J'N'C News 2/2020

J’N’C News – Your insider source for the latest in fashion – Since 1991 – Issue 2/20 – Tuesday, 25 August 2020

2/ 20 NEWS & VIEWS BRANDS DESIGNERS FASHION OPINIONS

News

BRAINS BEHIND THE BRANDS

Dear Vanessa / Poyan Rahimzadeh

A HOPELESS ROMANTIC Poyan Rahimzadeh celebrated the debut of his own brand, Dear Vanessa, in autumn/winter 2019. What makes his collections so unique is the fact that they tell a love story centred around a fictitious character called Vanessa.

We met up with him for an interview to find out where this romance is headed. p. 18

BERLIN FASHION WEEK

FASHION

BRAINS BEHIND THE BRANDS

TRADESHOWS

GOODBYE, BERLIN?

NEW NEEDS

PATTA’S LEGACY

PRESENT & FUTURE

Three different perspectives on the future of BFW from Marcus Kurz, Mandie Bienek and the designer duo behind the Richert Beil brand. p. 34

The spring/summer 2021 season is on!

Check out next summer’s fashion highlights in our Bits & Pieces. p. 6

Edson Sabajo and his team have created something much bigger than an iconic sneaker store.

An interview. p. 22

News and views from Messe Frankfurt, Pitti Immagine and Munich Fabric Start on the status quo of tradeshows. p. 28

THE JEANS CHINO

®

ORGANIC DENIM

www.espadrij.com | #espadrij | instragram.com/espadrij | facebook.com/espadrij.eu

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Editorial

Imprint PUBLISHER

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STATUS REPORT

PUBLISHING MANAGEMENT

We could easily fill an entire event just talking about the COVID-19 pandemic and its farreaching consequences. And the agenda would no doubt be packed with lots of stories of hope, sobering insights and Q&A sessions with the audience.

But if, after almost half a year, we had to submit a status report, it would probably begin with a tentative shrug of the shoulders. So where exactly do things stand right now?

While political and social unrest are spreading around the world just as quickly as the virus that is currently dominating our lives, others are gradually getting used to the ‘new normal’.

Because what other option are we left with?

Finding solutions instead of problems is a panacea for entire industry sectors – but not everyone is willing to take the risk of venturing off the beaten track and onto new, unknown paths. In the end, however, most companies have decided to escape through the digital emergency exit and are finding their way surprisingly well in this technology-generated world, in which most of us already feel at home. And although virtual can never fully replace live and in person, the wild rollercoaster ride the trade fair organisers have been on lately is proof that change is also possible at short notice, provided that a crisis comes along to push us close enough to the edge.

What we can learn from the present and how next year will look is revealed to us by Munich Fabric Start CEO Sebastian Klinder, Pitti Immagine CEO Raffaello Napoleone, Vice President of Textiles & Textile Technologies at Messe Frankfurt Olaf Schmidt and Show Director of Neonyt Thimo Schwenzfeier in our insightful interviews from page 28. The latter two, together with the Premium Group and their upcoming relocation to Frankfurt am Main, have shown a particular willingness to take bold risks. But what will happen to Berlin Fashion Week when two of the major driving forces from Germany’s fashion metropolis move to Germany’s financial metropolis? Our editor Cynthia Blasberg let Marcus Kurz, CEO of Nowadays, Mandie Bienek, co-founder of Press Factory, and the designer duo behind Richert Beil, Jule Beil and Michele Richert, have their say. Read what they think about the future of the German capital from page 34.

And Edson Sabajo, the co-founder of Patta, is looking to the future too. What began as a hobby for him has since flourished into something of a cult on the sneaker and streetwear scene. But Edson wants his legacy to go way beyond the fashionable impact and limitededition sneaker collabs. He wants to give something back to his community, especially the kids and teens. Find out how he’s doing that – even in the midst of a global crisis – in our interview from page 22. Poyan Rahimzadeh, founder of newcomer label Dear Vanessa, also has big dreams. His unique label revolves around the fictitious character Vanessa, who swarms of men fall hopelessly in love with. We met up with the enthusiastic creative in Amsterdam and asked him where else his vivid imagination will take us and whether there will be a happy end to Vanessa’s love story (see page 18).

A happy end is also something a lot of people are wishing for when it comes to the fashion calendar. In our ‘Seasonless Fashion – Wish or Reality’ essay on page 14, we are examining the question of whether fashion will be able to rip up its seasonal rule book and develop a new concept in the long term. But until that happens, we are casting a first glimpse at the versatile collections for spring/summer 2021 from page 6. Alberto’s CEO Marco Lanowy is also looking optimistically to the new season, which he describes as one of the best so far, in our interview from page 26. Read his insights into how he has navigated his company through the crisis and what lessons the industry can learn from it. And last but not least, Erwin O. Licher from Herrlicher is showing us that experience can also bring a sense of calmness and composure. He has ‘The Last Word’ (page 38) in this issue and is not only sharing a few extremely level-headed tips with us, but also comes across as wonderfully relaxed in the process. Which certainly makes a very refreshing change in these strained times…

and the J'N'C News team

Nikola Köster Kathrin Wimber

EDITOR-IN-CHIEF Cheryll Mühlen

Associate Publisher Pierre D’Aveta

Editors

Janine Aggen (ja) Stephanie Baumgärtner Cynthia Blasberg Renée Diehl (rd)

COPY EDITOR Paula Hedley

TRANSLATION

Paula Hedley Galina Green (trendtranslations.de)

Advertising

Pierre D’Aveta p.daveta@jnc-net.de Tel. +49 (0)211 8303-151

Ad planning Nikola Köster

sales EPP Professional Publishing Group GmbH

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ISSN: 2193-8423

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BITS & PIECES

TOMMY HILFIGER

SPORTY MIAMI VIBES

LIEBESKIND BERLIN

LOVE AT FIRST SIGHT

Under the motto ‘Miami Vibes’, Tommy Hilfiger is returning to Florida for spring 2021. The collection celebrates authentic street sports on the promenades and beaches and is channelling a South Beach vibe with urban and sporty influences.

Playful T-shirts with basketball-inspired graphics are a nod to Miami’s streetball (street basketball), while vintage prints, sequins, workwear details and new 3D effects add the typical Tommy touch. The knitwear is retaining its ultra-soft feel and forms a contrast to the edgy-look cargo pants, band tees and hoodies. Basketball silhouettes are reinterpreted with mixed

denim materials. A hint of neon pink, lime green and the newly launched brushstroke leopard print add a vibrant touch to the classic colour palette of red, white and blue. Unexpected logo prints adorn the sleeves and fresh colour blocking is making an appearance in unusual combos. High-tech innovations like the Bio Cool finishing technique and pieces made exclusively from 100 percent recycled cotton are a further boost to the label’s sustainability credentials. /ja

Is there such a thing as love at first sight? This was the question that the design team at Liebeskind Berlin asked themselves for spring/summer 2021 with their ‘Baby It’s You’ collection. The romantic theme is being interpreted with 70s-style bags in soft brown tones like caramel and nutmeg, rich red tones like chilli and soft pastels that could well rival any summer sunset. This collection is all about comfort, practicability and multifunctionality as well as croc and snakeskin-look leather for glamourous style moments. Slouchy shapes in soft suede form a playful counterpart to the boxy shapes with sophisticated hardware.

“Clever shapes equipped with well-thought out details,” say Liebeskind, and we have to agree. The designs reflect the strong women of the 1970s, somewhere between bohemian business and contemporary retro. So in answer to our original question, within the context of the Liebeskind collection our answer would be a resounding yes! /cm

tommy.com

liebeskind-berlin.com

ECOALF

COLOURS OF THE OCEAN The new spring/summer 2021 collection goes by the name ‘Lost Colors’ and represents the unique and vibrant colours of the underwater world that are gradually being lost due to global warming, pollution and the waste that is regularly dumped in the ocean. The colours yellow, blue and coral embody the marine biodiversity at risk of extinction. Together with the marine life itself, these dazzling colours of nature are paling before ultimately turning into white. In this context, white represents a visual warning and, in Ecoalf’s SS21 season, is regularly combined with subtle colour accents.

The designs and the selection of the materials and production procedures of the ‘Lost Colors Collection’ have sustainability in mind – with the aim of raising people’s awareness that the beauty of the oceans will disappear if we don’t act immediately. And by doing so, Ecoalf is once again drawing our attention to the fact that global warming needs to be kept under 1.5 degrees if we want to preserve their unique diversity. /ja ecoalf.com

CG – CLUB OF GENTS

ONE-WAY TICKET TO L.A. When will long-distance journeys feel normal again? If you’re experiencing a sense of longing for the sunnier climes of western California, you might just find some consolation in the spring/ summer 2021 collection of CG – Club of Gents. They are crossing the Atlantic on our behalf and whisking us off to the heart of Los Angeles. Showcased against the backdrop of buzzing big-city life and its loud and edgy appeal, the fashion by CG – Club of Gents is actually very calm and quiet. Organic, natural colours, lots of earthy tones and natural urban colours form a light contrast to olive and orange. And the patterns, including checks and stripes, also remain homogeneous in themselves. Stretch is also playing a key role in the SS21 collection and, together with lightweight fabrics, ensuring plenty of comfort. The classic casual suit, for example, will also be available in linen. Inspired by the Ocean Highway and its stunning colour palette of light sandy beaches, turquoise-blue sea and the pink of the morning sky, the collection is mainly dominated by pastel colours. Inspired by the vastness of the ocean and the feeling of freedom associated with it, jackets are wider and longer, while the lapels are wider and the collars higher. But despite this, the brand is going back to its roots and sticking solely to slim fits from this season. /ja cg.fashion

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BITS & PIECES

MARC O’POLO

BACK TO THE ROOTS

INUIKII

ENHANCED DESERT

The MO’P Era – a collection with zeitgeist.

Marc O’Polo is getting back to its roots with the spring/summer 2021 collection and showing off its predilection for naturalness and raw colours, which have been a major part of its DNA from the get-go. Sustainability is still at the fore here, alongside the focus on harking back to their heritage: remaining true to yourself, practicing what you preach and embarking on a new era while using the strength and qualities from the past. The new season is defined by sporty silhouettes and emphasised waists are combined with oversized fits. Sporty, relaxed and easy to wear – just what Marc O’Polo Casual is renowned for. Other key pieces include the firm favourite crew-neck oversized sweater, a fivepocket trouser and a leather shirt dress. In terms of the colour palette, there are variations of black and white, with Bleached Sun and Desert Camel adding subtle accents.

Highlights include camouflage prints, as well as various T-shirt prints that reference the topic of sustainability and the back-to-basics approach, which along with the use of natural materials like organic cotton and natural colours, are the common threads that run through this new collection. /ja

With its endless sand dunes, infinite golden vastness and promise of adventure, the desert is an inspiration to many. And for spring/summer 2021, this spectacle of nature also inspired Inuikii’s beige tones and soft, perfect fits, with which the label is telling its very own desert story. Flowing colours blend with lush green, vivid sunshine yellow and red and orange tones, and smooth lines follow the silhouette of the feet. The materials are all airy and natural like raffia, knit, cord and suede. Ergonomic contours merge with technological footbeds, which has given rise to a new, more feminine interpretation of the sole in a flat all-black design. Another highlight from the Zurich brand is the half platform: the platform style celebrated its debut in the last summer collection and is back for the SS21 season with a sole that is half the height and boasts a new black design. And for the men, the look is all about clear, simple structures in understated colours like white, black, dark green and brown. /ja inuikii.com

MAC

PROTECT OUR PLANET Sustainability, comfort and a sense of purpose – COVID-19 has changed our perspective on the world. Beliefs we had always taken for granted were turned on their heads and daily tasks became major challenges. Our approach to fashion has also changed in the last few months – something that jeans label MAC has picked up on for its spring/summer collection 2021. Sustainability is a top priority: since January 2020, the company has been using sustainable cotton only – BCI-sourced or recycled cotton, organic cotton or cotton from equivalent sources. With most of the denims, recycled polyester and reused cotton also come into play. The company is also launching a GOTS certified Terra Denim, which is pre-dyed with natural dyes like clay, as well as an organic stretch denim made from organic cotton with Japanese ROICA yarn that is compostable.

From spring/summer 2021, all the sustainable aspects of each item will be identified by special label in the pocket pouch. /cm mac-jeans.com

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marc-o-polo.com

COPENHAGEN STUDIOS

SOFT LEATHER AND CHUNKY SOLES New colours and shapes are at the focus of Copenhagen Studios’ collection for pre-spring 2021. Inspired by Copenhagen’s street styles, the new season includes four new models in addition to the favourite CPH500: the CPH515, distinguished by its high lace-ups; the CPH525, a Chelsea boot with a front zipper and the CPH527, an ankle-high lace-up, as well as the CPH521, a classic Chelsea boot. And it goes without saying that all the styles come in the minimalist style so typical

of Copenhagen Studios. Understated tones and soft leather also define the new collection. Along with the classic sneakers, another highlight for pre-spring 2021 are the sporty boots with chunky rubber soles. And the sporty CPH500 boot, the top-seller of the previous collection, is now also available in lace-up and zipper versions. /cm copenhagenstudios.com

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BITS & PIECES

G-LAB

INDOOR-OUTDOOR

LANIUS

THE FUTURE OF FASHION IS SLOW

Waterproof, windproof and breathable: influenced by these elements, G-lab is offering the ultimate all-weather wear in an effortless, luxurious style for spring/summer 2021. In addition to their high-performance outerwear collection for men and women, last year’s newly created cross-seasonal 24/7 line adds a real lightness to any wardrobe. The pieces can be worn indoors as a cardigan, outdoors as a jacket or layered under any outerwear, making them suitable all year round. This is G-lab’s versatile

concept for sophisticated yet effortless outdoor-indoor styles, and also their largest collection to date. All their clothing is made with the softest Plume Touch fabrics and lightly padded with the breathable high-tech insulation PrimaLoft® Silver, a technologically advanced alternative to down. So if it’s timeless key pieces you’re looking for, G-lab is the place to come. /ja g-lab.com

A natural ease, openness and lightness define the look of the upcoming Lanius SS21 collection. More than ever before, the dream of getting back to basics – to the things that really matter in life – has become more than just a good intention: it is a global promise.

And the idea behind this promise is ‘The Future of Fashion is Slow’, which calls on us to rediscover the natural essence of being.

The three collection themes – Lightness, Awakening and Courage – playfully address the new objectivity which slows fashion down, gives us space to breathe and conveys a sense of security and comfort. Subtle structures, harmonious prints and feminine colours exude a modern, dressy casualness. This season, Lanius is continuing its mission to become climate-neutral: for the first time, they are completely offsetting their CO2 emissions for the entire collection.

But first and foremost, the brand that can be worn with a good conscience is all about constantly evolving fair fashion made from consistently sustainable and high-quality materials. /ja lanius.com

HELLY HANSEN

ALL-WEATHER APPAREL

presenting not only 13 colourways with authentic ‘garment dye vintage’ colours but also a pair of denim chino shorts. Also new in the mix: Alberto organic denims, made either completely from a recycled cotton/polyester/Tencel/elastane mix or from organic cotton and recycled elastane. The special dyeing process used for all three styles is environmentally friendly and doesn’t use a single drop of water! And their distinguishing features? Green lining, green serging seams and green zippers! /cm

Functionality will always be on trend. Originally designed to protect Norwegian sailors from the harsh Nordic weather conditions, the Helly Hansen label is now synonymous with cool, functional streetwear. The SS21 collection is also based on the brand’s 140-year history, drawing its inspiration from its archive of technical sailing apparel and lifejackets. The focus of the collection, with the unusual title ‘HH-118389225-203’ (a codename for ‘Archive’), therefore lies both on the visual aesthetic as well as on the development of performance-oriented, professional equipment. One of the most important key pieces is the ‘HH Ocean Coat’, which comes with a concealed spray hood and a raised collar to ensure maximum face protection and a greater field of vision when sailing the high seas. The coat also comes with a detachable bag that can be worn on the jacket in three ways or removed and used separately. Other innovative technologies like the three-layer shell, ultrasonic taped seams and reflective 3M details add the perfect finishing touches to the collection. /ja

alberto-pants.com

hellyhansen.com

ALBERTO

GOOD, BETTER, BEST Alberto Pants don’t just design trousers, they live and breathe them. And so this heritage brand’s attitude has always been to create state-of-the-art modern trousers. That’s why their focus for spring/summer 2021 is on several areas. Their highlight pieces are seersucker pants made of ultra-lightweight non-iron crepe, which, thanks to its cooling material properties, offers an unbeatable level of comfort in warmer climes. But the Alberto crossover piece, the denim chino, has also become an important part of the Alberto portfolio since its launch last autumn. For the summer 2021 season, the Mönchengladbach-based company is

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BITS & PIECES

COLOURS & SONS

CAMEL ACTIVE

THE NEW NORMAL As nomads, we are constantly on the move, never settling, unfettered and free. The current global new normality is raising questions that Camel Active is answering with its new SS21 collection entitled ‘Nomadic Freedom’. In times of social distancing and staying at home, we are rethinking how we live our lives and being more prudent with our resources. That’s why creating longer-lasting styles is so important to Camel Active. Their all-season outfits are sustainable due to their longevity and durability, with clear colour schemes ensuring that the pieces are easy to combine. Layering and material contrasts add appeal with apparent opposites being combined to create modern outfits. The mix of short and wide silhouettes is therefore also another styling favourite for the coming season. In terms of style, they’ve added elements like oversized pockets, ethno prints and embroideries on cotton, a cotton-linen mix or linen-Tencel blends. An authentic range of natural colours and structured surfaces reflect a love of nature and are awakening the nomadic spirit in us all! /ja

ALOHA ALL DAY For their upcoming spring/summer 2021 collection, Colours & Sons have made it their mission to put a smile on people’s faces, spread positive energy and give support, all while making the world a bit more colourful. Under the motto ‘Aloha All Day’, the company from Mönchengladbach in Germany wants to convey a positive attitude to life and contribute to brightening the current mood. While the word ‘Aloha’ is usually used as a friendly way of greeting or bidding farewell to someone, its true Hawaiian meaning is much more profound. Translated literally, Aloha means ‘the presence of

breath’ and expresses that everyone should treat each other with love and respect and radiate affection, compassion and kindness – basically everything we need in these times of racism, pandemics and wars. And a brighter world with eye-popping colours like turquoise, yellow and violet, as well as a mix of tie-dye patterns and the brand’s typical floral design pieces, is definitely something we could all do with right now. /ja coloursandsons.com

camelactive.de

FIL NOIR

NEW STRUCTURES AND A SHARPER PROFILE New concepts and transparent structures – for spring/summer 2021, Fil Noir are repositioning themselves and communicating a clear image to their customers that highlights the special features of each capsule and underlines their stand-alone character.

In addition to strong classics, the Italian company is serving up a host of multifaceted patterns and fresh summer colours, both for Fil Noir Uomo and Fil Noir Donna: ocean blue in all its facets along with muted natural tones and green nuances that are reminiscent of a journey through the Mojave desert. In addition to the wide range of designs, Fil Noir Respect is also growing.

The size of the sustainable capsule collection has been increased significantly and, in addition to 100% ecological cotton shirts, now also includes shirts made from GOTS certified linen and

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poplin. Newcomers are the ‘New Slow-Wear-City Shirts’, a casual answer to the question of what to wear when classic city shirts are too dressy. And there have also been some changes to their service: instead of the three drops that Fil Noir has offered to date, from SS21 there will now be four drops, each one covering a different colour spectrum to ensure that there is always an up-to-date selection available. The Fil Noir online tool is also available to make ordering easier: with the aid of a personal password, customers have seven days to browse the collection at their leisure and can then place their order by e-mail or during a personal appointment in the showroom. /cm fil-noir.com

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Brands Blauer usa

BLAUER USA

BE PREPARED! Whether you’re looking for an urban adventure or heading for the hills: outerwear expert Blauer USA has been setting benchmarks in technical performance wear for decades now. And this special expertise can be traced back to 1936 when the brand was founded in Boston.

Text: Renée Diehl

Louis Blauer launched Blauer with the intention of manufacturing workwear for the police, the navy and other military forces in the US. The company began making their own clothing for the first time in the 1950s, including a light grey waterproof jacket that was soon used in the army, the marines and the air force. Blauer’s attention to detail when it came to technical materials and cuts soon made the brand one of the leading manufacturers of uniform and workwear. In 2001 the Italian fashion holding FGF Industry closed a licensing deal with Blauer USA and introduced the brand to the fashion market. In 2017 they bought a 50 percent share in the company.

FGF Industry was founded by Enzo Fusco and has always been family run, with his wife Silvana and his daughter Federica and her husband Giuseppe joining the ranks too. And thanks in large to their flagship brand Blauer, they are now synonymous with premium outerwear. The brands Ten C, BPD and Prince Tees are also part of their portfolio.

As a result of the Italian creativity and brand savvy of FGF Industry, Blauer might have gained a new market, but it has never lost sight of its core values: American tradition, military inspiration and uncompromising product performance. This means that every detail of every item has a designated functionality or use, but never at the expense of the design. This can be seen in the new premium concept B+PLUS, whose debut coincides with the 20-year anniversary of Blauer USA. And the best way to describe it is modern urbanity meets protection and functionality. With a focus on mobility in big cities, the concept applies trends to modern jackets that are all comfortable, modern and of a very high quality. The collection consists of down jackets and removable overshirts made of technical neoprene with eco-fur collars in a total of 13 menswear and three womenswear or ‘genderless’ styles.

A special feature of all items in the B+PLUS line is the ‘Mobile Light Hole’, a pocket on the upper-left-hand side of the jacket that is covered with a dark lens for a mobile phone or a torch to ensure hands-free visibility. The jackets also offer protection from rain, wind and even heat, making them ideal for all seasons and environments – whether urban or rural.

The down models are also padded with recycled materials and the outer shell material is made of microfibres with Taslan and silvery reflective details in a tone-on-tone look, while the overshirts are made of a triple-layered technical material with an upper protective layer of Taslan and have a detachable recycled down lining, which can also be worn separately. Some of the components of the products within the collection are welted rather than sewn to improve their technical performance and durability.

Ranging from black, white and grey, the colour palette is monochromatic, which makes the items particularly versatile. And individuality can still be expressed with interesting material combinations and reflective tapes.

Whether for everyday life in the big city or a weekend trip in the mountains and forests: with B+PLUS, the modern man or woman who is no longer willing to choose between city and country lifestyles will be fully prepared for all eventualities. blauerusa.com

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Brands closed / cotton candy

CLOSED

LIGHTS, CAMERA, ACTION! Text: Stephanie Baumgärtner

French creativity meets Italian craftsmanship and German tradition.

The idea was quite simple: to establish the first denim brand in Italy. “That’s all”, or “C’est ça!”, as the French like to say. And ÇA is also what the two designers Marithé and François Girbaud decided to call their brand at the end of the 1960s. Their vision was to combine comfortable sportswear with extrovert design. But the short brand name had already been taken so they decided to call it Closed instead.

At the beginning of the 90s the flourishing company was sold to business partners Hans Leplow and Günther Giers from Hamburg and in 2009 it was taken over by Giers’ son Gordon and his friends Til Nadler and Hans Redlefsen. As owners, business partners and friends, the three men still manage all the different departments at Closed today. Giers is responsible for design and marketing, Nadler for sales and Redlefsen takes care of the finances. As a trio, they keep the dynamic vision of the company alive and are constantly developing it further.

For the spring/summer 2021 season, Closed is focusing on Japanese culture as the theme for its womenswear line. Inspired by the works of Japanese film director Yasujiro Ozu, the mood oscillates between poetry and modernity. The women’s collection was even named after one of his iconic arthouse films from the early 1950s. ‘Tokyo Story’ is

the tale of a couple who leave their idyllic home to visit their grownup children in Tokyo. And Closed is taking us on the same long journey – from the coastline to the bustling streets of Tokyo.

The menswear collection for summer 2021 was also inspired by film, albeit from a completely different era and style. US comedy series ‘M*A*S*H’ from the 1970s tells the story of a mixed bunch of characters: think American military meets hippie misfits. Closed has captured this bizarre mood to develop a modern interpretation of military design, which was then translated into a modern-day look in which the military style meets the carefree colourfulness of the 70s. This season, the men’s collection has reimagined classic garments like field jackets and shirts. With a new selection of fabrics, fits and colours, a refined look has been created that completely reinterprets the idea of military fashion. Even military shades of grey, green and beige are shining in a new light: Ecru creates a light base, while Wisteria Lilac and Navy add a fresh touch. Two very different collections, both inspired by the world of film, aimed at modern Closed customers who are fully aware of the changes happening around them, but aren’t afraid to take the plunge and venture into the unknown. closed.com

COTTON CANDY

BEATING TO A NEW RHYTHM Text: Stephanie Baumgärtner

With its focus on high-quality fabrics that are soft to the touch, there is so much more to Düsseldorf-based brand Cotton Candy than just fashion. The name actually reflects the high standards that the two founders, Sandra Csikos and Ümit Ekinci, set themselves when they launched their brand eight years ago and is all about that special, endorphin-releasing feeling you get when you touch cotton.

With Cotton Candy, Csikos and Ekinci have created a unique brand that reflects their own style of fashion – out of the ordinary yet still affordable. Starting off with a small capsule collection, the brand soon gained renown as a company that has matured more and more with each season.

And it’s certainly no easy feat to pull off, especially considering that the founders are also a strong team in their private lives. But they seem to be able to succeed brilliantly in separating the emotional aspects of business and family. Even though there is a lot to manage in certain situations and they do have their differences, they know how to stick together and juggle multiple balls in the air at the same time. Their secret? They both have different sets of skills that complement each other. While Sandra Csikos is responsible for the aesthetic of the collections, Ümit Ekinci is in charge of the brand positioning, purchasing, sales and marketing. And they are both supported by their co-partners Henry Schuck, Jochen Lenze and Ercan Yurtalan and the rest of the team. Despite their varying

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responsibilities, they all agree on one thing: there will be no ‘slow sellers’ at Cotton Candy. Instead, the Düsseldorf-based brand makes favourite pieces to be worn over and over again – and they’ve certainly succeeded in that. The high quality of the materials creates a timelessness that outlasts many a fashion trend.

And the way the company is reacting to the current crisis is very much in keeping with the times: in response to the current economic situation, the two founders have come up with a new collection timetable. In the future, the collections will be launched in monthly drops.

Why the sudden change? Fast pre-ordering, delivery times of only two to four weeks, a moderate exchange of goods and flexible reactions to sales volumes keep the risk low for retailers and enable realtime merchandise management. The new system has been in place via the usual agencies since August. It is currently divided into six main fashion drops (combinable looks) and six bestseller and highlight drops. “Cross-seasonal pre-ordering is no longer necessary and thanks to fast delivery times and B2B orders, new trends, bestsellers and on-demand purchases can be placed in real time. In addition, all the new items arriving each month are keeping things fresh on the shop floors,” says Managing Director Ümit Ekinci. This is a really fast and smart way of doing things, which should benefit not only the retailers but also their discerning customers. cottoncandy-fashion.de

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Photo: Imaxtree

Fashion Essay

SEASONLESS FASHION –

WISH OR REALITY?

There’s a hand hovering hesitantly over the giant reset button. Or at least that seems to be the case for many global systems that have recently turned out to be antiquated or unstable – such as fashion, or the fashion calendar to be precise. Is the model of traditional seasons still relevant? What sounds more like a rhetorical question is, in fact, a debate that has been going on for years and is only really starting to gain traction for the first time now – with the drive behind the change coming straight from the top end of the industry. Yet the question remains: could a seasonless approach to fashion be the future, or are we simply being blinded by a romantic sense of hope in these times of crisis?

Text: Cheryll Mühlen

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The fashion calendar stopped making any kind of sense many years ago. In order to understand just how absurd the whole timetable actually is, you only need to enter a store at the end of July and attempt to buy swimwear. Instead of finding a wide range of bikinis and swimming costumes, you’ll be met with rails and rails of knitwear and jackets – even though it’s 30 degrees outside. But where does our fashion seasonality come from in the first place?

The answer is Europe. The European climate, with its varied weather patterns, is regarded as the benchmark for the (fashion) seasons. But this was decided back in the days when winter still brought snow, spring could still be classed as spring and summer and autumn were two clearly defined seasons. But over decades, commerce and consumerism made a globally operating industry blind to what was staring them in the face: that the system put in place in the 20th century is now redundant.

These days no one buys a piece of clothing just because it’s summer or winter. And in times of year-round global tourism being accessible to the masses (pre-pandemic, that is), even a cruise collection seems more than outdated and a pre-summer collection is just as difficult to classify as the seasons themselves. The fashion industry has gradually moved away from the dictates of the meteorological seasons and is no longer attached to a limited hemisphere. It is now a global business, accessible by people from almost all over the world. So, in the end, it was actually the unpredictability of nature that put an end to the rigid inflexibility of fashion. And it’s just as well – because climate-controlled collections in times of climate change are just as out of place as Donald Trump in his office as POTUS. Action, reaction Nevertheless, breaking out of the fashion system is no easy feat.

It requires disruptive protagonists who have an influence and are making a difference in the industry. Protagonists like Hedi Slimane, Dries van Noten, Alessandro Michele. But by far the most disruptive protagonist of what is happening here right now is more of an almighty power: the pandemic known as COVID-19.

Months later, the coronavirus is still dictating the obsolete cycle of seasonality: although the upper echelons of the fashion society were able to disappear inside their ivory towers when the crisis hit, it turns out that they weren’t quite as safe there as they had hoped.

Suddenly, faster than we could even process, upscale department stores started filing for bankruptcy, luxury designers began applying for emergency funding and, almost unnoticed, small to medium-sized companies began drowning in the waves of the crisis.

Fashion as we knew it suddenly no longer existed. One of the most powerful industries had suddenly found itself at a dead end. But after the initial phase of overwhelm, and perhaps even panic, a new form of creativity set in. Courage. Rebellion. Rethinking. Basically, everything we know and love about fashion but have been missing for a long time now: its ability to rewrite the rule book.

Taking control At the end of April, pretty much in the middle of the initial shock, when luxury French label Saint Laurent announced that it would be skipping Paris Fashion Week in September and drawing up its own new, independent time schedule for its collection presentations, it seemed that the labels were finally walking the walk instead of just talking the talk. “Saint Laurent will take ownership of its calendar and launch its collections following a plan conceived with an up-to-date perspective, driven by creativity,” it said in the official statement. Shortly afterwards, a collective led by Belgian designer Dries van Noten was formed. They appealed to the industry in an open letter: “This is a proposal for the global fashion industry, the product of ongoing conversations between a growing group of independent designers, CEOs and retail executives from around the world who have come together in this challenging time to rethink how the fashion industry could – and should – work.” Supporters of their petition include companies of all sizes such as Tory Burch, Marine Serre, Selfridges, Nordstrom and Lane Crawford, as well as luxury online retailer Mytheresa. But there wasn’t a peep from the brands belonging to the LVMH Group and the Kering Group – until Gucci, which is part of the Kering Group, announced at the end of May that it would only be putting on two shows a year. “I want to put things in the collections when I want to,” said Alessandro Michele. The metaphorical murmur that swept through the industry can still be heard now. It felt like the necessary shock moment to make up for the seasonal extravagance of the past. And when Michele says, “I have faith in creativity to solve everything,” we really want to believe him. all a question of timing But let’s not forget: seasonless fashion is not a new concept. Even Tommy Hilfiger broke away from the system three years ago when he organised the first ‘see now, buy now’ shows, while all others around him were showing their usual seasonal collections in advance. But the repercussions of the coronavirus are demanding more from us than ever before. So perhaps we should not only see the changes coming as a long overdue adjustment, but also as a way of liberating burnt-out designers from the shackles of unrealistic deadlines and having to sell their souls both artistically and commercially – preferably accompanied by a documentary film team to capture the chaotic circus of the fashion world in all its ugly truth. But what ever happens, it has to be said that there is no real sustainable economic basis for ready-to-wear collections only making their way into the luxury stores after half a year, but hitting the high streets in watered-down versions created by the big retail chains just two weeks later. The fact is that we are on the brink of an important developmental shift that has gained momentum during the crisis.

So what are we waiting for? Let’s leave the shaky uncertainty behind us and finally press that big reset button with confidence.

DECEMBER 09-10 2020 MUNICH THE

SUSTAINABLE

SOURCING FAIR

FOR SPORTSWEAR FABRICS & ACCESSORIES

We look forwar rdagatino ! coming togethe

Don‘t forget to visit the DIGITAL FAIR at www.performancedays.com

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labels to watch everlane / Outland denim

OUTLAND DENIM Everlane

COMMITMENT TO THE FUTURE American brand Everlane has been on the scene for almost a decade. It was founded in 2011 by Michael Preysman, who couldn’t get his head around why most designer T-shirts were being sold at five to eight times the price of the production costs. This gave him the idea of creating a top-quality T-shirt at a lower retail price – by cutting out the middleman. Following a philosophy of ‘radical transparency’, he aims to fully break down the production costs for the customer.

SOCIALLY AWARE WORKWEAR The foundations of Australian brand Outland Denim are very much based on its social and sustainable commitment. Established to provide female victims of sex trafficking with jobs in a safe space, the brand’s business model proves that fashion certainly doesn’t have to be at the cost of the industry’s employees.

This means that Everlane charges only twice or three times the production price, which it documents on its website with infographics showing the “true costs” of each product. In addition to their ‘radical transparency’ approach, the durability and timelessness of each product is also at the focus of their brand philosophy. This goes hand in hand with their anti-seasonal approach, as the items are all produced individually and don’t follow any particular rhythm: instead of being seasonal, these are products that should be worn for years, if not for decades.

When it comes to womenswear, the brand’s bestsellers are the ‘Cheeky Straight Jean’, which is made of premium Japanese denim, all the core tees from the classic cotton crewneck to the modern box cut, as well as the accessories in the ‘Day Family’ collection, which includes shoes and bags made of soft Italian leather. And the top-selling items in the menswear collection are the ‘Slim Fit Jean’, also made of Japanese denim, the premium cotton ‘Japanese Oxford’ shirt and the ‘Performance Chino’ with four-way stretch.

Everlane has also committed itself to sustainability, which means all the materials they use, from polyester to down, cotton and cashmere, are recycled. The brand is partnered with Bluesign, the sustainability certificate that oversees every step within the manufacturing process in order to help improve it. Since 2017, Everlane has been producing its denim pieces at the LEED-certified Saitex factory, where 98 percent of all the water used during the washing process is recycled. The factory has already been able to reduce its carbon dioxide emissions by around 80 percent. And with a ‘ReNew’ collection of outerwear and fleece items made from around three million plastic bottles, as well as the footwear sub-brand ‘Tread by Everlane’ that is also committed to the highest possible sustainability standards, Everlane is more than proving its commitment to a better future. /rd

Quite the opposite in fact: Outland Denim is showing us that the fashion industry can have a positive influence on the people working in it. Their premium denim items are produced at their own finishing factories in Cambodia and sustainability also plays a key role. To corroborate that, the brand has just released its first annual sustainability report which discloses the water, energy and chemical consumption of its production processes. For example, Outland Denim uses up to 86 percent less water, 57 percent less energy and 83 percent fewer chemicals than conventional denim production.

They have also decided to stop using plastic bags for shipping, opting instead for biodegradable bags made of manioc. And within the next twelve months all leather patches will also be replaced by jacron.

In response to the ongoing COVID-19 pandemic and the questions that have arisen in the fashion industry as a result – such as whether the seasonal launch of collections still makes sense (see our article from page 14) – Outland Denim has transformed its seasonal offering into a cycle of six capsule collections each year. This model enables the brand to successfully maintain wholesale partnerships and to put out the feelers for new categories of clothing. The first of these capsules will be launched in September 2020 and comprises a women’s and men’s collection entitled ‘All in a Day’s Work’, which is very much inspired by vintage workwear. Functionality and durability are the keywords here: the pieces are all made of a combination of firm and comfort stretch denim to ensure they are perfect for everyday wear. The product range for the women’s collection ranges from various jeans fits such as Skinny, Straight, Girlfriend and Wide Leg, through to a denim pencil skirt, a button-through dress and a classic jumpsuit, to denim tops such as a denim shirt, an oversized jacket with belt and a workwear denim jacket. For men, straight jeans dominate, with fits alternating between Relaxed Slim Tapered, Slim and Superslim. These are also complemented by two different jacket models, one in workwear and one in a classic style, as well as lightweight shirts. For both women and men, the colour palette remains classic: from light to dark blue washes to black and white. Workwear details such as patch pockets make individual pieces stand out and strike the perfect balance between tradition and modernity. /rd

everlane.com

outlanddenim.uk

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labels to watch Reception

Reception

INDIAN SUMMER “It’s not a brand and you’re not a customer, we’re all guests and the table is long enough to welcome all of us,” it says in the Instagram profile of young French streetwear brand Reception, whose collection could be described as a curated selection of souvenirs with numerous references to skate culture and all things travel-related.

With its unique aesthetic, the brand’s aim is to speak to a group of like-minded people and bring them together as its customer base. And because a real community vibe is usually sparked by emotions, the autumn/winter 2020 collection has a social issue at its core. Inspired by a trip to Los Angeles, the title of the collection is ‘Born Curious, Stay Curious’ and not only uses the city as an inspiring backdrop, but also deals with the massive social inequalities prevalent within downtown L.A. On his trip there in September 2019, Reception designer Pierre Boiselle was particularly shocked by the high numbers of homeless people he saw. Picking up on this, the collection makes several references to the 1960s book ‘The Dharma Bums’ (or ‘Les Clochard Célestes’ in its French translation). The novel was written by author Jack Kerouac and is about finding yourself while living a nomadic life.

For example, the word ‘Céleste’ (French for ‘celestial’) makes an appearance in some of the prints, such as on a workwear jacket or a hoodie. Lyrics from 60s music like ‘No break, no job, no sense’ by Fela Kuti and The Lost Generation’s ‘Young, tough and terrible’ also feature in the collection.

The product palette ranges from classic printed tees, crewnecks, hoodies and shirts in skater styles to denim pieces and wide-cut trousers, all the way to college jackets in different looks and fabrics. The collection also features two of the most classic prints – leopard and houndstooth.

One of the key pieces is a contrasting multicoloured tracksuit in blue, green and white and the jogging pants can also be teamed with a halfbuttoned long-sleeved top or a laid-back hoodie. And the five-pocket denim jacket is finished in Yokohama, Japan. In terms of the colours, Reception’s autumn/winter offer remains muted with beige, brown, dark blue, dark green and white tones, broken up somewhat by the embroideries and prints that are predominantly yellow and red. Photographed

by Thibaut Greve, the swimming pool shots for the ‘Born Curious, Stay Curious’ lookbook have a very special aesthetic that evokes a longing for hot Indian summer days and cool nights, telling stories not only about skaters, half-pipes and music from bygone eras, but also social inequality, homelessness and new opportunities. /rd reception-clothing.com

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Brains behind the Brands Poyan Rahimzadeh / founder of Dear Vanessa

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Brains behind the Brands Poyan Rahimzadeh / founder of Dear Vanessa

THE COMPOSER OF A ROMANCE Fashion brands are ten a penny, but there certainly aren’t many like Dear Vanessa. Poyan Rahimzadeh celebrated his brand debut in AW19, creating not only contemporary looks, but also an entire romantic narrative revolving around his fictitious protagonist Vanessa. In an interview he reveals where his imagination will take us, why he wants to be a brand for the whole world and whether a happy ending is on the cards.

Interview: Cheryll Mühlen with Pierre D’Aveta / Photography: Markus Bronold

Born in Iran, he moved to the Netherlands with his family when he was just five years old. Now 35, Poyan Rahimzadeh still considers himself more of a composer than a mere designer. And he has every right to do so because he creates entire worlds and stories around his brand. He started out in the fashion business when he was “just 18 or 19 years old”, as he recalls. Since then he’s done a lot, but it seems that now he has finally found something he wants to continue with for as long as it lasts – which to us sounds like a promise and the ultimate declaration of love for Vanessa herself.

How did you come up with the idea for Dear Vanessa?

The idea itself was born five years ago. In some ways, the name ’Dear Vanessa’ was always in my head. I wanted to tell fragments of my life story, of what I’ve seen and heard, in all sorts of ways, and I wanted to start that by writing a letter, like a prologue. That’s how I came up with Dear Vanessa. And when my wife researched where the name Vanessa came from, she found out about the writer Jonathan Swift. It turned out that he had mistress called Essa who he called Vanessa. She was deeply in love with him, but he basically took advantage of her until she died.

Wow. That’s harsh.

Yes, but I felt that the romance was very strong.

It gave me goose bumps and I’ll tell you why: I

wanted everyone to fall hopelessly in love with Vanessa and to take that story of Jonathan Swift and Essa and switch it around, making Vanessa the desired one. The point of my collections is that every season has a different protagonist, a main character, who falls in love with Vanessa.

But whatever he does, he cannot seem to get to her.

That all sounds fictional, but you said you wanted to tell stories from your own life too.

So how much of you will be in Dear Vanessa?

There is an ongoing romance throughout the whole story of Dear Vanessa. But within that story, a part is my own and a part is fiction. I have a big imagination and that brings a lot to the stories as well.

Then let’s try a different approach to characterising your brand: if Dear Vanessa were a person, not a label, what would that person be like?

A nomad. A little like the character in the movie ’Into the Wild’ – but without an ending. Vanessa is unstoppable in her pursuit.

You debuted your label with the autumn/winter season 2019. I noticed that your style has changed a little since then and become more ‘relaxed’. Has your approach to designing clothes changed?

I see myself more as a composer than a designer. So my creative approach is like a grad-

uation process. You put something out into the world that you’ve had in your head for a long time, but it doesn’t change. It is what it is. So that was my graduation story. Creating something I’ve always loved. I love how the Jewish community in Antwerp dresses. Their style is very Dries van Noten, very classy. Some of that inspiration can be found in my autumn/winter 2019 collection. Back then I didn’t use as many graphics as I do now. Because it depends on the story as well. The first collection was more about the silhouettes and the styles. I would say my collections now seem more ‘relaxed’ because I’m in a better place and also in a much better place with my creativity.

time you start something new, you’re reborn in a certain way. And people expect you to match up to all the big brands out there or that you want to be like them.

And do you want to match up to them?

No, I don’t. And here’s why: it’s going to disrupt the way I compose my clothing. If you just compare yourself to others and look to them, you’ll see it in the end product.

From the moment the idea was in my head, I knew this was going to be something I could do for many years.

But how do you exclude what’s in your head already? There are so many platforms out there that make it impossible to not see stuff.

Of course, you can google everything – even private information about other people. And sure, I use inspirational pictures too, but it doesn’t mean that I’m copying an entire style. I don’t want that.

We need more quality than quantity. Of course quantity can help but it’s always good to have something good and unique rather than creating the same thing over and over. Trust me, the age of logos will disappear.

Last time we featured you – right before your debut – you were doing everything yourself, even the lookbook. That must have been extremely demanding and challenging but what did you learn from all this hard work?

I learned a lot. It’s very hard to set up everything yourself when you start off in this world. Every

How do you manage the risk that comes with being a newcomer brand? (laughing) Fashion is always a risky business!

But I’ve never had this belief that I have in Dear Vanessa right now. Right from the start. From the moment the idea was in my head, I knew this was going to be something I could do for many years.

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Brains behind the Brands Poyan Rahimzadeh / founder of Dear Vanessa

We met up with Poyan on Amsterdam’s Nieuwe Doelenstraat at the new Mendo flagship store – the “candy store for book aficionados”.

The current crisis has hit smaller brands especially hard – but the smaller the brand, the easier it is to change course, which is proving to be a big advantage right now. Will you have to make any adjustments in the near future due to the pandemic?

We can only speculate what the future holds.

Maybe there will be a second wave. I hope there isn’t of course, but anything can happen.

We’re talking very openly to our manufacturers to make the right decisions. But producing on a smaller scale with more quality and then reproducing them according to demand will definitely be the future for us as an entire industry. Of course we could also go ahead and produce 500 pieces, sell only 100 and destroy the rest like many famous brands do, but we won’t.

I thought of Vanessa as being a Courtney Love kind of character.

What surprised you during the crisis?

Surprisingly, I was pretty calm. I was thinking about the future and about new ways to bring out stuff. There is a lot of talk among companies right now about the new, modern way to do everything but for me they’re commercialising themselves so

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they don’t lose their jobs. For us it’s just good to pursue the way that we’re going but we need to think ahead more. We’re used to thinking two years ahead, but now it’s five years instead.

Sustainable brands are considered the winners of this crisis. Is sustainability something you’d like to integrate into your brand?

Yes. We’re producing in Portugal and will continue to do more in that direction, but sustainability is and always will be the path. So the roadmap from the factory to your retailer is very important and all depends on whether the brand is made honestly.

Let’s talk about your SS21 collection. What will this chapter be about?

The collection will consist of products based on memorabilia. Let’s say it’s based on an Iranian roadie in the late 1980s who fell in love with Vanessa. I thought of Vanessa as being a Courtney Love kind of character, whom he meets outside on the strip. That’s the fictional story behind the SS21 season. I always thought Chanel made really nice, simple black jackets so I made this vintage-looking sherpa jacket that is a replication of a Chanel jacket that the roadie is wearing.

And he sees her walking by wearing a very beatup memorabilia T-shirt from her brother; so yeah, it’s almost like a movie playing out in front of me! (laughing) What’s the name of the collection?

‘The Return to West Hollywood’. I was thinking of this movie about a roadie from the 80s. In

that movie the guy just got on the bus with the band, not being scared of what will happen next.

Nowadays everybody seems scared of their decisions and their consequences. Just live it. If you are like that and you’re not harming anyone else, then just be yourself.

Again, a very romantic approach.

Yes, it is. The romance carries the brand. That’s the most important element of the story.

So where will the romance with Vanessa lead us to?

I’ll give you an exclusive: the autumn/winter 2021 collection will be called ‘FKK und Rockstar Posen’ (which is German for ‘Nudism and Rockstar Poses’). I love the band Deichkind so much. ‘Arbeit nervt’ (‘Work Sucks’) is one of my favourite songs. Let’s say Vanessa would move to Germany, to see the development of the people of the 80s and 90s. And then add a porn slant to it!. (laughing) Less porn, more inspiration: Amsterdam, your hometown, can be very inspiring. But how much of Amsterdam is in Dear Vanessa’s DNA? Zero. Amsterdam is my hometown but that’s it.

I don’t want to label my brand an ‘Amsterdam brand’; I don’t mind the claim ‘Dutch brand’ because this is where I live, this is where I grew up from the age of five, and my cultural background is Persian, but I never want to be labelled an Amsterdam brand because that’s putting myself in a very small box which doesn’t make sense to

me for the future. It’s a global brand with a global story. One day I will tell the story about how I came to Holland and, trust me, a lot of people will be amazed by how it went. The hurt and the love, that’s what I want to show globally.

As a newcomer brand, you must have a long list of to-do’s and wishes to fulfil. What are your plans for Dear Vanessa and what would be your dream come true?

A very big dream of mine would be to collaborate with some brands and people – not in the ways people would expect, however. For example, with DAF, the vehicle company. I would like to collaborate with Historic Glamour from Japan, who hardly anyone knows, or Chrome.

These are stages that I know will happen, but they will take time. But I know dreams can always come true because Dear Vanessa was a dream as well. My long-term aim is to become a house brand for the world. I would like to open certain kinds of stores that sell more than just clothing.

My biggest dream, however, is to make a movie out of Dear Vanessa. Every story told, from the beginning to the end, in a movie. Not a documentary, but a real movie. With every character flowing into each other until the end. And the end for me is when the character and the brand Dear Vanessa come together.

So a happy ending?

Yes. Isn’t that what we all want? dearvanessa.eu

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Brains behind the Brands Poyan Rahimzadeh / founder of Dear Vanessa

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Brains behind the Brands EDSON SABAJO, CO-FOUNDER OF PATTA

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Brains behind the Brands EDSON SABAJO, CO-FOUNDER OF PATTA

Patta is more than just a sneaker store from Amsterdam. What started out as a hobby in 2004 is now a globally renowned company that is also active beyond the realms of the sneaker and fashion community. We met up with Edson Sabajo, co-founder of Patta, at the recently opened Patta Summer School for children and teenagers.

In an interview, he told us what it’s all about and why giving back is so important to him.

Interview: Cheryll Mühlen with Pierre D’Aveta / Photography: Markus Bronold

It’s all about the legacy you leave behind – not just for yourself but for the entire community. An important guiding theme for Edson, as it turns out during our conversation. Because if you listen closely, you will hear that he and his fellow co-founder Guillaume ‘Gee’ Schmidt, with their 50-odd staff, have remained true to their brand philosophy – even after 16 years in the business.

And that’s pretty rare, especially when you’re a pioneer on the sneaker store scene. The inspiring atmosphere here is palpable, especially in times of corona, showing us that the ‘we’ that everyone is always talking about really does exist.

It was either by sheer coincidence or fate that Edson and Gee became friends. What brought them together back then was the music: Edson was a DJ, Gee an MC, but they shared more than just a love of hip-hop and good mix tapes.

Rare sneakers were also one of their hobbies, so they started buying in the coolest of the cool from all around the world and selling them on in Amsterdam. It was the start of something major.

Your claim is ‘Out of love and necessity rather than profit and novelty’, but profit and novelty are certainly part of your life now. How do you maintain the humble attitude that defines your company’s philosophy?

It’s simple because we are still fans. Patta was born out of a hobby. I only have four hobbies: soccer, I can talk about soccer all day, DJing and basically everything to do with music, then fashion and sneakers, and the fourth is women! (laughing) I’m happily married but I like to get into discussions with women because they are more talkative than men generally. I love listening to women; it’s amazing. With Patta, these elements seem to come together in one. We understand the customer, we understand the business and we also understand the retailer and factory side.

You have grown very organically.

Yes, everyone in the company is like family. Some even literally because my brother works for Patta as well. All the people working here have been

with us for a very long time now. That’s great.

Everybody in the company can grow into a position that doesn’t necessarily have anything to do with making more money but with growth. And after the sneakers we did the stores, then we did the clothing line, then the running team…

The running team?

Yes, I love to run. I used to play soccer but what can I say, I’m getting old and my feet were no longer doing what my head was telling them to, you know! (laughing) And one day Nike approached me and asked if my team and I would promote their watch. I agreed to a limited twoyear partnership and luckily they agreed as well.

Then I got an e-mail from a London guy called Charlie Dark. He was like: “Yo, I’m doing this thing called ‘Bridge the Gap’ together with Mike Saes from New York”. It’s a running (Facebook) community that is now a big movement and Patta is part of it. It’s global and really serious. Like everything we do. Even though it started as a hobby and we are still fans, we took it very seriously. So getting back to what we do, besides our sneakers, the clothing, the stores and the running, we also have the Patta Soundsystem, because we come from music, and then we started with the Patta Foundation where we just try to encourage young people to do more than just hang around.

We are an independent, driven, black-owned, community-based store.

Tell us more about the Foundation.

We started this year with a summer school. It’s basically an after-school programme for kids and teens to learn about entrepreneurship but also about history, how to cook; basic stuff that they need to know in life.

Why did you start the school?

Because it’s something I love. I’m at an age where I can give back to the people and the community. When I was 15 or 16 years old, I looked up to these guys, but they didn’t really give back. They were more like “This is for me.

You have to do it on your own”, but I’m more of the opinion that this whole pie is so big so why can’t we share it and give back to the kids so they can pass it on to their own kids? And then the whole community, with independent entrepreneurs, will get bigger and bigger. We’re trying to create a legacy. Patta is not a normal store. This is why all the companies work with us because we already have everything in place.

We are an independent, driven, black-owned, community-based store. It’s not only about selling clothes and sneakers. It’s more than that.

The world is bigger than that. We’re currently doing an exhibition in a museum, which is great because I love museums. I’m trying to teach those kids that there’s more to life than just soccer, music or basketball; there is more than they dare to imagine. What we want to teach them is that you can do whatever the fuck you want to do – just by putting your mind to it and by working really hard.

You are the best example. Can you recall the beginnings?

Back in 2004 when we started, you had three markets: European, Asian and American. Back then you had to go to companies and present your shop, your target audience, etc. and then they’d give you a catalogue. But if you give the same catalogue to all the sneaker stores, it’s mass market and boring. So why not go to Asia and buy stuff that you don’t get in Europe? And that was the whole idea.

It didn’t quite work out for us in the beginning because we forgot that we couldn’t send the shoes back to Asia if demand wasn’t high enough.

Today Patta is a big platform and we’re still learning, but back then we just wanted to have cool sneakers – not only for other people but also for ourselves. Gee and I were sneaker fanatics, so

we always bought an extra pair for each of us.

So we were basically running around town with our shoes and if people asked us where to get them, we’d send them to our store.

When did Patta really become profitable?

I understand that we are a group of people and a store that people look up to but I’m the wrong person to answer that question. I think other people should answer that.

So profit was truly never a driving force for you?

No, of course not. Like I said, it’s a hobby. It’s more about the legacy to create. Of course we need money to pay the rent and stuff but I’m not driving a big Benz. We just communicate with our people and show them what we are doing, and this community just grew, not only in Amsterdam but across Europe.

We were the first ones to have people line up for a shoe.

Can you remember an important turning point for Patta?

The first big change that happened was that we were independent. No companies were fucking with us. We made so much noise on the internet and the internet itself was just getting going. And we had a really good copywriter working for us.

Everything he wrote and all the articles he did were very interesting for companies like Nike in Portland or Asics in Japan. They were looking at us and wondering: who are these guys? So they went to their sales reps who told them that we are just reselling shoes and working in a bit of a grey area. Then those companies realised that they need to work with us. So at the end of the day they came to us. We never went to them. Every single one came to us and suddenly I was sitting on the other side of the table.

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Brains behind the Brands EDSON SABAJO, CO-FOUNDER OF PATTA

Who was the first company to approach you?

Asics. Their agents in Amsterdam worked really hard on it. They wanted to bring back this old silhouette and asked us to be their partner.

We then did the Asics Gel Lyte III. It was a big turning point for us because at that time, in around 2006, there was no such thing as lining up in front of a store to buy a sneaker. But when we released that shoe, they were waiting in line. People from Germany, France, England, the south of Holland, around 300 people, were waiting to get their hands on that shoe. That was new and we were the first ones to have people line up for a shoe. They were even starting to queue the night before the release, in the rain.

It was unbelievable. And just think, we didn’t even have Instagram or Facebook back then! On the release date we even had the police there, asking what the hell was going on and I had to explain to them that we were just selling a shoe.

But the best part was that we sent the press releases two weeks prior to the release but nobody seemed interested – except for one TV channel.

One journalist came by with a camera to do a news story and he caught a German guy from Berlin on camera who was furious because he didn’t get the limited shoe. He said, straight into the camera: “Fuck Patta. I didn’t get the shoe. I came all the way from Berlin and I didn’t get the shoe. Fuck Patta.” When the journalist responded that he should chill out because it’s just a shoe, the German guy responded: “But shoes are my life.” The reason why I’m telling you this: I went to the bank with the recording of that story. And the bank gave me the credit I was asking for. It was a huge game-changer.

So is that the secret to your success? Is that your business model?

We don’t have a business model. We just do what we do. We started out just the two of us but now there are a lot of us. Around 50 to be exact. If someone has a great idea for the company, why would we say: no that’s not good? We say: let’s try it! That’s how we roll.

Of course we have a financial controller, a brand manager, etc. but back then, we did the fuck whatever we wanted to do. Sometimes it worked out and sometimes it didn’t.

Trial and error.

Exactly. And we didn’t think too much about it.

Of course we had a plan of where we wanted to go at one point but the first five years were wild wild west, baby. Everything we’ve learned was in those five, six years. And we’ve learned a lot.

And you’ve moved: your store is now located on the historical Zeedijk street – home to many prestigious brands – and you also own stores in London and Milan. Are you planning any other openings – maybe in Germany?

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We don’t know yet. We have a couple of ideas, but we are an independent company, meaning we have no investors. So maybe we’ll open up a food spot in Germany, or another summer school; we definitely want to open up something, we just don’t know what yet. We are fully booked in 2021 and 2022 with collabs and stuff so we don’t actually have that much time to open up a new store but if the opportunity came up, why not. We’ll see.

We are pro human.

That’s the key to our success.

So far, this year has been one hell of a rollercoaster ride – politically and socially. What are the most important lessons everyone should take from the past few months?

For us, what’s currently going on is not a trend.

For instance: two years ago, everybody started talking about sustainability. This year it’s all about black lives matter. But for us, black lives always mattered. When we make clothing, we always go to the factory to make sure people aren’t being treated like slaves. Everything needs to be clear and positive. We are always pro black. We are pro human. And of course since Gee and I are black, we run a black-owned company, but we also think about the people. That’s the key to

Edson Sabajo is very passionate about everything he does – whether that involves music, sneakers or his community.

our success. We always stand for our beliefs and that is continued in our clothing and our shoes.

How do you see the situation in the USA? The US is half rotten. But it’s always been like that. The only difference now is that they‘re catching it on film. A simple example: in New York back in the 70s, 80s or 90s, everything was already segregated. You had blacks living in one place, five blocks further were the Puerto Puerto Ricans and the Jews had their own block too.

There was no mingling. It was crazy.

At Patta we stand for what we stand for and if you’ve been following us, you know that we’ve

been busy doing this stuff for a long time. That’s why we do this with the kids and educate them because people need to learn, listen and grow. And not get caught up in feeling sorry for themselves.

How did you handle the pandemic – not only in the Netherlands but also in your stores in London and Italy?

I remember that the pandemic hit Holland on the 9th of March. Everybody was waiting for the government then, but we said to each other: look, there’s not going to be a vaccine and it’s going to take a year or two. In January we usually come together and plan the next year.

But when the pandemic hit, we ripped up our whole calendar for 2020 and made a new one. We put a crisis plan together within three weeks and are still following it now. And it paid off. Of course you can complain but at the end of the day you have to deal with it – with what you have and what you can do. And we are still very happy.

What was your greatest blessing?

It’s a blessing that we are still together as a team, me and Gee, everybody. We are still in the same boat. Things might be going a little slower than they are for other brands, but we don’t care.

And your biggest challenge?

There are lot. First and foremost, the pandemic, but we’ve got that covered. Actually, there is so much stuff to confront and deal with. There will always be challenges that we don’t know about yet, but we are prepared for them anyway.

What is your biggest wish for the future?

To be healthy. And that the company will have a legacy. And the legacy is only valuable if the kids take it on. patta.nl

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Brains behind the Brands EDSON SABAJO, CO-FOUNDER OF PATTA

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26

Brains behind the Brands MARCO LANOWY, MANAGING DIRECTOR OF ALBERTO

The new SS21 collection is one of their best yet, enthuses Marco Lanowy.

Let’s get straight to it: how has Alberto dealt with the crisis up to now?

To be honest, we are pretty fed up with always talking about the same topic because that really isn’t our style. Throughout this entire period, we have always tried to look forward. And if the matter weren’t so serious, I would even go as far as to say that the whole experience was an enjoyable one for us. Alberto has been around for 100 years and we’ve had our fair share of crises. That helped us develop certain strengths that we can now fall back on. We remained calm and asked ourselves where we actually want to be when this current situation is over.

What lessons do we want to take with us? How flexible are we from day to day? In such times you need to keep a clear head and that’s what we tried to do. The fact is that the month of April really hit us where it hurt and cost us a lot of money. Ice cubes melting in your hands is an analogy that springs to mind.

“The human factor will become more important than ever, both during and after the pandemic.”

How can you stop that from happening?

We realigned our processes, looked at where we could implement which measures and kept coming up with positive solutions. It wasn’t just about money; it was also about our staff. It was about the product and our passion for Alberto, which we wanted to safeguard for the future. Above all, we kept our communication channels open, especially in sales, which also functioned as a kind of crisis support helpline. We kept the production processes running and, because Alberto always starts the procurement and production processes very early, we were able to produce almost 95 percent of our autumn/winter 2020 orders. Once our production sites in Tunisia, Romania and Poland came out of lockdown we were able to start supplying products again. We tried to help our customers as much as we could. For example, lots of processes had to be adapted, such as delivery delays, which we didn’t just adjust across the board, but individually because we have customers with a wide variety of different approaches.

And these individual approaches were really important to us. We are still in the midst of the pandemic, so no one can claim to be out of the woods yet, but we ensured we had opportunities, our to-do lists were in place and we were pre-

2/2020

WE ARE INVESTING IN THE FUTURE In times like these, the name of the game is to stay calm and find solutions.

Alberto’s Managing Director Marco Lanowy has also had to keep a cool head to lead his company, his staff and his clients through this difficult period.

In an interview he tells us what measures he’s taken in the short and longer term, what the lessons are for the industry as a whole and whether or not Alberto will be represented at Frankfurt Fashion Week.

Interview: Cheryll Mühlen

pared. Now all we can do is hope that everyone gets through it safe and healthy.

Yes, that also applies to the people on the shop floors. These days they are more than mere sales assistants; they are a point of contact from the community, who you can talk to on an equal footing. They have to be people who don’t just want to sell for the sake of making a sale, but have to be able to communicate enthusiasm for the product so you really want to take it home with you and hand over your cash for it.

Why does everyone love working in a sneaker store or at Ace & Tate or an Apple store? Because those stores employ a community who treats their customers as equals.

What lessons have you learnt so far during this process?

That digital communication lacks empathy! (laughing) We reduced our newsletters and updates drastically and only sent out one mailing. Of course we continued to keep our agencies informed, but at Alberto we were pretty well prepared, because we are a company that is continually developing. You also learn a lot through others, and we got to see how agile we really are. The bad Which industry is setting a good news was that we realised that the example in this respect? larger a company, the less agile it is.

There are several, but the sector that And the many shock reports coming has really profited in my opinion is through only served to confirm that.

Marco Lanowy the sports, running, yoga and cycling But probably the biggest lesson was community. They’ve created a strong how important the human factor is. community in which they offer online courses, We come from a culture that loves to host guests, where they market products among each other, but in which we also like to be guests ourselves. cross-selling so to speak: they’ve simply recogWhen you can no longer act out these personal human rituals, something is suddenly missing. We nised their potential and used it. are moving in a completely different matrix. And And what potential does fashion have? we should all take that to heart: the human factor We are a business that’s all about making people will become more important than ever, both feel good. Sadly a lot of people have forgotten during and after the pandemic. that. It’s not our job to complain, but to work on creating this feel-good vibe. We need to get Will it become apparent on the high streets that back again: I know it’s not easy, especially too at some point?

considering all the concerns. And for the foreseeable future we won’t be able to see many clients, dealers, manufacturers and fellow labels on the market and we will do everything we can to get through this phase, but there is one thing we shouldn’t forget: life goes on and we mustn’t forget the fun factor and what we came into this industry for and that is the fun and the positivity.

“Frankfurt, why not?”

Speaking of “life goes on”: right after the lockdown you opened a pop-up retail space at Munich’s Oberpollinger department store.

Are any more of these pop-ups planned?

I think it’s great that we have the chance to show our new project at Oberpollinger and yes, more of these retail spaces are in the pipeline. The next pop-up store is coming soon to KaDeWe in Berlin. We only work with selected stores in order to change our surroundings. In markets like the Netherlands, Switzerland, Belgium and Austria we are already seeing how our brand surroundings have changed in a positive sense. For our golfing and biking collections, we could also envisage a golf course or a bike store as possible options for a pop-up. We simply have to tell more stories and get people enthused. The pandemic has destroyed so much capital, but we are now questioning the validity of many processes that we really can change.

At Alberto we continue to invest in the future. That’s the clear signal we are setting in this crisis.

You’ve had a very big presence at Berlin’s trade fairs in the past. And now Messe Frankfurt and the Premium Group are getting Frankfurt Fashion Week off the ground – how do you feel about that?

Frankfurt is like a Sleeping Beauty. I think that even if they had chosen Münster as the new location, everyone would have gone along as well. But, despite all the discussions, Berlin is still Berlin. Frankfurt, in its essence, is a business city. Joining forces here are two strong partners with a national and international ability to bring ideas to the market. But for me, Berlin remains a real hotbed of inspiration for Germany. And I think, in secret, a cool Berlin community will be developing their very own special ideas out of this. But hey, Frankfurt, why not? If we can turn it into something that everyone wants, then Frankfurt Fashion Week certainly stands a chance. alberto-pants.com

SEPTEMBER 5–7, 2020 SUMMER STYLES

THE PLACE FOR NEW TRENDS #ILMOFFENBACH WWW.ILM-OFFENBACH.DE

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tradeshows

THE NEW NORMAL OF TRADESHOWS AND HOW TO PREPARE FOR THE UNPREDICTABLE

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The future of tradeshows, especially in Germany, has been a

celled events have been dominating the industry’s news feed

topic of discussion for many years now – and ever since the

since March and have gone from shock notifications to part

dramatic demise of the Bread & Butter it seemed as though

and parcel of our daily business.

the sword of Damocles was hanging over every trade fair

To keep one of the most important parts of the fashion industry

season. But forward-looking alternatives failed to materialise.

ticking over, trade fair organisers, both abroad and here in

The ideas were too mediocre, and most events thought they

Germany, have had to prove their spontaneity, adaptability

were safe anyway. And while outdated concepts began to

and resourcefulness – at the very highest level. This has result-

face increasing criticism, other more far-reaching but cost-

ed in a variety of digital and physical alternatives, as well as

efficient alternatives were found. But until the beginning of

surprising, if not downright bold decisions, which are continu-

the year no one could have guessed where we would be

ing to spark debate.

right now.

But at least there is no danger of things getting boring in

In 2020 it’s no longer about attracting visitors and exhibitors,

this industry. To find out more, J’N’C News spoke to Messe

but about whether events are able to go ahead in the first

Frankfurt, Pitti Immagine and Munich Fabric Start about the

place – in real life or virtually. Postponed dates and can-

present and future of tradeshows.

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Tradeshows GallEry / Innatex

INNATEX

GREEN LIGHT FOR SEPTEMBER It’s official! A major sense of relief is sweeping the eco and fair fashion sector now that it’s been confirmed that Innatex 47 will be taking place as usual in Hofheim/Wallau from 5-7 September 2020.

GALLERY FASHION & GALLERY SHOES

GERMAN KICK-OFF The wait is nearly over – the fashion and shoe industry will soon be meeting at Areal Böhler for the first time since the crisis. From the 30th of August until the 1st of September 2020, the double format of Gallery Fashion and Gallery Shoes will be taking place alongside its accompanying five-day Showroom Concept, parallel to Supreme Düsseldorf from 28 August 2020, providing the first opportunity for an industry get-together in Germany since the coronavirus brought everything to a grinding halt.

“After these last few months, which have been extremely draining and stressful for everyone, we are really looking forward to welcoming both sectors to one joint ordering and information platform in Düsseldorf,” says Ulrike Kähler, the Managing Director of Igedo Company who is responsible for both Gallery formats. “This is our way of trying to create a little bit of normality in this unprecedented time and situation because that is what we all need right now.

None of our visitors or exhibitors need to worry when they are here. We have gone above and beyond all the necessary precautions to ensure the highest levels of safety possible.”

‘Safety first’ is clearly the number one priority here. The meticulous hygiene concept planned in coordination with the Areal Böhler and the responsible authorities will ensure that the highest standards are met. Together with the responsible partner companies, some changes were made to the guest management, which will reassure visitors and ensure that they can enter and exit the event as normal once they have completed the obligatory online registration and ticket scan. Due to the generous layout and planning, all halls offer more than enough room to move around in.

The venue’s high-ceilinged, spacious and very well-ventilated industrial architecture are additional advantages. And the Areal Böhler’s cool outdoor area also offers plenty of space and meeting points. Highlights include the permanent gastronomy offers within the Areal Böhler complex including two new restaurants and a new café.

This combined special format of Gallery FASHION and Gallery SHOES will comprise one third fashion and two thirds shoes.

‘Thinking outside the box’ is the underlying motto of the event.

The Showroom Concept with well-known agencies and brands will be based, as always, in the ‘Halle am Wasserturm’ and partly also in the ‘Kaltstahlhalle’, which will also remain the home of the Premium segment with brands allocated by stylistic category; the Contemporary, Urban and Avantgarde segments will be located in the other halls. And the same applies to Kids’ and Comfort.

“We will be making sure that an appealing and exciting mix awaits the retailers, one that also inspires the exhibitors among themselves. ‘Thinking outside the box’ is the underlying motto of the event. We need to inspire enthusiasm for the products and our industry. In these times of crisis, providing a positive boost and new inspiration is more important than ever,” adds Ulrike Kähler, who is looking optimistically towards the future. /cm www.gallery-shoes.com www.gallery-duesseldorf.com

Alex Hitzel, Project Manager of Innatex, and Jens Frey, Managing Director of Muveo, have really been working flat out over the past few weeks to find a solution for the tradeshow in this unprecedented pandemic era. And they were successful, because by 22nd July, 220 exhibitors had already registered. This is certainly also down to the urgent need for personal contact among buyers, retailers and the green community overall. And the show’s carefully thought-out hygiene concept may also have a lot to do with the high level of interest.

Alex Hitzel emphasises that there will be no registration on site.

Of paramount importance for interested visitors is the mandatory online registration including the ‘print and fold’ ticket, without which visitors won’t be able to enter. Alex Hitzel emphasises that there will be no registration on site. Instead, at the time of the online registration, time slots will be allocated so that excessive numbers of visitors and unnecessary waiting times can be avoided, saving the organisers from having to limit admission on the door. Once inside, tradeshow-goers will have to comply with the hygiene guidelines set by the German State of Hesse, which may still be tweaked on the recommendation of the public health authorities. Masks will be available for trade fair visitors: safety first! Hygiene wardens will be on hand to ensure that everyone is sticking to the rules. Jens Frey and Alex Hitzel are also drawing attention to the newly installed air conditioning system that ensures a better exchange of fresh air. And regular Innatex attendees will know that the venue also has plenty of windows that can be opened to let in even more air.

First and foremost, though, Innatex is a fashion trade fair and the Design Discoveries are one of its highlights. Six brands will be presenting their collections in September: Got Bag, Boochen Swim & Sportswear, Indicap Accessories, Like a Bird, Nina Rein and Souldaze. All exhibitors will be together in Hall 1 because it is not possible to use Hall 2. Brands that usually exhibit in Hall 2 will have their own separate area on the first floor of Hall 1.

But the bad news is that the popular ‘Innatex Night’, which was legendary among visitors, unfortunately won’t be taking place this autumn. And the rest of the accompanying line-up will also have to be dropped. But after so many months of restricted contact, every bit of personal contact will be worth celebrating. /cb innatex/muveo.de

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Photo: Imaxtree

Tradeshows Pitti Uomo

Raffaello Napoleone, CEO OF PITTI IMMAGINE

THE MOST IMPORTANT RENDEZVOUS “My advice: always consider what you have and not what you have lost,” said Pitti Immagine’s CEO Raffaello Napoleone in our interview with him. After the Pitti events were first postponed and then ultimately cancelled for the rest of the year, the management team reacted quickly to the current needs by launching the new digital Pitti Connect platform in mid-July. A short-notice alternative with a long-lasting impact.

Interview: Cheryll Mühlen

Have you had any feedback yet? From the exhibitors and visitors?

Yes, a lot of positive feedback and an increasing number of contacts. Pitti Connect is stimulating interest, curiosity, and the desire to be a part of it all. For example, Bruce Pask, one of the most powerful fashion directors, said just a few days ago, before the release of Pitti Connect, that Pitti Uomo is the most important rendezvous and that visiting the fair on our new online platform is “vital” for his business.

2/2020

But I have to admit that our first positive feedback is reflected in the huge number of partnerships behind Pitti Connect. Like the one with UniCredit Bank, our main sponsor. And our media partner, MFF. This has shown us that the digital version of Pitti holds lots of interesting opportunities.

What was your biggest challenge when launching Pitti Connect?

While we were creating Pitti Connect we were sure that it would be the best thing to do. But what about our many stakeholders? The biggest challenge is to engage everyone, from the major buyers to the smallest brands and I think we are right on track for that.

What do you miss most about the physical events?

Of course I really miss spending time in the Fortezza: that wonderful atmosphere, the people, the adrenaline, the physical a N approach to the collections, the shows… But I llo e a know that all these things will come back in JanuRaff ary. So for now, I intend to make the most of all the digital events. po leo ne

Congratulations on Pitti Connect. How does it feel to launch a solely digital event, especially one that takes place over 90 days instead of just four?

First of all, we are very proud of what we’re doing. Getting Pitti Connect off the ground has been a challenge. We have all worked really hard to imagine, project and then create something totally new. Even before COVID-19, we were used to accompanying our physical fairs with a complete website and other digital tools, such as e-Pitti.

But with Pitti Connect we have moved forward very quickly and now own a tool that will accompany us forever, respecting our legacy and offering us huge potential for the future. Of course, this unprecedented situation, as a consequence of COVID-19, needed something new and demanded great efforts to come up with smart solutions. And one of these was the timing. 90 days instead of four has become more than a strategy, it has been a strong willingness to stand by the brands, helping them to be on stage as long as possible and according to their individual needs. Whenever a brand is ready with a new collection, it has the chance to join us, and to do its own business via Pitti Connect. And I believe this is a great opportunity.

It seems that Pitti Uomo is presenting itself very creatively when online – with the artisans, the artist collaborations (the Blue Challenge), the fashion souvenirs, the ‘20 champions’, the featured young designers and the daily new content.

Do you think the digital event gives you a better and maybe more visible platform to create new ways to inspire and, if so, why?

Digital events have no boundaries, they have the potential to reach everyone all over the world. And they speak a fresh language: one that is smart, quick, light, open to cultural influences. In sum, they represent pure creativity. We just have to imagine.

Pitti Connect also offers valuable information for your exhibitors who can now track their visits and products of interest online. Can you imagine offering this service concurrently to the physical tradeshow? And what other digital features will give the physical tradeshow a true advantage?

Of course, yes. We have already started planning how to match the digital and physical fairs next January. Keeping the two modalities together will be a powerful tool for both exhibitors and buyers.

I intend to make the most of all the digital events.

Pitti Connect will end on the 9th of October – what would make it a successful event?

Pitti Connect is already a successful event. What I can say is that it will have achieved its target if is used as a genuine business tool. It will be successful if our exhibitors and buyers are satisfied.

I don’t want to talk about numbers. You can’t judge this kind of situation with the same yardstick as a physical fair.

A big company like Pitti Immagine has a lot of responsibility and people have very high expectations of you: how do you stay calm and grounded during such chaotic and unpredictable times and what is your advice to everyone out there?

I must confess that we have had a lot of very busy days of thinking, wondering and talking to each other. But we had clear goals to achieve. So we did what was required. Our secret? The team. The Pitti Immagine team has worked hand in hand with new partners such as The Big One and Highsnobiety. It has been a great experience. My advice: always consider what you have and not what you have lost. pittimmagine.com

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Tradeshows Munich Fabric start

Sebastian Klinder, Managing Director of Munich Fabric Start

NEW PATHS AND PERSPECTIVES Although things had been looking increasingly uncertain for a while, it’s all set to happen this September: for three days, Fabric Days will be taking place at the MOC event venue with around 300 exhibitors. It will be a kind of initial comeback for the sector, which, after around six months, is longing for meet and greets in person. We spoke to Sebastian Klinder, the CEO of Munich Fabric Start, about the condensed event, the most important lessons to be learnt and whether digital alternatives can ever make sense for a textile tradeshow.

Interview: Cheryll Mühlen

Trade fair organisers are experiencing a real rollercoaster ride this year. First it looked good for Munich Fabric Start and then an interim location was announced and now the condensed version of Fabric Days. What exactly can visitors expect at this highly focused business event?

Fabric Days is a condensed business event with approximately 300 German and European exhibitors. With around 700 collections, the innovations for autumn/winter 21/22 will be introduced in five segments. Thanks to our long-term partnership with leading textile agencies in Germany, many of the collections from European manufacturers will be shown exclusively in Munich for this season. The slimmed-down version, in the four trade fair halls on the ground floor of MOC Munich, has adapted to the changing conditions and, along with the prerequisite safety and hygiene measures, the working atmosphere will be both professional and inspiring. So, in addition to the handpicked, future-oriented portfolio there will also be a Trend Forum with the seasonal title ‘HOPETIMISM’. And we are also planning to offer specific trend talks. But beyond that, this is the chance for visitors to once again come into contact with suppliers and partners, find inspiration and see and feel the materials and other accessories and trimmings.

With such a large company, it certainly can’t be easy to show and implement the level of flexibility that is currently required.

But how do you manage to keep your nerve when everything has suddenly been turned on its head?

This year is demanding the highest levels of flexibility and ingenuity for every individual across all sectors. As a long-term partner of the industry, it’s part of our philosophy to provide the sector with a creative environment for effective work and inspiration. That was always our focus, which we are now pursuing under new and very dynamic conditions. What’s important in such unusual times is to remain flexible and adaptable, to think in terms of solutions and to have faith that there is a way forward. And admittedly, sometimes it’s time to cast aside Plan B and conjure up a Plan C at short notice when the situation demands it. Ultimately this applies to the entire industry. We have to stick together during these difficult times, creating reliable partnerships, synergies and concentrating on what really matters. That’s the priority now.

In terms of trade fair organisation, what lessons can the industry draw from this crisis and where has Munich Fabric Start been able to capitalise on opportunities?

The crisis has brought far-reaching changes for the entire industry.

During these times, what has become clear for us, as trade fair organisers, and also for future events, is what the industry expects and needs from us as service providers. The next trade fairs will be good barometers for possible changes and when new potential arises from the crisis it will need to be developed – the keywords here are: ordering behaviour, digitalisation and the circular economy. Topics that could well restructure the entire supply chain of the textile industry – all the way down to the consumer. The most important lessons for us are to continue being flexible when responding to the changing needs of the market and to offer the sector an informative and inspiring platform.

Are digital alternatives to fabric events even worth considering?

We are seeing a positive development in terms of digital alternatives for trade fairs and fashion events. It’s amazing how rapidly new digital solutions are emerging. But from our point of view, we can’t

see any genuinely viable alternative to fabric trade fairs. When it comes to fabrics as a product, the feel, drape, weight and colour are key. If you ask us, there is still no satisfactory way to showcase these products digitally. But a hybrid combination of analogue and digital fair is something we could certainly envisage. Collections and trends would continue to be presented at trade fairs while the other aspects for putting together collections would be carried out digitally. During the trade fair itself, digital solutions like live chats with screens at the booths might be an option.

For the future it would be great if, from the myriad individual formats, a globally functioning professional tool for the industry emerged that could combine what we have learnt from existing digital platforms.

Do you think that things will slowly return to normal in 2021? What can we expect next year?

I doubt if anyone is currently in a position to make a prediction about what 2021 will bring. But it’s clear that everyone is working on a solution as to how we can continue our K n lives with the coronavirus, not just after it. It’s not a i ast only about introducing the necessary hygiene meaSeb sures but about planning for different scenarios and remaining flexible.

I do think that things will have calmed down a little by 2021 though, because by then we will have become used to the dynamic and the necessary changes that have to be made. But economically, I think 2021 will be a difficult and challenging year – and not just for our industry. lin de r

The return of trade fair life is almost within reach. How does it feel to be organising a physical event in the midst of the coronavirus crisis?

In general, we are happy and proud to be the first textile fair to get back to business after lockdown with Fabric Days from 1-3 September. But along with the anticipation, there are also concerns. We are aware of the huge burden of responsibility and the challenges that organising a trade fair currently poses. At the same time, we are sensing the need and enthusiasm of the industry to reunite in a face-to-face setting, gain new inspiration and get back to the market and business in general. We are very well prepared again this season and ready to offer a creative environment for effective work and inspiration, despite the new circumstances. In order to minimise the infection risks at the fair, we have a whole host of extensive hygiene measures in place on site that go above and beyond local and international demands. But that’s only possible if everyone works together: the exhibitors, visitors and everyone else involved in Fabric Days. You can see that people place a lot of trust in us by the support we are getting across the sector for this event. With four fully booked trade fair halls, we can offer a broad spectrum of high-quality premium suppliers who have confirmed their participation.

Despite all the challenges and lack of guarantees, what are you most looking forward to this September?

We are just really excited about seeing our long-standing partners after half a year apart! To saying hello to the textile industry again and providing a space for companies to resume their communication and get back to business. We will be expressing our enthusiasm with a mindset that can show us new paths and perspectives into the future. A spirit with which we can develop future-oriented products and processes that are geared to the demands of the market in this challenging time for the entire business. fabric-days.com munichfabricstart.com

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Tradeshows Neonyt

Olaf Schmidt, Vice President of Textiles & Textile Technologies at Messe Frankfurt & Thimo Schwenzfeier, Show Director of Neonyt

FRANKFURT AS A STAGE, SOURCE OF INSPIRATION AND SPACE FOR SUSTAINABILITY Together with the Premium Group, Messe Frankfurt was responsible for the fashion industry’s most hotly-discussed topic this summer – second only, of course, to the coronavirus crisis. It was announced that their Neonyt tradeshow, including the Fashionsustain conference and fashion show, will be moving to the newly initiated Frankfurt Fashion Week next year. But that’s not all the organisers have been working on lately: in July, Neonyt On Air went live for the first time as a digital alternative to the cancelled physical event and the farewell Berlin event is also scheduled for January. We interviewed Olaf Schmidt, Vice President of Textiles & Textile Technologies Messe Frankfurt and Thimo Schwenzfeier, Show Director of Neonyt, to find out more about Frankfurt Fashion Week and the last edition of Neonyt in Berlin.

Interview: Cheryll Mühlen

In July you went live with your digital event Neonyt On Air for the first time. What was the feedback like and how did it feel to be focusing solely on an online format after all those years of organising a physical tradeshow?

TS: Whether digitalisation, diversity, lifestyle or Frankfurt Fashion Week, during the five days of Neonyt On Air we gave an insight into topics that are currently affecting the sustainable fashion sector together with numerous brands and partners. As part of our ‘Preferred Partnership’ with B2B online platforms Joor and The Brand Show Circular, we gave brands that regularly showcase their collections at the Neonyt Trade Show the opportunity to present them in digital showrooms. On the Neonyt and Fashionsustain Instagram channels, we posted talks about industry-related topics and a whole host of statements from partners and brands over a period of five days. The talks during Neonyt On Air in particular showed us that there is a huge need for communication and exchange in the fashion industry and a lot of motivation to bring about change together. The feedback we received and the reach we achieved with this premiere were very good.

Is there anything you have learnt from it – in terms of digital or also physical tradeshows?

TS: The most important insight was that we are already looking forward to the next physical edition of Neonyt from 19-21 January in Berlin. Because it also became clear to us that fashion thrives on

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The first trade fairs will be starting back up again soon, while other organisers are cancelling their events at short notice. What consequences does this lack of predictability have for the industry?

OS: The current situation has hit the trade fair industry hard and we will be feeling the consequences for a long time to come. Our core business ch fS a l is based on people getting together at O big events and precisely that is not possible around the world right now, or if it is then only with major restrictions. Both at our exhibition grounds in Frankfurt and also worldwide, we have had to postpone all events until summer or cancel them altogether, which has resulted in enormous revenue losses for us. Despite this, we have already taken the first steps towards getting the ball rolling again. Intertextile Shenzhen and Yarn Expo Shenzhen recently took place again in China, organised by our subsidiary in Hong Kong. And around two weeks ago, our subsidiary in the USA was able to offer a virtual tradeshow format with the trade fair trio Texworld USA, Apparel Sourcing USA and Home Textiles Sourcing Expo. For our exhibition grounds in Frankfurt, Messe Frankfurt has developed an extensive hygiene and safety concept, which means that events can start taking place on the grounds again from autumn, following the appropriate guidelines of course. Nevertheless, it will still be a while until everything gets back to ‘normal’ again. But we will remain flexible and this is precisely the message that we want to send out to the industry.

Berlin isn’t the only city with a creative and fashion scene.

Could you already give us an idea of what we can expect from the farewell Berlin event?

TS: We’re currently in talks with the key players in Berlin and are of course closely communicating, above all, with the Premium Group.

For January we are planning to interlink Neonyt’s conference Fashionsustain and Premium’s conference Fashiontech even more closely. We are optimistic that we will be able to tell you more in a matter of weeks. But one thing’s for sure: the January edition will still be strongly impacted by COVID-19. Together with the fact that this will be the last edition in Berlin, the upcoming Neonyt poses a new challenge for us. But when it comes to Neonyt we’re used to challenges.

What are the main differences between Neonyt in Frankfurt and Neonyt in Berlin?

OS: Neonyt has played a role in Berlin Fashion Week becoming the world’s biggest hotspot for sustainable fashion, which gives it a unique edge over other Fashion Weeks. And, as we all know, Neonyt grew up with Berlin Fashion Week. In Germany, Berlin is the epitome of creativity, design, fashion and art for many people. But Berlin isn’t the only city with a creative and fashion scene. Nor should we forget that a branch of industry like fashion needs the necessary framework conditions to be successful and grow in the long term. With Frankfurt Fashion Week we can rely on strong support from the State of Hesse and the City of Frankfurt. And the events, such as the tradeshows, fashion shows and side events that will be taking place during Fashion Week will also profit from that. The basic concept of the Neonyt’s hub concept with the Neonyt Trade Show, the Neonyt Fashion Show, Neonyt conference Fashionsustain, our influencer format Prepeek and our showcases and other events will remain the same. But the close collaboration with Premium, Seek and also the Fashiontech conference will certainly result in a c number of synergies that will also benefit visitors oS m i down the line. h T

hw en zfe ier

How do you keep your cool in such uncertain times?

Thimo Schwenzfeier: Regardless of what kind of crisis it is, it’s certainly always advisable to focus on the essentials and to work through things one step at a time. Firstly, every crisis comes to an end eventually and secondly, crises also hold potential for new ideas and developments. And keeping calm doesn’t mean doing nothing. On the contrary, in fact. I think that’s what it all comes down to. We should use this time to think about the extent to how we can and want to continue the way we are doing business, manufacturing and consuming. And about alternatives that could be more viable in the future. Within the sustainable fashion community, we are experiencing a great willingness to help and a lot of solidarity. The knowledge that we are all having to go through this together is reassuring and gives us confidence.

personalities, presentations and inspiration, and of course on being able to touch and feel the garments in question. Digital formats can accompany that but never fully replace it. A Neonyt fashion show, a fully-fledged Fashionsustain conference or our Showcases with suppliers from the preliminary phase – it is almost impossible to show all of this online in a similar way and with a similar impact in terms of the inspiration, experience and knowledge sharing factor. Despite this, here at Messe Frankfurt we are working on increasing our digital offer with more hybrid formats in the future so we can provide our exhibitors, visitors and partners with even more value beyond the physical tradeshow experience.

m idt

The COVID-19 pandemic has now entered its sixth month. To what extent has your attitude to the crisis changed during this time?

Olaf Schmidt: The last few months have once again shown me just how quickly our everyday lives can come apart at the seams, even on an international scale. Nothing is how it was before COVID-19.

No one knows how long this crisis will last and I have a huge amount of respect for the consequences that such a disease can have. Personally, I am taking the guidelines from the experts regarding hygiene and physical distancing very seriously, also to show solidarity with others. And in the fashion business especially, COVID-19 has shown how vulnerable, for example, supply chains are and how devastating the consequences can be for an industry, as well as for many people in the producing countries. I am also seeing how a lot of people are reflecting on what they really need and trying to rethink the way they shop or travel and I am optimistic that we will all act more mindfully and sustainably in the future.

In your opinion, what are the differences between Frankfurt and Berlin as cities and communities?

OS: ‘Unveiling the Unexpected’ wasn’t just the motto for the big news reveal about Frankfurt Fashion Week itself. This slogan also represents the City of Frankfurt, which still has the image of a rather stuffy financial and business metropolis. A city that – in comparison to other big cities – is very clearly underestimated. And wrongfully so! From skyscrapers and turn-of-the-century villas, architectural eyesores and structural masterpieces, business and culture to the red-light district and luxury stores: many different worlds collide in Frankfurt. That’s what sets the city apart and gives it its unique spirit and multitude of contrasts, which make it the perfect location for the new inspiration that Frankfurt Fashion Week will provide.

Frankfurt Fashion Week is still a whole year away, but what are you already looking forward to the most?

OS: At the moment I am particularly pleased that all these different key players are pulling together because each of us firmly believes that something unique can come out of Frankfurt Fashion Week.

Joining forces to get the event off the ground are the world’s largest trade fair, congress and event organiser with its own exhibition grounds – Messe Frankfurt – and the organiser of Europe’s biggest fashion fair – the Premium Group – as the initiators, as well as the City of Frankfurt am Main and the German state of Hesse as hosts.

Together we want to create a whole new ecosystem for tradeshows, conferences, runway shows and events for professionals and consumers. In skyscrapers, trade fair and concert halls, bars, clubs and off-locations, we will be transforming the whole of Frankfurt into a stage, a source of inspiration and a place to make long-lasting business connections. Fashion, design, media, art and music – the runway shows and events of Frankfurt Fashion Week will bring Frankfurt’s creative scene together with the international fashion community. Progressively curated and presented, in close cooperation with local and international key players. messefrankfurt.com neonyt.messefrankfurt.com

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Tradeshows Neonyt

With Neonyt On Air and the announcement of Frankfurt Fashion Week, Messe Frankfurt has remained just as progressive and future-oriented.

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BERLIN FASHION WEEK

Berlin Fashion Week 2021: top or flop? The question about the future of Fashion Week in the German capital certainly feels very much like the elephant in the room right now. And seeing as Frankfurt is gaining acceptance as a new fashion tradeshow destination surprisingly quickly, we thought it was also important to ask the key players of Berlin’s fashion scene how they are taking the breaking news about Frankfurt Fashion Week. We spoke to Marcus Kurz, Mandie Bienek and the designer duo behind the Richert Beil brand, Jule Beil and Michele Richert, to get three different perspectives on the matter.

Interviews: Cynthia Blasberg

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BERLIN FASHION WEEK NOWADAYS

The Nobi Talais runway show at MBFW.

NOWADAYS

“BFW SHOWCASES OUR COUNTRY’S BEST TALENTS”

Many fashion insiders still see Berlin as the creative hub for high fashion and are constantly emphasising the city’s relevance as a fashion capital. But some events, like the Berliner Salon, unfortunately couldn’t keep up. And large numbers of professional visitors have been enticed away by the tradeshows. What needs to happen so that the industry continues to see Fashion Week in Berlin as relevant?

First of all, I welcome the open dialogue and think it’s important that we talk about this subject. In the future, the date of Berlin Fashion Week will have a significant effect on its success or demise. For example, a while back we decided to cancel the Berliner Salon due to the scheduling clash. It simply makes no sense to hold an internationally oriented format with our first-class German designers parallel to Paris Fashion Week or the haute couture shows.

I am assuming that we will be able to define a suitable common date with future trade fair organisers. But I’m not convinced that we had a large intersection of visitors with the previous tradeshows. For one thing, the visitor numbers from the buyer and retailer category were never really representative, and for another, the labels participating in MBFW were no longer represented

at the fairs so they didn’t have much overlap with the tradeshow guests.

Perhaps I should emphasise once again that MBFW and, back in its day, the Modesalon have both worked well as marketing platforms. First and foremost, it’s about establishing initial contact early on between the designers and press representatives, and also about showcasing the latest collections. And secondly, the photo and video material of the fashion shows and presentations are used throughout the entire season by the designers to present their brands and collections. Otherwise we would have established both formats as hybrid platforms, but there was never any demand for that from our participants.

Alongside MBFW, how do you envisage the future of Berlin Fashion Week? What would be the best way to rethink the concept?

Let’s put it this way: I think that we have proven often enough in the past that we are in a position to create plenty of convincing arguments for a visit to Berlin. With MBFW, the Berliner Salon, a Fashion Hub at the Berghain nightclub or with the About You Fashion Week last summer. And we also sensed there that the visitors, consumers, press and buyers were looking for multifaceted experiences so they can take plenty of inspiration and new ideas home with them. It is precisely this idea that we want to continue driving forward and de-

veloping. What’s next in fashion? Tradeshows or interdisciplinary experiences for a wide, yet multifaceted audience? We shouldn’t forget that the visitor numbers of MBFW, AYFW and the Berliner Salon matched up to those of the fairs, but our visitors were of course a lot more diverse.

What other factors play a role in putting together such events?

Berlin Fashion Week and MBFW in particular showcase our country’s best talents in fantastic presentations. I hope to work with partners who are open to the idea that off-shows are extremely valuable. I would love it if everyone – politicians, retailers, journalists, stylists, marketing managers and designers – would work on one joint concept with the same passion. A concept that is dedicated to the most important future topics of our time. Above all: sustainability, digitalisation and the direct path to the consumer. We are living in an era of information, where people are asking where collections come from, where they are manufactured c and by whom, and whether this kind of consumpar M tion is aligned with their own ethical values. These are challenging times, there’s no doubt about that. But they are also times of creativity and new beginnings. We have recognised that and will be using it to our advantage.

us Ku rz

With its work staging the fashion shows, Berlin-based agency Nowadays, the organiser of Mercedes-Benz Fashion Week, plays an integral role in Berlin Fashion Week. Right after the announcement about Frankfurt Fashion Week, Marcus Kurz, CEO of Nowadays, emphasised that MBFW and therefore also BFW will continue to take place. J’N’C News got the lowdown.

nowadays.de

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BERLIN FASHION WEEK Press Factory

Press Factory launched their first ever Live Digital Brand Days in June.

PRESS FACTORY

“MAYBE BERLIN NEEDS A RESET”

Speaking of sustainability: in an interview for J’N’C Online you said that the role of PR agencies as mere service providers is over and that it’s about helping brands and com-

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Bi en ek

What went through your mind when you heard that the Premium Group and Neonyt would be moving to Frankfurt?

Like many others, I needed a minute to let it all sink in and to get my head around putting Frankfurt in the same sentence as fashion. But I believe in the power of renewal and that is only possible when you break new ground. Only time will tell whether multiple fashion cities can exist side by side in one country and to what extent the whole Fashion Week model needs to redefine itself amidst the crisis. And the recent situation may have actually made one thing even clearer: no event will be able to bypass the topic of sustainability.

panies to move away from being ‘everybody’s darling’ and having the guts to speak up and commit to a cause. Taking a stance these days has a lot to do with politics. Issues like climate change, diversity, gender and racism have, particularly among Generation Z, led to a new perspective that take a critical view of consumption and manufacturers of consumer goods. What do you advise your clients?

We want to be part of the solution, not the problem. Contrary to what makes short-term economic sense, we have committed ourselves to sustainable growth. And for our clients it’s not about being a pioneer like Ecoalf, Mud Jeans or Neubau Eyewear, but about reviewing their business model and its ecological and social impact and transforming themselves into i a more sustainable company. We see our task in nd Ma raising awareness, inspiring and driving forward innovations and collaborations. And that’s exactly where we’re setting new standards for the future. Brands need to understand that responsible entrepreneurship doesn’t end with the advertising and communication campaign, but begins with a 360-degree, authentic, honest and sustainable business model.

e

Every season, Berlin-based PR agency Press Factory plays a key role in Berlin Fashion Week with events by its portfolio of clients such as Ecoalf. The agency reacted quickly to all the tradeshows and press events being cancelled due to the coronavirus pandemic by successfully launching its Live Digital Brand Days in June, a format that will be continued and further developed in autumn. For Mandie Bienek, co-founder of Press Factory and a founding member of both the Fashion Council Germany and German Press Days, the announcement about Frankfurt Fashion Week came as a surprise.

You have always been represented at Premium, Seek and Neonyt with your clients and also organised a number of side events. What does the launch of Frankfurt Fashion Week mean for you as an agency?

As an agency, our top priority is helping our clients achieve their goals. Every brand has their own needs and we provide our consultation based on those needs. We have all experienced how rapidly the world has changed due to COVID-19 and it has made us aware of just how fragile and flawed the foundations of the fashion system are. We strongly believe that the big change will – and has to – come. The system needs to be rewired, sales and presentation platforms included. Whether we implement projects in Frankfurt or Berlin is merely a question of strategy for each client, and for that we don’t yet know enough about the formats to be making any predictions. As far as Berlin is concerned... well, of course it affects us. It is our home after all. And the city is losing some of its crown jewels right now. But there have been mistakes and shortcomings here in the past. So maybe Berlin needs a reset and will hopefully emerge from the crisis stronger. And everything else will have to be re-evaluated again next year.

How do you see Berlin’s future as a fashion capital? What kind of formats could work well there?

Its diversity and freedom are definitely what make the city so unique. Berlin is still regarded as a creative hotbed and a melting pot of creative industries. Fashion, art, design, music, tech and digital – bringing all of these disciplines together can, in theory, work and yield something ground-breaking. But it all comes down to the politics in the end. And here in Germany we still have a lot of work to do in that respect. press-factory.de

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BERLIN FASHION WEEK Richert Beil

Presentation of the Richert Beil AW20 collection.

RICHERT BEIL

“BERLIN NEEDS TO STOP ALWAYS TRYING TO MEASURE UP TO PARIS OR NEW YORK”

Mi che le Richert

With Richert Beil, you turned your backs on the rigid concepts of a Fashion Week a long time ago. And in March you presented your AW20/21 collection off your own back. What’s your take on the relocation of the previous Berlin Fashion Week to Frankfurt?

Jule Beil & Michele Richert: There’s still a whole year until Frankfurt Fashion Week, but a lot of other things will be happening for us in the meantime. Apart from one exception, we’ve had very little overlap with the tradeshows in Berlin. As a result of that, and also because we decided to work independently quite some time ago, this move won’t really affect us for the time being. It remains to be seen what kind of an impact these changes will have on the city, but in general we regard change as something extremely positive and as an opportunity to work in a more focused way in Berlin.

Berlin – fashion capital and home of the creative scene: that’s become a bit of a cliché. Yet at the same time people also complain that the city’s fashion is subpar and not promoted enough. And that the Germans aren’t fashion-savvy as other nations. What do you think is the best way for Berlin to define itself as a fashion capital?

The fact that Berlin is considered a fashion capital at all is mainly because the city is an internationally acknowledged metropolis and people here dress very freely and stylishly. Berlin is inspiring and progressive, which is also why it attracts so many designers. We often forget that Germans are among the top consumers of fashion compared to their European neighbours, but unfortunately it’s often the international and established names that they buy, the brands that i they feel confident and comfortable in. But we Be Jule are clearly seeing the focus shifting increasingly towards regional shopping and that is something we are profiting from. Berlin Fashion Week needs to stop comparing itself and always trying to measure up to Paris or New York.

Everyone’s sick of hearing it and Berlin needs to rise above that.

Structures that are effective internationally can’t just be applied to Germany. Before making such statements, it’s better to establish something well-curated of your own first. Fashion demands a lot of emotion, visionary talent and aesthetic understanding – that’s not possible if all you have is organisational talent. We are working on Richert Beil every day and trying to develop the label further every

l&

Richert Beil is one of the most exciting brands on Berlin’s fashion scene. And not just because of its designs, but also its unconventional presentations, off-beat humour and political stance on issues like diversity and racism. And the two designers Jule Beil and Michele Richert are also brave enough to take risks too. Instead of playing to the tune of the industry’s official dates and events, they decided to go their own way and successfully organised a collection show on their own in March.

single season – which is really hard work. And we’re not the only ones doing that in Berlin and Germany. Whoever wants to reshape Fashion Week in Berlin and Frankfurt needs to take these criteria into consideration and work hand in hand with the designers – and then they can take advantage of this potential.

From the outside world, it often seems that everyone is just pursuing their own agenda in Berlin. Wouldn’t it make sense to join forces and create one platform that at least provides a common structure?

We are convinced that it makes sense for everyone to put their heads together and create one joint platform. But the jumbled confusion of Berlin’s fashion scene has been bewildering people for years now and it has become increasingly difficult to untangle it all. There are too many different platforms and associations that all want to position themselves individually. This discord was one of the reasons we decided to completely turn our backs on these structures. It was taking up far too much of our energy and time, which we prefer to invest in the important aspects of our work. Developing our own new structures and implementing them independently was a very important step for us. We are still interested and open to dialogue, but we’ve stopped trying to get others on board. Ultimately, we believe that a change, like the one that has been taking place internationally for quite some time now, is also necessary for the creatives and organisations of Berlin. But without any support, we simply don’t have the means or the time to push for it beyond our own brand. richertbeil.com

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The last Word ERWIN O. LICHER, Herrlicher

The last word … BELONGS TO ERWIN O. LICHER, FOUNDER OF HERRLICHER Erwin O. Licher established fashion brand Herrlicher 16 years ago, after parting ways with Freeman T. Porter.

Since then the Munich jeans pioneer has experienced his fair share of crises but has an ability to see opportunities where others only see problems. And as our interview reveals, he refuses to let even a global pandemic ruffle his feathers.

Interview: Cheryll Mühlen

How are you and how have the last few months been for you personally?

I am very, very relaxed. You could almost say that I’ve become a bit of a homebody.

To what extent has COVID-19 not only determined worldwide events, but also your everyday working life?

As a virus, COVID-19 has thankfully passed by our company. Our daily lives changed a little bit in April and May due to our staff being on shorttime working hours, but normality resumed after that. And at the moment I would even say that the situation is relatively relaxed.

How exactly did you deal with the situation at Herrlicher?

Every situation demands the appropriate measures. We refused to leave our manufacturers in the lurch and made sure we accepted and paid for all our orders. And we also supported our customers with accommodating offers.

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You are no doubt observing the industry just as closely as everyone else right now. What has fascinated or inspired you so far? Or has there been anything that has shocked you?

First and foremost, my focus is on Herrlicher.

But as part of the industry, of course I am also keeping an eye on its developments. What has fascinated me is how most companies have really changed their behaviour. And what has shocked me are the ones who still haven’t.

If you want something, you’ll find a way.

But our industry is no stranger to crises.

That’s right. Personally, I have survived a lot of crises. But you should always see the light at the end of the tunnel and simply follow it.

Speaking of “following”: driven by the coronavirus, more and more companies are jumping on the sustainability bandwagon, but only on the surface. What’s your take on that?

Either you are sustainable, or you aren’t.

Very clear and to the point! Now let’s talk about your collection: a lot of labels are picking up on the wellbeing, relaxation and nature trend for spring/summer 2021. Will there be a similar focus at Herrlicher?

Yes. For the October/November delivery date, we presented a loungewear range that is proving popular. So alongside denim fabrics, we now also offer cosy fabrics. And we have swapped our regular denims by Candiani and Isko for their latest organic, recycled and reused fabrics.

And a palette of earth and ocean colours runs throughout our entire spring collection.

Cancelled tradeshows and other events have propelled the digitalisation of the

industry forward massively. How do you see this development? Is it something that could also be important for Herrlicher in the future?

This development, which was underway anyway, has been given a boost. And that’s also the case at Herrlicher.

What do you think about the idea of Frankfurt Fashion Week and we will be seeing you there with Herrlicher next summer?

The organisers obviously have their reasons for moving to Frankfurt and of course Herrlicher will be there.

As you have the last word in this issue of J’N’C News, do you have any good advice for all our readers out there?

If you want something, you’ll find a way – if you don’t really want it, you’ll find excuses. herrlicher.com

INTERNATIONAL TRADE SHOW FOR FASHION, SHOES AND ACCESSORIES

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#RIGHT DATE #RIGHT PLACE #STAY HEALTHY #SEE YOU

Gallery FASHION & Gallery SHOES, August 30 – September 1, 2020 Showroom Concept, August 28 – September 1, 2020 AREAL BÖHLER l DÜSSELDORF