, organised by The Supreme Group (by munichfashion.company), have therefore decided to co-operate with Paris-based Muriel Piaser Consulting and Italy-based Bruno Zeppa - Strategia & Impresa.

The aim is not only to act as a presentation platform and order event for French and Italian companies, but also to organise the distribution with the assistance of The Supreme Group’s network partners, thereby enabling the companies to gain a foothold in Germany. Bruno

Zeppa, a specialist with years of export experience and immense knowledge of global markets, presents Italian brands at the Supreme Women&Men and is also a partner/intermediary in terms of distribution. Muriel Piaser has been in the fashion industry for more than 15 years and has developed numerous national and international platforms for trade show organisers such as Who’s Next and Salon du Prêt-a-Porter in Paris. She is currently a consultant for international fashion brands and associations. For the Supreme Women&Men trade show, she acts as a sales consultant for French brands and designers. Supreme Women&Men Düsseldorf, 30th of January to 2nd of February 2016, Supreme Women&Men Munich, 13th to 16th of February 2016, www.munichfashioncompany.com

completely new presentation opportunities here”, Philipp Kronen, managing partner at Igedo Company, said during the unveiling of the new location.

In addition, there is sufficient space for the expansion of the Gallery event, which, with 550 collections on display, had reached its capacity limits at the Botschaft venue. The industrial halls of Böhler Areal were already used for fashion shows in summer: shows organised

by Thomas Rath, Barbara Schwarzer, Düsseldorf-based designers, and AMD Akademie Mode & Design introduced the venue to trade visitors. 29th to 31st of January 2016, Red Carpet from 31st of January to 2nd of February 2016, www.the-gallery-duesseldorf.com

The next Gallery trade show will be held in the industrial halls of Böhler Areal.

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Premium, Seek & Bright Strong Community Premium Group, which organises the Berlin-based trade shows Premium and Seek, as well as the Premium Order event in Munich, has acquired the skate, street, and sportswear trade fair Bright. The shares held by Marco Aslim and Thomas Martini, the founders of Bright, have been transferred to Premium Group. The aforementioned founders remain on board as managing directors of their event. Jörg Arntz, one of the three managing directors of Premium Group, commented on the move as follows: “We are strengthening Berlin as a fashion location and take up the lead role with a powerful, progressive platform for men’s fashion. Looking at the changes within the fashion market and the effects of digitalisation, we believe that creativity and consolidation are the key forces behind the current market development. We rely on joint processes in the background in order to benefit from synergy effects, combine strengths, and exploit potentials. The creative element, and thus the swifter identification of trends, will remain separated to ensure that the clear and distinctive profiles of the individual trade shows remain intact.” Premium, Seek, and Bright, 19th to 21st of January 2016, www.premiumexhibitions.com

Show & Order Up Front Save the date! The next edition of Show & Order starts on Monday, the 18th of January 2016, which is one day earlier than the other trade shows in Berlin. “Following intensive exchanges with the industry, we want to accommodate buyers, exhibitors, and agents by opening the doors to our trade show one day earlier. Starting on Monday is advantageous for both exhibitors and retailers in terms of time and cost management”, explains Verena Malta, the managing director of the Show & Order trade show.

In addition, the Paris events take place immediately after the Show & Order and this trade fair location is particularly important

for young women’s fashion and accessories. The recently launched French Showroom, which is staged in a separate area of the Show & Order and highlights the trade show’s international nature, will take place once again in January too.

18th to 20th of January 2016, www.showandorder.com

The managing directors of Premium Group (from left to right): Jörg Arntz, Anita Tillmann, Marco Aslim, Thomas Martini, and Dr. Florian Bachelin.

Photo: Steve Herud

ispo Munich New Hall Allocation Following six years of continuity in terms of hall allocation, ispo Munich strives to remain innovative by restructuring its concept as of 2016. The revised structure of eleven of the sixteen halls is aimed at giving professional visitors a more efficient and better overview of all significant developments and trends. The new structure takes current and future market developments into account. As of 2016, the growth sector Health & Fitness is given more space to present innovations in hall B4. The close proximity to the Performance segment in hall C4 ensures an efficient visitor guidance and product orientation. Following its move into halls B5, B6, and A6, the Action Sports area is afforded a separate entrance to the East, which can be utilised for industry-specific events. The Outdoor area moves into halls A1 to A3 and is therefore directly connected with the Ski community, which remains in halls A4 and A5. The ispo Vision remains in hall B1, while the Sportstyle segment stays in halls B2 and B3. 24th to 27th of January 2016, www.ispo.com

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Selvedge Run New Location After Selvedge Run’s debut in the Rheinbeck Halls, located in Berlin’s Schöneweide district, in summer 2015, the winter edition will be moved into the Kulturbrauerei venue in Prenzlauer Berg. The former brewery is a mere three subway stops away from Alexanderplatz and is now a cultural centre with an event location for concerts, a large cinema complex, numerous bars, clubs, restaurants, and pubs, as well as an underground parking lot and a computer store that specialises in Macintosh products. The venue therefore has everything an urban trade show nomad needs to survive in the “big city jungle”. The landmarked complex boasts numerous halls and offers a total area of more than 25,000 square metres; it therefore offers sufficient space for the expansion of the Selvedge Run trade show. The technical equipment - including heating, electricity, lighting, sanitation, and other technical requirements - in the Kulturbrauerei venue is up-to-date too. The interior design will be provided by the Berlin-based furniture specialist Noodles, Noodles & Noodles.

20th to 22nd of January 2016, www.selvedgerun.com The Munich Fabric Start trade show meets the growing demand for more exhibition space with an innovative concept. Photo Architekt Lederer-Piloty, München

Munich Fabric Start The New Hub The Munich Fabric Start trade show has grown steadily over the last few years and, due to the continuously increasing demand for more exhibition space, soon found its spatial expansion possibilities limited.

While the event managed to meet the exhibitors’ demands by optimising space utilisation in the past, the organisers are now looking forward to expanding the trade show by adding a visually appealing concept: an ultra-modern structure of steel and glass in front of the Kes-

selhaus location. “At the same time, this new space acts as a kind of hub between the two areas of the Munich Fabric Start in the MOC and the Bluezone in the Zenith Hall”, says Sebastian Klinder. The so-called coal bunker, together with the space of the Kesselhaus, adds an additional 2,500 square metres of exhibition space. This new creative area strives to stylistically combine the special features of the Munich Fabric Start and the Bluezone, and offers a joint presentation stage in addition.

Munich Fabric Start, 2nd to 4th of February 2016, Bluezone, 2nd to 3rd of February 2016, www.munichfabricstart.com

The new WeAr Select London trade show takes place in Old Billingsgate, London.

WeAr Select London British Spirit WeAr, the B2B magazine, is the initiator of the eponymous WeAr Select London trade show and has, to this end, recently announced a co-operation with the British Fashion Council. The London Collections Men trade fair takes place at the same time in January; both events plan to offer jointly valid tickets to facilitate the visit of buyers. The WeAr Select London showcases menswear and women’s fashion, shoes, and accessories, as well as - in the spirit of

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concept stores - non-fashion items. The list of approximately 100 exhibitors to date includes renowned brands such as CP. Company, Blauer, Hudson, Denham, Avant Toi, Handstich, and Kind Baby. The WeAr magazine is published in eight languages in more than 50 countries and has established a co-operation with WGSN, a trend forecasting specialist, for its new trade fair format. 9th to 10th of January 2016, www.wearselectlondon.com

Chic Expansion of Distribution Channels Parallel to the recently held Chic trade show in Shanghai from the 13th to the 15th of October 2015, the preparations for the 24th edition of Chic in spring, between the 16th and 18th of March in 2016, are already well underway. The event plans to introduce a new design and to rearrange its structures and processes in order to allow the participating brands to develop side by side. The trade show management believes it is particularly important to continue presenting renowned national and international brands to the buyers. In addition, the Chic trade fair is preparing to become an economic platform for international cooperation, capital mergers, and the expansion of distribution channels. Another sector in which the Chic trade show invests is the rapidly emerging digital field, which is in strong demand in both the B2B and B2C segments.

Germany will also return to the Chic trade fair with its “Made in Germany” pavilion. The implementation is once again organised by Messe Düsseldorf, which plans to base the design of the joint stand on the layout of a department store. 16th to 18th of March 2016, www.chiconline.com.cn

022 THE LONGVIEW

“The Vision is

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to Link Everything�

David Schneider (pictured) and Robert Gentz founded Zalando in 2008 and turned the company into Europe’s largest online retailer.

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024 THE LONGVIEW

In terms of entrepreneurship, it is an American Dream we Europeans don’t know in this form. After a failed company in Mexico and after returning to Germany empty-handed, Robert Gentz and David Schneider, who became friends at university, decided to try one more time. Within seven years, they transformed a small start-up into a billion Euro corporation listed on the MDAX: Zalando. While being perceived as an all-devouring cannibal by stationary retailers, the e-commerce giant has undergone substantial change. What was merely flashy and loud at the beginning, has grown into a real platform for fashion. David Schneider, now a management board member at Zalando, sat down with style in progress to explain how he wants to shape the future with a young team, extreme agility, and the possibilities of technology, as well as to point out where the boundaries of the digital world touch on real life.

Interview: Stephan Huber, Quynh Tran. Photos: Bernhard Musil

What is your most memorable shopping experience?

Especially when we talk about how we strive to develop in the future, one experience is particularly memorable. We had a meeting with Adidas and I needed to get my hands on a pair of Adidas shoes on the same day.

I was, of course, much too late; even we couldn’t have delivered those shoes in time. So I started looking around to see where I could get the shoes on such short notice. I ran around Berlin and ultimately found myself in the Adidas store, where I ultimately bought a completely different pair than the one I initially wanted. That’s when I started thinking about how one could meet such a demand more efficiently.

The customers of today are highly mobile and no longer limited to a desktop computer, which is why they want a seamless e-commerce experience. Ideally, we would be able to tell a customer where the desired product can be found and send out a bike messenger no more than 30 minutes later. To achieve this, one would need to create a central network that can be accessed locally. In this context, it will be extremely interesting to see how the land415 style in progress

scape between the decentralised, locally developed structures of the classic retail industry and the large, centralised, and more scalable structures of e-commerce progresses.

Could one therefore switch from seeing each other as competitors to thinking about a meaningful co-existence of stationary retailers and the e-commerce industry?

Absolutely. It is our vision to connect people and fashion. For example, we have already begun ensuring that brands like Mango deliver parts of their product range to the customer directly.

Naturally, we consider it important that the client receives the same service promise, but, at the same time, we are not limited to the products that are available in our own logistics centres, but have access to the brands’ entire product ranges and can therefore offer a wider range to our customers. One could take this one step further and ask why we don’t link local retailers to this concept. We understand that we are the technology supplier. We invest very heavily in technological infrastructures that can enable such a concept and could provide access to

individual retailers and smaller brands, thereby increasing their reach on a massive scale. We are the matchmaker, so to speak. We know the customers and their preferences, have direct access to them, and possess the technology needed to link the right product with the right customer. We can succeed in building a large network that can establish a connection between any store and any customer. One needs to, of course, clarify issues such as local logistics or inventory data, but the issue of customer frequency could be of particular interest for many retailers, especially as local connections also lead to limitations. If you are a service partner within a large structure, the customers have completely different reasons to visit a store in person. It is our declared aim to provide the network for it.

What was the initial vision?

When we started in 2008, it was fairly simple. We saw that the options for buying shoes online were not particularly good. There were merely a few catalogue-based retailers that still worked with large phone books and stationary retailers who operated an online shop as an additional branch. So we said

to ourselves that we are quite capable of creating something that would work more efficiently - period. We wanted to offer a broad product range and improve the accessibility of said range, combined with a fast, free delivery and a high level of convenience.

Today, Zalando is so much more than a mere online retailer and has completely different visions. It is now a platform on which almost everything to do with fashion converges.

At the end of the day, we want to be the first point of contact for any question or problem in terms of fashion. Let’s say a certain customer is on the lookout for a specific item and needs it immediately, then we want to be the ones offering the solution. If a customer is merely seeking inspiration and is interested in gaining an overview of the newest trends at the start of the season, then we want to be the ones highlighting the right topics. In this regard, the e-commerce world has not yet developed sufficiently. So far, everything has been purely transaction-oriented with simple products and unemotional topics. However, fashion per se

THE LONGVIEW 025

The Zalando x Topshop campaign with supermodel Cara Delevingne contributed to Zalando being perceived differently by the public.

is highly emotional. One has to think about it in-depth, similar to music. Today, some music platforms provide a personal, highly relevant selection despite the fact that there are millions of songs out there. We want to apply such an approach to the world of fashion and successfully highlight the relevant topics to the customers. They need to be topics that really interest the customers on a personal level.

The perception of Zalando has undergone an enormous transformation. What role do measures such as the reduction of the brand portfolio or the advertising campaign with Cara Delevingne play for the changing image of Zalando?

How does it affect the way people speak about Zalando?

We want to co-operate with the best brands and highlight the newest topics at an early stage, mainly to address a fashion-conscious and informed clientele.

Topshop and Gap, which we persuaded to become brand partners this year, are excellent exam-

“We want to help shape Berlin as a location.”

ples for this strategy. It is difficult to access these particular brands in Germany. Our topics, as well as the way we communicate, speak a very different language than they did one or two years ago, even in terms of advertising campaigns. In the past, we mainly focused on brand awareness and therefore enjoy 90% brand recognition in almost all core markets. We really stepped up our marketing efforts in 2010.

It was loud and there was a lot of shouting involved, which worked brilliantly. Now we want to take the next step. We no longer want mere awareness; we want to persuade fashion enthusiasts to get to know us better and gain new fans. This is not only reflected by our fashion orientation, but also by the fact that we have turned our back on one-way communication via loud advertisements in favour of focusing on an enhanced dialogue with our customers. That was also the case when he created the Topshop campaign with Cara Delevingne. It led to much more

customer feedback, either by pure imitation or via comments.

We had online campaign hubs that allowed customers to type in their own city – the city name was then repeated by Cara herself and one could share the result with friends. Our current campaign is focused on the motto “Share your Style”. Customers can upload photos and have others vote on whether they should wear that particular outfit or not. The result is a completely different form of interaction.

Brand awareness, brand image, customer communication - what is the next stage of Zalando’s evolution?

Right now we are, of course, primarily a retailer. We select items, purchase goods, go through our internal processes, and sell the products. In the future we want to be the platform that makes it possible to address each customer individually. Everyone should be given the opportunity to follow the topics and brands that are most relevant for him/her and perhaps share that selection with style in progress 415

026 THE LONGVIEW

“Right now we are, of course, primarily a retailer. We select items, purchase goods, go through our internal processes, and sell the products. In the future we want to be a platform.�

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friends. This would enable us to create a fashion network that understands the customers and the way they want to experience fashion. In this respect, we pursue all lines of thought. The Bread & Butter trade show, for instance, is aimed at providing customers with a physical platform to experience fashion.

Brands, on the other hand, are afforded the possibility to present their products in an excellent environment.

The main aspect of the Bread & Butter acquisition was obtaining an internationally protected name and a coveted lease. Is the ongoing debate about the Tempelhof airport a welcome opportunity to spend more time on the concept?

And should the event be linked with the Fashion Week? The latter is scheduled for July, which is not necessarily advantageous.

That was force majeure, to be honest. We were on the verge of discussing our plans regard-

ing the Bread & Butter event, but it goes without saying that there are now more important issues to deal with and that we need to support the process as best we can. Seeing that it remains unclear how the political situation will develop until next summer, we have decided to wait and see what happens for now. We also need to monitor the development of the Berlin Fashion Week. We believe that Berlin has a lot to offer in terms of setting itself apart from Milan, Paris, and London and trying something new. We want to help shape the location.

As what kind of company do you want to define yourself in the future? What are your objectives regarding growth potential and technological possibilities?

That is a difficult question. We have technology, we have fashion, and we have the operational aspect. All three are important and interact. We see a strong differentiation in the investment in

technology. If we want to solve all fashion problems, we need the necessary technology and a large number of experts to develop it.

However, we also need to remain extremely agile. We need to create the right culture to ensure that the various areas remain independent. We also need to attract talent - for instance with our new tech-sites in Dublin and Helsinki - and create an agile structure that motivates our employees to innovate.

Zalando is very technology-oriented and only recently acquired a stake in a software company named Anatwine.

What role do we humans play in the face of so much technology?

Anatwine enables brands to connect their own shop and deliver directly to their customers, as well as offering tools to manage the content and the store in general. It works its way into the brands’ systems and creates an interface to Zalando. That supports our vision and expands

THE LONGVIEW 027

our technological possibilities.

However, fashion remains an emotional field. Humans don’t want to buy from a machine; they want to follow interesting individuals and be inspired by them. In terms of e-commerce, the first ignition stage was focused on accessibility. This accessibility has now been established.

Everyone is online and there are offers everywhere. Everything that was developed by the retail industry over decades - where should I build my store, how do I address passing trade, what does the customer notice in the store (even in terms of smell), how can I offer personal advice, and so on - can be transferred to e-commerce. Ultimately, it boils down to the fact that customers want to feel content and experience fashion as an emotional product.

Technology is a problem solver, but returns remain the biggest challenge for e-commerce. How can you solve that problem realistically?

Returns are an integral part of our business; we don’t see them as a problem. You have to try on clothes before making a decision, just like in every store. What we don’t want are returns that were caused by incorrect product descriptions, sub-par product images, bad service, or inferior quality. Those are the returns we need to avoid. However, the returns caused by the fact that customers order a selection to decide at home are perfectly fine in our eyes. In some countries, especially those that have little experience in terms of e-commerce, we even stress that the possibility of returning all goods is a central element of our service range.

“We perceive ourselves as the ones who build the shopping streets, offer the customers access, have a large reach, and act as the technological enablers.”

better and more personalised selection. At our advice platform Zalon, the stylist even phones the customers to ask for specific data such as favourite brands and patterns. In the case of local offers, one could even evaluate where the customer is located to improve the offer selection.

However, one needs to offer customers conscious choices that allow them to deselect personalised services. It also goes without saying that we never pass on data to third parties, unless it is absolutely necessary. One of those exceptions is, for instance, when we need to pass on an address in the event of a brand delivering to the customer directly.

Currently there are a lot of online shops out there, but the market will experience a clean-up at some point. Where do you see the market, as well as the connections between online and offline, in ten years time?

When you consider where we were five years ago, it becomes clear that quite a lot can happen in ten years. I find it extremely exciting to see how dramatically - and quickly - customer behaviour is changing due to the use of mobile devices.

People suddenly no longer utilise browsers, but focus on apps. This causes the market to consolidate increasingly. When I look at a start screen, there is only a limited space for the apps I actually use and that are relevant for me personally. So I won’t have ten shopping apps on that start screen, even if everyone else offers one too. That means that there is a competition as to who makes it onto that start

screen and who doesn’t. It’s quite similar to the offline world really.

Who builds the shopping street, who is the large flagship store, who is the smaller retailer, and who gets which location? That doesn’t mean that everything else is no longer of use or dies out, but it means that there are different roles to be played and that the market conditions will be different. We perceive ourselves as the ones who build the shopping streets, offer the customers access, have a large reach, and act as the technological enablers.

We create an infrastructure to, for instance, allow retailers that have a very specific target group and are geographically limited to access customers that are part of a mobile online world. Currently it is still chaos out there, because everybody strives to be online and mobile. In the long term, the situation will become clearer, especially when offline and online start to interact more.

This will open up an enormous amount of exciting opportunities, even for smaller retailers and brands.

Zalando SE Founded in 2008 in Berlin, Germany Management board: Robert Gentz, David Schneider, Rubin Ritter Seed capital: 50,000 Euros Revenue: 2.2 billion Euros (2014) Employees at the end of 2008: 40 Employees at the end of 2015: more than 9,000 Average employee age: 30 Active customers: 16.4 million Online shop visits: 135 million per month Percentage of visits via mobile devices: 57 percent Photo content creation per day: 1,000

The other major problem of e-commerce is data security.

More and more customers want to know what businesses do with the personal information they collect. How can one make customers feel safer?

That’s a sensitive topic. Of course we want to use customer-related information to improve our service. The best example: If I want to personalise, I need to know what the customers wants and monitor what they look at, what they are interested in, and then analyse the correlations.

This allows you to create a much

Stephan Huber and David Schneider in the showroom of Zalando’s headquarters in Berlin, where the private labels zLabels are on display.

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LUXURY OR QUALITY?

How do you define luxury in the shoe business? Is it the brand name? Or is it excellent quality? Ever since the big brands have come under criticism for their high prices, many a buyer has started re-thinking old strategies.

Text: Ina Köhler.

Illustration: Claudia Meitert @Caroline Seidler

Ultimately, buyers need to select what their customers want.

These customers tend to turn to the supposed security of a larger brand when a certain price level is breached. Gianni Klemera, an Italian agent, explains: “I think you have to separate the topic.

Luxury is defined, on the one hand, by high and highest quality. On the other hand, it is also defined by the story of a brand.

Parallel to real luxury manufacturers such as Giuseppe Zanotti, Louboutin, and Jimmy Choo, we have witnessed the creation of a market dominated by designer names and marketing. In my eyes, examples include Prada, Ferragamo, and Gucci. This applies even more for what we call luxury sneakers. The latter are offered at a price that merely mirrors the image, certainly not the quality. However, they are highly relevant to the market due to social media campaigns.”

The exclusivity debate turns particularly absurd in the case of marketing-driven products such as the aforementioned luxury sneakers. The limited Yeezy Sneakers, a collaboration between Kanye West and Adidas, sold for 350 Euros and were sold out almost immediately. On Ebay, the price for the “exclusive” sneakers made in China can soar as high as 3,000 Euros.

Pressure on Luxury Market

The retail industry also feels the increasing pressure. “The luxury market has become increasingly difficult to serve over the last five years”, say Andrea and Franz Wunderl, the owners of Schuhhaus Wunderl in Sollenau. On the one hand, they blame factors

like the financial crisis and greater pensiveness of consumers.

“On the other hand, the luxury sector is troubled by declining sales in a period of creative stagnation.” Their product range includes brands such as Prada, Miu Miu, and Linea Rossa, as well as Tods. In addition, they complement their range with models by, for instance, Gianvito Rossi, Chloé, Stuart Weitzman, “Our customers visit us because they crave individuality.” Henning Korb, Apropos

and others. While the product range changes from season to season, the constant remains the focus on quality. “The brand is important to many customers, but rather as a quality feature than in the sense of ‘must haves’ or stubborn brand fixation”, Andrea and Franz Wunderl add.”Those days are long gone among our mature customers.”

The luxury store Apropos focuses on a mix of well-known brands and newcomers. “Our customers visit us because they crave individuality. This individuality is offered by high-end collections with a special design and a high degree of exclusivity”, Henning Korb, the buyer of Apropos, explains. “There are several examples where successful luxury brands almost disappeared from the market within a few seasons, mainly because they were over-distributed and became increasingly irrelevant to the buyers. The main reason why the Louboutin hype is still holding up is the selective distribution

strategy. Naturally, the collections are also always fantastic.

That is indisputable.”

Quality as Top Priority

Everybody agrees that the quality has to be paramount. “Value for money is a big issue. Customers notice that the manufacturers raise prices from season to season, which makes some labels implausible in the long term”, Apropos’ Henning Korb suggests. However, it isn’t easy for new brands to break into the market. The most likely candidates are new brands that are backed by manufacturers with a lot of experience, such as Sergio Rossi’s son, Gianvito Rossi, who launched his brand in 2006. He managed to thrill editors and buyers alike right from the start.

The brand of his father, Sergio Rossi, had been sold to Gucci Group years earlier. Gianvito Rossi also convinced the owners of Wunderl back then: “You don’t have the luxury to experi“Many customers have to be convinced that they can trust a new brand in this price range.” Jörg Remberg, Cheaney & Sons

ment with new brands as much as you might have done 15 to 20 years ago”, Andrea and Franz Wunderl say. “In the case of Gianvito Rossi, we were invited by Gianvito, who we already knew from the Sergio Rossi era, to take a look at his project before the launch of the first collection.

We were enthusiastic about it straight away and have been loyal customers ever since.” style in progress 415

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“This is a highly consulting-intensive business”, Jörg Remberg, whose agency represents the British men’s footwear brand Cheaney & Sons, confirms.

“Many customers have to be convinced that they can trust a new brand in this price range.”

The experience of a well-known luxury brand helped the cousins Jonathan and William Church to establish the footwear brand Cheaney & Sons. After selling their Church brand to luxury group Prada, they took over the tradition-steeped company Cheaney & Sons, which had produced for Church for decades, via a management buy-out in 2009. Today, this company manufactures classic shoes “Made in Great Britain” under its own name. Joseph Cheaney & Sons was founded as early as 1886 in Northamptonshire, which is a traditional centre for The brand is important to many customers, but rather as a quality feature.” Franz und Andrea Wunderl

the British shoemaking craft.

But it needed the dedication and expertise of the successful Church founders to bring Cheaney & Sons back to life.

Much emphasis is placed on the tradition of craftsmanship and the know-how of the 120-strong workforce, which is capable of fulfilling individual wishes. “It is vital to provide excellent quality at a reasonable price on a consistent basis”, Remberg adds. “That’s the only way to compete with the large brands.”

Reasonable Prices as Entry Point

“I believe that new brands have to stand their ground by offering high quality and an appropriate price-performance ratio, especially when they don’t have a corresponding marketing budget”, Gianni Klemera confirms. “The consumer of today is very knowledgeable, especially regarding prices.” Charline de Luca, a young designer who was selected by the GDS trade show for this year’s project “Design Trendsetter”, shares this view. “As a newcomer, it’s really important to offer a good price-perfor415 style in progress

mance ratio, especially as you’ll find your products right next to the large brands in the stores.

The entrance price is important, as it is what gets you into the business. However, it is even more important to have a special element in your design, which makes your product recognisable and nobody else has. The big brands are everywhere, but I do have the impression that the stores are still open to new ideas.” Many stores stock luxury brands as eye-catchers, but there is a lot of room below at retail prices of slightly less than 300 Euros. “Retailers are looking for brands that guarantee good margins”, Gianni Klemera points out. “If a product is good, it’s not hard to reach many top retailers right at the start.” This experience is also shared by the newcomers Ancient Greek Sandals, the Greek-produced brand of Christina Martina and Nikolaus Minoglou. “We were lucky enough to be present in more than 30 countries from the start. Our distribution agency Rainbowwave Ltd did an awesome job for us.” The importance of finding the right agency should not be underestimated. “Ultimately, the customer knows that I have given this a lot of thought. The production and distribution are guaranteed”, Klemera adds.

Yet it also requires openness on the part of the buyers. We need experiments. We need bold decisions. And we need events that showcase footwear in all its glory.

A shining example is a recent co-operation between the GDS trade show and the Düsseldorf branch of Breuninger, which resulted in a three-day pop-up area showcasing designers such as Alain Tondowski, Charline de Luca, Laurence Dacade, and Ancient Greek Sandals. The inspiration came from the “Design Trendsetter” initiative, which was first introduced by the GDS trade fair in spring. “We had “The industry needs to support its creative talents.” Kirstin Deutelmoser, Director GDS

been engaged in talks regarding a collaboration with the trade show for quite a while. Now we are very happy about this event”,

says Andreas Rebbelmund, the managing director of Breuninger Düsseldorf. “The designers can present their products and the three-day pop-up store is an extremely special range for our customers. Ultimately, it’s a win-win situation for everyone involved.”

This is also confirmed by Annalise Damico, the sales manager of Alain Tondowski: “Such events “As a newcomer, it’s really important to offer a good price-performance ratio.” Charline de Luca are incredibly important for the shoe industry. The shoe retailers need to become more open to new products.” In principle, the shoe retail industry is already open, but the stores have their own criteria. For example, Apropos stocks new names, such as the CFDA Award winner Paul Andrew, Tory Burch, and the slip-ons designed by blogger Chiara Ferragni, alongside the luxury brands such as Louboutin. “First and foremost, the collection needs to blend in with our aesthetic approach. That’s the most important aspect”, says buyer Henning Korb. “If this criterion is met, we then look at exclusivity and quality, as well as the fit. In our industry, marketing activities can often be decisive. When a brand is promoted by an excellent advertising campaign, it makes the product more attractive.”

Design Trendsetter With the “Design Trendsetter Area”, which was first introduced in spring 2015, the GDS trade show created a platform for innovative shoes and accessories. The separate area within the “Studio” segment showcases a total of 20 international designers and their products. The selection was made by Kirstin Deutelmoser, the managing director of GDS, as well as international experts such as Giuseppe Baiardo, Onward Luxury Group, Ernesto Esposito, and Veronique Branquinho. The main selection criteria were creative potential and product quality. The new area showcased designers and brands such as Laurence Dacade, Alain Tondowski, Charline de Luca, Casamadre, Ancient Greek Sandals, and Finsk.

Some of their products are already sold worldwide at top retailers such as Colette, 10 Corso Como, Selfridges, Joseph, Bergdorf Goodman, and Saks.

The project will initially run for two seasons. Kirstin Deutelmoser believes that the industry needs to support its creative talents. “In addition, we want to create real additional value for our visitors.” www.designtrendsetter.com

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THE EUROPEAN MARKETPL ACE FOR LEADING BRANDS w w w.panorama-berlin.com

032 WHAT'S THE STORY RETHINK

Examples…?

Jeans are basically seen as the model pupil of globalisation. They were the first clothing item to globalise an image. They have always been the key look of counterculture, an icon of youth, and a symbol of freedom. This clear positioning was distinct and extremely successful over decades. It was a real no-brainer! However, when the globalisation and (media) digitalisation turned jeans into a borderless mass product, they were transformed into a stereotype. The tattooed rock & roll youthfulness became a hollow pose and jeans became a logistics business. Several people have since tried unsuccessfully to find a new, credible positioning in our (consumer) world. The same applies to the digitalised communication and consumer behaviour of the image-relevant, young target group and the surge of vertically integrated companies. The latter was only made possible by globalisation. And so, in order to shorten this causal train of thought, the Bread & Butter is ultimately also a victim of globalisation.

The End of the World An opinion piece by Stephan Huber

“I

t’s the end of the world as we know it!” Many of us probably sang along to the chorus of this R.E.M. song - which dates back to 1987 (!!!), would you believe it - without really thinking about what it actually means. In the current situation, quite a few of us might remember it. The radical change that we are experiencing on all levels of society - and therefore also within our own personal, individual sphere - has really taken on a new dimension. What takes our breath away is not change itself. After all, our planet has been a “world in progress” for 4.5 billion years. The breathtaking element is the speed in which this change is taking place. It has led to a widespread feeling that change can no longer be influenced, but merely “happens”, uncontrollably.

The driving forces behind the radical change are “digitalisation” and “globalisation”. This isn’t criticism or judgement, but merely a conclusion of fact. Every current debate, every challenge, and every change - be it large or small - can be traced back to these two key factors. Rapid scientific progress, the VW scandal, Netflix, TTIP, the financial crisis, Snowden, the German export successes, changing consumer behaviour, and even the extremely stupid discussion why war refugees own - and use - smart phones are but a few examples. All of it can be traced back to globalisation and digitalisation. The fashion world is particularly affected by these acceleration forces. This is challenging and potentially scary, but always highly exciting. The direct mirror function of social, sociological, and cultural trends and changes was - and still is - what I perceive to be the most fascinating aspect of this industry.

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Or:

For a very long time, one of most important cultural roles of fashion retailers was to make the scent of fashionable sophistication and flair of international metropolises perceptible. Their duty was to bring a little Paris, Milan, and New York to cities like Regensburg or Wels. They communicated the images, stories, and know-how. After all, this glittering world was not only far away in a physical sense back then. Today, we carry this world around with us in our pockets and no longer merely travel to all these mythical - or possibly slightly demystified - locations of yearning by placing a finger on a map.

What I’m Trying to Say:

Our industry is currently experiencing an epochal period of change. This process of change will continue, mainly driven by - yes, I know I am repeating myself - digitalisation and globalisation. Much of this process is indeed uncharted territory!

This forces us to check positions and to, ultimately, question absolutely everything. As I said, this is challenging and potentially scary, but always highly exciting. To quote Angela Merkel, there is, above all, no alternative. Maybe this is where we should remember the whole chorus of the aforementioned R.E.M. song: “It’s the end of the world as we know it… and I feel fine…”

Photo by Irene Schaur

?

ARE WE HEADING

WHERE

RETHINK

Stagnation means regression. The fashion industry is changing, profoundly and structurally. Online retailing is booming, vertically integrated businesses are expanding their sales areas aggressively, and brands are pushing their own retail concepts. However, to quote Kafka: “You create paths by taking them”. style in progress approached the industry’s opinion leaders and asked in which way they think differently and which new ideas they have, as well as what they already do differently to tackle the change in our industry. Text: Kay Alexander Plonka. Illustration: Claudia Meitert@Caroline Seidler 415 style in progress

PURCHASINGWHAT'S THE STORY 035 IRRESPECTIVERETHINK. OF STATEMENTS SEASON

RENUNCIATION OF SENSELESS CONSUMPTION

“At the start of 2012, I decided to refrain from buying new clothes for a whole year. The initial idea was to prove to myself that I can do it. However, it turned out quite differently. And yes, I persevered by the way. I spent a lot of time looking into how the clothes I buy are produced. Usually the items were purchased from H&M, Promod, Desigual, and similar companies. At first, I was overwhelmed by all the information. Seamstresses are paid wages on which they can’t even survive in Bangladesh, there are no acceptable safety standards, unfiltered toxic chemicals are dumped into rivers by factories, and farmers hand influence to corporations as they need to buy genetically modified seeds on a yearly basis. In Cameroon, smallholders have to grow so much cotton on their fields that there isn’t sufficient room to grow food to feed their families. The list goes on and on.

I was asked again and again what my plans for after the shopping diet are. What happens next? I didn’t really know at first, but it became clear to me gradually. It can’t go back to how things were before. (Editor’s note: Read more at http://ichkaufnix.wordpress.com) My entire consumer behaviour has changed. I realised that, in my capacity as consumer, my money is my power. Everybody wants my money and I can decide who gets my money. Accordingly, I don’t only buy a lot less clothing than before and have renounced the ‘fast fashion’ principle completely, but I also exclusively buy organic, fairly produced, and second hand clothing. ‘Because I’m worth it’ is a well-known advertising slogan that, in my opinion, tries to portray shopping as a reward. The ‘fast fashion’ industry wants us to see fashion shopping as an incidental act. Why not buy a new top for an evening party? After all, it only costs five Euros.

In truth, the top comes at a much higher price. The price is paid by the environment and workers alike. I no longer go shopping; I buy clothing when I need to - modest, ecological, and fair. Because I’m worth it…” Nunu Kaller, consumer spokesperson at Greenpeace and author/blogger of IchKaufNix

“The fast pace of the industry can be dangerous for the retail industry, especially in terms of liquidity. The period during which a collection can be sold at regular prices is getting shorter. The customer is being taught to wait for the sale phase or ‘bestsellers’ and ‘must-haves’. I have started to purchase irrespective of the season.

If I wouldn’t, we would need to sell scarves in July and swimwear in the first week of January, because that’s when they are delivered. The customers are flexible, but we are trying to return the seasons into the correct order. A practical example proves that it is impossible for customers to buy a good bathing suit at the end of July. We strive to change that. Today’s customers don’t want new goods every week, but a selection that remains up to date for a longer period. We quite deliberately avoid some cruise and in-season collections. How are customers supposed to follow the ‘New In’ communication when even we, who deal with the collections on a daily basis, are struggling to do so? Our mix of street wear and luxury brands is steadily enjoying more success.

This development has been apparent ever since we opened the store five years ago. We are also pleased that the presentation of items from the introductory price segment next to high-end products is so well received by our customers.” Herbert Hofman, buyer & creative director at Voo Store Berlin

REACTING TO STRUCTURAL CHANGES

“For a sales agency like us, it is very important to detect changes in the increasingly complex and, above all, fast-moving industry in time, to react accordingly, and to remain true to our principles and aims in the process, thereby ensuring that we remain a sustainable business partner.

In times of demographic change, the topic of personnel development is at the top of our agenda.

Well-trained, committed, and motivated international junior employees constitute an important part of our team. Their global experience and focus ensures that we are always on the cutting edge; we utilise their influence to create an ideal trade channel for the German, Austrian, and Swiss markets. To this end, we have adapted the brand portfolio to the industry changes and the associated online trend. Our portfolio offers our customers a clear - yet still diverse and international - product selection in both the premium and street wear segments. We serve different tastes, age groups, and sales concepts. Through close cooperation and intensive communications with producers and designers, we find market-specific solutions for our brands’ collections.

Openness, reliability, and flexibility are qualities that have accompanied us on our path to our goals for many years and they enable us to do our job with passion and a high degree of quality.

Personal contact always comes first. The permanent maintenance of contacts and excellent service - the physical act of trading - remains irreplaceable for us. Thus we see the combination of all the aforementioned factors as an ideal way to conduct business successfully in times of structural change within the fashion industry.” Angelika Malzacher, owner of MaschAgency

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036 WHAT'S THE STORY RETHINK. STATEMENTS

INTEGRATING SUSTAINABILITY

“We live in a saturated market and in a multi-option society. The notion of not being able to decide what to buy due to the fact that EVERYTHING is available has almost become a widespread disease. It simply isn’t enough to focus the purchasing process superficially on the entire range of themes or to add a couple of candles and books to the POS. The customer group that represents the largest part of revenue is mainly defined by clothing and utilises fashion as a distinguishing feature. These customers want to be surprised, animated, and inspired. We need clear, comprehensible topics with face and heart, as well as authentic, fascinating product presentations. In my opinion this means the following for 2015: if customers whip out their smart phone, take a photo, leave a positive report on a social media platform, and leave the store with a bursting shopping bag, they have clearly been successfully seduced! Sustainable shopping can also trigger a good feeling. Mid-September 2015, we significantly expanded our sales areas for sustainable products, redecorated them completely, and further developed the original concept, which was focused on green plants, cartons, wheat, and jute. The new concept should visualise as many aspects of sustainability as possible; the entire sales area is decorated with up-cycled materials. It boasts recycled designer furniture, a carpet made of recycled plastics, and tables made of metal from a scrap yard. We also make sure that regionally sourced materials are used. The sales area should be fully integrated into the overall concept of Kastner & Öhler, but should also remain provocative. However, the most important thing is that it stands for fashion!”

Christian Adelsberger, purchasing manager at Kastner & Öhler

THINKING INSTEAD OF EXTERNAL REGULATION

“Over the past couple of years I keep on hearing that both retailers and manufacturers are yearning for the good old clearance sale. I do understand the background of this desire. We can actually solve the problem ourselves by delivering goods corresponding to the seasons. I think we can all agree on when the cold winter months are and when it is most likely to be warm in summer. So why are winter goods delivered in June and summer goods delivered as early as December? This puts the retailers under unnecessary pressure and shifts the core period of the seasons into the wrong months. We all know the consequences for consumers, retailers, and manufacturers. The consumers can’t get seasonal items in the designated months, the retailers can’t take full advantage of the season and the corresponding weather, and the manufacturers argue with their production plants regarding production deadlines that ensure the goods can be delivered early enough.

In my company, we don’t feel compelled to abide by the specified cycle. In consultation with our customers, we deliver winter goods in September/October and focus our sandal delivery dates on the warm summer months. The great thing is that the absolute majority of our retail partners share our views.

This way of joint thinking can be applied to so many other areas. The basic attitude is the most important factor. We don’t need to rethink, we just need to think. We enjoy this deliberation process and the dialogue with our partners and it certainly has a positive effect.”

Felix Engelmann, owner of Haptiques Trading Company

COMMUNICATE AND DEVELOP GLOBALLY

“After ten years in the retail industry, as co-managing director, buyer, creative director and human resources manager, I decided to make a change at the end of 2014. In addition to many factors, the fact that the industry has changed dramatically over the last few years was certainly one reason for this rather big step. The pressure, which has come to the forefront at both small, innovative and global companies, is especially noticeable in the highly specialised retail sector. In view of the globalisation of the retail industry along with the accompanying communication means (social media), this development is quite understandable. This is where my consulting agency comes into play. I try to expand the line of sight to ‘global’ without losing sight of the local retailer and the particular circumstances of the national market. A manufacturer distributes products into different regions, but the new media channels cross boundaries. Today’s consumers are well informed and can basically determine the availability of a certain product in real time on an international level. My work has become globalised too. An interesting field of activity appears to be developing in the Far East. Systems, processes, and strategies that have established themselves in Europe, or in western-oriented economies, can sometimes be adapted for these relatively new markets. I am excited about the developments expected to happen within the next one to two years, especially because the developments over the last three to five years within my current field of activity seem to be happening almost twice as fast in Asia.” Jörg Haas, founder & director Beinghunted. net.work

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UNDERWEAR SOCKS SHIRTS www.maratexfashion.li

038 WHAT'S THE STORY RETHINK. STATEMENTS

LIVE BY VALUES

“For me, the term ‘do things differently’ doesn’t mean ‘swimming against the tide’, but stands for reinterpretation and seeing things in a different light without neglecting basic principles. If designs are - as is often the case - merely copied, it leads to monotony, which is what we are currently experiencing in the fashion industry far too often. A little bit of this and a little bit of that - we try too hard to keep everyone happy. Often we don’t even realise that the balancing act of remaining credible and authentic is becoming increasingly difficult. And suddenly consumers are ahead of the industry and on the lookout for something completely different.

I want to achieve my goals with as little compromise as possible. In this respect, our Wunderwerk label follows a very simple principle. We primarily produce fashion at an excellent price/performance ratio - period. Quality, fit, and timeliness are prerequisites to play a role on the market, not merely in a niche. Sustainability, respect for humans, nature, and animals, and mainly European production sites, as well as the use of natural resources like organic cotton and wool from controlled biological livestock, are self evident for us and deeply enshrined in our corporate DNA. This includes buttons, yarns, and even pocket linings. If the implementation with sustainable techniques isn’t possible, we simply don’t do it or try to achieve the objective by other means. That’s what we mean when we say we are ‘more than organic’. And we want to exemplify that philosophy.

The positive feedback from customers and growth beyond expectations proves that we have the right approach. Fashion is about enjoying new things, innovations, and leaving the comfort zone. And it should be clear that one has to think about tomorrow, right?” Heiko Wunder, managing partner at Rheinstoff GmbH & Co. KG

MORE ALL-YEAR PRODUCTS

MORE EMOTION AND A RETURN TO OLD, TRUE VALUES

“We are receiving positive signals from stationary retailers and online retailers alike.

It seems as if the myth of online retailers being the huge enemies is relativising itself. The stationary retailers are beginning to recognise the opportunities afforded by personal contact with consumers and, in some cases, ‘multi-channel marketing’ has been implemented successfully. One can feel a certain togetherness. The trench warfare between online and offline seems decided. At the end of the day, a few online platforms, that conquered the market early with a highly professional approach, will survive and the number of stationary retailers remains relatively stable. Every trend has its counter-trend and, therefore, the stationary retail industry will experience a renaissance when the opportunities of our information society are evaluated correctly and exploited professionally.

The lack of emotion in the fashion industry does, however, give me a headache.

This is a result of the flood of information. The leitmotifs of purchasing departments are no longer emotion, taste, or style, but lists, figures, and sales results.

The stationary retailers must have learned this from the online retailers. In turn, online retailers react to the lack of emotion within the online business by introducing virtual shopping consultants. To me, the trend of the counter-trend is pre-programmed. We simply need more emotion in the fashion industry. Our transparent society leads to a de-emotionalised society and the life within the digital swarm leads to the desolation and loneliness of the individual. A transparent society is a society defined by mistrust and suspicion; it focuses on control due to declining trust. Thus, the moral foundation of society is fragile and values such as honesty and sincerity become less important. So I am hoping for the trend of the counter-trend: more emotion, more honesty, and more sincerity. It’s actually quite simple. We need to return to old, true values.” Mark Grütters, owner of Fashion Factory

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“Due to fewer trend impulses within the market, the retail industry will need more identity in the future.

Based on this fact, only concepts with a clear message and target group can be successful in the upscale retailing segment. A buying process that is split up into summer and winter seasons is technically a thing of the past. The retail industry needs at least 80 to 90 percent all-year goods, which are renewed by utilising different delivery rhythms. To date, the very narrow seasonal differentiations and wrong delivery rhythms result in permanent discount sales in stores. Retailers need to push their performance and DNA to the fore again, instead of focusing on price promotions. This is the only way to ensure that the consumer enjoys shopping again and recognises an appropriate price/performance ratio. The goods are currently treated like ‘junk food’. The focus on the essentials applies to both my retail operations and my agency. In my agency, I have always focused on a limited number of products and have always valued the service concept very highly. This has proven to be very successful over more than 30 years.”

Rolf Griesinger, owner of Internationale Mode GmbH

040 WHAT'S THE STORY RETHINK. STATEMENTS

STRENGTHEN OWN PROFILE

“In our capacity as luxury retailers, we simply need to face the fact that most of our brands, labels, and collections are now widely available at many mono-stores or online shops.

This means one can, theoretically, buy a flat by Charlotte Olympia in Wuppertal or Paderborn, not only in London or New York. What does this mean for us? We want to continue to establish ourselves as a brand and strengthen our own profile. It is not only necessary to put together a fine, meaningful selection, but also to ensure that the customers feel pleasure when buying from us.

With Uzwei, our new store concept, we follow that philosophy in a very determined and consistent manner. The editorial approach is to compile different themes, provide different stage designs over a season, and to attempt to create a lifestyle that appeals to young and fashion-oriented consumers. I’m very happy about the fact that we seem to have succeeded in developing a certain brand loyalty within a year. Fashion-oriented women sometimes purchase a bag by Loewe, Proenza, or Stella McCartney because they trust the style and selection of our editorial team. The more defined the Uzwei profile is, the easier it is for us to bring more clarity into the product range of Unger. As we fight for fashion-oriented, curious, confident, and enthusiastic consumers in the high-end segment, we can also broadly cover the luxury segment at Unger, which often leads to winning back eager customers who are struggling to navigate through the world of mono-brand stores.

It’s almost impossible for customers to cover their entire seasonal requirements solely via the stores run by international luxury brands.

How often does it happen that one hunts down a ‘must-have’ item, only to find out that the lack of product depth means that the shoe

by Hermès, the trousers by Bottega, and the suit by Dior are not available in the correct sizes.

I have been monitoring the changes within our industry for many years and time will tell whether our strategy, ideas, and approaches are the right ones. However, I strongly believe that luxury retailers are no longer system compatible without a clear handwriting and profile.” Florian Braun, managing director at Unger GmbH & Co KG

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PUSH FOR CHANGE

“The greatest appeal of fashion is that it can be new and fresh. Our interest in this aspect of fashion fuels our faster collection changes, which don’t even spare the venerable haute couture. However, that hampers the creativity of fashion designers, who have less and less time to work on innovations and often have to be content with re-combinations that are, from a creative point of view, mere finger exercises.

Luckily it is becoming increasingly clear that creativity is not the only resource that falls by the wayside. Other resources come off badly too, such as the people who produce both fast fashion and high fashion for renowned brands in inhumane social conditions and can’t even finance their own lives on their wages. And let’s not forget natural resources, such as water and energy. Raw materials such as cotton have become so scarce that the whole industry needs to reconsider its approach. In this sphere of the industry, change is not fuelled by pure reason, but by constraints. A shortage of raw materials is such a constraint, as is the rising energy cost. In this context, ecological change is initiated and new methods are tested. Jeans made of recycled cotton, jackets made of recycled PVC, and the concept of the closed cycle (in which old resources are recycled) are but a few examples. Social change in terms of the working conditions at producers - from the designer to the textile workers - is also only fuelled by constraints.

Bad publicity, such as in the aftermath of the Rana Plaza catastrophe, is such a constraint. The change that the fashion industry needs happened in the food industry a long time ago. Consumers can research which chicken has laid their eggs. Fashion, however, remains a largely anonymous product; fashion seems to fall into the store shelves from the sky. I want to change this fact. In my capacity as a fashion journalist, and especially via my start-up named Fair-a-porter, I strive to initiate change on two levels. I try to inform consumers about sustainable fashion and offer them a platform to consume fashion consciously by curating a range of transparently produced fashion items. I also offer brands that produce sustainably a platform to present their product range. I don’t only showcase the best, but also those who are on a good way - good and best practice, so to speak.

With Fair-a-porter, I’m working towards a fashion industry in which the passion for fashion is alive and well, but under different circumstances. Pseudo-innovative products with a short half-life should no longer be desirable, but carefully and transparently produced fashion that benefits everyone: the customers, the many producers, and the environment.”

Alex Bohn, journalist www.fairaporter.com

DO YOUR HOMEWORK

“It is important to know who your customers are. The product needs to be positioned accordingly. The best case scenario is when you can adapt your production to the realities of the market in a manner that allows you to always react to market developments in time.

When choosing your partners, you should make sure that there is constancy and reliability in terms of management and that the partners don’t change direction like a flag in the wind every six months.”

Fares Hadid, managing director at Berlin Bicycle Week

WHAT'S THE STORY 041 RETHINK. STATEMENTS

CREATE NEW CORPORATE CULTURES

“The change within the industry certainly poses one major challenge: the acceleration of almost all processes. For example, just think about how short-lived trends have become. As retailers, we need to tread new paths to ensure that we remain successful in our fast moving market environment. We believe that this also requires changing certain elements of our corporate culture.

In some areas, it seemingly makes sense to loosen control mechanisms in favour of allowing more autonomous decision-making at the operational level. Communication is one example that comes to mind. We are pursuing a new approach in this area, especially in terms of social media activities and co-operations with bloggers. Instead of specifying content in detail, we relinquish control quite deliberately. We are very curious about the mid-term results. However, I am already convinced that the faster and more competitive environment will cause other trend-sensitive companies to require more freedom for autonomous action. The buying department is a good example. Our customers expect us to offer cutting-edge products. As “cutting-edge” has also become short-lived, we need to ask ourselves whether traditional sourcing processes still allow us to react quickly enough to trends. It is vital to avoid losing both competitiveness and identity in an increasingly fast market. That is the challenge caused by change today.”

Dipl. Ing. Markus Dielmann, managing director at Dielmann Group

SPEED AND INTUITION LESS TALK MORE ACTION

“I think we are still doing way too little differently. The world has changed over the last decade and our behaviour as consumers even more. The fashion industry has fallen behind and is struggling to catch up. Nothing has really changed, except for the online business. The stationary retail industry is still the same. We attend a trade show, then place a pre-order, and half a year later everything is different to what we expected and, once again, we are all speechless and stunned!

We are like politicians; we can discuss issues for hours at trade shows. We moan and groan, but at the end of the day we are surprised that nothing has changed and that the inevitable has happened. Then there are the top-sellers and the customers who are willing to buy those top-sellers. However, there aren’t enough top-sellers and the customers’ behaviour is still underestimated!

Why do customers not behave the way we want them to? The answer is because we have all changed our behaviour in terms of spending money! And what does the retail industry do? Retailers are merely monitoring the situation, visiting the same trade shows as always, and utilising the same order system. There is hardly any replacement stock in the warehouses and a distinct lack of flexibility. The question is when one should change and should it be noticeable for customers or only for oneself? When do we manage to buy enough top-sellers to give customers what they are looking for?

The “Italian Holiday”, which took place on the 15th of August, is a very good example. Should we open the shops? So far, this day wasn’t particularly successful.

After long discussions - and because the month of August was tough enough as it is - we decided to open all six stores in Innsbruck’s Old Town. Lo and behold!

August was saved by record sales generated by shopping guests from Asia, Dubai, and forward transactions with VIP regulars! Locals, Chinese, and sheiks bought the top-sellers of the autumn season in temperatures of 30 degrees! This means for us that local/global business is the order of the day. And this particularly hot summer has convinced us to continue our plans to offer more new autumn items from July onwards in the future, to start the summer sale even earlier, and to learn a new ‘fashion language’ every year! This is how it works in Innsbruck.”

Theresa Minatti-Einwaller, buyer at Einwaller

“To be new and modern - also because of the crisis - we have to think about fashion in a different way.

We have to know that what we do creates trends, because it has also changed the way people dress and feel in terms of fashion. Usually those who don’t follow fashion create trends. And we also think that’s the way to follow to reach the markets that are always changing.

Today, the fashion and the markets are changing and moving very quickly. Right now, high fashion is leading the way, but it can suddenly turn to technical outerwear. To respond to the changes, we need to be fast and intuitive, with the aim of covering markets with smaller collections, rich in detail and with a well-defined DNA that suits all markets. To remain contemporary, we should propose more delivery dates throughout the year, to ensure that we can offer the consumers a wide range of products.”

Enzo Fusco, chairman at FGF Industry Spa

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042 WHAT'S THE STORY RETHINK

“WE ARE IN THE MIDST OF A REVOLUTION!” The increasing digitalisation goes hand in hand with profound change, thus not only challenging traditional business models.

Carsten Bange, a renowned market analyst, sat down with style in progress to discuss the big changes caused by digitalisation and what opportunities these changes offer.

Text: Nicoletta Schaper. Photos: Peter Schaffrath

Mr Bange, you predict that digitalisation will lead to revolutionary changes within all industries.

We ar in the midst of the technological revolution, primarily in terms of data and its analysis.

How can data improve processes?

To what extent can data act as a basis for completely new business models? One of the buzz words is “Industry 4.0”, which means nothing else than the digitalisation of the manufacturing field.

Another slogan is that software is becoming more important than hardware.

In many cases, the buyer doesn’t really want to buy the machine itself, but what it produces.

Many manufacturers are in the process of changing their business models and provide their customers with machines in 415 style in progress

combination with a commitment regarding certain production volumes - for which the customer then pays. For example, the compressor manufacturer Kaeser does not only supply compressors, but it also offers a billing model for the amount of compressed air used. Another example is Schwäbische Werkzeugmaschinen, which calculates on the basis of the units its machines actually produce. And let’s not forget car sharing, which is now also an integral part of the strategies of carmakers. It’s no longer about the product price, but about the service. This business model has enormous potential, especially in Germany. Our hardware is, compared to international levels, usually high-priced.

So software is a competitive advantage of the future?

So is the control of the machine that comes with it, which makes the profit controllable. Maintenance costs are crucial for machinery manufacturers. So far, this was the customers’ problem, but now it’s the machinery manufacturers’ responsibility.

When the latter have data-driven, more intelligent maintenance methods, it’s an important lever for their profitability. Regular measurements of sensor data allow a more precise prediction of when parts need to be replaced.

This means that unplanned outages, which cause huge costs, are much rarer. Even robots are becoming more intelligent due to new software. Today, one no longer utilises fixed programming to ensure that a robot identifies parts; now the robot is, instead, capable of autonomous action by means of software.

Google’s self-propelled car and corresponding announcements of German carmakers at the IAA prove that the future is all about software and controlling, respectively. The car itself is turning into a mere accessory.

Do carmakers understand the seriousness of the situation?

I think they have finally realised the urgency; there are many initiatives, even from German carmakers. However, the race is still wide open. IT companies,

especially Google, are setting the pace, not Mercedes or BMW. What about the other industries?

I think the strategic importance of data has been recognised.

The problem is implementation.

Many companies hesitate due to a lack of know-how in terms of technology and application.

Technology has already progressed much further than many imagine. As early as 2011, Facebook processed 500 terabytes of data every day! To be able to utilise that data, Facebook further developed technologies in co-operation with suppliers and can now place targeted advertisements. This has transformed Facebook into a highly attractive space for advertising.

What does digitalisation mean for the retail industry?

Currently, e-commerce is the growth sector. It is still unclear what effects this will have on the stationary retail industry. There are, in fact, products that I don’t need to see and touch physically.

In a subway station in Seoul, one can - for quite a few years now - view a supermarket shelf on a screen and scan the codes of the products on display. The shelf and the milk carton are purely imaginary. Do I really need to touch a milk carton? After all, I only want information. When is the expiration date? How high is

„We will have to get used to the fact that software competence will become more important than hardware“, says software specialist Carsten Bange.

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the fat content? Is the milk really organic? You can communicate much more information via a smart phone than you could ever print on a carton.

Why has this not asserted itself across the board yet?

The food industry is exceptionally slow. The margins are extremely low and the investments are high. Amazon recently announced its intention to enter the food trade and this will, as always, speed up the development process. At present, retail groups such as Rewe and Edeka are investing heavily in data analysis. Fresh goods that have not been sold by Saturday evening are thrown away. The more data is available, the easier it is to plan ahead. Internal data sources are not the only help in this respect, but the season and weather conditions have a major impact too. DHL, for instance, managed to optimise its driver management significantly on the basis of weather information.

People order more online if it rains on Sunday. This means that more parcels need to delivered on Tuesday. Furthermore, data about the competition can be equally helpful. Which measures have the competitors taken? In addition, there is demographic data. It is nothing new that the product range is defined by this aspect. However, the prediction - and therefore the control of goods flow and offers - is becoming much more accurate.

The sticking point could still be the delivery aspect.

The problem of fast delivery can be solved. Where retailers identify a lack of speed, they take action themselves. The ultimate goal is same-day delivery. If the logistics companies cannot offer that, then Amazon will simply decide to build its own drones.

Speed is absolutely critical. But there is also still sufficient room for data-driven disruption on the ground. For example, Uber is currently experimenting with a courier model in New York City. The parcel is picked up and delivered very swiftly. And why should one not also take a passenger along too? The aim of such “crowd sourced” models is that deliveries within an hour become cheaper than the usual overnight deliveries.

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Despite the online boom, you still believe that the stationary fashion retailers have enormous future potential.

I strongly believe that the tactile experience remains important.

As a consumer, I want to see the material and experience how it feels. I want to try on the clothes too. Even if someone develops technology that allows fitting via electronic imagery, I nevertheless “We will have to get used to the fact that software competence will become more important than hardware” Carsten Bange, CEO Barc GmbH

believe that stationary retailers will have a right to exist in the future. The big opportunity is to provide a shopping experience.

This experience should not only be focused on the process of selling, but also on the fun element.

As a modern consumer, I want to combine the benefits of online purchases with the experience of shopping in a store. The Hudson Yards in Manhattan, which are currently still under development, provide a huge sales area without adjoining warehouses.

Here, the fashion store transforms into a showroom. Every item is only available once, in each colour and size, which means that the selection on offer can be larger than ever. The purchase itself takes place in the store. However, the consumers don’t take the chosen products home; the items are delivered to the consumers from a central warehouse on the same day.

What does digitalisation mean in terms of service at the point of sale? After all, advice is one of the main strengths of the stationary retail industry.

Even advice can be automated to a large extent. Data can be utilised to create a detailed profile and to determine which networks an individual customer frequents. I can filter out how fashion develops and I can identify data-driven trendsetters who will be followed by many other consumers. A salesperson has to be very good to achieve something comparable based on experience and intuition. However, even stationary retailers can

take advantage of data to create product ranges that are much more relevant to their respective target groups. It’s already possible to identify individuals that pass - or even stop in front of - shop windows. The next step would be to adapt the shop window display to passing trade.

Likewise, iPads in the shop window and Click & Collect systems are already a reality.

In many cases, however, only large retailers can afford the necessary technological investments.

Smaller retailers still have two options. Either they decide to serve a niche market, or they team up with others. The latter is similar to the classic concept of a co-operative. Specialisation can be particularly advantageous for smaller retailers.

How critical do you see the digitalisation process?

First of all, everybody needs to be aware that digitalisation is happening. The opportunities for obtaining a vast amount of information about individuals already exist and they are being utilised to an increasing extent.

It has already become apparent that the definition and understanding of privacy will change.

Many people will soon understand the “data for service” deal and the awareness that nothing comes for free is on the rise. It is important that we retain the power to choose what we want to reveal and what not. My Facebook profile, for example, has been deserted for years, but I don’t feel like I have an economic or social disadvantage because of it. Digitalisation affords opportunities that need to be seized, especially for the industry as a whole and for retailers. In Germany, we often lack the willingness to try something new and to take risks - our mentality hampers us in that respect.

Therefore, I call upon companies to be more open for experiments; there are areas where you can achieve success with comparably small investments in data and technology. It all starts with the understanding that data is a highly valuable asset. The speed in which I offer new, innovative services is becoming increasingly important. And the time I have to implement them is becoming shorter.

In addition, jobs are becoming redundant.

So far, every technological revolution has created more jobs than were lost. However, some researchers question whether the same will happen this time.

We can definitely expect to have more free time in the future. The latest developments in robotics have led to a massive relief in terms of physical work. Even our more demanding mental abilities can be reproduced by machines with artificial intelligence. This is no longer science fiction. Our focus can be shifted to the cultural areas over the next 50 to 100 years. If we have more time, we also have more time for shopping. This takes us right back to the aforementioned shopping experience. We can only create theme worlds in stationary retailers. Online cannot keep up in that respect.

Carsten Bange is the founder and managing director of Barc GmbH in Würzburg. The institute specialises primarily in data management and data analysis. With 18 analysts on its books, it has the largest team in Europe in this niche market. Together with the analysis specialists CXP and PAC, Barc forms the leading European analysis group focused on corporate software and IT services, with a presence in eight countries.

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S WHY HUMANS ARE STILL THE MOST IMPORTANT RESOURCE STYLE IN PROGRESS #1/2016 12 JANUARY 2016

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EVERYTHING IS CHANGING Digitalisation is changing the foundations of the fashion industry. It all started with the rise of e-commerce and social media.

It continues with adapted production processes and the transformation of the wholesale business.

Interview: Quynh Tran.

Illustration: Claudia Meitert @Caroline Seidler

Digitalisation initially only stood for the transfer of content on analogue data media to digital systems, for instance from paper to CD-ROMs and disks. With the irresistible rise of the Internet, the process has taken on a completely different dimension.

Today, even objects, spaces, and processes are digital. Within the fashion industry, e-commerce has shown the full effect of digitalisation. While people still doubted online shops ten years ago, it has become clear that online retailing has already changed the market completely. If one asks what digitalisation can still change in the future, the answer is often one word: “Everything!” It starts with the production process, affects the retail industry, and changes the way we communicate with customers. “The key challenge for today’s fashion companies is: What does it mean to be a digital fashion company? This concerns all factors connected with process and efficiency optimisation, as well as all customer interfaces. Digitalisation is not about merely setting up an online shop. Digitalisation requires a completely different way of thinking”, says Javier Seara, partner and global sector leader for fashion/apparel at The Boston Consulting Group. “If you look at an item of clothing today, the production costs stand for roughly 20 percent of the retail price. In the other 80 percent one can find many inefficiencies in terms of money and time, which can be optimised through technology”, Seara estimates.

Today Digitalisation Means: Think Differently, Think Agile

New technologies make more and more steps in the manufacturing process increasingly efficient. Virtual 3D models of clothing items simplify the

design of collections, while 3D printers can create prototypes immediately, thereby allowing pattern information to be transferred to suppliers in real time.

Today, it takes up to a year until a collection makes it into the stores. Reducing this timeframe is a blessing that the fashion industry expects the digitalisation to deliver.

Even the inventory and delivery of clothing can be optimised by digital means. Gerry Weber and Marc O’Polo were among the first brands to introduce RFID technology to keep track of products throughout the supply chain, from the production site to the store, via electromagnetic waves. In the meantime, Zara, a subsidiary of Inditex, has also implemented the technology and aims to have RFID technology in all production sites and stores by 2016. It will monitor the inventory automatically and will save time and money.

The Challenges of the Retail Industry

Digitalisation had - and still has - the greatest impact on the retail industry. The rise of e-commerce - led by the likes of Asos and Zalando - has fundamentally changed the market, especially the retail sector. But instead of cannibalising each other, the stationary and digital worlds are merging rapidly. One-way strategies no longer work in times of highly demanding customers; multi-channel and omni-channel strategies are the order of the day.

“Online and offline must go hand in hand and need to learn from each other”, says Anita Tillmann, the founder and managing director of Premium. “The buying behaviour has changed greatly through digitalisation and the use of smart phones, tablets, etc. (mobile devices) - everything is available at all times. This leads

to online impulse purchases, which are highly dependent on context. Nevertheless, the majority of sales are still generated in stationary retailers. For customers, the direct contact and expert advice remains valuable and important. Some online platforms have already implemented ‘curated shopping’, which offers individualised selection and style consulting services. Online retailers have perfected the ‘customer journey’, meaning they know exactly how to lead the customers through the product range. How can I give adequate purchase suggestions based on the buying history? In turn, this represents a learning opportunity for stationary retailers.”

That the two worlds overlap, is not only proven by large online retailers, but also by the stationary retail industry, which is gradually introducing supplementary online shops.

“Thanks to the big players, the e-commerce standards are highly complex and already clearly defined. We, in our capacity as a classic retailer, see this as a huge challenge, especially as we entered the online segment relatively late and had to transfer our stationary concept into the digital world with limited resources. That involves content that goes beyond the product itself and emotions. In order to transfer the shopping experience into the virtual realm, one needs individual storytelling and an editorial mindset. We will achieve this by re-launching our online presence in autumn”, says Andreas Kampe, head of e-commerce at Berlin-based department store Quartier 206. There really is no alternative to an own web shop.

However, this doesn’t mean that the online business has to be handled in-house. Farfetch, a global online platform, currently showcases the product ranges style in progress 415

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of approximately 300 luxury boutiques. Farfetch handles marketing, sales, and logistics while participating in the generated profits - a model that combines and shares resources.

When Wholesale Goes Digital

Tommy Hilfiger introduced an entirely different sphere of digitalisation when it launched its digital showroom. Instead of flipping through samples on a rack, the retailer now simply picks up an iPad. He can then view the items on a display dummy on a big screen, turn it 360 degrees, zoom in, alter materials and colours, and retrieve all sorts of background information. The only “real” elements that remain are a few material samples and, of course, the human contact with the brand’s employees.

“If the digital showroom prevails - and I’m convinced that it will - it could change the entire wholesale model fundamentally.

The whole idea of wholesale is completely outdated. Something needs to change - and this change will be digital”, says Javier Seara. “The concept of a digital showroom was initially met with scepticism, even internally.

But the system made everything more lucid and more efficient not only for us, but also for the buyers”, says Daniel Grieder, the global CEO of Tommy Hilfiger.

He continues: “For me, it isn’t a question of if, but when digital showrooms will prevail in the textile industry, mainly because they have so many advantages.

There is another important factor: Today’s generation is moving in the direction of consumers purchasing goods online. This generation is used to doing everything online and those are the buyers of tomorrow. They want a digital showroom. They want to come to the market, but they want to buy on the screen.

People have become accustomed to doing things on screens.”

“Digital order processes make a lot of aspects easier. You can view your orders and change colours or quantities, instead of grappling with countless paper punches. I can imagine that working for the mid-priced and possibly the premium segments, but not for the luxury segment”, estimates Milena Lubosch, head 415 style in progress

of buying for e-commerce at the department store Quartier 206.

Holger Petermann, managing director of Think Inc Communications GmbH, sees a positive potential: “Everything that can be digitalised will be digitalised.

This concerns the retail trade, trade shows, and communication channels. Digital structures also create new floors and spaces. In both the retail world and at trade shows, one can create key product displays that are particularly special and brand-conscious. The remainder is shifted from the racks into the digital space.”

“A digital showroom makes sense for brands that focus on systematic purchasing, for others less so. A digital showroom can be an auxiliary tool, but it certainly isn’t enough”, Anita Tillmann summarises. “As a trade show, we present all the newest trends, we are mediators and informants, and bring together relevant fashion industry players in the tech field. The digitalisation of order processes is not our core mission.”

Tommy Hilfiger believes its digitally supported showroom is already a huge success: “The devices optimise the processes and halve the order time. As soon as our customers recognised the advantages of the system, they were delighted”, Grieder reveals.

Reverse Digitalisation - How Digital Returns to Stationary

Tommy Hilfiger is equally innovative in its own retail department. The “Store of the Future” concept introduces digital elements to the stationary retail world. In the Tommy Hilfiger stores, customers will be afforded access to a larger product range via iPads. The products can be purchased on location. This is a concept that Adidas has also already implemented with its adiVerse touch screen walls.

Topshop has even introduced a Tweet Mirror, which communicates real-time reactions to the outfit chosen by the customer.

C&A Brazil even has hangers that include real-time Facebook likes of products.

Grieder believes that precisely this networking between online and offline is the model of the future: “The whole industry needs to embrace omni-channel strategies. It doesn’t matter any-

more where the customer decides to buy a product; that the customer buys is the only thing that matters. You have to convince the customers of your brand. It’s no longer about sales per square metre, but about enthusiasm and innovation per square metre. Today, the customer is faster than the companies, which is rather dangerous. One needs to be willing to let changes flow into the company and have visions of how it will look tomorrow. If we wait for the next generation to make these changes, it’s too late.”

Anita Tillmann believes it is precisely this knowledge of the customers that offers great potential: “There have never been so many people interested in fashion and looks; they have awareness of what fashion can do to you.

This is particularly apparent in the men’s fashion segment. For the first time, young men think about how they come across, utilise fashion consciously to express their identity, and absorb fashion. The awareness for fashion has been changed greatly by this selfie culture; it already has an effect on the fashion industry and will have an even greater effect in the future. When all these kids, who have grown up with social media channels, earn money, it will have a huge effect on fashion sales.”

Holger Petermann claims that this potential can be influenced directly. Petermann cooperates with DMR, an expert for social media analysis and brand evaluation, in order to optimise the “Bespoken Process”, which is a digital communication process aimed at “managing key products in the media sphere as quickly as possible and simultaneously.

The ultimate aim is to heighten the awareness and relevance of a brand among consumers, promote desires, and ultimately trigger a buying impulse. This is going to be extremely important, in this context, to reinforce the image of a brand.”

The Customer Influences Production Processes

Today, customers are not only well-informed and active in terms of fashion, but they also influence the production process.

Opinions in social media have a significant influence on product ranges. Corporations such as

Google and IBM offer “big data” analysis software that evaluates tonality and tags in user opinions to filter customer preferences.

This works as follows: IBM’s “Social Media Analytics” has identified suede as the main trend for autumn. According to Frankfurter Allgemeine Zeitung, more than 30 percent of all products were sold out at H&M at the end of August. Cosmetics manufacturers such as Bobbi Brown or Mac even go so far as to let the consumers choose the colours for the upcoming season via Facebook likes. Fashion companies also rely increasingly on the opinions of their customers and allow them to customise products. Examples include Prada’s shoe classics, Nike’s running shoes, and Longchamp’s bags.

This topic is also on Tommy Hilfiger’s agenda: “The opportunity for customers to produce their own design and to select the cut, colours, and details they want, will play a major role in the future. The choices are then transferred to the production site digitally and the customised product can be picked up at the store two weeks later. The production processes will be shortened extremely by digitalisation.

Digital is the new normal”, Daniel Grieder summarises.

”FASHION AND TECHNOLOGY ARE INCREASINGLY INTERCONNECTED” Years as a buyer for fashion companies like Anne Taylor and Pea in the Pod made Mona Bijoor realise one thing: the process of ordering with catalogues, pens, reams of paper, Excel sheets, and fax machines would keep the wholesale business stuck in the 20th century. In order to make the process paperless, analytical, and efficient, she started Joor in 2010. Four years later, the online platform processed almost three billion fashion wholesale orders, serving customers such as Rag & Bone, Façonnable, Peter Pilotto, Jason Wu, Marni, Balmain, APC, Stella McCartney, Charlotte Olympia, and Loewe. Today, about 40 percent of the orders come from Europe, while European designers sold about 1.5 billion US Dollars worth of goods through US-based Joor. We were given the opportunity to pick Mona Bijoor’s brain about the digital future of fashion. Text: Petrina Engelke. Photo: Joor

Why is the concept of ordering in showrooms not suitable for today’s fashion business?

will have their own philosophy and stick to their strategy and won’t conform to industry standard.

Showrooms certainly have their place, in fact most of our clients use the Joor platform in the showroom to place their orders. However, there was also a demand for a way to find items for your store without having to leave it. That has been a game-changer for small businesses and e-commerce start-ups.

When you look at the data pertaining to wholesale on your platform, what is happening in the fashion industry that you weren’t aware of before?

Resort collection, high summer collection, pre-fall: There are more and more attempts to sell new collections. What direction do you think this is taking?

I think newness is a trend that is not diminishing. Consumers want differentiation and it is important to inject that newness into collections throughout the year. However, we’ve seen very successful collections that show 2-4 times a year. There is no hard and fast rule. Successful brands

The most interesting and surprising trend to keep an eye on has been the lingering effect of fast fashion, where brands move their products from runway to stores very quickly in an attempt to remain in trend. We’re starting to see that this is making fashion more “trendless”: It’s getting harder to isolate what the global community of designers has in common. Fashion will always to a certain extent be related to the season because people will never want to wear fur in August regardless of what the trends dictate. But the biggest innovators in fashion are not really as concerned with “what colour is in

right now” as opposed to “how can I get the right product to the customer at the right value.”

What is your personal take on the pace of fashion and its future?

Fashion and technology are becoming increasingly interconnected. Clothing is becoming increasingly concerned with functionality, and functional items are increasingly becoming concerned with being stylish.

Last year Apple decided to become a watch-company and Fitbit became a fashion and fitness accessory. We know that the line will continue to blur.

With Joor, Mona Bijoor digitalized wholesale for apparel and accessories – and made it easier.

Ultimately, she wants to bring her service not only to the fashion industry, but also aims to help the furniture and toys sectors.

https://jooraccess.com/

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The One Hand – And The Other While online shops are dipping their toes into “brick and mortar”, stationary retailers are realising that digitalisation is the future. The art is to cross borders and to transform divisive factors into unifying ones. style in progress tracked down individuals who have turned the buzzword “multi-channel” into profitable business models.

Text: Kay Alexander Plonka, Quynh Tran. Illustrations: Claudia Meitert@Caroline Seidler. Photos: Interviewees

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Stylealbum Backyard Online Concept Store

Stylealbum’s balanced mix of luxurious and more inexpensive products appeals to both cool businesswomen and trendy students. Now the small online boutique has opened its own store in Düsseldorf.

Those with a sufficient online presence can rely on stationary locations that only well-informed customers can find. In late August, Stylealbum, the well-known online concept store, opened a 180 square metre store in a backyard of Bastionstrasse 9 in Düsseldorf ’s Carlstadt district.

The product range does not only include fashion by designers such as Achtland, Stine Goya, Kaviar Gauche, Baum und Pferdgarten, Just Female, and Malaika Raiss, but also accessories, jewellery, stationery, and electronic gadgets, as well as beauty and interior articles. The products are showcased in the ambience of an airy loft atmosphere. Last year, Sue M. Lee, the fashion designer and founder of Stylealbum, opened a three-month pop-up store in Bilker Allee, which was her first foray into the world of stationary retailing. She had launched her online shop eight years earlier. So why did she opt for a permanent stationary presence after all? “The product mix of Stylealbum is very particular.

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customers. The photos on the Internet sometimes fail to do the elaborate processing of the designer items justice. The pop-up store has proved that the customers enjoy being advised. They like having the products explained and being shown combination possibilities. The main focus is not on shopping itself, but on creating an experience. Nevertheless, the combination of the offline and online worlds is vital to ensure that we can offer the best service possible.” She does not believe that the backyard location is a disadvantage: “We are convinced that this concept works. Concept stores such as Voo Store in Berlin or Merci in Paris prove that backyard locations can be quite successful. We plan regular events in the store, such as readings, movie nights, and product presentations. We strive to provide incentives to visit us on a regular basis. We

want the customers to feel comfortable and enjoy their stay with us - beyond mere shopping!” www.stylealbum.com

Sue M. Lee is a fashion designer in her own right; for Stylealbum, her online store, she often selects collections that need explaining.

The timing for her new, stationary store is perfect.

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Online City Wuppertal Every City is a Mini-Amazon The unique German funding project “Online City Wuppertal” is aimed at ending the impotence of stationary retailers in the face of supra-regional online competitors. It also strives to give Wuppertal’s customers the good feeling that they can shop online and still strengthen the local economy.

“We want to show Wuppertal’s customers that the product spectrum and diversity of the major online marketplaces is already available in their own town. We don’t have to bring it in from somewhere else”, explains Christiane ten Eicken, a project manager at Wirtschaftsförderung Wuppertal.

Together with Andreas Haderlein, a business journalist and innovation consultant, she set out to introduce multi-channel retailing to the city. “Product diversity and availability are not unique features of Amazon & Co. Our city offers those aspects too”, Haderlein explains. 65 stationary retailers have joined the project and offer more than 8,000 products online. Many of the participating retailers are owner-managed stores from the fashion, jewellery, food, and furniture sectors. “The project funds alone would never have been sufficient to create an online shop for the whole town.

Therefore, we are thrilled to have found a partner in atalanda, an Austrian company that offers the platform for the marketplace itself and handles the logistics for same-day delivery. That is an unbeatable competitive advantage

over the other Internet giants”, ten Eicken argues. The delivery of ordered online products is organised by the delivery company MyCocktail Taxi, which utilises its fleet to capacity. If you order before 4.30pm, you receive the desired goods on the same day.

The concept is clearly convincing. The participating retailers report an increased customer frequency, on their respective sales floors mind you! In some cases, retailers have experienced double-digit sales increases.

The online presence specialist atalanda is currently in talks with no less than 130 cities. In autumn, the cities of Attendorn, Göppingen, and Wolfenbüttel are planning to launch their own online portals. Wuppertal is in the process of establishing the so-called “Retail Lab” in its town hall gallery, were supra-regional online retailers will be afforded the opportunity to showcase

their products in a shop-in-shop concept. “Within the framework of this pilot project, retailers can test innovative multi-channel concepts temporarily”, Haderlein explains. In addition, the city will soon open a drive-in counter where customers can comfortably pick up and return parcels from their car. www.onlinecity-wuppertal.de

65 stationary retailers offer 8,000 items - Wuppertal proves that product range and depth are not a monopoly of the larger e-commerce players. Christiane ten Eicken, the project manager, reports an increase of customer frequency and revenue.

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Kresnik Woman Store Curated Shopping, Hand-Made

“Out into the world” - or at least into Austria and Germany, for a start - is how one could summarise the main objective of Helga and Helmut Kresnik for 2015.

The name Kresnik is wellknown in the South Styrian village of Leibnitz, mainly because the Kresnik’s mother-in-law started to establish the family business with the first fashion stores 58 years ago. Today, the family runs three franchise stores on Leibnitz’s main square and, for the last 12 years, they also operate Kresnik Woman Store, a multi-brand boutique that stocks brands from the upscale price segment. Helga Kresnik, the managing director, is always accessible for her customers, either on-site, by telephone, and, since June 2015, also online via the personal shopping platform mywomanstore.at. It all began seven years ago, when the friend of a customer asked about the source of a particularly fetching outfit.

Kresnik simply sent her an outfit per post and has successfully repeated this service ever since.

Her website, which is basically a curated shopping platform, offers online what she already offers over-the-counter. “We don’t want to place a product range in the Internet store, but strengthen our services and, thus, strengthen our business as a whole”, Kresnik explains. Customers register on the website by supplying personal details and preferred tastes.

They are then contacted by the styling team via telephone and e-mail to fine-tune the profile.

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surprise package, as a rule with two combinable outfits worth 2,500 Euros. The package consists of items by brands such as Burberry, Max Mara, Marc Cain, Michael Kors, Moncler, Più & Più, Schumacher, or Strenesse.

The customers can return the elements of the outfits they don’t want to keep. How does Kresnik differ from other curated shopping platforms? “I believe that we can do it better. We still have much to learn about the Internet, but we have a lot of experience in terms of advice and are much closer to the customer.” mywomanstore.at is definitely attracting a lot of attention. Besides Facebook likes and a steady flow of new registrations, the platform sent out no less than 10 surprise packages in its first month in operation. www.mywomanstore.at

A classic online store would probably not have operated profitably for long - Helga Kresnik believed it would be smarter to transfer her store’s product knowledge into the online world.

Ten packages in the first month are certainly an excellent start.

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Amsterdenim The Win-Win Situation

The Dutch label Amsterdenim does not want to create competition for its retailers with its own web shop. This is why the brand has decided to pass on the proceeds from online sales to its stationary retailers.

Amsterdam is perceived as the unofficial denim capital of the world. Therefore it comes as no surprise that Ben Fokkema decided to proudly name his label Amsterdenim. The logo reflects what makes Amsterdam so special: the historic old town with its many bridges, picturesque canals, and intricate gables. In the best tradition of Dutch merchants, Fokkema has also developed a truly likeable business model. Retailers that decide to list Amsterdenim items are afforded the opportunity to sign up for the Online Community Programme. All online sales - minus shipping costs and a handling fee - are passed on to the participating stores. Ben Fokkema explains the concept as follows: “When a customer visits the online store and finds a suitable product, we highlight the store closest to the customer’s location. When the product in question has been purchased, the customer can choose between picking it up from the store and having it mailed. If the customer decides to pick up the product from the store, we send it to the closest shop immediately. This affords every retailer the chance to access the entire collection.

The customer can handle the goods, try them on, get professional advice, and - if necessary - pick a different size or model.

We believe that this approach is the next big step for the retail industry and brand marketing in general.” To date, no less than 65 retailers have signed up for the programme. The declared aim is to persuade all Amsterdenim retailers to participate, thereby expanding the network of “pick up locations”. Amsterdenim is currently working on software that enables the label to monitor the inventories of retailers in real time, which, in turn, means it could communicate product availability to the consumers in real time. So far, the service is only available in the Netherlands. From February 2016 onwards, the win-win concept will be implemented in Germany and other countries.

The Online Community Programme launched by Ben Fokkema, the founder of Amsterdenim, is aimed at bringing more business to the brand’s retail partners. If you order online, you can pick up the items in the store itself.

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Sarah Rutson, vice president of global buying at net-aporter.com, is on Ibiza. Riccardo Tisci, the head of design at Gucci, is there too. And because the world is a small place, Elina Halimi, the owner of Parisian luxury store Kabuki, posts the same sunset as Rutson and Tisci - merely photographed from a different corner of the Balearic island. You may ask what this has to do with fashion. The answer is: a lot. After all three individuals (incidentally the most influential of this year’s Ibiza visitors) take some Ibiza vibes back to the office. Is this picturesque sunset the birth of another micro trend?

During the pre-social media era can anyone remember what that was really like? - such coherence would have gone completely unnoticed. Well, maybe a highly paid trend scout would have interviewed all three, translated the Ibiza impressions into a colour chart, and published it in a trend book. How old does this business model sound today?

In 2015, you need a fat “k” behind the number of followers.

Justin O’Shea, buying director at mytheresa.com, has approximately 65,000 followers (as of September), Sarah Rutson has 34.4k, and Leila Yavari, fashion director at Stylebops, has 25.9k.

One is part of it - every day for a few moments. One is right there when Justin places an order at Miu Miu in Milan, when Sarah invites friends to hang out in the Hamptons with Gwyneth Paltrow, and when Leila is inspired by the luxury flea market Aux

! e M

The fashion industry has found a new favourite medium. Instagram followers are the social media currency of the hour.

The combination of private insights, global inspiration, and visual information is especially appealing to those who strive to be faster than anyone else.

Text: Martina Müllner.

Illustration: Claudia Meitert@Caroline Seidler.

Photos: Interviewees

Puces de Saint-Quen. “If you want to sell fashion to others today, you need your own stage”, the German FAZ newspaper titled an article about Leila Yavari.

Is it a coincidence that today’s top fashion buyers are athletic (the men) and zero skinny (the women)? It certainly won’t come as a surprise to anyone that the fashion industry has embraced Instagram, which is a self-expression medium predestined for vanities.

When It’s in Bunte, It’s #commonsense

No, Instagram is no longer an insider medium. This is proven by 400 million active users worldwide (September 2015) and by the fact that Facebook paid one billion US Dollars for Instagram in 2012. Another good example is “Die Bunte”.

The German yellow press icon recently started illustrating the prominence of the depicted twenty-somethings in Instagram followers when reporting from events such as the MTV Video Music Awards. When it’s in fashion, it’s in Vogue - and when it’s for the masses, it’s in Bunte!

Instagram’s owners are delighted,

and understandably so. The New York office only recently added some rather famous individuals to its payroll. Eva Chen, a close friend of Anna Wintour, is a good example. As of July, the former editor-in-chief of Lucky Magazine - and self-made Instagram star - can add the beautiful title “Instagram head of fashion partnerships” to her CV. One does want to earn back that billion somehow, after all. This means that business models that are largely based on free traffic from Instagram are on shaky legs. Or they are built on the realistic prospect that one will have to hand over a “share of checkout” to Instagram and Facebook in the future - in whatever form that may be.

However, the view through the keyhole of designers, creative minds, buyers, and agents remains open to us all. Marc Jacobs just settled down for the night with Neville, his pit bull.

There’s that goodnight selfie for his 289k followers. Suzy Menkes is thrilled. The Grand Dame of fashion journalism adores Instagram, both for personal inspiration and for the purpose of reporting from the many

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events, exhibitions, and shops that don’t make it into her Vogue column. She raved about the advantages of Instagram during an interview with Marc Jacobs and promptly he also became an addict. Such stories hardly ever find a place in traditional media channels, which is why they are so fascinating. Especially as these “insider stories” are not only about people, but, in many cases, about brands.

Discover Brands Earlier

“We discovered Briston Watches on Instagram”, says Tommy Wieler, who manages the agency Another Souvenir together with his wife, jewellery designer Vanessa Baroni-Wieler. They established direct contact swiftly and, a mere few weeks later, the watch brand was in the portfolio of the sales professionals.

And even more importantly, the watch brand went straight into stores such as Engelhorn, The Listener, Apropos The Concept Store, Lodenfrey, and Bungalow.

The doors literally flew open. “If you click your way through the Instagram jungle for a while, you develop an eye for special things.

This format is just brilliant for portraying the image of a label; you can determine whether a label has style very quickly.” As an agent, one is “always on the lookout. It never stops. After all, it is our goal to find exciting items that correspond to the style of our accessories agency.” Seeing that everyone goes hunting at trade shows, the Wieler family believes that Instagram is currently an insider tip.

Warm-Me’s Theresa Steinbacher also uses Instagram: “However, I never use it for private purposes, but exclusively for our Warm-Me brand. Naturally, I always keep an eye on the room with a view agency too. Anine Bing, Sincerely Jules, Cecilie Copenhagen, and Ateline Pauline are all brands that rose to fame via Instagram.

Clever buyers who search Instagram often spot such brands half a year before everyone else.

This means that the medium enters into a certain competition with the classic agency business.

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Nicole Doleh, owner of Inked: “My scouting and sourcing is an exclusively offline activity.”

ahead of the agencies.” Bungalow Stuttgart’s Uwe Maier agrees that it has turned into a bit of a race: “Of course you’re happy when you stock a brand before it even has a German representative. On Instagram you can sometimes discover brands where you think: ‘Oh, that’s cute. I’ll pop by when I’m in Paris.’ I am, however, quite Swabian in nature, which means that I do tend to monitor a new brand for two seasons before placing an order.”

What Up?

“When I see the display windows on the Selfridges account, I feel just as well informed as if I was in London myself ”, Theresa Steinbacher swoons.

Colette, Beams, The Store, Luisa Via Roma - Instagram offers a round-up of the world’s leading stores free of charge. “Of course you check out what the others are doing”, Uwe Maier agrees.

“I don’t research on Instagram, no”, says Nicole Doleh, the owner of Inked in Vienna. “Precisely for this reason: if you can find something on the Internet, then anyone, who has a reasonable insight, is ambitious enough, and is sufficiently patient, can find it. That’s not enough for me. My scouting and sourcing is an exclusively offline activity.

I need to get out there. I need to visit cities like New York or LA, but preferably areas that are not also frequented by everyone else. Last year, for example, I was

trekking in the hills and, by pure coincidence, met the owner of a very exciting sportswear brand.

Sometimes I just hang out in front of a whole food market in Brooklyn for a day to take photographs of the people there.

Can I spot a new look? Is there something new out there? That’s my definition of research; I don’t merely browse through Instagram posts. The latter would feel like using a tabloid as a source for insider tips.” However, Doleh is a heavy-user of social media for her store. Instagram and Facebook, as well as the Inkedology Blog, contribute to the store’s identity significantly.

“This is where we communicate our lifestyle; it has very little to do with pure sales or acquisitions. Our newsletter is, for instance, called ‘gang tabloid’, because we perceive ourselves as exactly that: as a gang - in the positive sense - and a community that is interested in honest, valuable, and rich stories and brands.” Naturally, such measures also generate sales. “We do receive requests from all over the world, which is obviously a nice feedback.”

That’s Worth a Heart!

Alessandro Squarzi, owner of the eponymous agency with branches in Milan, Bologna, Florence, and Ancona, uses his personal Instagram account and his agency’s corporate account “outbound”. He says: “I use the

Theresa Steinbacher, brand manager at Warm-Me: “A top retailer will naturally try to ensure his research is ahead of the agencies.”

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Uwe Maier, Bungalow and Bungalow Gallery: “I am convinced that Instagram is a great opportunity for smaller brands.”

Alessandro Squarzi, Showroom Alessandro Squarzi and owner of Fortela: “I learn so much via Instagram.”

accounts to promote myself and Fortela, my brand that I wear every day.” It certainly helps when creator and brand are so congruent. His years of experience in the fashion business literally forced him into developing his own private label. The style can be described as “modern gypsy for men” and he, as an Italian through and through, certainly is the best role model one could imagine. “I learn so much via Instagram. No, I haven’t discovered a new brand for our agency yet, but I have been contacted by many consumers.” This is a whole new facet of exchange, especially for someone who has, so far, worked behind the scenes of the fashion circus. Logically, such feedback convinces, seeps into the work, and inspires. “Instagram is a great presentation platform for your work. You can be discovered by new people and existing customers can follow what you’re doing.”

“Instagram & Co have completely changed the way that new

brands surface. The big advantage is that you can establish direct contact with consumers from one day to the next, receive feedback immediately, and build a solid fan base”, Theresa Steinbacher explains. “The pace of social media makes the classic season rhythm - actually every kind of rhythm - completely obsolete. Trends rise so quickly; and many disappear again just as quickly. For start-ups like our brand Warm-Me, this represents quite a big investment. We need visual material throughout the year and, more importantly, we need ideas and an interesting storytelling concept. It’s a challenge to create that kind of content.”

“I am convinced that Instagram is a great opportunity for small brands”, says Uwe Maier. “For us retailers, however, the question is whether we are focused on gaining followers or buyers. For me, it’s ultimately about quality, as always. Do I have people among my followers who say: ‘Yes, that’s great. I want to buy that item.”?

Tommy Wieler, owner of the sales agency Another Souvenir: “If you click your way through this Instagram jungle, you develop an eye for special things.”

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“MultiChannelling is Reality”

Dortmund-based Lindner Fashion’s Susanne Lindner is definitely not a digital native, but she is certainly digitally addicted to a certain extent.

The managing director herself chooses what is posted on Facebook, Instagram, and Pinterest.

Text: Martina Müllner. Photo: Susanne Lindner

style in progress: You are very active on both Facebook and Instagram. We are interested to find out if you also utilise Instagram for research purposes.

Susanne Lindner: That happens inevitably. I am generally the type of person who absorbs everything and is both visual and creative. I travel a lot - not only to the solitude of nature or the bustle of cities. I also travel on a smaller scale, figuratively speaking. One can also travel within that little square. Naturally, I am sometimes approached by people or I discover collections and the people behind them.

Is this type of research aimed at being a step ahead of competitors or gaining access to collections before they are officially presented in Germany?

No, that’s not really my intention. It is, without doubt, a different feeling to be able to chase a brand, to compete for it, to communicate, and to win that brand over. It’s a great feeling - and it’s different than when the brand is presented in a showroom and is seen by the entire industry over the course of a weekend.

How important are these discoveries on Instagram?

They are primarily smaller additions to the product range. For instance, I discovered hand-crafted bags made of bast from South Italy on Instagram. I approached the woman who makes them and actually placed a small order. But it’s not a fashion brand, merely one of the smaller elements that make our product range more exciting.

Do you also keep an eye on what your colleagues are up to?

No, that would only confuse me. I seek inspiration on Instagram. I follow people with a sleek gallery, such as photographers and brands. In all cases, one notices very quickly who offers real quality and does it for enjoyment and a passion for presentation, rather than just for business purposes. I believe the same rules apply to digital media and the regular buying process.

I don’t look for the biggest hype, but for individuals and brands that have a unique approach to their products - more sustainable, with a higher intrinsic value, and richer in general.

How much of your time do you invest in social

#followthebuyer Susanne Lindner does not only use the Lindner Fashion Instagram account to share work impressions, but also her own passions.

media and do you post everything yourself?

I have taken responsibility for this area, because I am passionate about it. That means it is a 24/7 job for me. I don’t see it as work when I edit photographs in the evening, quite the contrary. I love doing it.

What is the reward? Do you generate additional sales?

Of course we do. Even though we don’t have an insane number of followers, we still receive requests repeatedly and subsequently send our goods to all corners of the planet. Facebook is a lot more regional in that respect. Facebook users, who have spotted a certain look, turn up in our store two hours later.

Both platforms are an opportunity to remain in contact with customers and, more importantly, to promote our lifestyle. style in progress 415

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#asseenoninstagram

Brooklyn Soap Company Bearded Nice Guys

Fortela Man With a Mission

The modern German man smells like Brooklyn. The fragrance of the lumberjack hipsters from the famous borough of New York is captured for the Germany-based Brooklyn Soap Company by perfumer Mark Buxton. The men’s perfume “The Woods”, which is named after a bar in Brooklyn, is characterised by mandarin, nutmeg, absinthe, myrrh, amber, and musk. Naturally, Brooklyn Soap Company also offers soap. The liquid soap comes in packaging that resembles brown apothecary jars. Bearded men want to spruce up too. A vegan beard hair shampoo can be purchased individually or as part of an anti-shaving kit in a jute pouch. The products have become popular in numerous countries. The men’s cosmetics of Brooklyn Soap Company are not only available at Voo Store in Berlin, but also at Manifest in Montpellier, Sharper of Sweden in Gothenburg, AP&CO in Zurich, and NAP in Warsaw. Brooklyn Soap Company does not follow a seasonal rhythm, mainly because the brand reserves up to a year for the development of new products.

Alessandro Squarzi - this name is iconic in the context of Europe’s top showrooms. In his four locations in Italy, he played a key role in the promotion of renowned brands such as Dondup, Forte Forte, and Monocrom. With the support of specialists for materials and research, he is now perfecting his vision of the perfect outfit for the “Modern Gipsy” - with increasing success too. Fortela is proud of its promise “fatto a mano”. The pieces are manufactured on old Union sewing machines, the materials are durable enough to comply with gruelling military demands, and the brand uses real horn buttons.

The Italian fashion enthusiast could talk about details regarding “his baby” for hours and hours. He has already convinced some of the most renowned menswear stores worldwide: Beymen Istanbul, Excelsior Milan, George’s Rome, Harvey Nichols Hong Kong, Isetan Mitsokushi Tokyo, and Stereo Muc Munich. The purchase prices for vests range from 40 to 60 Euros, while trousers cost between 70 and 105 Euros. The brand offers two collections per year and could add a women’s collection in the near future.

Brooklyn Soap GmbH, 20095 Hamburg/Germany, T 0049.40.88232207, sales@bklynsoap.com, www.bklynsoap.com

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Fortela, 20135 Milan/Italy, T 0039.02.29419491, milano@alessandrosquarzi.at, www.alessandrosquarzi.it

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Truss From Farmhouse Carpets to City Bags Elise Durbecq and Gillian Tozer have fallen in love with vibrant colours, geometric shapes, and sturdy appearances. This has proven to be great news for stores such as Opening Ceremony, Barneys, and Nordstrom, as well as Harvey Nichols, Libertys, and Supermarket in Europe. Even Boutique 1 in the Middle East is a huge fan. All the aforementioned stores stock the bags designed by Durbecq and Tozer under the Truss brand. The bags provide a colourful addition to every outfit and also support the weavers in Oaxaca (Mexico) in their efforts to preserve their craft. The plastic strips were traditionally used to produce rugs for the region, but the wooden looms now also produce spacious shopping bags. Truss goes one step further and now also manufactures smaller bags and clutches in Oaxaca.

The retail prices range from roughly 95 to 196 US Dollars. If you want to experience what carrying a Truss bags feels like, you can do so in the showrooms of Goods & Services during the Fashion Weeks in New York and Paris.

Briston It’s All In The Wrist Briston Watches currently supplies more than 300 customers worldwide, including household names such as Colette in Paris, Selfridges in London, and Matches Fashion. All these retailers probably wouldn’t have dreamed that they could generate significant revenue with watches, at least not until Briston came along to prove it. Within an area of less than one square metre, the watches - with retail prices ranging from 140 to 330 Euros and a calculation factor of 2.2 - perform quite admirably. It takes less than an hour to show sales personnel how to highlight the advantages of the timepieces.

The main selling points are: curved glass from Italy, leather from Germany, design from Switzerland, and a Citizen movement that ensures the durability of the watch. All models are unisex, which is just as beneficial for the sales figures as the exchangeable NATO straps. The Clubmaster Classic model, with its watch case made of cellulose acetate (better known as tortoiseshell imitation), is particularly fashionable.

Briston Watches, 75008 Paris/France, T 0033.674.600984, sales@briston-watches.com, www.briston-watches.com

Truss, 10001 New York/USA, T 001.646.5618460, anne@goodsandservices.com, www.trussnyc.com

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Pre-collection, main collection, and post-collection - the rhythm has increased significantly. Furthermore, there always seems to be a sale somewhere, additionally fuelled by the prevailing order/delivery cycles. How could the scheduling be reconsidered and managed to ensure that fashion retailers don’t turn into permanent outlets?

Text: Nicoletta Schaper.

Illustration: Claudia Meitert @Caroline Seidler

The day before the opening, Kastner & Öhler’s new branch in the Austrian city of Ried presents itself in the best light. The goods are on the racks, the decorations are in place, and the fashionable looks are presented on the sales floors attractively. “At this time, one can see so much in the product range”, says Alexander Petrskovsky, the executive responsible for fashion and human resources. The retailer turned quite a few screws for its newly developed store concept, and one of those screws was the product range itself. The range focuses on fewer brands and less classics, but concentrates on more dominant fashion topics, complemented by many accessories and non-fashion items as in the concept store.

“We want to present our goods in a more covetous manner, with flair and excitement”, Alexander Petrskovsky explains. “This also means that we will not always throw new products straight onto the sales floor, but inject them gradually in order to be more in line with demand. This may mean a lot more work for us, but it’s the only way.”

Scheduling Illogicality

Bikinis in December, thick down jackets in July - what sounds completely absurd is often the reality in terms of deliveries and Alexander Petrskovsky, executive for fashion and human resources at Kastner & Öhler: “The ideal-typical season simply doesn’t exist. The retail industry often can’t know what it needs and when. Instead, retailers can only rely on a combination of gut instinct and empiricism.” at the PoS. It’s fairly pointless to deliberate how this scheduling illogicality came about. Every retailer has a different view of when the time is right for a certain product and the weather does what it wants anyway.

However, it is clear that the old rhythm - two pre-orders per year

for three delivery dates every half-year - is hardly sufficient for a successful business. The fifteen fashion branches of Kastner & Öhler now also have a large proportion of collections with twelve delivery dates, primarily from the young fashion segment.

“But the problem remains the same: I am forced to order at a time when I have no idea about the demand at the point of sale”, Petrskovsky adds. “Customers now buy a lot more need-oriented, but I still need the same lead time of mostly four to six months. It seems as if the fashion industry and retailers are still bound to the long-standing, established structures.”

Michaela Schirlbauer, the driving force behind Misc in Salzburg, has also realised that her customers increasingly base their purchasing decisions on their actual needs. They want to buy a pullover when it’s cold and a summer dress when it’s hot. Last summer, when it was unusually hot, the dresses that were ordered in August last year - and were only delivered in July on Schirlbauers request - were a perfect match for the hot temperatures.

Not a single dress was sold at a reduced price. Schirlbauer relies on a Scandinavia-inspired product range with smaller, individual brands and her rhythm is classic. She has adapted to the existing rhythm. “I normally ask for the spring/summer goods to be delivered on February 15th at the earliest. It’s pretty quiet in Salzburg in January and February, which makes it difficult to pay large bills then”, she explains.

“Most companies deliver earlier than I’d like, but they often show me goodwill in terms of payment conditions. But sometimes it doesn’t work out, mainly because smaller brands have to rely on early deliveries to cover their advance financing swiftly.”

American Denim

So far, the Brama Gallery agency only handles US brands such as Current Elliott and Mother Denim, which are, in

line with American principles, delivered on a monthly basis.

They provide jeans collections with an increasing proportion of tops. This allows a monthly flow of goods, plus a “Bestseller on Stock” option that allows repeat orders. Since the opening of the Düsseldorf branch in July last year, the agency has won more than 250 customers in the German-speaking markets, which is quite an achievement.

The success is not only based on Markus Funder, head of design and production at Better Rich: “There are a lot of smart people out there who place a repeat order shortly after delivery. They minimise the risk on their side by focusing on the best-selling items.” the renowned brands, but also on the advantages of the order/ delivery rhythm. “At first we had to talk until we were blue in the face, mainly because our system confused and unsettled many retailers”, explains Janine Knizia, who manages the German showroom. “However, we proved on the floor that the goods supply over months does not only lead to a constantly exciting store image, but also means that the bills are split. These are benefits that our customers now recognise and appreciate.” This concept leads to less product-related pressure for retailers and less financial pressure. However, it also leads to more effort and warehouse management in terms of distribution. A company the size of Brama, with a large, Europe-wide warehouse at the company headquarters in Modena for all agency labels, can handle this pressure easily.

The order rhythm at Brama is increased with pre-collections; goods ordered by customers in August, can be introduced to the sales floor as of October. But how do retailers deal with two order dates per season? “In Paris and Modena, Brama customers readily come to the showroom style in progress 415

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for pre-orders and main orders.

Nobody questions that approach”, Janine Knizia says. The German-speaking markets are different in this respect.

Janine Knizia, agency manager at Brama Gallery Germany: “Our faster rhythm system allows a close customer relationship; we are constantly talking. However, the concept cannot be applied to everyone, mainly because it requires appropriate production capacity and storage.”

“I simply can’t afford to travel to order again in May and October”, says not only Michaela Schirlbauer. “In May, retailers already start the sale period, which means it doesn’t make sense for distributors to approach them”, Janine Knizia explains.

Retailers often lack the budget and perceive the sale window as too small. The pre-collection principle can therefore only reduce product-related pressure when the retailer reorganises and when the minimum quotas aren’t too high.

Reorganise - But How?

Old structures cannot be dismantled easily. “If you think vertically in terms of retailing, the no-season concept has already established itself ”, says André Berger, the managing director of the Handstich brand.

“The liberality that this affords the retail industry is, however, incredibly complex. When does one really see a season-competent presentation on a sales floor? If we speak about how important individuality is, then every retailer should want something else. If, for instance, warm jackets make sense on the sales floor of a specific retailer in July, this doesn’t necessarily make sense for other retailers in the city.” The sportswear topic is currently not an easy one in general, not least because of the large supply - as in virtually all product groups. “Our jackets are all-season products and can be worn all year round. We would like to supply the retail industry with smaller packages, but retailers usually don’t have a limit for such an approach”, Berger explains. “Nonetheless, we need 415 style in progress

the courage to focus and create exciting impulses. More often, we hear retailers saying that there are less and less seasonal cashcow products; instead, the sum of all parts is what rakes in the income.” Instead of mega-trends - when did we have the last one of those? - there are endless smaller trends, which negatively affects the planning security of both producers and retailers. If you focus on an individual trend, you have to drop others. “The industry has an understandable problem with strongly believing in a trend and reproducing it in the retail space”, Alexander Petrskovsky confirms. “The willingness of the retail industry to cut back the pre-orders, and subsequently trust that the producers supply new products in the short-term, is still very expandable.”

Head and Gut

Many collections now work with an increased rhythm than the conventional method. Examples are brands that have their own retail operations, as well as product specialists such as cashmere collections or shirt suppliers.

The same applies to Better Rich.

Helmfried Strupat and Markus Funder have established a casual shirt/sweat collection that relied on four order and delivery dates Thomas Acksel, owner of Franz und Emil: “If I only receive t-shirts, which I was promised for June/July, at the beginning of August, then I have to consider how I can transfer the remaining items into the next season or how I can get rid of them. In this case, the sale period is far too short.” right from the start. “With this three-month rhythm, we keep the risk manageable and are more focused on the season itself ”, Markus Funder explains.

“What is ordered for summer at the beginning of August is in the stores at the beginning of November. Many retailers would like to order autumn products in November, which would be in the stores in six months. But if I am closer to the season, I can react to short-term changes even better. This means I am more on

the safe side.” Markus Funder believes that the budgeting within the retail industry has improved. “However, many are still surprised by the volume of products they have left in the sales period.” Can an increased rhythm counteract discount Michaela Schirlbauer, owner of Misc: “I prefer one order date per season, with an opportunity to reorder when necessary. I find intermediate collections unnecessary for my concept.” sales? Markus Funder believes it can, as long as it is organised correctly. “We don’t drown anyone in goods and are happy when a retailer has assessed goods and volumes realistically. But the easiest way to avoid discount sales is with enthusiasm and sensitivity. A little arithmetic helps enormously, but ERP systems are merely an auxiliary tool. Head and gut feeling belong together.”

Curry Sausage and Sushi

This also calls for more flexibility within the ongoing season.

Thomas Acksel, the driving force behind Franz und Emil in Dresden, became a fashion retailer after a career change. He opened his menswear store with an online shop approximately one and a half years ago. He nevertheless seems to make the right decisions for his concept quite instinctively. “I use 20 to 30 percent of my budget for the pre-order. I try to pick out the cherries, especially highly fashionable items”, he explains.

“When the goods arrive, I see what is popular and then reorder accordingly. Otherwise my risk would be too high.” The items that can’t be shifted despite all efforts are sold at the Kickoutparty when the season ends. The party involves curry sausages, sushi, and a Dresden-based rock & roll band. However, almost half of the products in the store are items that Thomas Acksel doesn’t reduce out of principle, such as Redwing Boots or jeans

by Levi’s Vintage and Momotaro.

“It’s not possible to not reduce the price of jeans at all, mainly because some cuts change and one is too comparable online”, Thomas Acksel says. Generally, he would like to see delivery

dates respected more often, which already works perfectly in cooperation with smaller Italian brands. “Shorts at the end of August, instead of the beginning of the month, don’t make sense to me at all, but, especially with larger agencies, I can’t rely upon fixed delivery dates. I would like to have fixed and reliable delivery dates, then I could also plan collection events instead of the Kickoutparty, which would allow me to promote new goods.”

Missed Opportunities?

There is no ideal solution in terms of scheduling management as a tool against permanent sales. “It’s more about raising awareness and establishing partnerships”, André Berger says.

“In the future, it will be even more important for retailers to plan the season with selected industrial partners as soon as possible. But one has to take a different approach with every brand.” Markus Funder agrees that the demands are as high as ever. “Nevertheless, one can rise to the top with pleasure and André Berger, owner of Handstich: “We are a brand that strives to send clear messages and accepts that it can polarise from time to time.

In order to present our statement comprehensively, we need a positive appetite for risk on the side of retail partners that are willing to embrace our concept in its entirety.” commitment. One also needs flexibility within the ongoing season, which still only very few really manage.” Alexander Petrskovsky says self-critically that retailers miss opportunities by slavishly complying with the pre-order rhythm. “The industry still has to gain confidence in short-term Hot Shots and start incorporating them into order processes, that’s where I see the greatest need for change.” After all, demand and supply have only improved and appropriated selectively, but certainly not to the extent that the market seemingly needs.

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American Vintage.

Just In Time American Vintage. This year, American Vintage is celebrating its 10th anniversary and has decided to reward itself with the re-organisation of its operations in the German-speaking markets. The brand has decided to opt for its own sales team, an innovative scheduling concept, and a strategy that includes taking risks within partnerships. The brand is eager to introduce itself and its sophisticated complete collection. It’s worthwhile to listen carefully…

Text: Isabel Faiss. Photos: American Vintage

“I set the bar high and I’m not afraid to take risks.

We demand a high level of excellence from the products and from the collection”, says Michaël Azoulay, the founder and CEO of American Vintage, while describing the brand’s two main principles. Last September, Martina Schmidl, the wholesale director for Germany and Austria, assembled a new team to replace the previous importer.

The in-house department operates via showrooms in Munich and Düsseldorf. Christian Teufl’s fashion agency was chosen as the brand representative for the Austrian market. “American Vintage is already very well-positioned in the German retail sector, but we are often perceived as a t-shirt brand. However, we offer a complete 450-piece collection for both men and women”, Martina Schmidl explains.

An Idea That Not Everyone Understood Initially

What sounds like an uncomplicated description of American Vintage’s philosophy, is nevertheless a very courageous approach.

Michaël Azoulay’s product philosophy is, after all, characterised by his willingness to shoulder risks for his customers quite deliberately. The concept is based on real-time orders. The order phase for spring/summer 2016 starts on the 15th of October

and the delivery date is set at late December. The spring order starts early May, with deliveries scheduled for July and August.

In between, the brand offers flash collections, which enable it to react to current trends and individual customer requests. For example, American Vintage currently offers a capsule collection for online image customers; the capsule collection consists of a handful of selected fashion items.

While classic pre-orders do take place, approximately 70 percent of the collection - mostly basics - are already part of an NOS programme and can be readjusted on short notice depending on the order volume. This concept, as well as the fact that these items are produced in Europe, ensures that the products can be delivered within a few weeks. “At first it was difficult, because we were considered late compared to other brands, and then our clients didn’t have a sufficient budget left for us. But we are flexible and offer a real customer service; the clients do understand that it’s in their interest to collaborate with American Vintage.”

also want to further develop our retail network by opening new stores and establishing new shopin-shop concepts worldwide.

The foundation of our German subsidiary is a first step”, Michaël Azoulay explains.

“We still have an eye on where we come from, but we prefer to look forward to the future.”

Michaël Azoulay, CEO American Vintage .

The First Step

“Our goal is still the same as it was at the beginning: to continue to expand the brand.

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THEY HAVE A COMMON CAUSE! THE NEW WE, PROFESSIONALLY TRANSLATED, EMBODIES THE RETURN TO AN INSTINCT THAT OUR MODERN CIVILISATION HAS FORGOTTEN TO A CERTAIN EXTENT. ALLIANCES ARE NOT A MERE ANACHRONISTIC LEGACY OF THE 1960S AND 1970S, BUT EVEN SECURED THE SURVIVAL OF PREHISTORIC SOCIETY. HOWEVER, THEY ARE ONLY SUCCESSFUL WHEN THEY ARE IMPLEMENTED WITH A HIGH DEGREE OF FINESSE, TRUST, AND INTELLECT. Text: Isabel Faiss. Photos: Companies

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THE LOBBY

for collaborations is small: as small as virtually any lobby in the fashion industry. However, the status quo is even more regrettable in this particular case. The harder times are, the more Darwin’s evolution theory “The Survival of the Fittest” is interpreted as individual action.

MK Group’s Markus Dielmann, Masculin Modekreis’ Lars Braun, Adventure Fashion Agency’s Marc Kofler, and How to Market’s Gabriele Frantzen explain why alliances were - and are - a sensible idea. Their concepts indicate how much potential there is to be tapped and what it takes to collaborate on equal terms.

How to Market only recently celebrated its inaugural event, while Masculin Modekreis will celebrate its 45th anniversary next year. All concepts prove that alliances need a clearly defined basis in order to be sensible and durable. Every alliance is, after all, a compromise of sorts.

The partners are aware of the strengths and weaknesses of each other and are not afraid to exchange opinions. The common goal is success.

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THE MK-GROUP THE NEW GENERATION When Markus Dielmann, the head of the eponymous family-owned shoe retailer from Darmstadt, talks about MK Group’s concept, it sounds like he is talking about an ideal world. “We are, however, not a blessed island. Some developments affect us just as brutally as all other market participants.”

Nonetheless, the principle is truly ingenious. Nobody merely benefits from the success of the other, but everybody actively contributes with individual success. The MK Group cooperates through internal knowledge transfer, but also offers its members the chance to create business opportunities amongst each other.

They were pioneers with their loose and friendly network of owner-operated shoe retailers in Germany and Switzerland.

Today, the MK Group consists of ten renowned companies that operate more than 180 stores in more than 100 locations. They collectively benefit from synergy effects and join forces, but the primary focus is always on the exchange of personal experiences.

To this end, the group organises informal meetings in regular intervals. It also stages an individual in-house exhibition eight times per year and organises joint order dates.

The collective was founded in the mid-1960s and was born out of necessity. Many German shoe retailers were struggling with problems regarding the procurement of Italian shoes. The MK Group was eager to access new markets and collections, and wanted to negotiate with the suppliers on equal terms. Initially the collective was made up of three members, but the number has since risen to ten. “Our network was established by the parental generation of most active owners”, Markus Dielmann

explains. This highlights one of the group’s greatest challenges.

The main issues are generational change and the fact that fewer owners are actually also professional buyers. “While the MK Group was previously concerned with gaining access to certain shoe ranges, today’s main aspect is to exchange views regarding changing markets, procurement, and the sales situation in general to ensure that each company remains competitive individually.”

JOINT BRANDS The most important synergy effect is the coordination and ordering process of ten private labels managed by four companies. “We have common brands within the group; these brands need to be developed. On the one hand, this is a marketing task that is assumed by the member that owns the brands.

However, when it comes to further development of the collection and the selection of specific products, the group is involved from the moment when everyone has the opportunity to participate in the order.” The private brands Sommerkind, Helén Billkrantz, Van der Laan, and Carrera Panamericana have been particularly successful and now stand for approximately 80% of the sales generated by the private labels.

“Due to the growth that we have achieved in recent years, the coordination effort among the members has become quite substantial. To this end, we have introduced a new online order tool, mainly because it automates the information policy within the group.” The side effect is that every member can see when a shoe model performs particularly well in a colleague’s company or when a colleague follows up a top seller. Everything circulates and every member can join a repeat order. “As a result, we expect acceleration within product ranges and the utilisation of high

“IF I TALK TO A COLLEAGUE WITH A COMPLETELY DIFFERENT PHILOSOPHY AND I KNOW THAT HE IS A LOT MORE SUCCESSFUL THAN I AM, THEN THAT GIVES ME VALUABLE FOOD FOR THOUGHT.” MARKUS DIELMANN, MK-GROUP

demand dynamics. Our brands are implemented with suppliers who deliver swiftly. For me, the future challenges are swift product introduction, reliable deliveries, and less complex logistic concepts”, Markus Dielmann explains.

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ADVENTURE FASHION AGENCY GMBH THE AGENCY CONGLOMERATE

“SOME PEOPLE SAY THAT SUCH A PURCHASING ALLIANCE IS AN ANACHRONISM. IN MY OPINION IT ISN’T; IT IS A VERY MODERN FORM OF INDIVIDUAL COOPERATION.”

LARS BRAUN, MASKULIN MODEKREIS

MASCULIN MODEKREIS A WONDERFUL VEHICLE

To put it modestly, this organisation’s member list reads like the “who-is-who” of luxury retailers in Germany, Austria, and Switzerland. The Masculin Modekreis was founded in 1971 and now has 15 members with 18 locations. The members include renowned companies such as Braun, Lodenfrey, Sagmeister, and Graenicher. In addition to its private label, Simon Gray, the group produces three Masculin print journals every season. The latter was actually the reason why the alliance was founded.

“Back then, the members simply weren’t comfortable with the way designer menswear and the related claims were depicted.

So they founded an advertising community, called it Masculin, and were of the opinion that the ‘C’ was something special. It has now developed into a business community that has reinvented itself numerous times over the years”, Lars Braun explains. He was literally born into the group.

His grandfather lived to witness how the company, then under the management of his father Jean Braun, joined Masculin Modekreis in 1980. He subsequently took over the management of the company and currently takes care of all aspects of the Mainz-based company.

“I believe in Masculin. It is a wonderful vehicle for facing the challenges that every retailer has to face today.” A highly transparent exchange of sales figures and information - for instance, who has sold how many units of a certain product or which products have performed particularly well (or badly) - are the main aspects of the concept.

Other aspects include individual trial-and-error experiences regarding taxes, discounts, and events. To this end, Masculin organises four closed meetings per year.

range. “We still have a lot of room for improvement and are currently in a very intense discussion about the directions we could go”, Lars Braun says. He describes the structural changes within the retail industry and the online business as the biggest challenges for the future. “The online business is very important to us, which means that our online presence is correspondingly large - and similar. Furthermore, our supposedly homogenous circle is defined by a high degree of heterogeneity in terms of luxury price ranges, positioning, and locations in large and small cities.” One could also describe the reactions of the industry to the purchasing alliance as heterogeneous. The reactions range from applause to question marks. “The Italians have absolutely no time for it and struggle to understand.

Some brands moan when they don’t get the desired volumes on the table, but everyone cheers when we list their products.”

The only thing fashion agencies usually share is a vague deadline. Marc Kofler, the owner of Adventure Fashion Agency GmbH, presented a completely new idea during the last order round. Even though it may look like a miniature trade show in an exclusive setting at first glance, it takes the cooperation concept a lot further in the background.

He invited three befriended agencies to come together for a joint event in Düsseldorf ’s Villa Rheinperle. “The idea was actually born when I was looking for a menswear specialist. Seeing that I have known Patrick Stalherm quite a while, I approached him and asked whether he would like to sell menswear for us and, in return, bring his own customers along with him”, Marc Kofler explains. At Adventure Fashion Agency GmbH, Patrick Stalherm supports the brands Corneliani, Mitchumm, and Invicta. Fol-

MAJOR INTERSECTION

The most important interface within the group is the Masculin Journal. It allows the members to present the highlights of their respective product ranges and affords customers a preview of upcoming topics and trends.

Five members select the product range for the journal pro bono; from this range, every member can then, in turn, put together an individual selection. Naturally, it is in the best interest of all members to have a large overlap.

Simon Gray, the private label, is an essential part of the product

“I STILL SEE INDIVIDUAL BATTLES IN THE RETAIL SECTOR. A BATTLE FOR LABELS AND MARKET SHARES IS RAGING IN THE BACKGROUND.” MARC KOFLER, ADVENTURE FASHION AGENCY GMBH

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lowing the same principle, Gilda Mak and Rüdiger Matton joined the agency. They brought their brands with them and took over collections in exchange.

ONE HAND WASHES THE OTHER

“By giving the agency owners additional responsibility for their own brands, the collaboration makes even more sense; we also gain professional support for our own portfolio.” Other advantages are obvious. The customers can benefit from the fact that they can view a pooled, extensive product range presented like in a department store, which increases the efficiency of the order process as a whole. Furthermore, it is an excellent platform for new contacts. “We are all human beings, meaning that we all have different ways of making contacts and selling. One individual has a better connection with a certain customer, while another has a better understanding with a different customer. Everybody benefits from the professionalism, contacts, and experiences of the other.”

Marc Kofler is also eager to strengthen Düsseldorf as a fashion location with his event. He is not a big fan of trade shows that require a lot of expense on the part of smaller agencies for the utilisation of a logistical platform before having to gather around the retailers like at a bazaar. “In our case, the retailers don’t really realise that they are being served by different profit centres. We take great care to ensure that all brands complement each other perfectly. It goes without saying that the success in Düsseldorf was repeated in Munich.

HOW TO MARKET THE MOBILE POP-UP STORE Do retail alliances ultimately fail due to vanity, territorial issues, or a general lack of good ideas?

Wouldn’t it be good to bring in a competent partner with a coherent concept? Wouldn’t it be great if that partner implements all the things for which you simply can’t find the time? Those who know Gabriele Frantzen, the Munich-based jewellery designer who owns the Best of 19 agency, are aware that she is not deterred by borders. This summer, she teamed up with Sabine Spieler, a journalist, to implement an idea that came to her in New York.

“I went to many trunk shows.

The concept convinced me; I was inspired by the flexibility and the unexpected. Trunk shows are always situational and unexpected. Our aim is to offer this unexpected element to retailers that simply don’t have the time to think about expanding their product ranges alongside taking care of day-to-day business. We turn retail space into happening space.” The result is her consulting package for a mobile pop-up store. The concept convinced reputable retailers right from the start. In September, the first event took place at Odeeh during Vogue’s Fashion Night Out. More events are scheduled at Sagmeister and Engelhorn in November.

FREQUENCY VIA COMPETENCE Gabriele Frantzen knows both sides of the business and is quite aware of how much effort goes into the selection and maintenance of a special, small-scale product range. Therefore, she offers a complete package including all products, a professional sales team, and the core 415 style in progress

“CURATED OFFERS, EMOTIONAL APPEAL, AND HANDPICKED PRODUCT RANGES WITH STRONG INDIVIDUAL ITEMS ARE MORE IMPORTANT THAN EVER.” SABINE SPIELER AND GABRIELE FRANZTEN, HOW TO MARKET

competence of the two initiators in terms of purchasing, sales, and communication. “Today, the retailer per se hardly ever has the time to take care of small-scale issues. This is where How to Market comes into play. When a retailer purchases our concept, we install a temporary pop-up store on location”, Gabriele Frantzen explains.

How to Market’s product portfolio presents highlights from the beauty, food, lifestyle, decoration, fashion, and accessory categories. “Our slogan is ‘Frequency via Competence’. By bringing new products to the stores, we lower the entry barrier of passing trade, add individuality, and

offer a new form of generating sales. We organise the party for retailers, so to speak! This entails the development of the product range, the design and layout of the invitations, social media marketing, and public relations. It is our aim to curate the retailers’ product ranges, which is why we offer specific measures such as the daily Look of the Day, which is compiled from the entire range.” The retailers benefit from an increase of frequency and new customers. Furthermore, the participating brands are afforded an opportunity to present themselves in reference stores.

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ONE FOR ALL… …and all for Club Homeboy. Jürgen Wolf has pulled off quite a coup. He managed to gather the “who-is-who” of the right retailers around a table and conceived a collection that bundles the experience and expertise of all participants in a joint concept. From an economical point of view, no other (private) label can compete with this approach.

Text: Isabel Faiss. Photo: Club Homeboy

Jürgen Wolf has already done pretty much everything one can do. He started his career in sales, practically founded the Homeboy brand on a return flight from Los Angeles to Frankfurt, acquired the largest action sport publisher in 1998, and lost just about everything overnight due to a failed IPO. He used the unexpected break for activities outside the industry and was therefore able to look at the street wear market from the outside through the eyes of an insider. It was an exciting change of perspective which showed him that there is a large target group of men around 40, who grew up with skate and street wear in the 1990s, but have now literally outgrown that particular fashion segment. Jürgen Wolf could write many books about the cultural roots of skate and street wear; it is also the story of his own youth. In 2013, the idea of re-launching Homeboy as a grown-up brand for a new customer type seemed pretty obvious. “I believed that the gap between street wear and menswear was simply too big and the more I considered the topic, the more I saw the demand in the market.”Thus, the idea for Club Homeboy was born. “I wanted to sit down with a handful of multi-brand retailers and design a collection together; a collection that gives all parties what they need. I already knew all the partners I wanted, so I casually called them and invited them to meet up. Among those present were - among others - Reischmann,

Yeanshalle, and Wöhrl. We exchanged opinions and I presented my thoughts on the market and the target audience.” After three hours it became very clear that we all had the same problem and that the idea was excellent.

10 PERCENT CLUB FEE There are six collections per year.

During the first meeting, Jürgen Wolf presents his collection idea for the next six months, but he only showcases the top range items to be discussed. Then he and his team analyse the feedback and incorporate the commercial element.

“The ultimate result is a sample collection that has been developed and sharpened together. It is subsequently delivered eight weeks later, which means that the order is very close to the delivery date. The implementation of fashionable rush jobs is part of the concept. I pass on all items to the club members for the production price. This means we can launch products with an incredible margin that is higher than that of any other private label.

As a reward, I take 10 percent of the retail price as a club fee, which includes the costs for design, production, and marketing.” At the end of this year, Club Homeboy will face its baptism of fire when it has to prove itself in the retailing world for the very first time.

“WHEN WE AGREE WITHIN THE CLUB TO ALL REDUCE THE PRICE OF INDIVIDUAL PRODUCTS ON THE SAME DAY AND NOBODY ATTEMPTS A SOLO EFFORT, THEN THAT IS ONE OF THE MANY BENEFITS THAT CLUB HOMEBOY CAN OFFER THE RETAIL INDUSTRY.” – JÜRGEN WOLF

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& (Always) Here Made in a place far, far away? Today’s consumers find such a label increasingly un-chic, especially in the high-end segment. However, there are even better arguments in favour of producing on your own doorstep. Speed is just one of those arguments.

Text: Kay Alexander Plonka. Illustration: Claudia Meitert@Caroline Seidler

When sausage manufacturers start offering vegetarian products, one may be forgiven for thinking that the world has gone completely mad. Or maybe that’s a completely sane development? The food industry has, after all, proven that it‘s possible to change consumer behaviour.

Organic foods have gradually become everyday products and purchasing locally produced food has become just as important as the fair trade seal on our coffee, bananas, and chocolate. Slowly but surely, the fashion industry is following suit. The grievances of the textile industry - for instance in Cambodia, Bangladesh, and Turkey - have made more and more consumers question their

own purchasing patterns. They now afford themselves the luxury of buying textiles and shoes more consciously by scrutinising the production conditions of the products.

Dominik Meuer’s Die Hinterhofagentur represents brands such as Cape Horn and Breco’s from Italy, as well as Des Petits Hauts from France. All the aforementioned brands produce in their respective home countries or within the EU almost exclusively. Meuer explains: “The customers have certain expectations when they see ‘Made in Italy’ or ‘Made in France’. In the high-priced sportswear segment, it is now almost a prerequisite in order to justify a corresponding

price level and to gain a head start over Asian products with sophisticated finishing, exclusive quantities, and high-end qualities. Producing in Europe ultimately means that one is willing to invest in the product, not in transport costs. People have started basing purchasing decisions on their conscience.

Clothing produced in the EU guarantees that no toxins have been used and that all social and safety standards have been met.”

Fair Rules

“Fairness is an essential part of the sport”, the website of the German Football Association states. This is a motto that can be transferred easily to the business style in progress 415

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practices of many family-owned businesses in the textile industry, of which many have survived decades without eye-catching certifications and seals. Often the mindset of the entrepreneurs is more important than a compliance certificate.

A prime example is the Swiss brand Artigiano, which has “The customers have certain expectations when they see ‘Made in Italy’ or ‘Made in France’.” - Dominik Meuer, Die Hinterhofagentur

manufactured shirts and blouses - some of them custom-made in its own production plant in Ticino and in North Portugal since the 1970s. In September 2014, the brand opened a new production site with twelve employees, again in the Swiss province Ticino. The tailor studio is equipped with the most up-todate machinery and is a mere two and a half hour drive away from the company’s headquarters in Neerach. This means Artigiano can react to trends swifter and can optimise its logistics capacities and costs. “Customers can re-order several times during the season”, explains Aline Aeberhard, the project manager. In the Swiss production plant, shirts are manufactured on location, from the cutting process to the laying table. This means that every shirt boasts the “Made in Switzerland”, and justifiably so.

The silk fabrics for the women’s blouses is, for instance, sourced in Italy and dyed on the shores of Lake Como. “Short distances to the suppliers allow faster and more flexible action, which translates into better service levels for our customers. It is now also completely unproblematic to manufacture smaller quantities and limited editions”, Aeberhard says. The shirts and blouses from Switzerland are subsequently exported to no less than 18 countries. “It is becoming increasingly important for customers to know what materials are used for a product and who manufactures it. We have made the conscious decision to utilise Swiss manufacturing capacities. This also has a marketing aspect and strengthens the brand itself. First and 415 style in progress

foremost, however, we strive to fulfil our responsibilities. A shirt from Switzerland ensures that it wasn’t manufactured under questionable circumstances. The production costs alone are not decisive in our market segment.

The price must remain competitive, the fabric quality needs to be higher, and the product must be finer and more sophisticated.

A mere guarantee of origin from Switzerland simply isn’t enough.”

specially developed fit is the result of our German production site’s many years of experience.

They place great emphasis on the highest ecological standards, from the fibre to the finished “It is becoming increasingly important for customers to know what materials are used for a product and who manufactures it.”

- Aline Aeberhard, Artigiano

Address the Right Target Group

Men are especially enthusiastic about durable, high-quality products “Made in Germany”.

This plays into the hands of Albstadt-based Mey, which launched its Mey Story brand this summer. The renowned underwear manufacturer managed to place the ten-piece collection at leading menswear stores. All Mey Story products are hand-crafted exclusively in Germany from the finest hand-picked Peruvian Pima Cotton. The innovation is that the line represents a completely own brand world, which is separated from the classic underwear collections and is only available at upscale retailers and selected concept stores. In Germany and Austria, Mey Story is “It is our aim to manufacture the finest white t-shirt possible.” - Michael Prues, head of business development at Mey Story

represented by Heritage Agents, while the Swiss market is covered

by The Wearhouse. The products hit the shelves for the first time in mid-September. They were launched with a bang too - in renowned stores such as Andreas Murkudis, Lodenfrey, Schnitzler, Engelhorn, Volls, Sagmeister, Kastner & Öhler, and Neumann.

The retail prices for t-shirts available with v-necks and crew necks - start at 59.90 Euros, while the prices for undershirts and shorts start at 39.90 Euros. Michael Prues, head of business development at Mey Story, explains: “It is our aim to manufacture the finest white t-shirt possible. It is a product without a half-life in terms of fashion and of top quality. The

item. Mey Story is aimed at a very demanding target group that sees sustainability, environmentally friendly production, and traditional handicraft as vital priorities. The feedback from the retailers proves that the wearing experience and price/performance ratio are perceived as absolutely unique. In addition, we are talking about products that we have in stock. This means that we can re-stock retailers at any time.”

Quality Does Not Equal High Prices

Quality has its price. However, Espadrij l’originale has proven that products of a better quality can still come at an affordable price for consumers. In 2009, Felix Staeudinger, the owner of the agency Panorama Europe, started producing classic canvas espadrilles featuring jute soles coated with natural rubber. “Producing shoes with a significantly longer lifetime is an important step towards sustainability. I was eager to prove that it is possible to produce in Europe and still offer shoes at a commercially viable price to ensure that a lot of people can actually afford our shoes”, Staeudinger explains. The fabrics are woven in Spain. The Mediterranean slippers are sewn by hand in the traditional way in a small village in the French Pyrenees. A pair costs 29.95 Euros. The shoes are particularly popular among the 30 to 40 year olds, for whom the shoes often bring back childhood memories they connect with Mediterranean vacations. “Our ‘Made in France’ label plays a major role.

We want to strengthen the EU as a production location. Our production partner accommodated us at the start, mainly to ensure

that we can remain competitive during the market entry despite low volumes. Today, we are still paying the same price as six years ago despite much higher volumes. Live and let live is the motto of the day in this respect.”

The small factory currently has ten employees. Due to the global expansion of Espadrij l’originale, the brand is in the process of building a new production hall.

Today, consumers can choose between Chukka boots for men and various models with wedges for women. The latter are made of either canvas or suede with retail prices up to 79.90 Euros. The brand produces all year round; the warehouse in Düsseldorf stocks all colours and

“I was eager to prove that it is possible to produce in Europe and still offer shoes at a commercially viable price.” - Felix Staeudinger, Espadrij l’originale and Panorama Europe

sizes at all times. Current export markets include Australia, China, Japan, and the United Arab Emirates. The next step is both smart and logical: soon children will be able to enjoy the benefits of running around in sustainably produced espadrilles.

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Stetson Europe.

Craft with Future Where on earth is Hartha? It is located in the heart of Saxony. This is where Stetson manufactures peaked caps made of cashmere, Loden, linen, silk, leather, or pure new wool. Text: Kay Alexander Plonka. Photos: Stetson

How did Stetson, a US brand founded in 1865, end up in Saxony? The answer is really quite simple. Friedrich W. Schneider GmbH, the Cologne-based European licensee of the brand, found extremely rare resources in the region: crafts, skills, and especially craftsmen, who manage to manufacture approximately 35,000 caps per year by hand. Located in the triangle between Dresden, Leipzig, and Chemnitz, Friedrich W. Schneider GmbH has its own production plant in Hartha, which does not only manufacture so-called baker’s boy caps, but also fishermen hats and rain hats, fur chapkas, and deerstalker hats. The latter is better known as Sherlock Holmes’ iconic headgear. “Wherever possible, we prefer to invest in the quality of the product rather than in long transportation routes. We manufacture our knitted hats in Allgäu and the Upper Palatinate.

The original cowboy hats come from the US, baseball caps from Asia, and straw hats from Panama. However, we also produce in the Czech Republic and Poland.

The transport cost gap is closing, which means that producing in Europe, in favour of better quality and shorter delivery routes, makes a lot more sense than it did a few years ago”, says Klaus Kirschner, the managing director of the Stetson licensee.

Family Tradition

The Hartha operation develops new models, produces patterns, and corrects errors made by subcontractors; it is also responsible for testing materials and quality control. In 1992, Anne-Kathrin Heinersdorff, the plant manager, and her husband relocated from Berlin to Hartha to found the hat factory. Her mother-in-law was incidentally a worker in

a Berlin-based hat factory. In 1998, the factory was merged with Friedrich W. Schneider GmbH & Co. KG, the largest customer at the time. Over the next few years, the small company developed into a highly specialised manufactory with 25 employees. Today, the third generation of the family has entered the business. “Cap maker is no longer a training profession.

Seamstresses and cutters come from the textile industry and learn how to specialise in cap making when they join us. With great attention to detail, skilled craftsmanship, and infinite care, we utilise the high-quality materials and leather to manufacture caps with excellent fits”, Heinersdorff explains.

Specialised and Flexible

Hats with a retail price of less than 89 Euros are not produced in Hartha; it would not cover the costs. However, the Hartha plant is very flexible and is capable of implementing repeat orders, unique custom-made models, special sizes, and small batches swiftly. The premium line with elaborate details to commemorate the 150th anniversary and special editions - for the likes of Gasoline Alley in Munich, Burg & Schild in Berlin, and the collaboration with Red Wing Shoes - are but a few examples. Well, swift is a relative term. Making caps by hand requires immense patience. After the materials and lining are cut and sewn, the visor is placed and the seams are smoothed with an old ironing machine from the 1930s. The latter is a production step that is by no means self-evident today.

The same applies to the subsequent blocking of the headwear, which is an immensely time, labour, and cost intensive procedure. The hats are moulded in

their exact size and fit by hand utilising hot steam and five-piece wooden moulds. In Asia, such production steps are fully automated, but not nearly as accurate.

“This is an essential feature of a well-fitting cap of excellent quality”, Anne-Kathrin Heinerdorff says with pride. www.stetson-europe.com

Managing director Klaus Kirschner is proud of the products manufactured in Germany, which include the hats to celebrate the brand’s 150th anniversary.

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Quantum Courage.

Be Brave!

In 2013, Maximilian Koehler launched his own fashion label, which is currently listed by 95 upscale retailers across Europe. He may only be 25 years young, but he is already living his dream, jetting to and fro between Saint Tropez, Paris, and Munich. In an interview with style in progress, Koehler explains how he charges his brand with energy and how a lot of courage allowed him to find a market niche.

Text: Kay Alexander Plonka. Photos: Andreas Ortner

Reached the top: Maximilian Koehler decided to only offer his label, Quantum Courage, to the best retailers - and it worked!

Which concept and philosophy is Quantum Courage based upon?

Life’s too short to waste it.

Quantum Courage stands for a vast amount of courage and courage is always rewarded. Each and every one of our products is personalised and sustainable.

What do you do differently than other labels?

Out of principle, Quantum Courage only co-operates with Europe’s most exclusive retailers.

We deliberately refrain from participating in trade shows. It is not our aim to enable every boutique to stock our collection.

We hand-pick the best retailers, contact the respective buyers in person, and visit them on-location. This approach may be more time-consuming and costly, but it creates the preconditions for a long-term co-operation.

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You are listed at 95 high-end retailers in ten years. How did you manage that in such a short time?

If you work hard and have a clear strategy in mind, you can achieve your goals. We convince people with our business idea: very high quality, fashion-conscious cuts, expressive designs, and limited editions. It’s a product with a unique selling point.

When one googles your label, it becomes clear that you don’t co-operate with online stores. Why?

Over the last two years, we focused primarily on getting our brand into Europe’s best stores and increasing public awareness.

Healthy growth and exclusive territorial protection for our partners are, in our eyes, absolutely vital.

You produce in Europe, the designs are French, and the brand is headquartered in Germany. How important are these factors for your retail partners and customers?

To guarantee the high standard and to meet our own demands in terms of compliance with health and safety regulations, human rights, and environmentally friendly production, these factors are indispensable.

How can one prevent burning out after a couple of seasons?

You have to stay true to your concept and continuously deliver excellent quality. If our customers are satisfied, it is confirmation of our work and motivation for further collections. Declining quality and an oversupply of goods disappoint the customers.

Celebrities, Facebook, Instagram - what is indispensable to promote the success of a brand today?

Social media is certainly an important component. If, as in our case, you have stars such as Uma Thurman, Lena Gerke, and Mats Hummels endorsing your products, it has a very positive impact on brand perception. It is equally important to co-operate with strong partners. www.quantumcourage.com

WHAT'S THE STORY 077 RETHINK

New Balance.

God Save the Sneaker The US sports equipment specialist, has been producing running shoes in the English Northwest since the early 1980s. Today, the factory in Flimby predominantly produces premium sneakers for the brand’s Lifestyle Collection. Text: Kay Alexander Plonka. Photos: New Balance

“Made in Flimby” is a code that means something to sneaker collectors around the world. In the past, the British origin was revealed by a discreet “Made in UK” on the inside of the shoe’s tongue. However, New Balance now communicates the fact that it produces its sneakers in the EU more aggressively. Be it the Union Jack or an embroidered “Made in England”, the brand is clearly proud of its 6,000 square metre production plant in England’s rather rough North-West.

After all, England is synonymous for quality that distinguishes the company from its competition. The shoes from Flimby are perceived as extremely durable and comfortable. On top of all that, the production conditions in line with European norms means that a clear conscience is included in the price. New Balance has never obscured the fact that the price for its British sneakers is higher than the ones produced in China.

The Real Ale Pack is the current “Made in UK” Premium Edition of New Balance and is based on British beer and pub culture.

Heritage

All Lifestyle Collection shoes are based on running shoes that were produced in Flimby in the past.

Today, however, New Balance utilises high-quality leather and suede, sometimes in combination with classic mesh or nylon inserts, as well as high-end Harris Tweed. The decision whether a shoe model is produced in Asia or England depends on the value of the materials and the time intensity of the production process. Chris Hodgson, the senior footwear developer who has been with the company for more than 30 years, explains: “The higher the value of the materials is the more sense it makes to manufacture the shoes

Passionate - sneakers from Flimby are hand-made with exquisite craftsmanship.

here in this factory. We produce our high-performance running shoes in Asia; they require a lot more time to manufacture.

It is also easier to manufacture lifestyle sneakers with a high percentage of synthetic materials in Asia. Here we focus increasingly on high-end classics made of high-quality leather sourced preferably in Europe, but also imported from the US or Asia.”

The price for shoes produced in Asia ranges from 70 to 130 Euros, while models produced

in the UK cost between 130 and 180 Euros. In Europe, shoes manufactured in the US set you back between 160 and 190 Euros. And the prices are rising…

The Subtle Difference

The English factory is New Balance’s only production plant in Europe. Working here almost seems idyllic. When you glance out of the window, you can gaze at sheep and cattle pastures and two windmills against the backdrop of the open sea. If

the weather is good, you can even spot the coast of Scotland and the Isle of Man. “Our 270 employees work 39 hours a week from Monday to Thursday. We currently produce slightly more than 420,000 pairs of shoes per year; next year we are hoping to produce 450,000 pairs”, says Andy Okolowicz, who has been a factory manager at New Balance for 19 years. New Balance operates five other plants in the US, where the brand produces both classics and modern running shoes. Production capacities of this magnitude in high-wage countries set New Balance apart from its competitors quite substantially. Moreover, the production plants in Europe and the US are profitable. The family business employs approximately 4,000 people worldwide and generated roughly 3.5 billion Euros last year. And the company is growing… www.newbalance.co.uk

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Weber+Weber Raw Sophistication

Let’s Go Basic Keep it Simple

Black Mountain Clothing Company No Compromises

“This is a completely slick collection from Austria with a really earthy and masculine statement. It mainly uses Austrian fabrics and is produced exclusively in Pisa. It utilises the best of all worlds”, says Patrick Coppolecchia Reinartz, the managing director of Munich-based fashion agency D-tails, about Weber + Weber, a brand that he started representing for the autumn/winter 2015 season. Manuel and Christian Weber, the brand’s designers, have effortlessly translated Austrian heritage into a cool, reduced, and urban menswear collection with an uncomplicated twist. The brand’s bestsellers include sprayed shirts, lined parkas, and casual vests, as well as Lederhosen made of hemp, which are available in up to four colours.

In accordance with the high-quality fabrics and the elaborate processing, the purchase price for the latter stands at 120 Euros. Jackets cost 180 Euros, while the purchase prices for polo shirts range from 40 to 50 Euros. D-tails represents the collection in Germany, Austria, and Switzerland and has already won over customers like Lodenfrey in Munich, Sagmeister in Bregenz, and Einwaller in Innsbruck.

Weber+Weber, Grutis/Austria, T 0043.5522.20340, info@weberweber.it, www.weberweber.it

Classic gym wear reduced to its essence - in this simple equation one can find all the sophistication within the collection of Let’s Go Basic. Small details characterise the recognition of the young sportswear brand. The label keeps its promises: casual, sporty basics made of jersey and knitted materials supplied by Italian and Japanese sources. The collection for men and women was launched in 2014 and now offers a collection for spring/summer and autumn/winter. The latter is mainly defined by materials and qualities with more warming properties. In addition to the urban, sporty Basis Line, the label also offers a Conceptual Line that picks up fashionable trends. Supported by the Munich-based fashion agency Komet & Helden in the German-speaking markets, the brand has managed to win over customers such as Lieblingsteil, Ehlers, Simonsen by Simonsen, and Strolz in Austria. Sales highlights of the last summer season were mainly short and long jogging pants, sweatshirts, and t-shirts. The retail prices range from 50 to 64 Euros for sweaters and 50 to 60 Euros for pants. The calculation factor stands at 2.8.

C.P.A. Srl, Cona Ve/Italy, T 0039.0426.302189, ufficiocommerciale@cpasrl.com, www.letsgobasic.com

Matt Francis and Don Ernens founded Black Mountain Clothing Company during a business trip to Sydney. At the time, both had already worked for American, European, and Australian lifestyle labels and therefore had plenty of experience in building brands. Over a dinner and a few beers, they developed a business plan and a modern outerwear collection with products for men. “We do not compromise. Ultimate quality and outstanding performance are our maxims.

We focus on classic models in clean, contemporary designs and superb materials, in order to win over the best customers the market has to offer”, Don Ernens explains. All jackets are cut using laser technology and boast taped seams.

The materials are sourced from the best Italian and Japanese weaving mills and are manufactured in Portugal. The retail prices for the jackets range from 350 to 700 Euros. The first summer collection consists of seven models in two to three colours, including a hunting jacket, a bomber jacket, and a deck jacket. The brand also offers a few t-shirts, trousers, and shorts.

Black Mountain Clothing Company BV, Amsterdam/The Netherlands, T 0032.474191020, info@blackmountainclothingcompany.com, www.blackmountainclothingcompany.com

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Human Scales Second Skin

Gabba Dedicated to Denim

Hancock Let it Rain

In 2007, the two Swedes Mikko Kärmäräinen and Peter Ferber founded the menswear brand Human Scales. “We rely on transparency in terms of manufacturing processes and materials. For us it is very important that our customers know how our products are manufactured, which is why we have uploaded a number of videos about the manufacturing process to our homepage”, Ferber explains. Human Scales stands for a casual, masculine look for men from 25 years of age onwards. The collection consists of roughly 220 pieces. The retail prices for shirts range from 100 to 165 Euros, while blazers, jackets, and coats cost between 220 and 550 Euros. The retail prices for trousers range from 110 to 220 Euros, while jerseys set you back between 55 and 155 Euros. The calculation factor stands at 2.8. The leather jackets and leather shoes are offered at a calculation factor of 2.5. Human Scales is already listed at more than 80 retailers in Sweden, Norway, Finland, Denmark, England, Ireland, and Spain.

The most important key accounts to date are Peggs and Son, Stuk in Gothenburg, and My o my in Helsinki. In Germany, Austria, and Switzerland, Human Scales is marketed by the Berlin-based agency Anotherproject.

GSL AG, Stockholm/Sweden, T 0047.70.7751278, hi@humanscales.se, www.humanscales.se

Rough looks, rough boys, and even tougher denim - the Danish Gabba label offers a typically Scandinavian urban collection. The label has been run by designer Ole Madsen since 1983. In Germany, Gabba is in its fourth season and supplies approximately 100 customers. Gabba develops two complete collections per year. The main focus is on denim and non-denim pants with elaborate washings. The product range also includes coarse and fine knitwear, leather jackets, shirts, sweaters, shirts, and belts. Tokyo’s trendy Shibuya district acts as the inspiration for the looks of summer 2016: asymmetric shirts and cardigans, shirts based on vintage work wear, rustic denims, and Twill pants.

Gabba’s purchase prices start at 20 Euros for shirts, while a leather jacket costs approximately 140 Euros. The purchasing prices for denim products start at 43 Euros and can reach 71 Euros for more elaborate finishes. To date, Gabba is stocked by customers such as Daniels Cologne, Zeitzeichen Würzburg, Crämer & Co Nuremberg, Geschwisterliebe Stuttgart, and District One/Steffl Vienna.

Gabba, Kolding/Denmark, T 0045.28265051, nicolaj@yycc.dk

There is no bad weather, only the wrong clothes - this motto also applies to the rainproof rain jackets à la Mackintosh. Thomas Hancock is the real inventor of the water-resistant all-rounder from Scotland. In 2012, Daniel Dunko, a former director of Mackintosh Ltd., teamed up with his brand manager, Gary Bott, to found his own brand named Hancock. The experienced duo established itself on the international market swiftly, struck up a partnership United Arrow, and secured numerous additional creative co-operations. Today, Hancock utilises a Scotland-based production site to produce a 50-piece, high-quality jacket collection for men and women. The collection is masterminded by designer Colin Oliphant. Other products, such as luggage and accessories, are in the planning stages. Hancock’s purchase prices start at approximately 235 Euros; the calculation factor ranges from 2.8 to 3.0. The complex manufacturing process is documented in every jacket.

The beautiful, simple design has already won over many top retailers. Hancock is stocked by the likes of Andreas Murkudis in Berlin, Diehl & Diehl in Frankfurt, Eder in Kitzbühel, L’Eclaireur in Paris, Bloomingdales and Barneys in New York, and Tenue de Nîmes in Amsterdam.

Thomas Hancock & Co, London/Great Britain, T 0044.207.6367058, info@index-london.com, www.hancockva.com

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The Suitcase Once Around the World

Philomena Zanetti Sustainable and Urban

Lolli Queen Soft and the City

Julia Leifert named her label, Philomena Zanetti, after her great-great-grandmother from South Tyrol. It was founded in Berlin three seasons ago.

She showcased her products at the Premium trade show as early as last summer. What makes Philomena Zanetti so special is that her first two collections attracted a lot of attention from numerous blogs and online magazines such as LesMads, Journelles, Stylemag, and Berliner Morgenpost.

The reason is that Julia Leifert has been living a vegan lifestyle for many years and takes great pride in producing her products in an environmentally friendly and fair manner. Furthermore, she largely refrains from using leather and other animal-based materials. Her collection consists of a mere 10 pieces, including a dress and a skirt made of Cupro or, alternatively, of GOTS-certified organic cotton, as well as a trouser model, a blouse, and a pullover. All items are designed to the point in terms of fashion and can be worn simultaneously. With a calculation factor of 2.5, the retail prices range from 200 Euros for a blouse to 1,100 Euros for a Loden coat. The latter is manufactured in Austria. The current autumn/winter collection is available ex stock.

Julia Leifert, Berlin/Germany, T 0049.176.60001764, info@philomenazanetti.com, www.philomenazanetti.com

“We actually met by chance on the street”, says Katrin Conrads while describing the birth of her collaboration with Brazilian-born Rosangela da Silva. At the time, she was, for medical reasons, wearing a pair of flip-flops to an elegant dress by Patrizia Pepe. This look was very well-received and the snapshot led to the foundation of the Lolli Queen brand.

Flip-flops are a dime a dozen, which means that they had to differentiate right from the start.

The recipe for success involves an extremely comfortable, soft foot bed made of 100% natural rubber with no toxic additives and a thong made of PVC that is softened by body heat. The flip-flops, characterised by a distinctive design with a lot of bling and fashionable extras, are handcrafted in Brazil. “It feels like walking on clouds”, says Marion Hofer, the owner of the fashion agency that will represent the brand from summer 2016 onwards. She is absolutely enchanted by Lolli Queen. The purchase prices range from 21 to 25 Euros. Lolli Queen is already listed at fashion retailers such as Oberpollinger, Alsterhaus, and KaDeWe. Lolli Queen GmbH, Cologne/Germany, T 0049.151.40150196, T 0049.178.4734787, info@lolliqueen.de, www.lolliqueen.de

The designer Agnes Kemeny has travelled extensively and has worked for the likes of Versace, Etro, Dondup, and Nigel Cabourn. Now she has decided to change her life completely.

She moved from the city into the Italian countryside, where she has designed a 15-piece collection that fits into a suitcase. Accordingly, she named her label The Suitcase. Own less while living life with good products and travelling more, that is her motto. She utilises special materials, thereby creating durable items that can be worn both in autumn and spring. A life in line trends is her commitment to a robust wardrobe.

The blouses, dresses, and shirt jackets in her collection are made of rougher Italian fabrics for men; they can be washed and ironed easily, are robust companions for everyday urban and rural environments, and are available at retailers for between 300 and 700 Euros. During the production process in Italy, she is eager to involve the employees in the weaving mills and seamstresses in her own work. The first customers included stores such as VMC in Zurich, Faoro in St. Moritz, Walburgis in Lausanne, John Tweed in Zurich, and Jeanslive in Winterthur.

Agnes Kemeny, Fossombrone/Italy, T 0039.1833.9257, info@thesuitcaseclothing.com, www.thesuitcaseclothing.com

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Gvyn Between High Street and High End

Bruno Parise Italia Closely Intertwined

My Cosy Couture To The Point

Bruno Parise is an Italian entrepreneur who is defined by his own beautiful story. He is a native Italian, which means he comes from a culture in which traditional crafts - in this case the handicraft of straw weaving - still play a central role. This cultural legacy has shaped his individual creative work.

The hallmarks of Italian handicraft, namely the pursuit of excellence and the weaving’s high recognition value, are deeply embedded in Bruno Parise’s high-quality accessories collection, which was launched in 2010. Quite literally, because his bags are woven from exclusive soft leather obtained from a source near Venice. The bags are manufactured on Venetian looms from the 18th century. Today, only very few people have the skills necessary to operate such looms. In 2011, Alessandra Parise, his daughter, joined the company as a communications expert to handle the fast growing company’s marketing measures. In the summer season of 2015, the brand presented its first shoe collection. It also plans to introduce an accessories collection for men for summer 2016. Every item of said collection will be named after famous actors such as Dustin Hoffman, Richard Gere, and Leonardo di Caprio. Today, Bruno Parise Italia is represented in the top segment of the Swiss, Russian, and Japanese markets.

In Germany, the brand is represented

by D-tails, the Munich-based fashion agency owned by Patrick Coppolecchia-Reinartz. The retail prices for the bags range from 600 to 900 Euros.

Bruno Parise, Marostica/Italy, T 0039.393.9703675, info@brunopariseitalia.com, www.brunopariseitalia.com

Marion Hoferer, the owner of Munich-based fashion agency ModeIst, strives to offer the right items at the right time. The brand My Cosy Couture allows her to utilise an extensive stock programme, which enables her customers to re-order at any time. She will represent My Cosy Couture from the upcoming season onwards. The designs of the colourful woollen shawls and ponchos are created in Hamburg, while the items themselves are produced in Greece. The handwriting of Lisa Weinhold, the designer at My Cosy Couture, is characterised by charismatic paisley patterns and current colour trends. She places them subtly on large, square cashmere shawls made of a merino/ cashmere/polyamide blend and ponchos with fringes (purchase price: 58 Euros; recommended retail price: 159 Euros), on poncho capes and pullovers (purchase price: 48 Euros), and extra long shawls and ponchos (purchase price: 58 Euros). “The great benefit for retailers in the case of My Cosy Couture is that every item comes straight from stock. This means that everyone can order small batches and re-order a lot! In addition, the supplier shoulders most of the risk. This is a really great partnership”, Marion Hoferer adds. New trends can be implemented on a monthly basis and the brand will also offer t-shirts with special prints from January 2016 onwards.

My Cosy Couture, Hamburg/Germany, T 0049.174.1734732, info@mycosycouture.com, www.mycosycouture.com

Ulrike Seeber set out to fill the gap mentioned in the headline with a high-end - but nonetheless affordable - collection of bags and accessories. In 2014, she launched her Gvyn label at the London Fashion Week and instantly convinced image stores such as Harvey Nichols, Shoppyramid Cambridge, Lala Berlin, and Ludwig Beck. Gvyn is notably the label’s muse: a fictional girl in her twenties, who is feminine, cool, and non-conformist. She acts as the stylistic role model for the collection. The leather used for manufacturing comes exclusively from Italy, where it is handled as little as possible to retain its natural structure and glossy surface.

The products are manufactured in a high-end production facility near Krakow. With retail prices ranging from 299 to 499 Euros, the clean, purist designs position themselves in the entry price range of the upscale segment.

The collection also convinced Marion Hoferer, the managing director of the ModeIst fashion agency in Munich. She added Gvyn to her portfolio for autumn/winter 2015. “Gvyn is a great, concentrated programme from London with 10 models in six colours”, the agency owner explains. The collection can be ordered in her showrooms in Munich and Düsseldorf.

Gvyn, London/UK, T 0044.7447.084447, ulrike@gvyn.com, www.gvyn.com

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what summer taught autumn.

415 style in progress

The strongest trend themes of the spring/summer season of 2016 have manifested themselves during the fashion shows in Paris, New York, London, and Milan. These trends have also left their marks on the pre-collections and mood boards for the autumn/ winter season of 2016/17. Which summer trends have prevailed? Which of these trends have suff cient potential and relevance to remain signif cant in the upcoming season? These questions yielded surprisingly specif c answers and, thus, clearly def ned trends.

FASHION 083

Calvin Klein Jeans - Bernard Chandran - Z Zegna - Missoni - Marni - Weber+Weber - Gabriela Cadena - Gianluca Capannolo

Text: Isabel Faiss. Fashion Editor: Verena Roidl. Photos: Manufacturersr Shooting: Photographer: Markus Burke. Styling: Verena Roidl. Hair/Make-Up: Renata Traupe/Phoenix Agentur, www.phoenix-agentur.de, Models: Theresa Schreck and Robin Zederbauer/Tune-Models.com style in progress 415

084 FASHION

Burberry

clean

Minimum

Reduced, minimalist cuts in boxy to geometric shapes - the purist style of the collections for spring/summer 2016 showed a formal, unconstructed look which will prevail in autumn/ winter 2016/17. The look is characterised by clear, almost architectural cuts, combined with strong uni-colours and elaborate materials.

Jacket: Baracuta Shirt: Drykorn Suit trousers: Lardini Sneakers: Superga Tatras

Ermenegildo Zegna

415 style in progress

FASHION 085

chic

Marc O‘Polo Pure

Stylistically, it is a mix of street wear and high fashion. The common element is the reduction to the bare essentials. One sees very few details, no patterns, and no decorations. The Clean Chic trend is a little less formal, but all the more sporty and casual. Material combinations appear in the form of tone-in-tone designs.

Coat: Closed Blouse: 0039 Italy Trousers: Custommade

Sportmax

Milestone

Liu Jo

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modern tailoring 086 FASHION

Elements from classic off-the-peg are interpreted with new materials. Soft, flowing qualities are paramount. Despite accurate fits, the suits can, in some cases, forego shoulder pads and therefore create a more casual look. New Jersey fabrics are utilised and these materials can impress with interwoven patterns, checks, and stripes. Boucle and Mouline yarns, partly pre-washed and/or pressed, are a strong autumn/winter trend.

Brunello Cucinelli

Suit: Lardini Shirt: Lacoste Live

CG Club Of Gents

“Fewer inlays, as well as soft and light-weight prewashed fabrics, are indispensable.

In terms of trousers, slightly tapered shapes are popular.

The materials are more elaborate too. They are either printed or woven in a variety of structures.� - Andreas Schimon, product manager at CG Club of Gents 415 style in progress

Luis Trenker

Closed

FASHION 087

infinite vastness

“We believe in the culotte. The flowing, elongated silhouettes of the summer prevail.

Furthermore, we continue to see asymmetric hems and midi-length items, which will be even more dominant in autumn/winter 2016/17.

A strong element of spring/summer 2016 was the classy interpretation of the Boho theme, which remains in focus. Moreover, overalls are indispensable!� - Sonja BlÜmker, managing director at Comma

Leather coat: Meindl Pullover: Gestuz Palazzo trousers: Dimitri

New volumes, flared over-lengths, and flowing fabrics - all silhouettes are possible, ranging from Marlene trousers to culottes.

The extremely wide-cut fits are the common denominator. Finest wool qualities, linen, and cotton replace the billowing silk fabrics of the summer season.

Max Mara

Comma

Zac Posen Bernard Chandran

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Baja East

Hunter

Drykorn

Minimum

Blouson: Boulezar Top: Pence Dungarees: Des Petits Hauts Sneakers: NoBrand

blouson blues A cult from the 1980s returns in new splendour: the college blouson. It is, in some cases, authentically re-interpreted utilising new materials such as soft suede or shiny nylon. In other cases, it is a fashionable quote in the form of shorter, voluminous jackets and blouson styles. In the form of a high-waist jacket with a wide stretch waistband and a cutaway collar, it is particularly present in the casual wear segment.

“The college blouson has become a classic in every wardrobe - and rightly so. We love its uncomplicated silhouette and the combination of elegance and comfort. Whether made of thin silk or strong Loden, the college blouson always feels spontaneous and informal at any occasion.� - Boulezar design team 415 style in progress

noncolours The main colour theme of the casual menswear collections is still tonein-tone - or, better, a combination of non-colours. The focus of autumn/ winter 2016/17 is on earth tones, as well as muted colour palettes including grey, green, and beige shades. The look is sporty and utilises extremely high-quality materials with structured surfaces, partly washed qualities, and innovative materials such as waxed corduroy, mottled cotton, and finest cotton/linen blends.

FASHION 089

Raincoat: Lacoste Shirt: Stone Island T-Shirt: Drykorn Chinos: Alberto Sneakers: Superga

Brunello Cucinelli

Belstaff

Alpha Studio

Hunter

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boho style The 1970s are, in unison, named as the most important inspiration for the womenswear collections for spring/ summer 2016; the same applies to the following autumn/ winter season. Rough-knit ponchos with fringes and Aztec patterns, fur boots, crochet, and colourful knitted capes - there are countless hippie look references that are interpreted in an urban and sporty manner.

Bloom

Agnona

“The broad 1970s trend will be reflected in the knitwear segment in the form of fringes, ponchos, or crochet structures and exudes the flair of Bohemian hippies. It will move towards innovative yarn blends, modern knitting structures, large meshes, and subtle yarn refining, as well as super-soft luxury yarns.

We have also identified a tendency towards large, tonal Jacquard patterns.�

- Bloom design team Thomas Wylde

Poncho: Closed Leather jacket with fringes: Marlino Belt: Esprit Shorts: Superjeans of Sweden Hat: Yaya

Polo Ralph Lauren

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FASHION 091

long is longer Skirt lengths have already levelled off somewhere between the knee and ankle. The high-waist variants also prevailed during the summer season. Wide, flowing, and very delicate fabrics dominated the summer. This means that the lengths will also be present in the winter. In addition, there will be a lot of volume due to more massive fabrics, asymmetric hem lengths, maxi lengths with trains, extremely flared petticoat cuts in stiff, heavy qualities, and even strengthened, flared denim skirts. The skirt will make a comeback as a central stylistic element of women’s fashion.

Headband: Warm-Me

“My collections are really about confident dressing. We’ll continue to embrace the fluid silhouettes and feminine details that modernize classic American style for today. Bold color and playful patterns are a part of our design heritage and will continue to be a part of our upcoming collections.”

Tommy Hilfiger

Tommy Hilfiger

Top: Custommade Skirt: Otto d’Ame Clutch: Lacoste

J. Mendel

Marc Cain

Marni

“Lightness defines the collection. I wanted to inject a fair bit of fluidity into the formula without relinquishing the essentially feminine point of view of my designs.” - Zac Posen style in progress 415

092 IN STORE

The Style Council. Trunk Clothiers/ London Swedish class: Mats Klingberg’s Trunk Clothiers sets new standards, even in a fashion metropolis like London. It is a store for modern gentlemen who appreciate high quality. Text: Kay Alexander Plonka. Photos: Tom Griffiths, Trunk Clothiers

It’s not only the Trunk Clothier store itself that’s worth a visit; the entire area in the Marylebone district is an attractive proposition. The fairly small Chiltern Street, located between the underground stations Baker Street and Bond Street, is one of the few places in London that is still worth exploring. Lovingly designed shops and cafés, the odd book store, an interesting

gallery, a few bridal shops, a newsagent, as well as Prism and Sunspel stores - the neighbourhood of Trunk Clothiers has preserved its unique charm.

Customers can visit the adjacent Monocle Cafe to indulge in soups, sandwiches, curries, and a special Japanese breakfast. The next building houses a Cadenhead Whisky Shop with a tasting room, in which one can

sample the finest spirits Britain has to offer. During certain tasting events, one may even be offered a glass directly from the cask. Crispins supplies women with designer shoes for business outfits or evening events, as well as fashion sneakers in larger sizes.

And last but not least, located directly opposite Trunk Clothiers, one can marvel at André Balazs’ Hotel & Restaurant Chiltern

The store’s interior is a mixture of Scandinavian nonchalance and British understatement.

415 style in progress

Firehouse, which is located in a magnificently restored gothic building from the Victorian age. By the way, Balazs also runs the Mercer and Standard hotels in New York, Miami, and LA. Marylebone certainly has charm!

Flair for Beautiful Things

Seeing that owner Mats Klingberg is Swedish, the interior of Trunk Clothiers is defined

IN STORE 093

by Nordic nonchalance. The atmosphere is accentuated by Scandinavian furniture from the 1950s and 1960s. Some of them may even sport a price tag. After all, the furniture is part of the style mix that men can purchase here. In addition, the store stocks handpicked items from Japan, Italy, the US, Sweden, and Great Britain. Naturally, all products can be ordered from the online shop outside the business hours.

Mats Klingberg studied Fashion Merchandising Management at New York’s Fashion Institute of Technology, completed a Master of Science in business and economics in Sweden, and worked for some of the best tailors in the world. He even spent some time managing a hotel in Switzerland.

Mats Klingberg loves to travel and meet new people; he draws inspiration from his journeys. “I

have always been interested in architecture, landscapes, and clothing. I prefer things of timeless beauty, which is why my style is Trunk Clothiers Ltd 8 Chiltern Street, W1U 7PU London/UK www.trunkclothiers.com Opening: 9th of September 2010 Owner: Mats Klingberg Store manager: Tim Yates Sales area: 50sqm Brands for men: Aspesi, Barbour, Barena, Beams+, Bigi, Boglioli, Camoshita, Caruso, Drake’s, Gitman Vintage, Glanshirt, Incotex, Mackintosh, Monocle Voyage, Trunk Clothiers, and others Accessories brands: Aesop, Alden, Bag’n’Noun, Begg & Co, Common Projects, Delfonics, Eleanor Pritchard, Ichizawa Hanpu, Kaweco, Le Labo, Porter, Rimowa, Skultuna, Valextra, and others

more classic than fashionable”, Klingberg explains.

The customers adore his knowledgeable brand selection; they celebrate the extraordinary brand portfolio, the selection of individual items, and their respective presentation on the Internet.

The well-travelled clientele often describes Trunk Clothiers as the best menswear store ever. The reason is that one can feel that every product is backed up by history and deliberation, and because one can always rely on Mats Klingberg’s knack for style.

The honest and discreet staff, as well as the professional personal service they provide, is also often praised.

Just a few metres down the road from the main store, Mats Klingberg runs the so-called Trunk Labs Store. This shop stocks an exquisite selection of accessories

ranging from handkerchiefs to classic writing utensils, as well as finest luggage, bags, shoes, belts, toiletries, sunglasses, household items, and smaller furniture.

“The Trunk Labs Store strives to assist men in adding a special touch to their wardrobe, home, or office. We interpret the term accessories rather broadly. The shop offers the perfect present for the sophisticated man who already has everything he needs”, Mats Klingberg explains.

Flair for the beautiful - Mats Klingberg prefers timelessly beautiful things.

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All or Nothing. Walser Leder & Mode/Hohenems Walser Leder & Mode/Hohenems. Walser has been a retailer of leather items for almost 100 years, but three years ago Stefanie Walser chose a radically new path. Today, the store stocks a fashionable textile range which is merely complemented by its initial core competence. Text: Nicoletta Schaper. Photos: Walser Leder & Mode

The floor is the only reminder of the past. All the old elements have given way to a completely new interior design concept. The sales rooms are now bright and airy with lovely wallpaper, seating furniture, back-lit walls, and an espresso bar. “We wanted to send out the message that everything is different now. A half-hearted approach wouldn’t have worked”, Stefanie Walser, the current managing director, explains.

The newly designed store is the perfect backdrop for the equally new product range. It includes entry-level brands like Closed, Steffen Schraut, and Marc O’Polo, which are supplemented by many specialised brands such as Mabrun for jackets and Caliban for blouses, as well as cashmere creations by Allude, Hemisphere, and Repeat. “Our share of Italian brands is growing. We love products from Italy, mainly because they are defined by high quality and excellent design”, Stefanie Walser says. 70% of the products in the store are from the textiles sector, but the in-house leatherwear, as well as the brands Milestone, Arma, and Werner 415 style in progress

Christ, round off the portfolio perfectly.

Greenfield

The company can look back on a long history. It was founded

by Stefanie Walser’s great-grandparents in 1919, when it focused mainly on raw hides and furs, as well as selling fur and leather clothing in-store. The flourishing business was eventually transferred to Stefanie Walser’s mother, Inge. In 1990, it moved to its current location in Hohenems.

The town is also the home base of Walser Group, a company that specialises in textile car interiors, child travel safety items, safety items in general, and sport equipment. The group is managed by Stefanie Walser’s father, Hans-Karl. After studying in Nagold and gaining experience as assistant buyer at Zurich-based fashion house Gassmann, Stefanie Walser decided to enter the family business in 2011.

Future Path

Walser’s success was certainly not hindered by its green-field location. The regular customers are not exclusively from the Vorarl-

berg province, but come from as far afield as Switzerland, Liechtenstein, and Southern Germany.

Walser Leder & Mode Radetzkystrasse 114, 6845 Hohenems/Austria www.lederwalser.at Opening: 1919, Reopening: March 2012 Owner: Hans-Karl Walser Managing director: Stefanie Walser Employees: 7 Sales area: 460sqm Brands for women: Arma, Allude, Blonde No.8, Closed, Caliban, Cinzia Rocca, FFC, Grace, Hemisphere, Iheart, Milestone, Marc O’Polo, NYDJ, Nice Connection, Mabrun, Margittes, Nadine H, NVSCO, Oakwood, Peserico, Seductive, Steffen Schraut, Raffaello Rossi, Repeat, Rosemunde, Serini, Pure, Piu Piu, Robert Friedman, Werner Christ, Zaubermasche, and others Brands for men: Artigiano, Gimo’s, Jan Mayen, Phil Petter, Milestone, Marc O’Polo, Oakwood, and others Accessories brands: Codello, Hemisphere, Hipanema, Liebes­ kind Berlin, Lua, Mala Alisha, Marjana von Berlepsch, Michael Michael Kors, Pretty Ballerinas, Roeckl, Thymian

“The customers appreciate the new store’s cosy atmosphere even more than before”, Stefanie Walser claims. “It is often said that one should focus on one’s core competence and emphasise one’s strengths”, she adds. However, Stefanie Walser and her mother, who supports the business wherever she can, decided that this is not the correct path to future success. “Modern customers have completely different buying habits”, Stefanie Walser stresses.

“They don’t come here looking for a leather jacket or a lambskin coat. They want to try on a complete outfit, all the way down to the handbag. We can now offer exactly that.”

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Walser strives to make its customers feel comfortable. This is ensured by a comprehensive product range for men and women, as well as a cosy lounge atmosphere.

Stefanie Walser manages the store and can always rely on the assistance of her mother, Inge Walser (right).

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The concept store idea thought through - the owner was heavily involved in the interior design process.

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Be Incomparable. Casa Moda The Concept Store/Salzburg It’s Casa Moda’s fourth store in Austria, and yet it’s still a premiere of sorts. Wilfrid Wetzl, the successful fashion entrepreneur, only recently opened his first shop with concept store character in Salzburg. And it’s exclusively for men.

Text: Martina Müllner. Photos: Casa Moda

Fashion is certainly not his only profession. Wilfrid Wetzl, a highly successful entrepreneur, is equally successful as a lawyer and property investor. It was, however, passion that drew him into the fashion business. He himself was a customer of the first Casa Moda store in Steyr. When Gertrud Schmidmayer decided to sell her store in 2008, Wetzl simply couldn’t resist. He has been expanding the business ever since. He opened stores in Linz and St. Pölten before venturing into Salzburg. “I am, of course, quite aware that the outlook in the menswear segment is not particularly rosy and that revenues are in decline.” We all know that the situation in the fashion industry as a whole isn’t the only indicator; one shouldn’t forget the corporate momentum of a company. In Casa Moda’s case, the latter is clearly positive. The entrepreneur has nevertheless decided to approach Salzburg in a humble manner: “It’s an experiment.” It’s actually even a double experiment, so to speak - both in terms of the town itself and the product range, which focuses exclusively on menswear and is presented on a retail space of 350 square metres. “There simply isn’t enough space to showcase fashion for both sexes competently and, as everyone knows, I don’t make compromises.” In terms of the concept

store approach, which is unique in Salzburg, Wetzl certainly went all out. “Headphones by B&O, a Porsche Design mobile phone, extravagant fragrances (some of which we stock exclusively in Austria), sunglasses, pens, and fine cashmere blankets - we have everything that interests men and could persuade them to linger in the store a little longer.”

Regionally Tuned

“We are known to have large regional differences in our product ranges in terms of price structure and brand portfolio.

We buy consciously for each of our four stores.” In Salzburg, where wealthy individuals spend their holidays, the product Casa Moda The Concept Store Münzgasse 2, 5020 Salzburg/Austria www.casamoda.at Opening: July 2015 Owner: Wilfrid Wetzl Employees: 7 Sales area: 350 sqm Brands for men: Belstaff, Cruciani, Diesel, Dolce & Gabbana, Drykorn, Ermenegildo Zegna, Etro, Lanvin, Phil Better, Prps, Salvatore Ferragamo, Valentino, Z Zegna Accessories brands: B&O, Fornasetti, Guaxs, Heeley, Histories des Parfums, Jovoy, Lambert, Mykita, Porsche Design, Tatetossian

range includes quite a few “First Lines”, such as Lanvin, Dolce & Gabbana, Ermenegildo Zegna, and Valentino, as well as Drykorn at entry price level.

“Our suits range from almost 400 to more than 2,000 Euros; that’s the range we want to focus on.” The product range is combined with exciting non-fashion items: “For me, we are making a bold statement against the monotony of fashion chains and mono-brand stores, which is rampant worldwide and a development I deplore strongly on a personal level.” With the assistance of seven employees, Wetzl strives to pitch a strong element of surprise against the stagnant structures. Now he has to try and convince the residents of Salzburg. Wetzl knows: “You can’t live off tourists alone, not even in Salzburg.” Events, local networking, and co-operations should do the trick. One example is a partnership with Diva, the leading women’s fashion store in the area. The two stores have produced a joint catalogue for autumn/winter, which will be sent out to the customers of both shops. Those who know Wetzl will also know that teamwork has always been an integral part of his business plan in terms of expansion.

Number four after Steyr, Linz, and St. Pölten - Wilfrid Wetzl only recently opened a Casa Moda branch in Salzburg.

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A concept with depth – Septième Etage is defined by lots of light and open spaces. It’s a comfort zone for designers and customers alike.

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Diplomatic Fashion. Septième Etage/Geneva Septième Etage/Geneva. If you are the daughter of a diplomat, you are definitely very used to travelling between worlds and balancing them accordingly. Katharina Sand has found a way to transform this talent into cash without venturing into the financial world, as is the case with 99% of the children with her heritage. Text: Dörte Welti. Photos: Nicolas Schopfer, Septième Etage

A school reunion in Geneva provided the final impetus for the creation of a boutique.

Katharina, who then worked and still works - as a freelance journalist and correspondent on the international fashion stage, had just interviewed Isabel and Ruben Toledo. After the interview, she wondered why it wasn’t possible to purchase all these beautiful fashion items in Geneva. It triggered a desire to share the wonderful ideas of fashion designers with the public, and to explain what it means to wear a high-end dress that has been tailored in such a manner for a very good reason. At the school Septième Etage 10 Rue du Perron, 1204 Geneva/Switzerland www.septieme.com Opening: July 2000 Owner: Katharina Sand Employees: 2 Sales area: 170sqm Brands for women: Alice + Olivia, Costello Tagliapietra, Delfina Balda, Elizabeth and James, Francesca Rosafio, Isabel Toledo, Greta Constantin, Jessica Choay, Lover, Maria Cornejo, Nili Lotan, Rodebjer, Veronica Beard, Whit Accessories brands: Alice + Olivia, Eppla Lemonada, Gemmina Mia, Totally Unnecessary, Wonderwool Lifestyle brands: Isabel Toledo for Mizensir Candles, various magazines

reunion, Katharina found herself surrounded by former classmates “who all failed to maximise their creative potential and the majority of whom chose a career in finance because it was the easiest option.” Katharina whipped up a business plan in no time and raised the necessary funds. After she had found lovely premises in Geneva, she returned to her old school and announced that the demanding, fashion-conscious daughters no longer had to travel to New York, London, and Paris for shopping. She made clear that all the fashionable brands were available in her shop in Geneva. That was quite a coup, especially as she also gained the wealthy Saudi Arabian women, who spend their summers in Geneva, as customers.

Weaving a Relationship Network

The exchange with the school continues to this day; Katharina awards internships to the pupils. She is a juror for Swiss fashion awards and she regularly organises events or art/ photo exhibitions in the store.

Furthermore, her customers are extremely loyal; women between 14 and 70 years of age who give in to their fashion addiction in Septième Etage. By the way, the shop’s name was chosen because Katharina Sand’s last flat in New York was on the seventh floor

of a building without a lift. She started with Isabel Toledo and still has an intimate friendship with the designer couple to this day. They even designed a candle together; the candle by Isabel Toledo for Alberto Morillas von Mizensir is available in the store.

Right from the start, Septième Etage stocked various iconic brands from New York and the unique boutique can now celebrate its 15th anniversary. For a short while, there was a second branch just across the road and the number of employees rose to 10. However, it soon became apparent that this was one step too many after seven years. Now Septième Etage is once again a bright spacious store spread out over two floors, but with an inhouse photo studio in the second basement and a fairly successful online shop. Katharina the Great (she is 1.85 metres tall) actually works in her store at least three times a week. “I want to explain the designers’ work personally”, she explains. She still is a coveted freelance journalist and is visibly thrilled by the fact that people from all over the world fly into Geneva to visit her shop, which has already been praised by the US version of Elle and Harper’s Bazaar Arabia. “You simply feel different when wearing a dress designed by Isabel Toledo. Like all my designer brands, it is special.” Katharina is always in

More than just fashion – Katharina Sand communicates quality awareness.

a rush to reach the next meeting before jetting off to London to study for her Ph.D. in Fashion Curating. After all, presenting fashion - no matter in which context - is the most beautiful thing in the world, at least in Katharina’s world.

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Times Two. Bungalow/Stuttgart Everything has finally fallen into place. Bungalow in Stuttgart has given women their own space - at the same address, yet still completely separated. Text: Martina Müllner. Photos: Bungalow

Next year, Bungalow will celebrate its 10th anniversary with a huge party. In summer 2015, Uwe Maier gave himself a gift in advance. He established a completely separate sales floor for women’s fashion, at the same address. “We could have only expanded our women’s section at the expense of the men’s area, which really wouldn’t have made any sense.” But let’s start at the beginning. In 2012, Uwe Maier entered the women’s fashion market with Bungalow Bel Etage, a store on the first floor above a well-known inner-city club.

“Maybe I was a little too confident. It was also difficult for me to handle, because the location was far away.” This led to Bungalow unceremoniously integrating the women’s range into the initial store, which meant that the men’s area was suddenly extremely full. Uwe Maier always told his landlord, a household goods store, that he would gladly take whatever extra space becomes available. When the household goods store moved its incoming goods department

to a green-field site, the time for expansion had finally come.

However, there was the small matter of reducing the harsh industrial backyard atmosphere and delicate feminine fashion to a common denominator. This was a mere finger exercise for Dongus Architects, the lighting specialists Pslab, and Uwe Maier.

“We know each other well. We create original concepts quickly by exchanging ideas.” Examples include a lush, planted facade, the central lighting object made of brass, and the well-placed modern antiques throughout the store.

The Multi-Brand Niche

Stuttgart has fallen in love with Bungalow, mainly because of its internationality with First Lines by the likes of Tom Ford, Saint Laurent, and Céline, in combination with exciting items by Kitsuné or Common Projects.

Seeing that these brands are showcased in a backyard, the fine items instantly seem a bit cooler, which breaks down the fears some potential customers

may have in terms of high-end fashion. The regular comparisons with stores in New York and the high customer loyalty are no coincidence. “We have realised that our customers adore this multi-brand niche. Here, they can find something that department stores and mono-brand shops lack.” Some of those aspects include competent Bungalow Stiftstrasse 1a, 70173 Stuttgart/Germany www.bungalow-stuttgart.de, www.bungalow-gallery.com Opening: August 2015 Owner: Uwe Maier (managing partner), Lars Presche, Hans Peter Reichert (both co-owners) Employees: 4 full-time, 10 part-time Sales area: 200 sqm Brands for women: Acne Studios, Bottega Veneta, Céline, Chloé, Common Projects, Frame Denim, Kitsuné, Lanvin, Marni, Moncler, Saint Laurent, Stella McCartney, Thomas Maier Accessories brands: Dick Moby, Saskia Diez, Sumikaneko, Tsatsas, Vanessa Baroni, Und Gretel

advice, a product selection with character, and an interior with a distinct handwriting. Thankfully, the new store now adds spaciousness to the list. “We haven’t really expanded our product range significantly. We basically showcase the same amount of goods, but present then more attractively. We allow ourselves the luxury of not planning out every square metre, which means that our customers can actually walk a few metres before running into the next clothes rail.” The store has only added one or two new designer brands to date.

However, Uwe Maier is “on the lookout for small niche products, like the men’s range already has.

You need a bit of space to present such products, to showcase them separately.” That space is available now.

Uwe Maier opened Bungalow, which is rightfully considered to be one of Germany’s top fashion stores, (almost) ten years ago.

Uwe Maier designed the interior in collaboration with Dongus Architects and the lighting specialist Pslab.

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Brass, modern classics, and focus on the product - Bungalow is known for its excellent style.

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Sleeves Up & Go! Die Stiefväter/ Lucerne “Generation Y” you say? No way! Those young entrepreneurs, who know that success is always based on a lot of hard work, still exist. Dominik Schmid and Enea von Fellenberg decided to go all in and dedicated their lives to the realisation of a dream.

Text: Dörte Welti. Photos: Anja Wurm

It all started with the vision of an independent catering business. Dominik Schmid, a qualified coiffeur with a publican license, and Enea von Fellenberg, a professional chef, initially met while enjoying the nightlife of Lucerne. Although the city located on the shores of Vierwaldstädter Lake has quite a few bars and inns, it nevertheless lacks one that really rocks. The money was still scarce when the two were offered a location that was a little too small for a pub.

Dominik and Enea decided to take up the offer anyway.

The plan was to earn enough money to realise their restaurant dream down the line. While knocking back a few beers, the two came up with the name “Die Stiefväter” (“The Stepfathers”), combined with the clever caption “Your Guardian of Style”. They equipped the premises with two hairdressing stations, fashion items, and a few accessories. Dominik, who

has Thai heritage, knew quite a few textile producers back home; if doesn’t get more sustainable than that. The store stocked up with a fine selection of brands and then finally opened its doors to the public. The boys had to work hard, very hard indeed!

Dominik had to perform no less than 100 haircuts per week, mainly because the prices - 39 Swiss Francs for women and 29 Swiss Francs for men - attracted a lot of business. The cuts aren’t extravagant; it’s a simple “cut & go” concept.

The young entrepreneurs had to share the 240 Swiss Francs rent for a tiny apartment without heating and warm water, kept their fixed costs low, and marketed themselves by combining music, another shared passion (Dominik once played in a band called “GeilerAsDu”), with Enea’s skills and organising various events.

The news spread quickly. “Die Stiefväter” soon earned a reputa-

Die Stiefväter Hirschengraben 11, 6003 Lucerne/Switzerland www.diestiefvaeter.com Opening: November 2012 Owners: Dominik Schmid, Enea von Fellenberg Employees: 1 Brands: Cheap Monday, Desires, Eviltwin, Metallic Tattoos, Minkpink, Nude Audio, Timi Jewelry, Vagabond, Ynoru

tion for being an extraordinary store, as well as a location for cool record launches, extravagant parties, and a hell of a lot of fun.

The boys even organised readings to ensure that the cultural aspect is not neglected. The young urban clientele loved the store, which is incidentally located opposite a vocational school, where Enea completed his leaving certificate simultaneously. The people of Lucerne talk to each other. Enea’s landlord - the two businessman were able to afford

separate lodgings by that time - knew about their restaurant dream and had a former punk rock bar available. One thing led to another. The “Metzgerhalle”, a location with 90 seats, opened on the 14th of March 2015.

Naturally, it is an ideal venue for music and even boasts a garden area.

Dominik and Enea did all the renovation work, built the furniture, and worked their socks off.

Today, it’s impossible not to notice the gleam in their eyes when they are given a chance to talk about their project. Alongside all this activity, Enea managed to create an independent bag brand called “Ynoru”, which is now available in the store. The original shop will remain open, especially as “Metzgerhalle” currently only opens at 4pm on weekdays. It is open continuously on Saturdays, while it is a brunch bistro on Sundays. That still leaves sufficient time for haircuts and school exams.

Small store, low costs, and a reputation for high quality – the concept of Die Stiefväter (Enea (left) and Dominik) allows them to save funds for larger projects.

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A Treasure Chest. The Box/Hamburg In the former Theatre in the Basilica, The Box has compiled a compelling range of products that thrill every design enthusiast.

The landmarked factory building now houses one of Hamburg‘s most interesting concept stores consisting of three shops, two galleries, and a café. Text: Quynh Tran. Photos: The Box

Upon entering the concept store in Hamburg’s Ottensen district, one can be forgiven for feeling like one is entering a chamber of wonders. The former industrial machinery factory from 1868 is now the home of one of the most exciting new additions to Hamburg’s retail scene.

After the closing of the Theatre in the Basilica, which occupied the building for no less than 22 years, owner Christian Peters initially wanted to establish another cultural venue in the landmarked premises. However, cuts to the city’s culture budget made these plans unfeasible. There and then, he decided to develop a completely new, future-oriented concept together with fellow campaigner Monika Brune.

A Stage as a Stage

The building was in dire need of an elaborate renovation process

that would preserve and re-focus its old industrial substance.

The result is an overall concept consisting of three shops, two galleries, and a café; it effortlessly combines design, art, culture, and culinary aspects.

The main nave of the open factory hall, which once housed the theatre’s stage and is defined by brick walls with iron beams, now houses the Heritage Shop, which stocks design classics from the modern era. Bridge chairs The Box Borselhof, Borselhofstr. 16F, 22765 Hamburg/Germany Owner: Monika Brune, Christian Peters Sales area: 800sqm Lifestyle brands: Baxter, Catellani & Smith (Vintage), Christian Laigre, Eileen Grey (Vintage), George Smith, Hans Wegner (Vintage), Philippe Starck, Santa & Cole (Vintage)

from the 1930s and Hans Wegner’s Teddy Bear chairs from the 1950s create a living room atmosphere. Chandeliers by Santa & Cole and Catellani & Smith look as if they have never been anywhere else. The unique items that were initially designed for hotels, such as Philippe Starck’s bed for the Royalton Hotel in New York or the George Smith sofa for Soho House Berlin provide special highlights.

In keeping with this spirit, one can browse through coffee-table books concerning design and architecture, as well as other rare books, in Books in the Box, a store managed by book and media designer Rainer Groothius. One Kitchen, the third store within the building, rounds off the concept with a wide variety of kitchen utensils.

The galleries below the glass roof are now the home of Christian Peter’s The Box Gallery and Lazy

Dog Gallery, which are both well-known beyond Hamburg’s borders.

Fill Mind and Stomach

Naturally, such a concept is ideally completed with a café; The Box Café sweetens the visit with delicious Breton crepes and tasty coffee. To ensure that the cultural aspect, which was the initial focus of the building, does not fall short, the premises regularly stages concerts, readings, and art exhibitions.

In short, the former Theatre in the Basilica is once again a lively location with a truly unique atmosphere. It’s a concept store that has created an individual and charming experience.

Monika Brune and Christian Peters – the masterminds behind Hamburg’s The Box. The Heritage Store in the landmarked factory hall.

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Shining extra - the VIP cocoon in the men’s department.

A home and accessories department and a little coffee table literature - straight out of the concept store handbook.

Daring architecture - an ice grotto as inspiration promises the biggest luxury in a city located in a tropical region.

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One Step Ahead. Runway/ Ho-Chi-Minh-City Runway, the first premium multi-brand store in Vietnam with a sophisticated design concept and an exclusive brand portfolio, is the brainchild of Hoai Anh Tran Thi. The shop can easily measure up to the competition in Paris and London, which is a real pioneering victory in this particular emerging market. Text: Quynh Tran. Photos: Runway

When it’s hot outside, coolness is the ultimate luxury.

Runway has realised this in every sense. In the heart of the city, the Vincom Center on Ho-Chi-Minh-City’s shopping street Dong Khoi to be precise, the first Vietnamese department store has created an internationally acclaimed respite from the tropical heat and the noise of the vibrant Southeast Asian metropolis.

Interplay of Contrasts

The 1,500 square metre space is based on the digital design of an ice grotto by Italian Studio CLS Architetti. It seems like a broken maze of white steel lamellas, which are a metaphor for the cycle of birth, life, and rebirth.

The coolness of the ice grotto stands in contrast to futuristic sculptures, warmer leather and velvet elements, and Vietnamese wood and stone furniture. A shiny silver cocoon of 12,899 steel scales is located in the middle of the store, right in front of a VIP room with almost 9,000 handmade white plaster roses.

The interplay between modernity and tradition, technology and craftsmanship, and reserve and abundance can be felt throughout the premises. One can find

competent employees, who have mastered the balance between restraint and attention perfectly, at every turn.

Always Ready to Evolve

Instead of pomp brands such as Gucci and Prada, as one would expect in emerging markets, Runway offers a selection of exquisite European labels that are synonymous for good taste and luxurious understatement: Balenciaga, Céline, Givenchy, Jil Sander, Lanvin, and Saint Laurent. In addition to these established brands, the department stores also stocks labels that are less well known, or at least less popular, in Vietnam, such as Acne Studios, Akris, Alexander Wang, Erdem, Hussein Chalayan, Maison Martin Margiela, Theyskens’ Theory, and The Row. The brand portfolio and the sophisticated design that merges the East and West, illustrates how one can blend European elements into an Asian context both smoothly and successfully.

Runway is therefore strides ahead of the emerging market itself.

Hoai Anh Tran Thi, the founder and managing director of Runway, certainly doesn’t have to fear comparisons with European

concept stores like Colette.

Since opening her first store for Sergio Rossi in Hanoi’s Metropole Hotel in 2006, the young entrepreneur has expanded her fashion empire continuously.

Her company, Global Link Co. Ltd., successfully implements Runway Ho Chi Minh City Vincom Center, 70-72 Le Thanh Ton, District 1, Ho-Chi-Minh-City/Vietnam CEO: Hoai Anh Tran Thi Sales area: 1,500sqm Brands for women: 3.1. Philip Lim, Acne Studios, Akris, Alexander McQueen, Alexander Wang, Antonio Marras, Balenciaga, Cedric Charlier, Céline, Chloé, Closed, Emilio Pucci, Erdem, Givenchy, Helmut Lang, Hussein Chalayan, I’m Isola Marras, J.W. Andersen, Jil Sander, Maison Martin Margiela, Marc Jacobs, Marni, Paco Rabanne, Prabal Gurung, Proenza Schouler, Roland Mouret, Saint Laurent Paris, Stella McCartney, The Row, Vanessa Bruno, Viktor & Rolf, Vionnet Brands for men: Brioni, Givenchy, Jil Sander, Kiton, Lanvin, Loewe, Maison Martin Margiela, Marc Jacobs, Sergio Rossi, Sonia Rykiel, Vanessa Bruno, Viktor & Rolf Accessories brands: Alexander McQueen, Givenchy, Lanvin, Maison Martin Margiela, Monica Castiglioni, Rosa Maria

mono-brand concepts for luxury brands such as Alexander McQueen, Balenciaga, Céline, Givenchy, and Loewe. Her excellent relations with the European fashion houses are the basis for the audacious multi-brand store.

The consumer-oriented emerging market is thankful for her efforts.

Since opening Runway in 2010, four successful branches have opened in Hanoi and Ho-ChiMinh-City. This year, there are plans to turn the mono-brand stores in Ho-Chi-Minh-City’s Rex Hotel, which include Balenciaga, Loewe, and Chloe, into an additional multi-brand store, which will also stock a private label. So it’s no surprise that Hoai Anh Tran Thi is considered to be one of the most influential figures in the Southeast Asian fashion world and was listed among the Fashion 500 by The Business in 2014.

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Perfect Isn’t Perfect. Room Nine/Bonn Cool and minimalistic styling is not something you can expect from Room Nine. That is a good thing. The concept of the three managing directors is not based on common patterns; it follows its own set of rules. Text: Nicoletta Schaper. Photos: Peter Schaffrath

Allessandra Cuschiè, Torsten Müller, and Antonia Molina (not in the photo) are the owners of Room Nine.

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At first glance, Room Nine looks a little like a girl’s room.

It is dominated by light pastel colours, is slightly cluttered, and seems very cosy. “This is exactly what our customers appreciate”, says Torsten Müller, who founded Room Nine with Allessandra Cuschiè (his wife) and Antonia Molina.

Casual and Way Out Looks

Torsten Müller has been active in the fashion distribution industry for 23 years. He currently runs a Düsseldorf-based fashion agency, which is also called Room Nine and has, among others, brands such as CP Company and Deyk in its well-balanced portfolio.

Torsten Müller initially opted for studying chemistry, but a holiday job at Esprit turned into a permanent position and soon unearthed his talent for sales. A little later, when he was a sales manager at Burberry, Torsten Müller met Allessandra Cuschiè, a sales colleague at the time. In 2006, they teamed up with Antonia Molina, a life-long friend of Allessandra Cuschiè, to open

their first store in Bonn (Sterntorbrücke 9).

Room Nine primarily focuses on casual – sometimes even slightly way out – looks, not specific brands per se. The product range includes dresses by Bash, feminine knitwear by Jeff, moccasins and fringed boots by Minnetonka, and jeans by Herrlicher.

The latter brand has been part of the product range right from the start.

In the course of time, the trio opened further Room Nine stores in the area. “The location right next to a gambling hall and a pub was initially a little problematic”, Müller explains.

“However, the street has developed and now houses Leysieffer, a bakery, a restaurant, and a children’s store. This industry mix has revived the area.” Today, they run three Room Nine stores, as well as an outlet around the corner where one can also purchase hand-painted wallpaper designed

by Cuschiè. All stores are in line with the concept of offering fashion items including shoes, jewellery, decorative products,

and ceramics. The fact that the goods are often rotated between stores, and that the shops are redecorated every ten days, ensures that Room Nine always feels fresh. This does not only inspire Room Nine Sterntorbrücke 9, 53111 Bonn / Germany www.roomnine.de Opening: April 2006 Owners: Allessandra Cuschiè, Antonia Molina, Torsten Müller Employees: 3 full-time and 18 part-time employees for all Room Nine stores Sales area: 120sqm Brands for women: among others American Vintage, Bash, Custommade, Deyk, Essentiel, French Connection, Herrlicher, Jeff, Leon & Harper, Levi’s, Maison Scotch, Pyrenex, Second Female, Sessun, Set, Shot, Zoe Karssen Shoe brands: among others Beck Söndergaard, Billi Bi, Birkenstock, Doc Martens, Janet & Janet, Jeffrey Campbell, Minnetonka, Moo, Seven Bootlane, Toms, Ugg Jewellery brands: among others Catherine Weitzman, David Aubrey, Ginette NY, Leaf, Satya, Van Rycke

the regular customers. “Our shop windows are always fairly colourful and well-stocked. The items we put on display are sold within a few days”, Müller reveals.

Hand-Made

The fact that the stores were never professionally renovated and have a certain “hand-made flair” is also an integral part of the Room Nine concept. “The Room Nine store with the street number 5 was supposed to be our flagship store. It was initially perfectly decorated in a minimalistic style, with indirect lighting and white plastered walls”, Müller explains. “However, this particular store didn’t perform at all at first. We then decided to panel the walls with wood and increased the amount of products on display significantly.

Now it performs well. It seems that not being perfect is the secret of our success.”

Girl’s room – Room Nine focuses on looks, not on specific brands.

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108 EDITOR'S LETTER /// ABOUT US

New Thinking

The fact that the “Evil Spirit” of the fashion retail industry is on the cover of style in progress may irritate a few people. For a long time, I myself found it more than difficult to come to terms with Zalando in terms of content. It was too loud, too chav, and too much like every other Samwer business. Furthermore, I am always sceptical when a company exudes such a world domination attitude. However, it is important to ensure that this scepticism doesn’t obscure the bigger picture. It is vital to see Zalando as an increasingly powerful market participant that - at least in the Germanspeaking markets - embodies the fundamental change of the retail environment and consumer behaviour in general. It is vital to perceive Zalando as a company that quite obviously pursues a very different plan than that of “merely” being a large or even very large - online retailer. It is a company that is always willing to think outside the box.

Zalando is neither a universal excuse, nor the snake that specialised retailers need to fear as much as scared rabbits. Zalando is - like all the other online retailers - just a competitor. Maybe Zalando could even provide an opportunity for stationary retailers, not only because its unprecedented advertising efforts have increased the public awareness in terms of fashion as a whole. After all, the ongoing - and increasingly heated - discussions about the future of cities and town centres have caused many to reconsider their positions. After all, the 24/7 digitalisation has triggered a conscious - or unconscious - backlash. In this context, Zalando (as pars pro toto) ensures that stationary retailers question the relevance and authority of their own positioning. When old paths become difficult to tread, it’s time to look for new paths. New paths - or “Rethinking”, if you will - do not necessarily mean that one needs to do anything new or do everything differently. Often reconsideration is enough.

For decades, the agricultural sector was dominated by a damaging culture focused on unconditional maximisation. Technology and science enabled unchecked increases in production. To a certain extent, that development was right, sensible, and necessary. The ultimate aim was to provide for a fast-growing society at affordable prices. For a generation that had to endure hunger, this was a 415 style in progress

profoundly logical requirement and a social necessity. However, it was soon taken for granted. We humans tend to push everything to extremes and turn that screw just a little too far. While those who warned us against a limitless industrialisation of agriculture were initially seen as weirdoes, the world soon noticed that this path will, in time, lead us astray, quite pragmatically and without any romantic consumer criticism. This path was destined to destroy our foundations and cause significant collateral damage. After all, devaluation and deteriorating quality are immanent elements of such a system.

The new approaches, with which a growing number of people are trying to counteract these undesirable developments, are ultimately a return to the basics. When farmers decide to return to crop rotation, it is not nostalgic or backward-looking, but forward-looking. The quality of the land they are farming is their future capital. When consumers decide that they are willing to spend a little more on truly tasty tomatoes or high-quality meat with a traceable, regional origin, then this may be perceived as zeitgeist to a certain extent, but is also the result of a change in demands. Nobody would seriously consider demanding that the agricultural sector - or the food industry, as a matter of fact should turn its back on modern technology. It’s always about finding the right balance.

In many respects, the fashion industry has lost this balance. (Unchecked) sales area madness and flooding the markets with goods is the equivalent to the depleted soils of agricultural monocultures.

The effects are comparable: devaluation, loss of quality, and price erosion. This is, as my example proves, not a law of nature and definitely not an inescapable fate. However, things don’t change by themselves and a proactive approach is paramount.

Thus, the willingness to rethink is a basic requirement.

Yours, Stephan Huber stephan.huber@ucm-verlag.at

Publisher, editorial office, advertising department and owner UCM-Verlag B2B Media GmbH & Co KG Salzweg 17, 5081 Salzburg-Anif Austria T 0043.6246.89 79 99 F 0043.6246.89 79 89 office@ucm-verlag.at www.ucm-verlag.at Management Stephan Huber Nicolaus Zott

Editors-in-chief Stephan Huber stephan.huber@ucm-verlag.at Martina Müllner martina.muellner@ucm-verlag.at Art direction/production Elisabeth Prock-Huber elisabeth@ucm-verlag.at Contributing writers Isabel Faiss Petrina Engelke Ina Köhler Kay Alexander Plonka Verena Roidl Nicoletta Schaper Quynh Tran Dörte Welti Photographers Markus Burke Bernhard Musil Peter Schaffrath Illustrator Claudia Meitert Image editor Anouk Schönemann anouk.schoenemann@ucm-verlag.at Advertising director Stephan Huber stephan.huber@ucm-verlag.at Publisher’s assistant, distribution Sigrid Staber sigrid.staber@ucm-verlag.at Christina Hörbiger christina.hoerbiger@ucm-verlag.at English translations Manfred Thurner Printing sandlerprint&packaging 3671 Marbach, Austria Printing coordinator Manfred Reitenbach

Next issue 12 January 2016