J'N'C 01/2021 by J'N'C Magazine

JEANSWEAR & CONTEMPORARY FASHION

N° 81 / 1–2021

DENIM TRENDS

AW22/23

FOR THE NEXT GENERATION

D 15.50 EUR REST OF EUROPE 17.50 EUR SWITZERLAND 20.00 CHF

CHALLENGING AN ENTIRE INDUSTRY

@alifeandkickin www.alifeandkickin.com

CHOOSE LIFE CHOOSE SUSTAINABILITY. CHOOSE PERSONALITY. CHOOSE CHARITY. CHOOSE LOVE.

#WEAREALIFE

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EDITORIAL

First things first: I’m over the moon to finally be able to present you with another issue of J’N’C Magazine! As a fashion publication, we are also constantly adapting and responding to the latest challenges, which resulted in us cautiously sending our beloved magazine into a Sleeping Beauty-style slumber last year. But now we’re back – and better than ever! And with everything that has happened in the meantime, we certainly haven’t run out of things to say. Issue No. 81 invites you to immerse yourself in all the progress that has been made and the many new, inspiring and exhilarating aspects of our wonderful industry. Prepare to be inspired by the euphoria of the newcomers to the scene, the valuable experience of more established brands and the promising innovations of the denim industry. Andrew Olah encapsulated it perfectly in our Kingpins24 review starting on page 40: “I am so proud to be a member of the denim industry right now.” Check out the latest denim textile developments in our Denim Special from page 42 – manufacturers such as Bossa, Calik, Isko, Candiani, Orta Anadolu and Kilim Denim are not merely facing the changes head on, but challenging them too. And if there’s one thing we have learnt in the past few months, then it’s that change is anything but easy. And although it can be daunting, we should never lose sight of who we are doing it for: THE NEXT GENERATION. And we certainly owe it to them. Now that sustainability has become an integral part of the fashion industry, there seems to be a lot of action happening, but the efforts aren’t always heading in the right direction – #greenwashing. Overuse of the word ‘sustainability’ is something we are noticing more of too. To make sure you’re not misled by false environmental claims, our editor Cynthia Blasberg is providing a few useful tips from page 50. ‘Circularity’ is another term that’s currently on everyone’s lips: starting from page 52, we are explaining why it could mark the end of a one-way street of neverending mountains of waste. And we’re not only asking ourselves the question of how much is being produced, but also how much we are consuming. The resale business is booming: to find out why ‘second-hand’ is now being rebranded as ‘pre-loved’ and why sales are increasing as a result, read our article from page 54. And on page 62, we are asking whether we should be consuming so much more than we actually need to. Yes, as I already mentioned: change is tough. But it will make us better, if not more inclusive. In that spirit, let’s ensure that we are making room for all forms of inclusion and gender-neutral language, opening up our horizons and learning as we go. Inclusion, after all, is a win-win for everyone involved. MOB Industries, a young label from Austria, is leading by example here. Head to page 78 to discover more. And in our in-depth examination of virtual fashion from page 76, you will see that it’s not just a vision for the future but an opportunity for today. So, on that note, I hope this latest issue of our magazine has been worth the wait and that you enjoy reading what we have to say! Stay healthy and strong, Cheryll Mühlen & team

CONTRIBUTORS

Deniz Trosdorff FASHION EDITOR The Cologne local has been in the fashion business for 15 years. A former competitive athlete, she originally had her sights set on sports journalism, but (luckily for us!) decided to focus on fashion instead. She says that trend research is the best part of her job. And when she’s not writing articles, roaming the globe or coordinating photo shoots, she can be found indulging in her other passions: history, Turkish rock music and Yeşilçam films from the 60s and 70s.

Wolfgang Altmann FASHION EDITOR When it comes to denim, this Berliner really knows his stuff. He worked for Bread & Butter for many years, reflecting on the denim market for its tradeshow magazine BBBulletin. We invited him to do the same for this issue of J’N’C. His conclusion? That today’s denims are fortunately a lot more environmentally conscious than they were back then.

Kristin Walzel FASHION EDITOR & STYLIST As a creative mind, editor, content creator and fashion stylist, Kristin is always on the lookout for new challenges and hot topics. But her first love will always be writing. Which makes us all the more grateful that she is now doing what she enjoys most for J’N’C.

www.eastharboursurplus.com info@eastharboursurplus.com

CONTENTS 10

BITS & PIECES

12 NEWCOMER BRANDS Self Cinema, FRNKOW, Fassbender, About Companions 20 INTERVIEWS Kangaroos, Keylime, Goldwin 26 BRAND STORIES Alberto, Alife & Kickin

WHAT’S NEW IN DENIM?

32 INTERVIEWS Lee Cooper, Wouter Munnichs, Citizens of Humanity, Knowledge Cotton Apparel 40 KINGPINS24 REVIEW 42 DENIM TRENDS AW22/23 Isko, Bossa, Candiani, Calik Denim, Kilimdenim, Orta 50 THE JOURNEY TO SUSTAINABILITY 52 CIRCULARITY – CLOSING THE LANDFILL LOOP 54 RESALE ON THE RISE

COVER PHOTOGRAPHY: VALENTIN MÜHL OUTFIT: 202 EDITIONS, BLANCHE, DEAR DARLING BERLIN, KOI, SMALLABLE

56 RESALE Vite en Vogue, Display Copy, VMC Original 60

RESALE SHOPS

GREEN PACKAGING

STOP SHOPPING ‘TIL YOU DROP

64 COVER SHOOT

FOR THE NEXT GENERATION

74 ESSAY

EXT-LEVEL FASHION N

78 MOB INDUSTRIES 80 I NTERVIEW Uhura/Digital Berlin Fashion Week 82 SPOTLIGHT ON … Denimazing

PUBLISHER EPP Professional Publishing Group GmbH

PUBLISHING MANAGEMENT Nikola Köster, Kathrin Wimber

Liesegangstraße 17 40215 Düsseldorf Germany

ASSOCIATE PUBLISHER Pierre D’Aveta

Tel. +49 (0)211 830 30 Fax +49 (0)211 830 32 00

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info@jnc-net.de www.jnc-net.de

EDITOR-IN-CHIEF Cheryll Mühlen c.muehlen@jnc-net.de ART DIRECTION vista www.studiovista.de

EDITORS Aylin Yavuz, Cynthia Blasberg, Deniz Trosdorff, Janine Aggen, Karolina Landowski, Kristin Walzel, Wolfgang Altmann COPY EDITOR Paula Hedley PHOTOGRAPHY Valentin Mühl TRANSLATION Galina Green, Paula Hedley Trend Translations www.trendtranslations.de

ADVERTISING DIRECTOR Pierre D’Aveta Tel. +49 (0)211 830 31 51 p.daveta@jnc-net.de BANK DETAILS BTV Bank für Tirol und Vorarlberg AG IBAN DE25 7201 2300 0772 8980 00 SWIFT BTVADE61XXX PRICE Germany 15.50 EUR Rest of Europe 17.50 EUR Switzerland 20.00 CHF PRINT Schaffrath Druckmedien, Geldern

DATA PROTECTION NOTICE In the event that delivery is not possible under the address provided, Deutsche Post DHL has the right to pass the correct address on to the publishers. The subscriber can appeal against this guideline. We assume no responsibility for unsolicited manuscripts, contents, clothing or products. The magazine and all of its contents and images are protected by copyright. The place of business is Düsseldorf and the place of jurisdiction is Munich in all cases.

ROOS

kangaroossneakers

BITS & PIECES

STYLE MEETS COMFORT ALBERTO For winter 2021, the German trouser label from Mönchengladbach is presenting a balanced collection that incorporates all our current needs with quality and style – whether we’re still hunkering down at home or thinking about venturing back out into the big wide world. As well as sustainably produced jeans, the highlights include jersey pants that are comfortable and almost completely crease-resistant. And proving just as popular are Alberto’s cotton chinos, which are smart, effortless and incredibly comfortable. With their velvety surface, honeycomb pattern and earthy tones, they are really getting us in the mood for autumn. A must for every trouser aficionado! ALBERTOSHOP.DE

MORE TRANSPARENCY

MADE TO LAST ARMEDANGELS In autumn 2021, Armedangels will be presenting its most sustainable mix of zeitgeist and timelessness yet. Following its ‘Made to last’ ethos, the fair fashion pioneer is once again focusing on timeless fashion, innovative fabrics and sustainable design. Further product categories are being added to the successful ‘Dyed by Nature’ capsule collection for the coming season, but the absolute highlight is their ‘Circular Denim’: one of the jeans models by Armedangels is made with waste from its own production cycle. The jeans for men and women are made from a newly developed, recycled material, for which Armedangels uses off-cuts from their production process and materials that didn’t quite make the grade. Paired with a dyeing technique that doesn’t require any water, their ‘Circular Denim’ is the first important step towards circularity.

CLOSED Closed is about to become even more transparent: the label has joined the Fair Wear Foundation, meaning that its production facilities will be undergoing regular checks from now on and the conditions under which its production partners operate will be officially disclosed to the customers. Closed will also be extending its eco denim line ‘A Better Blue’, which includes the world’s first fully biodegradable stretch denim garments. Sustainable materials, low-emission dyeing techniques and eco-friendly washing all save considerable amounts of water, electricity and chemicals. Closed is also boosting its sustainability credentials with the offer of more eco materials, short supply chains and donations to climate protection projects. A big thumbs up from us! CLOSED.DE

ARMEDANGELS.COM

MAVI For the coming AW21 season, Mavi is serving up new models and innovations with reworked heritage looks from denim history. The upcoming ‘Young Fashion’ collection is defined by an authentic vintage character with 70s and 80s influences and all-over floral prints in soft colours. 70s references are also making an appearance in the ‘Uptown’ collection, where wide cuts take centre stage. For non-denim and outerwear, Mavi has its sights set on abstract patterns and autumnal floral prints this season, while the men can look forward to vintagestyle pieces and easy-to-wear fits. MAVI-STORE.DE

TEXT JANINE AGGEN

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70S INSPIRATION

SPORTY VIBES TRUE RELIGION Sporty times at True Religion: in AW21, the US fashion brand, which is best known for its jeans, is focusing on sporty and comfortable clothing. The jogging styles are very 90s and available in a whole host of variations. Whether cropped styles, oversized, flared jogging pants or balloon trousers – there’s something for everyone this coming season. Key items of the collection include batik-look jogging styles, checked wool shirts and teddy-look sweaters. And when it comes to denim, the look is still wide-cut and clean. TRUERELIGION.COM

FOR THE LOVE OF MUSIC CAUTIOUS OPTIMISM HELMUT LANG In anticipation of the post-pandemic world, the AW21 collection by Helmut Lang reflects a cautiously optimistic attitude. The brand is focusing on garments that are both multi-functional and multi-seasonal. Inspired by ski apparel and waterproof clothing, the use of functional and high-tech materials with silvery reflective surfaces are resulting in a sci-fi aesthetic. Staying true to its heritage, the brand is reconstructing timeless silhouettes with innovative materials and combining them with typical details like straps, layered fabrics and patchworks. A major reason to look forward to autumn!

GANNI In Ganni’s new AW21 collection, everything revolves around love – and a love of music in particular. This year the new collection was presented at a catwalk show in the form of a live music performance. Their popular quilted pattern can be found for the first time on leather and outerwear, giving the materials a special texture and structure. Blue and green are playing a key role and the timeless paisley print, which screams rock and roll, comes in different chocolate tones, while neon-green details have been added to various key pieces for a rock-style grunge look. Additional highlights of the collection include the Ganni logo and a knitted wool beret. A collection that puts the fun back into fashion! GANNI.COM

HELMUTLANG.COM

REPLAY With its AW21 collection, the Italian fashion label is bringing authenticity and sustainability to the fore. When it comes to new denims, the focus is on the sustainable Hyperflex Re-Used: the lightweight denim will be ideal to wear in summer and feels comfortable on the skin. Key denim looks are complemented by a versatile collection for ladies, men and children. As well as timeless, urban classics and rockstyle looks, Replay is also presenting romantic styles for ladies and sporty, functional combos for men. From August 2021, the Italian brand will be offering fashion for the whole family with the ‘Replay Tribute Batman and Joker Limited Edition’, a homage to Batman and his nemesis.

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AUTHENTICITY & SUSTAINABILITY

REPLAYJEANS.COM

NEWCOMER BRANDS – SELF CINEMA

COLLECTIVE INDIVIDUALITY

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SELF CINEMA Swedish fashion brand Self Cinema is all about responsible, sustainable and accessible high fashion. Since 2019, the independent label has been making an impression with unisex styles that are made from high-quality components with minimal environmental impact, including recycled and organic materials. Its most well-known pieces are its skinny jeans made of Japanese denim, Breton jerseys and EcoNyl anoraks. Self Cinema was founded by the Brits Samuel Thomas and Antony Rock – with the goal of promoting collective individuality. They met while working at Acne Studios and soon discovered their shared interest in sustainable fashion. Rock was already working in denim development and production when Thomas also joined the ranks of Acne, following stints at other luxury labels like Gucci, Burberry and John Galliano. So Self Cinema has been at home in Stockholm since day one, but Rock and Thomas are also fond of multicultural references when designing their collections – no doubt in part due to their international careers. In the words of the label: “In today’s digital world, appearance and representation have become the principal objectives of a global community”. From Manhattan, New York and Rive Gauche, Paris to the cultural scenes of Copenhagen – the label effortlessly manages to combine Scandinavian minimalism and the eclecticism of the world’s metropolises in its designs. For the AW21 season, the label is drawing inspiration from Carl Gustav Jung and the symbolism expressed in his work. The Swiss psychiatrist is regarded as the founder of analytical psychology and significantly shaped the concept of archetypes and associated terms such as ‘introversion’ and ‘extraversion’. In terms of their fashions, Rock and Thomas are manifesting these concepts with a clash of the sublime and the subtle: strong, bold materials and colours contrast with soft tones and textures; striking texts and prints adorn simple, flowing silhouettes; the extrovert finds balance with the introvert. As well as the archetypes, Self Cinema’s AW21 collection also explores Jung’s concept of collective spirituality, an experience that brings us together as individuals with a sense of shared purpose and belonging. This philosophy sets the tone for the entire collection and is expressed to great effect in the campaign images: the models are portrayed affectionately hugging each other against a wintry backdrop of snow or lounging together on the sofa at home. /ay SELF-CINEMA.COM

Dilborner Str. 65, 41379 Brüggen Tel: +49 2163 949890 Mail: service@key-lime.de

NEWCOMER INTERVIEWS — FRNKOW

THE QUEST FOR PERFECTION Stuttgart-based label FRNKOW, which launched in 2020, has a quiet, gentle side to it – with flowing fabrics, a powdery colour palette and timeless cuts. FRNKOW isn’t trying to invent a new masculinity but it is certainly helping men in their quest to be themselves. We asked brothersister team Nadja and Frank Lin to tell us about this new approach in an interview. INTERVIEW CHERYLL MÜHLEN PHOTOS JULIA SANG NGUYEN

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FRNKOW is an interesting brand name and a clear reference to your name, Frank. What made you come up with that and what does it mean? Yes, exactly, FRNKOW is derived from my first name and dates back to a time in my life when I made life-changing decisions without really thinking about it too much. It reminds me that I should listen to my gut more often, rather than overthinking things. So FRNKOW represents a different, more passionate side of me.

The mother of all questions for all new brands: what made you decide to set up your own label and what was the most surprising aspect for you in the process? We were thinking about establishing a fashion label for quite a while because we had always shared a passion for fashion – even though we had different ways of expressing it. For me as a designer, the idea of spending all day sketching trousers for a big brand, without having any influence on the overall process, wasn’t really what I wanted. I didn’t want to just develop clothing and design it. I wanted to be able to create the entire ecosphere surrounding it. When Nadja decided to do a degree in business studies, it was clear where it would take us. So the planning for FRNKOW basically started in her first semester.

Working with a sibling mostly brings advantages, especially when it comes to the whole trust aspect. What defines your cooperation and where do you still need to learn things about each other as business partners? You already said it, it’s incredibly important to be able to trust your business partner and as siblings there are distinct advantages, because there’s already a high level of trust there. Nevertheless, as the big brother I did have to learn to just let my little sister get on with things. But I think we found a good solution because our responsibilities are clearly defined: I take care of the design and creative aspects and Nadja takes on the business and organisational tasks. That way we don’t get in each other’s way or interfere in each other’s work. But we make all the important decisions together. You work non-seasonally and with a limited number of items, which is a very contemporary approach. In 2021 the demands on newcomer brands are incredibly high – for one thing the pandemic situation demands a lot of skill and sensitivity but also topics like sustainability, green packaging and gender issues all play a major role these days. No pressure here, but what are your mid to long-term plans for your brand and where does FRNKOW fit into the current fashion landscape? Is there anything that you would say you do differently or even better than other labels? We are part of a generation who take these topics seriously. They are things we think about ourselves, so implementing them in our brand comes naturally to us. As a young brand we have the major advantage of having been able to integrate all that from the start – but without making a big deal of it. These aspects aren’t really things we think about as marketing addons to make us look good. For example, our approach to sustainability is to ensure our products have a long life cycle. We want our garments to be worn with pleasure for years to come. No designer wants their fashion to become a throwaway product, especially not if everything is produced by hand in our own studio, as is the case with us – so we see first-hand how much work and heart and soul goes into it. The challenge will be to make our fashion accessible to even more people and still maintain these values.

Frank, how much of your own style is imbued in FRNKOW and to what extent have you continued to develop as a designer – from the initial idea to the end result? Obviously a lot of my own personality flows into FRNKOW. I’ve been working on the visual idea for ten years and have put everything I have into it. But although a lot of me is invested in the brand, I am not designing clothing for myself but rather for a certain type of man who I’ve developed over the years. For me, FRNKOW is more than just fashion. FRNKOW is a world that evolved in my head and is now becoming a reality. It embodies a certain lifestyle, a type of aesthetic, certain values and feelings. FRNKOW won’t remain the same; it will keep on evolving. Nadja, as a young businesswoman you represent a new generation of so-called profashionals who are defining the future of the sector. What unsolved problems would you like to tackle and what standards need to be redefined? Fashion has always had a mass appeal within society. It’s not only a reflection of society itself, but also has a great influence on it. As a founder or profashional as you call us, I am in a fortunate

FRNKOW Flowing fabrics, straight cuts and an effortless touch. Designer Frank Lin captures the modern man in all his simplicity.

NEWCOMER INTERVIEWS — FRNKOW

position to be able to help define this image while I am still young. Fashion needs to address the burning topics of our times in some way or another. For me, currently that’s the struggle against all kinds of discrimination in companies, female leadership and the visibility of BIPOCs – also within the world of fashion. A further topic that will shape the future of the fashion industry is the growing awareness of quality and a longer life cycle for clothing. At the same time, the word sustainability shouldn’t just be a label that you stick on a product, it should really be part of the company’s DNA. Some things should go without saying. In fashion, gender classifications do play a role, but they are continually shifting and being newly defined, both in womenswear and menswear. Genderless fashion, however, is growing in popularity. The idea of masculinity in fashion and the big, wide world out there is differentiated and shows that the myths surrounding masculinity can still be very fragile. How does a menswear label that’s been founded as recently as 2020 deal with the topic of masculinity? ‘New masculinity’ has become a bit of a buzzword and shows that the idea of masculinity is currently in turmoil. Male stereotypes are being questioned, which is also being mirrored in our fashion. FRNKOW embodies a different philosophy and identity to traditional male fashion. We want every man to be able to define for himself what masculinity means to him and how he wishes to express that. Being male shouldn’t be about acquiescing to predefined roles and stereotypes but simply about being yourself. With FRNKOW we aren’t trying to reinvent masculinity but supporting men to be themselves – and if they have an emotional, sensitive side, they should be able express that without having to check their masculinity at the door first. If you could describe FRNKOW in one word, what would it be? Subtle. FRNKOW.COM

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Your first collection ‘01Manifesto’ is inspired by the Greek ideal of ‘Kalokagathia’ and the idea that boys and men should not only strive for spiritual beauty but also moral and physical beauty. How does that translate in the collection? FRNKOW is based on classic menswear, which is intrinsically limited in terms of design. So we take certain elements and play with them. I like the idea of ‘Kalokagathia’. I interpret it as the ‘wholeness’ of a person, so someone who is at peace with themselves and is quietly self-confident. In the collection it was important to me that the wearer doesn’t feel constricted, but really relaxed. The fabrics are of a very high quality and feel great on naked skin. They are soft and flowing and the cuts allow for maximum freedom of movement. The designs aren’t loud but more subtle. It’s the small details that make the collection special – and many of them are only visible to those wearing them.

NEWCOMER BRANDS – FASSBENDER

A LONGING FOR LIGHTNESS

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FASSBENDER Established in 2017, the Hamburg-based label combines the elegance of sophisticated tailoring with the functionality and durability of high-performance clothing. The vision of siblings and founders Christina Fassbender and Sebastian Steinhoff is stylishly brought to life by New York-based creative director Matthias Louwen, who has worked for fashion houses like Calvin Klein and Alexander Wang. Their collections are made in Europe, while the materials are sourced from small-scale producers with the highest ethical standards. Natural fibres like alpaca and lambswool for the characteristic shearling come from animal-friendly farms and the synthetic fibres are 100 percent recycled. For the new season, the designer label is continuing to combine functionality with elegant ease. New cuts and designs in soft-to-the-touch materials of a high quality are adding new comfort and lightness. The key pieces include felted wool sweatsuits, blazer tops, wide-cut shorts made of vegan leather derived from sugar cane and lambskin-look jackets. Soft, light-as-a-feather sweaters with cable-knit patterns and cosy knit dresses with a pleated skirt are adding special touches and are ideal as part of a WFH wardrobe or outerwear styles. Colours and prints are inspired by nature and have an upbeat and hopeful feel to them. Fassbender has developed a collection that exudes a sense of protective lightness and comfort without ever feeling heavy. /ja MYFASSBENDER.COM

NEWCOMER INTERVIEWS — ABOUT COMPANIONS

ETHICAL COMPANIONSHIP Thies Meyer and Stephan Sunder-Plassmann launched their new ethical menswear label About Companions in spring/summer 2021. But they are far from being newcomers on the scene: for around 15 years, the duo has been successfully running the label Frisur. With About Companions, they are now extending their offer of well-designed, casual menswear classics made from sustainable, low-impact fabrics. INTERVIEW CHERYLL MÜHLEN

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What’s the idea behind About Companions? And why weren’t you able to cover the demand for ethical menswear with Frisur? Thies: Over the last few years our ladies’ and menswear collections have become increasingly independent and we have had to make more and more compromises to keep the Frisur brand together. But at the same time we were experiencing a strong demand for our sustainable menswear. And then the pandemic was added into the mix. That was an incentive for us to get focused and launch a separate men’s collection. Stephan: It was an exciting time and a lot of fun to be able to start with a blank slate and work out what it is that we actually want to achieve with our men’s collection. What do we, as founders and designers, stand for?

And what did you do differently or better this time around? Stephan: Something that actually sounds really mundane, and that we didn’t have on our radars when we established Frisur, is for example search engine optimisation. (laughing) We’re much better at it now! Thies: We were still in sixth form when we launched our first projects under the name Frisur – so we started at a young age and it has grown with us over a long period of time. After being in the industry for around 15 years now, we know our way around it quite well. At the same time, we were in the comfortable situation of already having a smooth-running production and sales

structure in place. A lot of time and experience are required, especially when it comes to elevating the supply chain to a high and reliable level, especially for so many products. That left us with more time to concentrate on other aspects of developing About Companions. Where do you source your materials and how do you ensure that absolutely everything is sustainably and fairly produced? Stephan: If we’re honest, it’s never going to be 100% sustainable. The field of sustainability is far too complex for that and the values in different cultures too diverse. That’s why we decided, in the first step, to help our customers out and explain the aspects of sustainability that are included in every single product. The manufacturing of new products always has an impact. And so I have to decide: should I, for example, buy a woollen jumper that requires very little water and energy to care for it? Or should I buy a vegan jumper that I have to wash more often but is animal-free? There are so many other examples like that. In our online shop, you can now filter all products according to impact and so make a choice that not only suits your personal taste, but also aligns with your personal values. Thies: When it comes to the sourcing and design, we see our task in making every product as sustainable as it can possibly be. We have set ourselves this challenge and are getting better all the time. Or in more specific terms: to ensure fair working conditions, we only produce our pieces with small family-run companies in accordance with EU norms. They are responsible manufacturers with whom we have already built up long relationships with Frisur, are in contact with almost daily and who we regularly visit in person. In the earlier stages of the supply chain – for example when it comes to purchasing raw materials on the global market – it’s still difficult for small brands to know exactly what goes on behind the scenes. That’s where we rely on expert supervisory bodies like GOTS to guide us and only purchase certified materials. How is About Companions structured? Do you follow the traditional fashion calendar? Thies: When you find out how many resources and how much manual labour go into a single shirt, you immediately realise that a planned life cycle of six months or less is actually really ignorant. That’s why we only follow the fashion seasons very loosely. We present our new pieces every six months on the usual dates, but within the brand we think in longer cycles. Our collection is made up of lifelong companions, not one-night stands!

Sustainability, transparency, circularity – these are all hotly discussed topics that have no doubt been covered enough in recent years. But, even though it is growing, fair fashion is still somewhat of a niche. What needs to happen, in your opinion, for fair fashion to break out of this niche? On the part of both the end consumer as well the industry professionals. Stephan: When you leave your own bubble, you realise that the whole topic is still very much in its infancy. That likely has a lot to do with the fact that there still aren’t enough factories in the world with fair working conditions and manufacturers of

ABOUT COMPANIONS Fashion as it should be: About Companions presents well-designed, casual but ethical menswear.

NEWCOMER INTERVIEWS — ABOUT COMPANIONS

You launched your online shop on 4 February 2021. What kind of a start has About Companions had so far and what has the feedback been like? Thies: We didn’t choose the easiest months to launch a new fashion brand that wants to make more than just sweat pants for working from home. But we already exceeded our expectations by 160 percent with the first pre-orders last summer. And the launch of our online store and all the positive feedback from our customers have shown us from day one that we are on the right path. Stephan: Something else I’d like to add is that since the launch of our online shop, we haven’t had a single customer who has returned their entire order. Cool, right? We are quite proud of that.

ecological raw materials. Until this is rectified, the niche cannot become a mass market. But we are noticing that manufacturers are facing increasing pressure and I’m sure that a lot more progress will be made in the next few years. Stephan: And it’s up to the consumers to decide whether they are willing to settle for a bit of buzzword bingo and organic cotton, or if they are going to ask more questions and are willing to pay for fair standards. Thies: It’s so obvious: if a T-shirt is sold at anything less than today’s discount prices, no way can cotton pickers, spinners, knitters, seamstresses, etc. be making minimum wage. But if we want working conditions and the state of our planet to improve, then there is no getting around the fact that we need to start paying more for products and, as a consequence, also buying less. So what really counts in the world of fashion these days? Thies: Unfortunately, the industry is still far too concerned with fast trends and clever marketing. All of that would be fine if it weren’t for all the precious resources being squandered – often at the expense of our fellow human beings. Today’s fashion industry is fuelling social injustice and destroying our planet. Stephan: With our Repair Voucher, which comes with every product, I hope that we can remind people how easy it is to save resources. What do you think there should be more of in the fashion industry? Both: Honesty and responsibility. ABOUTCOMPANIONS.COM

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Stephan: As a result, we also decided to do without seasonal sale periods on our channels. There’s no reason for us to rush our products out of the warehouse. For us, convenience isn’t about discounts or fast trends. We believe in satisfied customers who will wear their most beloved trouser style for a long time, then have it repaired if necessary and can buy it again from us many years later.

INTERVIEWS — KANGAROOS

STAY UNITED, KEEP IT ROOS Kangaroos, which is part of Bernd Hummel Holding, is a real gem of a sneaker brand. The fact that it’s still family-owned is appreciated by the Kangaroos community, for whom it’s often about more than just shoes. An interview with Adrian Bejan, Senior Global Sales Manager at Kangaroos, on the call for sustainability, the value of collaborations and this year’s most exciting releases.

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INTERVIEW CHERYLL MÜHLEN PHOTO VALENTIN MÜHL

Let’s dive right in: the calls for sustainability are becoming increasingly louder and the market for sustainable sneakers is growing. To what extent does Kangaroos plan to cater to these demands? We are already in the middle of working on a process that we hope to build on and pursue even further in the future. For our ‘Made in Germany’ line, we’ve already ensured all the products are sustainable. Our high-quality leather comes from certified suppliers in Italy. But it’s not just the leather that has the utmost priority with us; we are continually keeping a lookout for new ‘old’ materials that we can use or that would fit in with our story, such as upcycled fire engine hoses, reclaimed fishing nets and recycled PET bottles, as well as new materials like Bananatex and Pinatex. We ensure that we maintain short transport routes and produce locally to guarantee long-term quality, rather than making throwaway products. Sustainability is also a priority in the case of our sneaker line ROOSred, which is produced in Asia. For example, all the foam rubber and mesh we use is recycled. It’s really important to us that we try to take the sustainability route in our mid-price range as well.

As we know, the sneaker market thrives on the passion of sneaker aficionados. How much influence does the end consumer really have on the Kangaroos collections? We listen very closely to our end consumers and sneaker enthusiasts. One thing that is particularly close to my heart and demonstrates my point is the example of ‘John’s ROOS’. John was a co-founder of the Facebook group KangaROOStalk, a group of KangaROOS fans. Sadly, John left us far too early due to COVID so without any further ado we decided to dedicate a shoe to him and donate a large portion of the sales to his widow. This shoe was available via a kind of pre-order system on our Facebook community’s group KangaROOStalk. And with every pair of shoes sold, we also include a booklet of texts that John’s friends and companions wrote about him.

Kangaroos’ most recent collaboration was with creative collective Thatboii. What are you looking for when you do collaborations and why do you think these kinds of cooperations are essential? Primarily it’s about ensuring that both parties are satisfied with the end result. Each partner has their own story and represents certain values and it’s about translating them into a shoe. Thatboii

Wow, that’s proof of a really strong community. It’s touching to hear that you have such a direct connection with your loyal fans. Could you give us a few hints about any upcoming releases that your fans and new customers can look forward to? Yes, we do actually have a few exciting releases up our sleeves for 2021. After this long and difficult year of staying

speaks to a certain scene, is particularly focused on locally produced articles and attaches great importance to quality. So the creative input and a certain storytelling are essential. These kinds of collaborations allow us to take different routes that are good for our brand.

apart, for me personally the whole idea of being united together is really important. We are planning to release a line of four pairs of sneakers that we created with teams from Europe who each worked together on one pair. For me it was important not to set any boundaries. We put together teams from different countries, mixing genders, different religions and different skin colours and worked together with the teams on one project: ROOSunited! Towards the end of the year, we’ll be focusing on traditions and emphasising the craftsmanship and quality of the ‘Made in Germany’ brand. Talking of ‘Made in Germany’, brands represent more than just their products nowadays. What does Kangaroos stand for? We are one of the few family-run companies that are still approachable and always accessible. Our decisions are discussed within the team and implemented as fast as possible. So not just being a number definitely makes a difference here. It’s the values that count. Our ‘Made in Germany’ standard is meanwhile well-known – even beyond Germany’s borders. It’s important to us that we don’t bring the ‘Made in Germany’ label into disrepute and that we continue to deliver on quality. We are gradually expanding our product range with the ROOSred line. But sustainability will come to the fore here too, along with quality. KANGAROOS.DE Finalist Lux, True 3 Pointer, Coil R1 OG and Exo II OG (from top left)

INTERVIEWS — KANGAROOS N° 81

“We listen very closely to our end consumers and sneaker enthusiasts.”

INTERVIEWS — KEYLIME

PIONEERING SPIRITS

Have you heard of Brüggen? If not, you should have. This small, idyllic village is home to the distributor Keylime. Established in 2010 by Carsten Richter, the company offers its customers and brand partners a full service that goes beyond regular sales and customer support. In 2018, Keylime switched its focus exclusively to sustainable brands. In an interview with Carsten Richter, we discussed the core values of his company and work and found out what partnership and sustainability mean for him. A candid summary of work ethics, solidarity and future visions.

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INTERVIEW DENIZ TROSDORFF

You founded Keylime GmbH in 2010. Can you briefly outline the services you offer and the company philosophy you follow? Keylime is a full-service distribution company based in the beautiful village of Brüggen, just 40 kilometres away from Düsseldorf. Our headquarters are in an old 15th century castle surrounded by nothing but forests, lakes and rivers. From here we offer the full package, which not only includes sales, customer service and marketing, but also logistics, finance and product development. Our philosophy hasn’t changed since day one and is remarkably simple: You will never climb the ladder

of success with your hands in your pockets. Trust yourself. Break some rules. Don’t be afraid to fail. Don’t listen to the naysayers. No pain, no gain. Give something back. You currently have the footwear labels Flamingos’ Life, Newlab and Hot Potatoes in your portfolio. What criteria do you use to select the brands you distribute and represent? Over the years, Keylime has evolved into a highly respected distribution company, thanks to the exceptional work of our team. We are often contacted by foreign brands that want to

How do you define partnership, especially in challenging times like these? For us, partnership is not a one-way street; it needs to be based on mutual trust and support, a common vision and, of course, fairness. Fairness comes naturally when each side understands and respects the other’s challenges and possibilities. This affects our brand partners but also our customers. The pandemic has turned life upside down. What challenges did you have to overcome and how did you adjust to the new circumstances? I remember it like it was yesterday. When its full impact came to light in early spring last year, I made sure that the company was fully and independently capable of staying in business. We made sure we could meet any payment obligations to our brand partners on time and support our customers where necessary. With regard to the way we work, nothing has really changed as we have always been equipped to work from home or hold digital meetings. We have always been on top of our game in that respect.

Almost everyone is offering sustainable collections or capsules these days. In the footwear sector, however, things are a little different: sustainable newcomers are sprouting from the ground, while big companies are proving relatively slow and moderate in their approach. How do you see the market developing? Retailers and consumers should still carefully consider what they buy as there is a lot of greenwashing going on in the market. Sustainability is often just used as a marketing tool. For us, it means that we also pay close attention to the brands we enter into a deeper dialogue with. We want to build strong relationships with brands who really mean what they say and stand up for their beliefs.

COVID has also raised awareness of sustainability. That’s true, but even before the pandemic we were seeing an increasing awareness of sustainability and transparency. Although the percentage of sustainable footwear and apparel out there is still small, people are aware of what is going on in the world and climate change is just one aspect of that. I believe more and more people will change their mindset and want to do something good.

What are your visions for the future and which brands would you like to work with? I am currently in conversations with several brands, but nothing has been agreed as yet. My vision is very simple: Flamingos’ Life is our strongest brand, but, even more than that, we see each other as family and have big plans together. The two founders are the perfect example of what I mentioned before. They are young and we share the same vision for the brand’s future, as well as a pioneering mindset, which my wife and I also have. This mindset is deeply rooted in Keylime and as we trust ourselves and our team spirit, we are just continuing with our work and our mission to be the best we can possibly be and the most trusted partner for our awesome brands and customers.

INTERVIEWS — KEYLIME

“More and more people will change their mindset and want to do something good.”

KEY-LIME.DE

KEYLIME Keylime works with sustainable footwear brands like Newlab, Hot Potatoes and Flamingos’ Life.

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expand in Keylime’s core markets which include Germany, Austria, Switzerland and Benelux. In 2018 we adapted our strategy to the growing demand of sustainability. From that moment on, we focused only on sustainable brands with the clear mission of leaving a positive impact on our planet and in people’s lives.

INTERVIEWS — GOLDWIN

FROM MUNICH TO EUROPE Japanese outdoor label Goldwin combines minimalistic design with alpine performance. Already well-established in Asia and North America, the brand now has its sights set on conquering the European market and has opened its first European flagship store in Munich. We had a chat with General Manager Takuya Kinami and Store Manager Henning Riedel to find out more. INTERVIEW WOLFGANG ALTMANN

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You opened your Munich store in October just before the second COVID wave hit. Are you still happy with your decision? Despite the ongoing coronavirus restrictions, we are pleased we made the move to Munich. The initial feedback from our customers is extremely positive and our flagship store has welcomed many customers since the opening. Hopefully the summer will bring fewer restrictions.

Why did you choose Munich as the location for your first store in Europe? In our opinion, Munich offers the perfect mix of urban lifestyle, our target clientele and the love for and connection to nature. The area around Munich is unique. Its beautiful landscape and all the mountains and lakes offer so many leisure and recreational activities. So your decision was influenced by the fact that the Alps are so close by?

The proximity to the Alps plays an important role for us as we originally come from a skiing background and therefore feel a great connection to the mountains. We hope to reach as many outdoor enthusiasts as possible with our ski and outdoor collection. Customers entering the store will immediately smell the ‘Alpine Breeze’ room fragrance. Can you describe it? The alpine fragrance feels like you’re standing in a coniferous forest, enjoying the scent of cedar wood. It offers customers the opportunity to relax and immerse themselves in an outdoor environment. By the way, our Japanese and US stores use the same scent. Goldwin has its roots in skiwear, but you meanwhile also have an athletic line, an outdoor line and a lifestyle collection. Where do the brand’s origins lie? People tend to aspire to a fulfilling life

both in the city and in nature. Our roots and the core of the brand are certainly in skiing but based on that experience we have expanded our field to outdoor and athletic. Skiing is one of many activities performed outdoors, like running. All in all, we hope to create and convey our brand through the great outdoors. What is the difference between the various collections? The collections, of course, differ greatly in style and function. All our collections have functional and meticulously developed pattern structures as a background. Within the outdoor collection, we rely heavily on the functional values and practical design. Our lifestyle range is simply designed using high-tech materials and innovative techniques cultivated from our outdoor background. And last but not least, the athletic collection is all about minimalist but performancedriven design.

INTERVIEWS — GOLDWIN

PHOTO KANEHOLZ

GOLDWIN Store manager Henning Riedel is thrilled with the Munich location and its mix of urban lifestyle and nature.

What exactly is your design philosophy? Our design philosophy is to pursue minimal and simple design. Within our products, we aim to offer practical but unique details with minimal components but the best performance. We believe that this is one of the values we can provide as a brand. Are all your fabric innovations developed in-house? Most of the fabrics are not developed by Goldwin itself. However, we do work closely with our R&D team to develop products and invest in innovation utilising pre-existing fabrics. A prime example of this is our partnership with Spiber, with whom we share the same hopes for a better world. We launched ‘The Sweater’ using their sustainable fabric last year. We also work with suppliers that provide technical functions and long-lasting materials aligned to our product needs. Such as Gore-Tex, which offers superior waterproof and breathability for our toptier outdoor products, Pertex for developing lightweight items, and Polar Tex for developing autumn/winter products that require different levels of warmth. One of your outdoor shell jackets won the German Design Award in 2021, in the

‘Sports Outdoor Activities and Leisure’ category. What makes the jacket so special? The shell jacket is fully waterproof but also super breathable to maintain comfort when active and in wet conditions. We used ‘Pertex Shield Air’ to achieve that, adding design details like the unique mesh pocket that can be attached on the outside to store wet accessories. Do you think this mix of simplicity and high functionality is something that German customers appreciate? I think the German customer is highly tech-oriented and therefore very open to our highly functional clothing. In addition to our simple and minimal design taste, we are showing that fashion and function can harmonise perfectly. What’s your take on the fashion style of German people in general? We have noticed that German people often incorporate outdoor brands and fashion into their daily lifestyle. People wear outdoor shell jackets in the city and we can certainly foresee people adapting well to each season and climate through various types of garments and layering. How important is the German market? We believe that Germany is the gateway from Asia and North America to other Central European countries and a country where sports and being active play an important role. That’s why we feel it is the right market in which to establish an initial brand awareness in Europe and create brand fans and communities.

So do you see the Munich store as a test run for the European market? Absolutely. But due to the whole coronavirus situation, we aren’t expecting high in-store traffic at the moment. Currently the majority of our sales are generated online and in our UK stores, which is the next biggest market in terms of sales. That’s good news, but we do hope to leverage the store presence and create more brand awareness within the German market. In Europe, you only sell your clothing in the Munich store and your online shop. Would wholesale also be an option for you? We’ve worked with wholesale accounts in the past but since we shifted our approach towards direct-to-consumer, we have decided to focus primarily on that. Through our platform, we hope to learn how our brand and products will be accepted by customers and the German market. But we’re not planning to phase out our wholesale accounts completely – we’ll continue to work with key account retailers that are relevant for the brand. And last but not least, what are your plans for the future? First and foremost, our priority is to raise brand awareness and value on a global scale. As for a detailed action plan, we plan to lean towards sustainability by producing, selling and recycling products for the future of our planet.

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What’s the story behind the brand name Goldwin? It comes from when we supplied garments to athletes competing in the Olympic Games, who were all striving to become gold winners. So the company named itself Goldwin after the Olympics.

GOLDWIN-SPORTS.COM

BRAND STORIES – ALBERTO X MEGAMARSCH

ON THE MARCH Alberto is a traditional company that continues to reinvent itself in order to stay true to its values. And thinking outside of the box in the interests of its customers is always going to be a guarantee for success. Now the Mönchengladbach-based trouser specialists have joined forces with the organisers of the Megamarsch event to create the ultimate hiking trousers. TEXT CHERYLL MÜHLEN

In these unusual lockdown times, we’ve rediscovered the joys of walking. And if you’re one of the many city dwellers who has plodded every inch of your local neighbourhood parks several times over, you may be looking to extend your radius, or even joining the Megamarsch (which is German for Mega March). Regardless of whether you’re up for this mega challenge – walking 50 kilometres in 12 hours or 100 kilometres in 24 hours – or simply content with a more meandering route along a babbling brook, at the end of the day it all comes down to the right clothing. That’s something that Megamarsch founders Marco Kamischke and Frederick Hüpkes know all too well. And now they’ve found the perfect partner in the trouser specialist from Mönchengladbach. Marco Lanowy, Managing Director of Alberto, knows the strengths of his lifestyle-oriented company:

“As trouser specialists, we are known for our innovations – and when they are technical as well as functional, we can make a cool pair of hiking trousers that don’t make you look like you’re going hiking, which ties in perfectly with our philosophy – just the ticket for more ambitious hikes.”

EXTREME HIKING – BUT MAKE IT SMART The Megamarsch started out in 2016 as an insider event for hardcore hikers in Cologne but has meanwhile become a successful event series that attracted more than 32,000 participants over 16 hikes in 2019. Now entering its fifth season, collaboration partners Alberto and Megamarsch have developed a one-of-akind trouser that fulfils every demand of long-distance hiking, as well as also looking the part: along with their casual cut, extremely light weight, water-repellent properties and fast-drying jersey tech fabric, they boast an anti-slip waistband and breathable mesh lining with side zips to ensure that the ‘Water Repellent Revolutional’ style provides not only maximum freedom of movement and the ultimate comfort whatever the weather, but also protects the wearer from harmful UV-rays. And for carrying your hiking equipment essentials, they also come with zipped back pockets and a safe pocket for cards and money.

BETA TEST IN AFRICA

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Ahead of the official launch, Marco Kamischke put the trousers through their paces on a climb of Kilimanjaro and was thrilled with their performance: “Thanks to these hiking trousers, I was perfectly equipped to ascend the highest mountain in Africa this year.” So they passed the test with flying colours, praise that makes Marco Lanowy very happy: “As a local company from Mönchengladbach with 99 years of trouser expertise, we are proud that, together with the Megamarsch team, we were able to develop a pair of trousers that are perfectly tailored to the participants’ needs.” Marco Lanowy, Managing Director of Alberto

ALBERTO-PANTS.COM MEGAMARSCH.DE

BRAND STORIES – ALIFE & KICKIN

CHOOSE LIFE In 2021, Alife & Kickin is gaining new momentum and calling for more sustainability, individuality and solidarity with their latest casual, sales-boosting styles. But what does that have to do with Mexican trees? TEXT CHERYLL MÜHLEN

In the new ‘Choose Life’ collection for autumn/winter 2021, Alife & Kickin is not only offering top-sellers, but also a brand-new knitwear capsule, neoprene, flannel and cord fabrics for the first time and an overall sleeker brand identity. They have also extended their range of men’s and women’s quilted jackets. And with the official Lenzing Ecovero licencing of the viscose collection, Alife & Kickin is once again upping the ante in terms of sustainability.

“WE CAN’T MAKE THE WORLD A BETTER PLACE, BUT AT LEAST WE CAN MAKE IT A LITTLE MORE CONSCIOUS.” “Sustainable and eco-friendly clothing starts with the choice of textiles,” according to Alife & Kickin. For example, the company has eliminated all animal products from its collections and is even officially PETA Approved Vegan. As well as using 100 percent recycled polyester and nylon for their outdoor jackets and organic cotton for their jersey models, they are also constantly increasing

the offer of blouses and trousers made from Lyocell. 90 percent of their sweat items are made from a cotton mix with recycled polyester. Production is currently carried out in Turkey, China and India, at carefully selected manufacturing facilities. “Due to our long-standing partnerships and regular visits to the factories, we can guarantee the best possible working conditions, fair wages and no child or slave labour,” assures Alife & Kickin. Their next goal: mailing bags made of fully recycled materials.

50,000 TREES IN MEXICO And they’re not stopping there: the label recently entered into a three-year partnership with Plant-for-the-Planet. The foundation, which was founded in 2007 by Felix Finkbeiner, who was just nine years old at the time, meanwhile has over 160 ongoing projects to restore trees and forests around the world. Together with Alife & Kickin, the plan is now to reforest areas in Mexico. “From May/June, we will have a so-called ‘White Label’ on our website, which will enable visitors to our online shop to plant trees in Mexico.” For every online order during the two months following the launch of the campaign, one tree will be planted with Plant-for-the-Planet, with the goal of planting 50,000 trees and contributing to sustainable reforestation. They are also planning monthly fundraising campaigns to give customers the opportunity to give something back, not only to the planet but also to the people who live on it. And if that isn’t choosing life, then we don’t know what is!

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The original team of two at the streetwear and sportswear label, which was established in 2008, has meanwhile grown to more than 50 employees in Ellefeld and Berlin. And the look of the collections has also grown – or grown up to be more precise. With new branding, wide oversize cuts and newly developed fabrics, they are adapting their styles to the new reality. And the brand’s mindset is also more clearly defined than ever before: ‘Choose Sustainability. Choose Personality. Choose Charity. Choose Love.’

ALIFEANDKICKIN.COM

WHAT’S NEW IN DENIM?

WHAT’S NEW IN DENIM? Autumn/winter 2021/22 is set to be a jeans season. Denim is in the process of reinventing itself and we are seeing more diverse styles than ever before – also in terms of sustainability. Ideal prerequisites for the post-COVID look. KINGS OF INDIGO TEXT WOLFGANG ALTMANN

Denim will always be in. And all the more so now that the blue fabric is constantly being reinvented with new sustainable innovations. And jeans are very much on trend too, something we were seeing digitally on the international runway shows for AW 21/22: Balenciaga sent avatars dressed in ripped, oversized jeans down the catwalk. Christian Dior’s offering included denim with razor-sharp creases, while Dries van Noten showed frayed, floor-length skirts. And for Celine, Hedi Slimane even revived the cut-off, a relic from the heavy metal scene that symbolises freedom and rebellion. And jeans still stand for both of those things today – in a positive sense. So it looks like all signs are pointing towards denim becoming the favourite fabric for the post-COVID era.

BALENCIAGA

DRIES VAN NOTEN

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80S COMEBACK

The denim manufacturers are also making fashion statements for this coming autumn/winter season. One of them is that jeans should give their wearer a certain presence. After the low-rise skinny, the high-waist is now taking the womenswear market by storm. Whether wide-cut, flared or the tapered 80s carrot shape – the styles are wide and attract all the right attention. Brands are celebrating used-looks with authentic washes and numerous destroyed effects. Marble washes are also popular, along with clean looks. New interpretations of the five-pocket are another interesting development. The focus is on eye-catching details with oversized buttons, curved seams or two-piece waistbands.

WHAT’S NEW IN DENIM?

AUTHENTIC COLOURS The colour palette is a homage to true blue. From baby blue to a light cobalt to dark indigo, all the nuances are represented. Also making an appearance are black and white, a range of grey shades, a rusty red and 80s-inspired pastel tones. This season’s trend hue is a washed-out pink. A reinterpretation of the classic denim jacket is available in oversized looks with large patch pockets, or a round neckline instead of a collar. The new cool is represented by batik or bleached models in punky Domestos blue with white contrasts. Colour blocking and patchwork are the next big thing. Romantic blouses and dresses made of cotton-linen blends with frilled sleeves and ruched collars are girlish and playful. Long skirts and overalls are also playing a key role. Head-to-toe looks are en vogue, with three different types of denim happily coexisting in one outfit.

MARC O’POLO DENIM

WORKWEAR TREND Slim fits are slowly being replaced by straight fits in menswear too. The waistband is moving slightly upward and the seams are getting broader. Riding high in the trend stakes are boot-cut models and jeans with a slight flare. In winter, denim fanatics will be wearing their selvedge jeans with large turn-ups. All the different washes are available – from clean to used-look effects with small rips and holes. Classic blue is also dominating the menswear. In addition to light and medium blue tones, we will be seeing a wide range of grey, off-white and black. New additions to the palette include muddy green and brown tones. There will be a major focus on workwear, with shirts, trousers and jackets boasting colour-contrasting patches and pockets. The new stars are overshirts with a relaxed silhouette. Even the classic denim shirt and trucker jackets are now oversized.

AGOLDE

GOLDSIGN

It’s important to know what’s on trend when placing orders for the new season. And it’s also important to know where each individual item of clothing comes from. The fact that the jeans industry is one of the biggest environmental polluters is something most consumers are aware of by now – not least thanks to the COVID pandemic, which has caused a lot of people to rethink. As a result, the call for fairly produced and environmentally friendly clothing is getting louder. The immense amounts of water needed, which is also unavoidable in the case of organic cotton farming, is a no-go for many consumers. So organic cotton alone isn’t enough for a good sales pitch. New solutions are required, like replacing cotton with hemp, for example. This robust plant needs much less water to grow – a potential that denim manufacturers have recognised, which is why we are now seeing jeans made of hemp arriving on the scene. Hemp jeans are soft to the touch, thanks to an innovative ‘cottonisation’ process that makes the rough hemp fibres soft and requires no water at all. Several manufacturers now offer jeans made with recycled cotton from discarded clothing. A new process allows for the recycling of fibre remnants from the cotton weaving mills. These fibre remnants constitute around 10% of the entire cotton production, which is a win-win situation for everyone involved.

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HEMP HELPS

WHAT’S NEW IN DENIM?

CLEAN ALTERNATIVES As many denim manufacturers know that they can earn brownie points with ecological products, they are investing in innovative technologies. Italian denim producer Candiani is leading by example here with their ‘EarthColors’ – natural dyes extracted from nuts, orange peel, beetroot and rosemary. ‘Indigo Juice’ is another dyeing process they use. This easy-fade technology allows indigo to be applied directly to the yarn, which also reduces water consumption because less water is needed to wash off the excess indigo. Recently, the Italian company introduced its fully recyclable stretch denim, i.e. jeans that are compostable. Until now, this idea had always failed due to the need for synthetically produced elastane. But then the patented ‘Coreva’ stretch came to the rescue – a technology that uses a plantbased yarn obtained from natural rubber.

KINGS OF INDIGO

LEVI’S

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ANTI-GREENWASHING

Despite all efforts to make the jeans industry more environmentally friendly, there are still black sheep who prefer to fake it until they make it. But we might be seeing an end to that soon, if the Turkish denim producer Calik has anything to do with it. They have successfully integrated a traceability software called ‘Aware’ into one of their capsule collections. Its tracer and blockchain technology can prove whether or not the materials specified, recycled cotton for example, were really used to make the garment. In this technique, fibres are marked with a digital code that is present throughout the entire production chain. The finished item of clothing is checked by a scanner to ascertain whether it actually contains the material stated. As this technology can be used on all kinds of sustainable fabrics, it is easy to call out greenwashing. And it’s not only companies investing in ecological technologies who are welcoming this step, but also more and more customers.

KINGS OF INDIGO

Zero Water

No Chemical Waste

INTERVIEWS — LEE COOPER

ATTENTION:

LEE COOPER IS HERE TO STAY! It was just under two years ago that Serdar Mazmanoglu and Dr Emin Cezairli launched iconic British brand Lee Cooper on the German market. The heritage label, which is synonymous with on-trend denim fits with a rock star attitude, was pretty much unknown in these parts, but is meanwhile represented in several stores throughout Germany – despite the current situation. In an interview with J’N’C, Managing Director Serdar Mazmanoglu and designer Christoph Leinauer talk about the challenges and opportunities that Lee Cooper is experiencing as a newcomer on the German market, as well as their sustainability goals and wishes for the future. INTERVIEW AYLIN YAVUZ

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In the 20 years you worked at Mavi Jeans, you succeeded in turning the label into an important name on the market. And then in 2019 you brought Lee Cooper to Germany, where you have been establishing its presence ever since. What was it that drew you to the brand? Serdar Mazmanoglu: That is something we achieved with Dr Cezairli and we now want to develop Lee Cooper together too. Lee Cooper can look back on an impressive history, which many people in Germany aren’t really aware of. But in many countries, the oldest jeans brand in Europe (established in 1908 in East London) is still regarded as an iconic brand that has worked with greats like Jane Birkin, The Rolling Stones and Jean-Paul Goude. Reviving this cult in Germany is a challenge but at the same time also hugely satisfying.

As there are so many denim brands around now, it’s really hard for newcomers to stand out from the crowd. What sets Lee Cooper apart from other jeans brands? Serdar Mazmanoglu: It’s a huge challenge being a newcomer in these times of lockdown. But with its rich history, Lee Cooper tells a very authentic story. Our collections are inspired by our archives from the 70s and 80s: high-waist jeans, wide legs, balloon fits or mom jeans, cropped and so on. Speaking of newcomers in times of lockdown – what was your experience of the

retail sector in the past year? Would you say that it’s open to new brands right now? Serdar Mazmanoglu: Yes and no! There are some retailers who want to surprise their customers after the lockdown, both with new brands as well as with the new fits in the young women’s segment. Lee Cooper is the perfect partner for this because the brand is fresh, but also authentic and has an incredible history with only modern fits. That is bringing a breath of fresh air to shop floors. And at a fantastic retail price of 69 euros and an above-average retailer margin of 2.8. Despite the current situation, Lee Cooper has been able to open several shops and retail spaces in well-known fashion stores such as Sygn Fashion in Osnabrück over the past few months. But what are the challenges you are currently facing and are there any hidden opportunities? Serdar Mazmanoglu: Of course the market situation isn’t easy. As a result of the lockdown, stationary retail is under pressure, but also from the purely online retailers like Zalando & Co. But we believe that family-run stores in mid-sized and smaller cities like Osnabrück, Oldenburg, Tübingen, Paderborn, Darmstadt and many more will emerge from the lockdown stronger. These market leaders are very active and looking for alternatives to the choice of online retailers out there. They are doing that by developing their own product ranges and presenting them

to their fans in an emotive way, also via social media. Which is very authentic – just like we are. We are offering the young departments of Leffers or L&T (SYGN) precisely this young, trendy collection that can be delivered at short notice and usually also reordered. All in a price bracket that suits the target group.

INTERVIEWS — LEE COOPER Lee Cooper‘s many years of experience are reflected in its fresh, authentic looks.

Until further notice, tradeshows are still being cancelled left, right and centre – or only taking place in condensed form. To make up for that, last summer you organised a digital fashion show and pop-up events with your retail partners. Is that a concept that could work post-pandemic too? Serdar Mazmanoglu: For us as newcomers, we really miss the tradeshows! Of course you can do an online event or collection presentation digitally too, but in our eyes it’s no replacement for

meeting up with our existing and potential customers in person. Moving on to the actual product: what can you already reveal to us about the coming autumn/winter 2021 collection? Serdar Mazmanoglu: Our designer Chris is probably the best one to explain that to you. Christoph Leinauer: In terms of the denims, new fits are important, such as our wide-leg ‘Jane’ or the ‘Cara’ culottes and ‘Anna’ balloon pant. And our mom fit ‘Marlyn’ has meanwhile become an absolute must-have and one of our top sellers. For autumn/winter, it will be available in cord, but in fresh pastel tones like mint and lilac. Authentic washes in non-stretch are also proving very popular. As far as the tops are concerned, we have faded sweats in cropped styles that can be perfectly styled with our high-waist pants. Your last AW20 collection included several eco styles made from recycled materials and organic cotton and this

“We believe that family-run stores in mid-sized and smaller cities will emerge from the lockdown stronger.”

summer you are also debuting denim styles for Bermuda shorts. How do you define sustainability at Lee Cooper and what role does it play for you? Christoph Leinauer: Along with environmental and social standards in the production process, sustainable materials are a must and we are constantly working on developing these in our collections. A good example is our new product group: socks made entirely from organic cotton. Let’s stay on the topic of sustainability: what have you already achieved and where is there still room for improvement? Christoph Leinauer: We have already found good suppliers for our fabrics. Next up, we want to find interesting new materials for the accessories and other components of our denims – such as the buttons, studs and logo patches. The first samples will be incorporated into our next collection. And to conclude, my final question is: what are your wishes and goals for Lee Cooper? Serdar Mazmanoglu: We are already using various eco-friendly materials in our products and hope to continue developing them further. Beyond that, we want to work on building partnerships with smaller production facilities that will enable us to produce in a more socially responsible way, while still remaining fast and sustainable.

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At the end of last year, Lee Cooper was also launched in Switzerland with Mode Bayard. Seeing as you have the licence for the entire DACH region, do you have any more expansion plans for the future? Serdar Mazmanoglu: Lee Cooper is very well known in Switzerland. In the 80s it was the number one brand in Switzerland, which is why expanding to our neighbours was the next logical step. Obviously we would like to expand to Austria or the Netherlands in the future, but until then we still have plenty to do here in Germany.

LEECOOPER.DE

INTERVIEWS — LONG JOHN

10 YEARS OF LONG JOHN

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10 YEARS OF DENIM DEVELOPMENT

Wouter Munnichs decided to follow his dream and pursue his passion. And his timing was spot-on: as one of the first blogs to specialise in denim, Long John has become one of the most influential online magazines in the industry. 2021 marks the 10th anniversary of his blog. What better time for a look back to the past and ahead to the future?

Your blog is kind of like an archive. What would you say has changed most over the last 10 years? The overall mindset has changed immensely. Back in the 90s, people started wearing sneakers with a pair of jeans – even at work, which, surprisingly, wasn’t that common back then. But then they also began adding more comfortable pieces to their wardrobes, which also affected the denim industry. At that time, we only had jeans that were quite rigid and stiff. So the stretch quality control is also a big change. People wanted to have the same comfortable feeling when leaving the house. Another thing that’s changed is men’s attitude to fashion. Back when I was working at a Diesel store, men would come in and ask for nice T-shirt. If I showed them a pink shirt, for example, they would say: “I’m a guy, I don’t wear pink. Give me a grey or blue shirt.” These days there is almost no difference between the styles of tops or even jeans that men and women wear. Yes, both genders inspire each other, and fashion is becoming less gendered. But I also agree with you on the comfort part. Since the pandemic, consumers have been demanding more comfortable styles. And although the denim industry has started fulfilling this demand, it seems jeans have moved to the edge of the game. What will happen to them post-pandemic? Denim has been a wardrobe staple since the mid-1850s and that won’t change. Of course some trends will dominate the market temporarily, like chinos 10 years ago. Right now, the combat pant is making a bit of a comeback. But I strongly believe that denim is here to stay, albeit in different forms. Do you have any insider tips for upcoming denim brands you would recommend us to keep on our radar? Personally I can recommend Grivec Bros., run by two guys in a really cool denim atelier. They have around 40, maybe 50 different kind of machines to create those authentic pairs of jeans with imported fabrics from Japan. But I also like Blaumann Jeanshosen. The cool thing about them is that they also develop their own fabrics in Germany that are partly locally produced. That’s something we will see more of in the future: locally produced items rather than shipping the cotton from India to Turkey, for their fabrics then to be sent to China, who in turn send the goods to the Netherlands – all for a pair of jeans. That’s crazy and no longer fits the current mindset. Change, hopefully, comes with knowledge. And knowledge paves the way for sustainability. Do you think that the term sustainability has been overused in recent times? The first question should always be: what is sustainable? Some people think that simply using organic cotton to make a pair of jeans is sustainable, while others disagree and demand that they at least need to be made in Europe. So it’s quite a difficult topic because you can’t put your finger on it as soon as you can claim that something is not sustainable. You have people who reject clothing that is produced in China and claim it’s bad and not sustainable but are only too willing to purchase the latest iPhone. When it comes to clothing, people have a different mindset. Fantastic products can be produced in China, if they are done right, and they also have great facilities there. It has

INTERVIEWS — LONG JOHN

to be the total package – the employees in the factories have to be treated and paid well. The cotton farmers have to be treated and paid well and so on and so forth. I hope that when we talk about sustainability, we talk about the total chain, not just a small part of it. Many manufacturers are actually doing a great job these days and have a broad portfolio for brands to choose from with offers that suit their concept and budget. Do you think that they have done their part and now it’s up to the brands, or do you also think that the manufacturers could still be doing more? The manufacturers are doing a pretty good job at the moment because they are really into changing the industry for the better and asking themselves questions like: how can we reduce water usage and clean the water again, or how can we get rid of the indigo but still achieve that vintage look? These companies are working really hard to make future-oriented fabrics and futureoriented jeans. Sometimes they might even be ahead of their time, which makes it difficult to communicate the story in a way that the consumers can understand. Consumers can be very lazy, after all. They don’t want to read a long text to understand the development of a family farm. No, you have to sum it all up in a tagline and a few keywords. That is a challenge. Resale is another aspect of sustainable consumption. Why produce new clothes when we can resell the old ones? Do you think this is an easier way for consumers to contribute to a better world? Why is the spotlight suddenly on resale? Some people say that the best sustainable jeans are the jeans that were made back in the day. And I agree. Back in the 50s or 60s, people would buy one pair of jeans and repair them over and over again. When I look at these jeans, I am reminded of the reason why I collected them in the first place. Not only because of their vintage appeal, but because they are so beautiful. A bit like denim art. I think the expectations of a good pair of jeans are very high these days and meeting them will be the challenge for brands in the next few years. So let’s look ahead to another decade of Long John – what are your plans? Many people ask me if I want to produce my own pair of jeans under the Long John name and launch it as a brand. For some this is the holy grail, but not for me, although every now and then I make a special collaboration item. I think, or hope, Long John will be an even more established platform and something like a key point of reference for information and inspiration. I started Long John more as sort of a calling card for myself. But who knows? I am currently working for a lot of clients but could also imagine working exclusively for just a few denim brands, mills or retailers. But whatever the future holds, I strongly believe that if you have a vision, you need to stay true to yourself.

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Congratulations on 10 years of Long John. What have been your biggest milestones in this past decade? Thank you very much. Since I started Long John as a sort of a hobby, my biggest milestone is probably sharing my passion and knowledge for the denim industry and actually making a business out of it. I’m very proud to work for the best denim brands, mills and retailers within the industry as a denim specialist nowadays with my online magazine, but also as freelancer.

“I hope that when we talk about sustainability, we talk about the total chain, not just a small part of it.”

LONG-JOHN.NL

INTERVIEWS — CITIZENS OF HUMANITY

DUTIES OF A DESIGNER Marianne Gallagher McDonald was appointed Creative Director of Citizens of Humanity in 2019. And, in terms of sustainability, it has been an eventful two years in which we have seen the industry working towards more responsible production and the rest of the world looking on more closely than ever before. She told us how she wants to meet these expectations in an interview. Marianne Gallagher McDonald brings her unique perspective to the COH design collective, which operates on a foundation of ethical production and the cross-pollination of ideas.

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INTERVIEW CHERYLL MÜHLEN

The denim industry is one of the segments with the most innovations and is exemplary when it comes to sustainable methods. But this is far from being enough. As the creative director at a label like Citizens of Humanity, how can you do your bit? Consumerism in general leaves a large carbon footprint on our environment and it’s something that doesn’t sit well with me or my colleagues. It is our responsibility as denim manufacturers and my duty as a designer to do as much as we can to reduce our environmental impact. This dedication to sustainability and circularity is something we take seriously here at Citizens and we are collectively taking necessary steps to play our part. We are always trying to be as thoughtful as possible in the way we process our products throughout the entire manufacturing process and have implemented innovative

technology and advanced methods over the years, including laser technology, ozone washing and high-efficiency dyeing machines. Are there any plans in the pipeline to make COH, AGOLDE and GOLDSIGN sustainable in the coming years? Do you have any clearly defined goals? Our brands always take a proactive approach to sustainability as we believe the earth has a finite amount of resources. Wherever we can conserve and reduce our impact, we do. One example of this is the control we have over our production and tight distribution due to the fact that we own our own laundries and sample and sewing facilities. This gives us an exceptionally clear overview, which allows us to cut our products to order, as well as minimise waste and over-production. We work closely with our fabric mills and

engineers to adapt new sustainable processes and currently have some exciting projects in the works. Recycling and pre-loved fashion are defining key areas of the industry right now. Are they also options for Citizens of Humanity? At Citizens, recycling has always been a big part of what we do, whether it’s recycling scraps or using materials that contain pre- and post-consumer fibres. For years, we have been repurposing leftover products and materials in each collection. For spring 2021, we introduced several styles that were made from deadstock garments. It was incredibly gratifying to give these garments a second life and overall it’s been inspiring to see the innovative ways that companies are able to use and re-use what they already have.

What big trends will dominate the next few seasons and how will the pandemic affect your collections at COH? One of the most exciting things to emerge in this post-COVID era is the freedom of stylistic expression that we’re seeing. It seems people have moved away from the idea of just one look. Instead, you’ll see a personal and oftentimes radical take on style that incorporates seemingly disparate genres, silhouettes and even the rise of D.I.Y. This has been a time of intense creativity for us here at Citizens. It’s been

really exciting to think about the idea of individuality as it relates to craftsmanship. We have been focusing on silhouette, form and proportion and finding ways to incorporate plant dyes and fibres that are sustainable or regenerative in nature. You’ve been Creative Director at COH for almost two years now: what were your goals when you took up the position and what do you still want to tackle? Part of the process of any new creative position is to embrace a sense of discovery

within the brand, getting to know the brand’s DNA and finding the visual language to express it in new ways. When I first took up the position, I wanted to focus on emphasising the framework of what I believed about the brand: the craftsmanship, the juxtaposition of femininity and masculinity, and a sense of sophisticated ease. This has taken shape in everything from our new and successful categories of lounge and knitwear, as well as the introduction of our new Archive collection for men and women that brings all the emotional characteristics of vintage denim to life. These new categories are paving the way for what is to come. I’ve recently been drawn towards exploring proportion in new ways and I think this post-pandemic mindset will be a time of creative freedom that we will use to explore new manifestations of the brand.

INTERVIEWS — CITIZENS OF HUMANITY

“We work closely with our fabric mills and engineers to adapt new sustainable processes and have some exciting projects in the works.”

CITIZENSOFHUMANITY.COM

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CITIZENS OF HUMANITY The looks of Citizens of Humanity’s AW21 collection also clearly bear the hallmarks of Marianne Gallagher McDonald: effortless femininity that is unobtrusively sexy.

INTERVIEWS — KNOWLEDGE COTTON APPAREL

FRIENDSHIP + LOYALTY + COOPERATION = SUCCESS Knowledge Cotton Apparel’s Country Manager for Germany, Austria and Switzerland, Aki Tuncer, has been has been in the fashion business for decades. He’s seen and experienced a lot in his time – and even though a pandemic is new territory, it doesn’t have to be the end of the world for brands, provided that the parameters are right and that their philosophy is in keeping with the times. A conversation about a crazy phase in our lives and the importance of staying hopeful. INTERVIEW CHERYLL MÜHLEN

Aki Tuncer, Retail Relationship Manager Europe & Country Manager for the D/A/CH region

After a short hello and assuring each other that we are both doing fine – mentally and physically – our telephone conversation moves straight to the number one topic of the moment: the COVID crisis and its effects on our industry. “We’re just staying calm and waiting to see if the stores can open again in May,” begins Aki. Knowledge Cotton Apparel is riding out the crisis well.

know how we had managed to have so much success with Knowledge Cotton Apparel in Germany without us doing any marketing there. After all, we do a lot in other European countries, especially Denmark. He said to me: “You’re not doing anything at all in Germany, yet the German market is still the most successful.”

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“Sending goods back or cancelling orders isn’t a solution. Denmark, Sweden and Norway are open and sales are still going well in Switzerland, where the stores are also open and our products are flying off the shelves. Online sales are also good. But it’s inconsistent: some stores are doing great while others are lagging and frustrated because they aren’t getting any support. They are lacking perspective and meanwhile also the substance, liquidity – everything is gone. But what can you do?”

We’re all being swept along by it, one way or another. We are all affected – and we are all looking on helplessly. Yes, and we’re all doing our best. Us included. That’s our job: to be positive, to keep looking ahead. We spent years telling people about fair trade and humanity and internalising all those values that we’ve been living and breathing for years. Knowledge Cotton as a company too, of course. Gain Knowledge, Take Action, Earn Respect – all attitudes that we not only proclaim on our website, but also live ourselves. I was just talking to a Danish student who has recently written his thesis on sustainability. He wanted to

And what did you say? I explained to him how our distribution is structured, but the main reason is that our success is based on friendship, loyalty and cooperation. So it doesn’t all come down to the marketing? What is marketing really? Marketing is communication. Marketing is understanding – at least for me. I believe the product is the marketing, because if it’s a good, quality product, then it speaks for itself. If marketing was the be all and end all, then McDonald’s and Burger King would be the best burger places in the world. But that’s not the case. Independent burger joints that don’t do any marketing, apart from perhaps just posting the odd thing on Instagram, are way cooler. Do you think the term ‘sustainability’ is bandied around too casually? On the one hand, I am obviously happy that more brands are finding their way back to their roots. Marc O’Polo, for example. They are going back to their roots, becoming greener, more

INTERVIEWS — KNOWLEDGE COTTON APPAREL

consistent and in the end also more sustainable. But yes, it is surprising how many brands are jumping on the bandwagon and saying: “We’re already 60 percent sustainable,” or: “By 2030, we’ll be 100% sustainable.” That sounds like fake marketing to me. No 19- or 20-year-old is going to believe that. My own daughter laughs about it. She doesn’t think of Knowledge Cotton as the most sustainable brand and says: “You’re constantly manufacturing new things, but really you should be upcycling old things”. And she’s right. Concepts like cradle-to-cradle and upcycling are important and we’d be wise to follow and implement them. It’s exciting to see how the market is getting on board with these topics or even rediscovering them. Absolutely. And people finally need to start realising that we can make new things out of old ones. It makes a lot more sense to me and has more potential than trying to plant more cotton and using more water than ever – especially when people are dying of thirst and suffering droughts. Of course organic cotton is better than conventionally cultivated cotton with all its pesticides, insecticides and so on. I am all for natural cotton and you have to understand that the countries that cultivate cotton, such as Africa, India, China and Turkey, want to be able to sell their cotton at premium prices. But organic cotton is so hard to get hold of; a few weeks ago we just secured organic cotton for the next five production years, also to give the farmers the security of knowing that we will buy their cotton from them.

And being there for one another... Yes. Having empathy. Everyone I talk to on the phone understands, because they know they can count on us. We will help them. We need to set our priorities; that’s our job as Country Manager or Area Manager. Everything we do at Knowledge Cotton is done in a thoughtful and thorough way. We stay calm and make decisions on a case-by-case basis. We can’t suddenly send all the stock back and cancel it: the order has been made, the items have been produced and are just waiting to be delivered. But some retailers want to delay the distribution, others want to leave their options open until the stores reopen – and we are making all those options available to them. Do you think that as a sustainable brand you have an advantage during the crisis? Yes, I think so. I am very optimistic that the sustainable stores will make it, though. They simply have this resilience and inbuilt passion. These are people who do it out of a sense of calling and not just to earn money.

“If we want to save the world from this climate crisis, we all have to work together.”

Knowledge Cotton Apparel’s first womenswear collection is being very well received on the market.

You make it sound so easy. Could you give us all a bit of your energy? (laughing) For me, fair fashion is a matter of the heart that we need to convey to our customers. They need to be able to trust us so we can do it together. Being authentic with each other, honest, taking each other seriously and being open – that’s the kind of energy we have to exude. It might sound a bit spiritual, but these are my values. And my colleagues aren’t letting the crisis get them down either. They’ve already been through various other crises and we all know that when you come out of the other side, you are always richer in terms of new experience. Who are the winners in this crisis? I hope – no, I actually know – that the sustainable brands and stores will be the winners. I don’t need any predictions, because it should be clear for everyone that there is only one way: if we want to save the world from this climate crisis, we all have to work together and try to reduce the CO2 output and plastic waste and be more active throughout the entire segment. That’s not a slogan, it’s an attitude to life. And apparently the (not-so-secret) secret to success. It pays to be loyal and honest to people and to create a friendly and warm atmosphere alongside the whole business aspect. So how would you sum things up? There’s always sunshine after the rain and we need rain to make everything grow – it’s something positive. And who knows? Winding everything down might even be a good thing for the environment, nature and Mother Earth: people aren’t travelling as much and are more thoughtful and consuming less – and that is what sustainability is all about at the end of the day.

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Can the demand for organic cotton even be met in the long term? No. I don’t know the figures exactly, but I do know that only around two percent of cotton cultivation worldwide is organic. So how can we meet everyone’s needs with these two percent? That’s just not possible. Certifiers could earn an absolute fortune with it. In the end it would be better to research the suppliers ourselves and know the people we are working with. How am I supposed to know what will happen once the auditor has left? You can only build on loyalty, friendship and trust that is developed over the years. The same applies to the retailers: these are the only values you can rely on in times of crisis.

KNOWLEDGECOTTONAPPAREL.COM

KINGPINS24 REVIEW

DIGITAL DENIM SOURCING AT ITS BEST

HOW KINGPINS24 IS PREPARING THE INDUSTRY FOR DIGITALISATION AND SAVING THE WORLD IN THE PROCESS

We miss personal interaction! A lot. But it’s both motivating and comforting to see that companies, tradeshows and brands are finding ways and means not only to keep our sector up to date but also continue networking despite everything. And Andrew Olah’s Kingpins24 is a prime example. A résumé of three days of denim innovations and technical advances for a clean future.

TEXT CHERYLL MÜHLEN

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Andrew Olah, founder of the Kingpins Show, should be proud of himself and his team. Thanks to a perfect mix of on-demand and livestream content, including product demonstrations, panel discussions, product updates and interviews, they have managed to put together a digital event that is valuable not only in terms of technology but also content – and has turned Kingpins24 from an emergency solution to a must-attend event on the denim calendar. But the idea of launching a purely digital tradeshow was nothing new for Andrew Olah. In his ‘Founder’s Letter’ from last August, he describes how a woman presented her idea for a digital textile platform to him back in 2016. To cut a long story short, the woman, her company and her idea had run out of steam within 13 months, but ever since then Andrew Olah was fixated on the concept of a digital trade fair. However, it wasn’t until the pandemic struck that he and the entire sector were really ready for it.

In his latest ‘Founder’s Letter’ for Kingpins Exchange, written on 7 April 2021, his words are more apt than ever: “New technologies, and changes in paradigms always cause serious and memorable decision making.” Together with Material Exchange (which just so happens to be the software company that he was introduced to, which disappeared briefly and was then bought by a friend of Olah’s), Andrew Olah established digital platform Kingpins Exchange and in so doing redefined how tradeshows can be reimagined. “Some people are not really getting it the way they should,” he says in his letter, in criticism of all those who resist change. “Digitising our industry is the natural, obvious and necessary thing to do and it was happening with or without COVID-19. In fact, Material

Exchange was created and had initial funding in 2017 because the need was so obvious.” And not just obvious, but also necessary. The cooperation with Material Exchange started in March 2021. “There were annoying bugs in the release because we went public too quickly and were too ambitious but there are always bugs in new technologies and no matter how prudent you are, the bugs come,” he writes. But the bugs were overcome and so between 21 and 23 April 2021 the denim-sourcing fair was back on track – and better than ever. The line-up was multifaceted, informative and inspiring: divided into three topic days – Inspiration, Innovation & Technologies and Earth Day – the different items on the agenda included up to 15 different presentations and talks spanning three hours. The main themes were denim made of hemp, the automation of processes, water-saving methods and, first and foremost, circularity.

MY CO-WORKER, THE ROBOT All the hard work that was invested in the previous edition of Kingpins24 certainly paid off. Andrew Olah is also thrilled about it. “Our overall impression of Kingpins24 is a warm joy from the pride we have in our industry for all the investment and work being done to make fabrics and garments more and more sustainable. This is outstanding and quite astonishing to watch.” After all, the entire denim supply chain is working consistently on solutions for the responsible treatment of people and the planet and surprising with a number of unusual concepts. Such as Jeanologia’s new technology Handman.

KINGPINS24 REVIEW

According to Johnson: “There are so many good things about hemp”. And it definitely helped that the Pakistani government legalised the growing of hemp in September 2020 and CBL was able to secure a lot of land to boost its cultivation.

WATER IS LIFE

Jeanologia’s new technology Handman is revolutionising the jeans industry and catapulting it to the next level – all thanks to automation.

Enrique Silla, CEO of Jeanologia, sees the clean and scalable manufacturing of the future in the automation of processes using robots. For its latest innovation, the company was inspired by the automobile sector, where people and robots work together. The result is a finishing system equipped with two robots and eight lasers. Only two people are needed to hook on the jeans while the robots take care of the finishing. Which means that 10,000 pairs of jeans can be made in 24 hours – without creating any additional waste.

THE FUTURE OF CIRCULARITY The Lycra Company is also embracing technology. The renowned textile company showcased its latest sustainable innovations from the Coolmax and Thermolite EcoMade family at Kingpins24. Jean Hegedus, Director of Sustainable Business Development, presented the latest technology for textile offcuts that aims to boost the circular economy. “We are all conscious of the fact that waste is a major problem for our industry and our planet as a whole,” she says. This means that both fibre families are made entirely from textile remnants and still retain their cooling and warming properties. A unique depolymerisation and finishing process allows for the processing of textile remnants that contain residues from clothing factories to create fibres that have qualities similar to those of freshly made polyester. In particular, they highlighted that Lycra aims to move from the current recycling of pre-consumer waste to a reliable supply of post-consumer garments.

It goes without saying that water conservation was at the top of the agenda for a lot of the presentations. Bossa, Calik Denim, DNM Denim, Covolan Denim and Cone Denim are only some of the manufacturers who want to drastically reduce their water usage, which is why they are all working towards a zero-water policy. Because, according to the Ellen MacArthur Foundation, 93 billion cubic metres of water are used annually by the textile industry, despite the fact that water scarcity has become a harsh reality, not just a dystopian scenario straight out of a Hollywood movie. The fact that jeans producers have made saving water their uppermost priority means that it really could be possible for the industry to shift from one of the most damaging to one of the most pioneering. When asked what innovations stood out for him personally, Andrew Olah’s reply was: “There are so many innovations that excite us, it’s almost impossible to count them all. But if I had to list a few, then I would say the integration of hemp into our industry, or traceable cotton in the supply chain or recycling huge amounts of cotton, robotics, solar energy potentially running an entire denim mill and so on. There were reams and reams of crazy great news about things that are currently happening, it’s wild. Even PVH did a wonderful presentation on what they are doing on various fronts. I am so proud to be a member of the denim industry right now.” So, the only question remaining is what Andrew Olah is planning next: “Our plan is to improve what we have already done and think of new ways to tell real stories and share information. We can all do better work if we know more – so Kingpins wants to assist that and shine a light on the brightest trends, innovations and accomplishments.” KINGSPINSSHOW.COM Jeanoligia x Cone Denim

ALL EYES ON HEMP When it comes to alternative materials, the focus isn’t just on recycled and upcycled materials anymore, but also on cotton alternatives like hemp, which requires very little water, grows quickly, is good for arable land and has long, robust fibres that are ideal for textiles. Several manufacturers, including AGI Denim, NDL Naveena and vertically integrated denim company Crescent Bahümàn Limited (CBL) are setting their sights firmly on hemp for the future. CBL’s ‘Now or Never’ collection includes cotton-free denim fabrics, such as hemp blends that were developed in cooperation with designer Miles Johnson.

DENIM TRENDS AW22/23

DENIM OF THE FUTURE D E N I M T RE N D S AW 2 2 /2 3

TEXT DENIZ TROSDORFF

PHOTO ISKO SELVEDGE

ISKO

NON-STOP INNOVATIONS Innovation driven by fundamental values like creativity, expertise, sustainability and uniqueness: denim manufacturer Isko takes a holistic approach to driving forward its latest technologies and innovations. And for the coming autumn/ winter 2022/23 season, their R&D team has also brought out a number of innovations that meet these criteria. Comfort with a touch of glamour is promised by the ‘Isko Pop’ concept, which offers the sheen and soft touch of silk. Its stretch versions feel like a second skin when worn. And the ‘Isko Reform HP’ technology is helping us to look slim with high-stretch fabrics. The ‘Jeggings’ line adds a cool skinny aesthetic with an extra portion of comfort. This concept has been further developed over the years and now also includes heritage looks, elegant and smooth surfaces, improved slubs and luxurious fibre blends. Versatile unisex jeans ‘Isko Bluejym’ stand out with their soft touch and comfort and are available in a range of different denim silhouettes. With the aim of providing a comfortable wearing experience, ‘Isko Comfort’ combines the authentic look of denim, stretch technology and soft-to-the-touch cotton. Leather looks are also represented in the coming winter collection: ‘Isko Jeather’, a vegan alternative to leather, has a high stretch content and figure-enhancing fit and comes in a number of different variations (from shiny to glittery or matt). Vintage lovers will appreciate the ‘Isko Rigid’ fabric, which promises timeless and authentic styles in a raw look. ISKODENIM.COM

— Silky surfaces add a touch of glamour — Comfort denim for all occasions N° 81

— Authenticity

— Figure-enhancing — More freedom of movement

PHOTO UNSPLASH.COM — EVIE S.

KEY ASPECTS

DENIM TRENDS AW22/23

HERITAGE, COMFORT & SUSTAINABILITY For the AW 2022/23 season, Turkish denim manufacturer Bossa is continuing to push its sustainability concept: as an ongoing development that can meet the needs of today’s generation without causing damage to future generations. To achieve this, Bossa has undertaken a number of measures, such as the on-site pre-treatment of water and complete biological treatment, energy-saving methods and recycling, as well as the resource-efficient processing of raw materials and dyestuffs throughout the entire production cycle. The new collection is split into four themes: ‘Heritage’ features 40s, 50s and 80s-style denims and authentic looks interpreted with the help of vintage slubbing and colour, while the second theme is all about feelgood denims to wear at home or on casual trips – the title ‘Winter Relax’ says it all and presents styles offering the ultimate comfort, achieved with different fibre mixes. Casual styles are also an important element in the trend theme ‘Stay Smart’, but this time with a dash of elegance: modern denims that look both casual and elegant and can be worn in a more formal context. The fourth concept, ‘Warm White’, is all about white denims combined with neutral or pastel tones for full stylistic effect. At the most recent Kingpins event in April 2021, Bossa also debuted its new sustainable concepts ‘Hempy’ and ‘Eco3’ as well as the innovative ‘Xupple Stretch’ and ‘Dynamix’ for denim with more freedom of movement. BOSSA.COM.TR

KEY ASPECTS — Retro-inspired denim looks dating back to the 40s, 50s and 80s — Relaxed, smart-looking denim — ‘Warm White’ – white and neutral looks — ‘Hempy’ – water-saving, sustainable and durable — ‘Dynamix’ – stretch performance with a mix of sustainable fibres — ‘Xupple Stretch’ – high elasticity — ‘Eco3’ – sustainable washing technology

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PHOTO UNSPLASH.COM — HEATHER SHEVLIN

BOSSA

COMPOSTABLE STRETCH DENIM The fashion industry is faced with a huge problem: 25 billion items of unworn clothing end up in landfill every year. Jeans, for example, take hundreds of years to completely decompose because they are made of petroleum-based synthetic yarns. Denim specialist Candiani Denim wants to break this negative cycle and is presenting us with ‘Coreva’, the world’s first completely compostable stretch denim. Alberto Candiani came up with the idea after taking a closer look at the salami behind the counter of his local deli. Not the salami itself, but its casing, which was made of natural rubber and proved to be extremely elastic. Years later, the idea came to fruition with ‘Coreva’, a patented stretch technology that is fully plant-based and made only with renewable resources. The innovative technology uses GOTS-certified plant-based yarn made of 100% natural rubber. In combination with organic cotton, this results in a yarn that is completely natural and plastic-free. Candiani Denim replaces the conventional synthetic petroleum-based elastane often used in stretch denim with its bio-based innovation – without the jeans losing any of their elasticity, physical characteristics or durability. In order to prove its compostability, the jeans equipped with ‘Coreva’ technology were composted for months and, compared to conventional denim made with elastane, released no toxic chemicals or microplastics. With this new technology, Candiani has succeeded in creating a truly circular and regenerative model. CANDIANIDENIM.IT

KEY ASPECTS —‘Coreva’ technology — Derived from plant-based resources

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— Natural rubber

— Bio-based alternative to synthetic, petroleum-based elastane — Same elasticity as conventional denim

PHOTO UNSPLASH.COM — OMID ARMIN

DENIM TRENDS AW22/23

CANDIANI

DENIM TRENDS AW22/23

ÇALIK DENIM

INNOVATIONS FOR A BETTER WORLD For the autumn/winter 2022/23 season, Turkish denim producer Çalik Denim is continuing to live up to its ‘Passion for Life, Passion for Denim’ philosophy, while focusing even more of its attention on sustainability and the digitalisation of the denim sector. As part of its AW22/23 range, the manufacturer is showcasing its new ‘RE/J’ concept made entirely from recycled materials, which is ushering in a new era for the circular economy in the denim industry. ‘RE/J’ is a new recycled denim fabric made from 100% preand post-consumer waste, produced using an open-end spinning method. It also stands out with its use of value-added fibres during the production process. And environmentally conscious technologies like Dyepro are further elements of the new concept. Besides that, the collection features other concepts and technologies from previous seasons such as Dyepro, E-Denim, Blue H, Selfsized and Skinlithe. The Washpro technology is characterised by its antimicrobial and self-cleaning properties that promise long-lasting freshness, shape and comfort with DUalFx technology. As every home laundry requires a lot of water and energy, fabrics equipped with Washpro save a significant amount of resources. In addition to this, Çalik Denim is also presenting a new fibre innovation with antiviral properties. Regardless of the outdoor temperatures, 37.5 technology regulates body temperature to 37.5°C, ensuring the optimum relative humidity in the microclimate next to the skin. CALIKDENIM.COM

— New ‘RE/J’ concept — Continuation of concepts and technologies from previous seasons: Dyepro, E-Denim, Blue H, Selfsized and Skinlithe — Washpro for reduced water usage — 37.5 technology for more protection and optimum wearing comfort

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PHOTO UNSPLASH.COM — ELIZABETH LIES

KEY ASPECTS

DENIM TRENDS AW22/23

KILIM DENIM

HIGH PERFORMANCE AND CREATIVITY For the new autumn/winter 22/23 season, Kilim Denim has divided its concepts into the segments ‘Kilim Premium’ and ‘Kilim Core’. With ‘Kilim Premium’, the manufacturer wants to express the creative and innovative approach of denim in combination with the use of sustainable raw materials. ‘KilimPerformance’, ‘KilimHygiene’, ‘KilimEco’, ‘KilimSelvedge’ and ‘KilimAuthentic’ also come under the ‘Kilim Premium’ umbrella. Organic or recycled cotton and aniline-free dyeing are at the focus in this environmentally aware collection. The ‘Kilim Core’ segment focuses on the essentials and is split into the categories ‘KilimColor’, ‘KilimShape’, ‘KilimBasic’, ‘KilimMotif’, ‘Anywear’ and ‘1986’, which stand out with their high quality, creativity, timelessness and unique surfaces and textures. Highlights include the ‘Naturex’ concept, which is part of the ‘KilimEco’ range and focuses on sustainable fibres such as hemp, linen, Tencel and viscose. The ‘Handy+’ series from the ‘KilimAuthentic’ category references the retro aesthetic of the 1990s. Setting the tone here are authentic, vintage-look fabrics made of organic cotton and recycled elastane. ‘Kilimotif’ offers a creative take on denims, while the ‘Anywear’ collection is all about trendy and comfortable interpretations. And when it comes to saving water, Kilim is concentrating on its specially developed innovation ‘Cactus Waterless Dyeing’, which saves 91 percent water during the denim dyeing process and reduces the use of toxic chemicals by 87 percent in all collections. KILIMDENIM.COM

KEY ASPECTS — Sustainability and innovation — Innovations in the form of highperformance, sustainable fibres N° 81

— Elaborate washes

— Cactus waterless dyeing innovation saves water

PHOTO UNSPLASH.COM — MERIC˛ DAĞLI

— Divided into two core segments

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SUSTAINABLE AT HEART From a spinning and weaving mill to one of the leading denim manufacturers: denim connoisseur Orta Anadolu passes on its expertise from generation to generation. With its products, the Turkish company builds a bridge between aesthetics and ethics, whilst also trying to keep its ecological footprint as small as possible by seeking out new, sustainable production processes. Orta also focuses on innovative technologies to pass on its denim knowledge in a sustainable way. Handcraftsmanship plays an important role in this process. Its specially established sustainability division ‘Orta Blu’ supports the company in fulfilling its vision of making sustainability common practice, or “business as usual”, and developing new infinite possibilities for denim today and tomorrow. For AW 22/23, the denim experts are opting for sustainable materials and original trends. Under the title ‘Blu Narratives’, they are reinterpreting classics. The result is modern vintage fabrics containing recycled cotton, post-consumer recycled cotton and pre-consumer recycled polyester. ‘Gen H’ stands for a new generation of eco comfort in denim, made with 20 percent hemp. Another innovation in the new collection is ‘Homey’, a twill fabric that feels like knitted denim. And the ‘Warm Cure’ denim blend has a cosy cashmere feel to it. This season, Orta, in collaboration with Archroma, has also developed ‘EarthColors’: a new technology that creates fully traceable biosynthetic dyes derived from nonedible natural waste from the agriculture and herbal industries. ORTAANADOLU.COM

KEY ASPECTS — Recycled cotton — Post-consumer recycled cotton — Pre-consumer recycled polyester N° 81

— Hemp

— Cashmere feel — EarthColors

PHOTO UNSPLASH.COM — NINA RUMBINES

DENIM TRENDS AW22/23

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TO SUSTAINABILITY

PHOTO IMAXTREE

THE JOURNEY TO SUSTAINABILITY

THE JOURNEY

TEXT CYNTHIA BLASBERG

It’s important to recognise that sustainability isn’t a finite status, but more of a journey – a trip without any end in sight. There is no pin on the map marking out a destination that we can reach and everything will be fine. But there are plenty of stop-off points and stages along the way. Some companies have started off well equipped. In the fashion sector, these are the eco and fair fashion brands that have implemented ecologically safe materials, resource-efficient manufacturing processes and fair production methods. They are the pioneers who can point us in the right direction. Most of the sector, however, is travelling with heavy baggage, dragging along old burdens that first need to be cast by the wayside if we are to make way for a transformation.

ECOLOGY X ETHICS Two overarching aspects are providing a bit of orientation in the sustainability debate: ecological responsibility and social fairness. Most sustainability approaches can be broken down into these elements. Circularity, materials, resources, agriculture and transport are topics that offer solutions on how to treat our planet with the respect it deserves. And working conditions, minimum wages, equality, transparency, discrimination and diversity form the basis for the social aspects of sustainability. Companies that truly want to pursue sustainability need to take both aspects into account. If you simply use organic cotton and recycled polyester when making a couple of capsule collections and then install a couple of solar panels onto the roof of your headquarters, you simply won’t make the grade – or score any points for credibility.

In order for fashion to be sustainable, ecological and fair fashion would have to become the norm. And much fewer than 100 billion items of clothing would have to be produced annually. It would mean a shift from more to less. We should see the COVID-19 pandemic as a warning not to take sustainability issues too lightly. And not to trivialise or blur the term. The coronavirus crisis is laying bare the weak points of our globalised economy that has growth as its only yardstick. The destruction of ecosystems creates the perfect breeding ground for zoonosis, the transmission of various infectious diseases from animals to humans. According to a UN study, since 1990 we have lost around 420 million hectares of forest, and that is only one of many figures on a long list of environmental destruction.

THE JOURNEY TO SUSTAINABILITY

THE NEW NORMAL

Of course the textile industry isn’t responsible for everything, but in one way or another it has usually been involved to some extent. And now COVID has been forcing the entire fashion and textile industry to its knees for the past 12 months. Not only trade fair organisers, brands and retailers, but also production companies, sewing factories and suppliers are seeing their very existence threatened. The pandemic has revealed a whole slew of problems with the way we deal with sustainability, as well as the close link between ecological and social conditions. The call for a “new normal” is growing louder. But what would that look like?

FOR A BETTER FUTURE The term sustainability is also growing exponentially in its usage, just like the spread of COVID-19. It’s unavoidable. But isn’t it a positive thing that we are talking about it, writing about it, discussing it? Sustainability is omnipresent. It has broken out of its niche existence, which is also an important leg of the sustainability journey. Although overused, it is also informative and helping to enlighten people. The trend toward “less” is certainly noticeable. That’s not easy for a sector that has become accustomed to striving for “more”, with its focus on seasonal trends. But social and ecological aspects are growing in importance and need to have priority if we want to leave our children and grandchildren with a planet worth living on. Sustainable economies, sustainable production, sustainable consumption – of course, you can adapt sustainability to suit your own interests. But when it comes down to it, everyone knows what the term really means – that we stop exploiting nature and humanity and start acting in the interests of future generations.

The trend towards “less” is certainly noticeable. That’s not easy for a sector that has become accustomed to striving for “more”, with its focus on seasonal trends.

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The inflationary use of the term sustainability is nothing new. There’s just no getting around the word these days. And it is a term with positive associations, after all. Sustainability stands for green, socially responsible, ecological action. Sustainability is the key, almost a cure-all term for the future of humanity. The good news is that there is now a real awareness of climate change. Let’s face it, who really wants the demise of the planet on their karmic balance sheet? But, at the same time, the term is imprecise, allowing a lot of room for interpretation and loopholes, just so companies can appear to be sustainable on the outside. Although we won’t be able to offer any conclusive solutions to the sustainability dilemma here, perhaps we can provide you with some food for thought.

CIRCULARITY

ILLUSTRATION CRADLE TO CRADLE — CHRISTIAN BUCHNER

CLOSING THE LANDFILL LOOP

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The circular economy is one of the biggest solutions for a world in ecological equilibrium. Circularity means turning our backs on linear systems and putting an end to our throwaway society. It could mark the end of a one-way street of neverending mountains of rubbish that could contaminate the planet for future generations for thousands of years to come.

TEXT CYNTHIA BLASBERG

RECYCLING AS A CYCLE

The central idea of Cradle to Cradle comes from Michael Braungart and William McDonough, who published the book ‘Cradle to Cradle: Remaking the Way We Make Things’ in 2002. At the core of the Cradle-to-Cradle principle is the prevention of waste. The NGO Cradle to Cradle, or C2C for short, of which Braungart’s wife Dr Monika Griefahn is Chair of the Advisory Board, is a network of activists that educates and brings together the sectors of science, business, education and politics. C2C came up with an oft-cited metaphor that explains the Cradle-to-Cradle principle in vivid and simple terms: the life cycle of a cherry tree. The tree blossoms, bears fruit, feeds bees, provides shade, processes CO2 and produces oxygen. And in autumn, its leaves serve as fertiliser. Perfect.

In the fashion industry, interest in the concept of the circular economy is high. In 2018, C&A was the first company to stock a pair of jeans with the Cradle-to-Cradle Gold certificate. Trigema also offers a pair of jogging trousers with the Gold C2C certificate. But Cradle-to-Cradle certifications are still more the exception than the rule – and not only in the fashion industry. After all, it’s really hard to make an item of clothing that is completely biodegradable. Instead, the textile industry is focusing increasingly on recycling in order to conserve resources. And recycled products happen to sell very well too. Recycled plastic in particular has established itself, whether it is made from PET bottles, old fishing nets or polyester. And this definitely makes sense, considering the fact that the planet is drowning in plastic waste. Beyond that, new laws are continually being passed that penalise the careless use of plastics. A new

IN SEARCH OF SOLUTIONS But the recycling of plastic becomes a challenge when a product is made of more than one type of material. And that is the case with most recycled polyester fashion items or rucksacks made of recycled PET bottles. In an interview in 2019, I asked Sven-Oliver Pink, co-founder and CEO of Cologne-based label Fond Of, how to prevent a rucksack made of recycled PET ending up as plastic waste again one day. He had to admit that he still didn’t have an ideal solution and explained that they certainly aspire to being the trailblazer here. As Pink explained: “A cycle would be ideal, but for that we would need all the materials used in one bag to have the same melting point. In theory, that would mean we could fully melt down a Satch rucksack, for example, in a heat chamber and then turn the resulting mass into something like a yoga mat.” With brands like Satch, Pinqponq and Aevor, Fond Of is one of the industry’s innovators who are willing to invest time and money in material research. And that is exactly what is needed in order to firmly establish the circular economy in the fashion sector.

FIRST STEPS

ILLUSTRATIONS ARMED ANGELS

Another brand from Cologne taking on a pioneering role is Armedangels, which launched its first circular tee on the market in January 2021 and announced its circular denim in April 2021. The label vowed to tackle the linear ‘take, make, dispose’ model of the fashion industry a long time ago and is working on moving away form the cradle-to-grave approach. Together with 360° factory Valérius in Portugal, Armedangels is producing a T-shirt that is made from 50 percent recycled organic cotton and 50 percent Tencel by Lenzing. Completely biodegradable, the shirt is helping the company to move one big step closer to

CIRCULARITY

its plan of switching completely to a circular economy by 2030. Unfortunately, material research is costly and not something that every manufacturer or brand can afford. For this purpose, an open source system would be ideal, in which findings, results and solutions were accessible for the entire industry. But that will most likely remain an altruistic dream. After all, companies want to – and need to – make a financial profit from their innovations if they want to stay in the game.

STANDARDISED SOLUTIONS ARE NEEDED Material research and its resulting innovations are reiterating the fact that fashion needs a rethink if we want to create a functioning circular economy. And that includes all production steps: design, recyclability (including of components like buttons and zippers) and demand planning to avoid overproduction. Filippa K has optimised its demand planning to such an extent that it was possible to reduce last season’s residual stock by half. Along the lines of: fewer sales, less surplus production. This is of particular interest for the near future because standardised solutions, such as for recycling, are unlikely to be ready any time soon. In ‘The State of Fashion’ report, published in 2021 by Business of Fashion and McKinsey, the authors Libbi Lee* and Karl-Hendrik Magnus** dedicated an entire chapter to the key topic of circularity. In an interview with TM-TextilMitteilungen (02/2021), Libbi Lee said: “A widespread, standardised approach to recycling on a large scale would be a crucial step forward for the fashion industry. But the variety of materials, manufacturing techniques and production design mean that it’s a much bigger challenge than, say, for drinks bottles or plastic bags. Collective effort is one approach, but it will require brands and suppliers to make major changes to product design and manufacturing and consumer behaviour, such as specifically seeking out sustainable items and participating in take-back systems.” So the future vision of a sustainable circular economy is very much on the table and laws are helping to accelerate its implementation. But a rethink is still necessary if we want circularity to emerge from its niche status.

* Libbi Lee is Associate Partner at McKinsey in London. ** Karl-Hendrik Magnus is Senior Partner and Head of Apparel, Fashion & Luxury Group at McKinsey Germany.

76.4 million tonnes of clothing are currently produced annually worldwide. To raise awareness of overproduction, particularly in the fashion industry, ecowear label Armedangels has launched a fully circular T-shirt.

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EU regulation has even banned the export of non-recyclable plastic. And back in 2018 the EU Commission introduced the ‘Circular Economy Package’ with the goal of establishing a closed plastic cycle: Product Manufacturing – Use/Re-Use – Recycling – Regranulation. Another decisive step is the banning of single-use plastic products such as disposable packaging from 3 July 2021. So it’s no wonder that we are increasingly hearing about companies who are declaring that they are eliminating single-use plastic packaging.

A PHOTO FROM ABOUT YOU’S ‘SECOND LOVE’ CAMPAIGN

RESALE ON THE RISE N° 81

RESALE ON THE RISE

The fashion sector has discovered a profitable sales model: resale. The selling of pre-owned clothes is a market that also falls into the sustainability category and everyone seems to be getting in on the used clothing game – from online platforms The Real Real and Vinted to big fashion houses like Selfridges or Breuninger and concept stores. A good idea. Or is it?

TEXT & INTERVIEW CYNTHIA BLASBERG

Until quite recently, second-hand clothing was something for bargain hunters, treasure seekers and vintage fans, but also for people who simply couldn’t afford new clothing. Now it’s no longer called second-hand: terms like pre-loved, pre-owned and second love are now common parlance. Thanks to modern app designs, appealing consumer experiences and standardised buying processes, resale has been elevated to the same level as new goods. Thanks to cooperations with resale providers like Vinokilo at the end of 2020, About You has started offering around 250,000 items on its ‘Second You’ platform. Zalando has been on the market since 2018 with its ‘Zircle’ offer and in September 2020 it launched its online exchange and resale platform ‘Preloved’.

HOW SUSTAINABLE CAN YOU GO? As a matter of principle, it would be better for clothing that is used but no longer worn to find a new owner rather than being dumped in landfills or recycling banks. We could even go so far as to talk about circularity, although every item of clothing will inevitably have to be discarded sooner or later. But the later the better. That’s what makes the resale business sustainable to a certain extent. Nevertheless, it begs the question as to whether the companies are in it for sustainability or for business. Especially when it comes to the online retail of second-hand fashion, there is also the less sustainable aspect to deal with: the shipping and packaging. And until now it certainly doesn’t seem like less new clothing is being bought because of the rise in resale options. So the shipping of pre-loved clothing comes on top of all that. Along with packaging and transport, we shouldn’t forget that many parcel delivery service employees work under precarious conditions – all over Europe. A large proportion of the workers don’t have adequate contracts or health insurance, let alone fixed working hours. Of course that’s not the fault of the resale concept but it certainly doesn’t improve the situation.

THE PITFALLS OF RESALE It’s unclear as to whether consumers are buying fewer new products due to the wide range of clothing on offer from resale options. But it’s likely that buyers and sellers of second-hand clothing don’t really reflect much on their consumer behaviour because they are given the feeling that they are acting sustainably. In the end, though, the resale model is also linear, i.e. cradle-to-grave. So instead of buying less, the new pre-loved business is simply fuelling consumption, with the result that the amount of products on offer increases, rather than production being reduced. A further negative aspect is the so-called gentrification of second-hand retail. In the USA and Britain in particular, people are speaking out against the resale trend and the fact that professional pre-loved buyers are now scouring secondhand charity shops like Oxfam to buy pristine-condition designer clothing in order to sell it on from their own platforms. Anyone who’s been to the enormous thrift stores in the US know that mainly low-income customers go there because they have no other option. So fundamentally, resale might be a good idea, but as a big business it certainly isn’t a sustainable solution.

RESALE ON THE RISE

“Our shopping behaviour isn’t necessarily ruled by logic, but by emotions.”

Due to these new exorbitant prices, not everyone can afford second-hand fashion anymore – especially those most in need of it. It’s comparable to the situation with apartment rental prices in cities like Berlin. Do you see a danger that the flourishing resale market will have the counterproductive effect of encouraging consumers to buy more new products because the resale platforms convey the idea that it is a sustainable alternative? The assumption is that we buy clothing and then simply donate it to charity or sell it when we don’t like it anymore. We don’t think we’re damaging actual lives or the environment and feel virtuous about doing something ‘good’. Problem solved! Our shopping behaviour isn’t necessarily ruled by logic, but by emotions. If we can justify our consumption and have peace of mind thanks to a supposedly ‘sustainable’ alternative, all the better. So yes, there is a danger there. Years ago I volunteered at an NGO and saw how used clothing was dealt with. Sadly, there was no structure or system in place; they were simply overwhelmed by the masses of clothing. A large proportion ends up in landfill. If consumers are buying new clothing, then donating it to charity, simply for it to then be thrown away, then that’s a huge problem. People don’t really realise what happens with their clothing after they’ve donated it. That’s why it’s important to talk about it more in public. The entire resale market should also be questioned. When luxury brands or other companies are suddenly investing in the resale market, we need to ask ourselves: why are they investing in second-hand platforms on the one hand, but are not prepared to rethink their business model on the other? We can assume that a luxury corporation like Kering – which is investing almost 200 million euros in a platform for second-hand clothing and has an annual turnover of 13 billion euros – also has the resources needed to redesign its entire business model. That is a kind of greenwashing. You can’t buy your way into sustainability. It’s not just about investing in the second-hand market as a new trend to help you earn good money. It’s about actually producing and consuming less – much less. In the interests of humanity and the environment. FASHIONCHANGERS.DE

What exactly do you understand by the gentrification of second-hand fashion? When second-hand fashion is sold above price to attract a certain type of customer, we call this process gentrification. In this case, second-hand or vintage fashion is a mere trend that everyone wants to get in on. And that’s reflected in the prices.

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Fashion Changers editor Medina Imsirovic has spent quite some time looking into the issues of gentrification. Fashion Changers is a magazine and platform whose founders Nina Lorenzen, Vreni Jäckle and Jana Braumüller have made it their mission to shake up the fashion industry. We talked to Medina Imsirovic about the whole resale topic.

Medina Imsirovic, Editor at Fashion Changers

RESALE – VITE EN VOGUE

PRE-LOVED

LUXURY FASHION If it’s pre-worn designer garments you’re looking for, Reverse Retail – with its online resale shop Vite En Vogue and online secondhand buying service Buddy & Selly – is the place to come. On its online platforms, the Hamburg-based company offers carefully selected designer fashions and accessories like shoes and handbags. Further proof that the fusty image of second-hand clothing is now definitely a thing of the past. TEXT KRISTIN WALZEL

Marcus Schönhart, CEO and partner of Reverse Retail GmbH

When Alexander P. Sator established resale platform Vite En Vogue together with luxury online buying service Buddy & Selly in 2012, his mission was to bring about change in the second-hand and used clothing segment. And his idea was a success: these days the company offers its customers a unique shopping experience with a focus on the buying and online selling of circular luxury fashion, bags, shoes and accessories.

Schönhart. According to him, in 2012, the year in which Reverse Retail was established, people’s opinions started to change and vintage became more popular among a growing fashion-savvy audience. “This is also confirmed by the hard facts: for example, four years ago around 45 percent of consumers were willing to buy second-hand clothing. Today it’s around 70 percent – we’re talking about four years here, not 40, in which consumer behaviour has radically and sustainably changed. And we are still only at the beginning of this development.” Vite En Vogue’s pop-up areas at department stores like Breuninger are also proving extremely successful. “End consumers no longer have any reservations when it comes to buying second-hand goods. On the contrary: the success of these events shows that the segment of circular luxury fashion has made the leap into the premium international department stores. On our buying site, we offer buying events together with stationary retail partners, where the retailers encourage their customers to sell us wardrobe items they no longer want. And in return, they receive a voucher from the retailer,” explains Marcus Schönhart. In addition to its existing pop-ups, this summer the company is also planning on installing several permanent shop-in-shops with different retail partners.

EXCLUSIVE AND UNIQUE While online shops for used clothing tend to focus simply on the general sale of designer goods, the focus at Vite En Vogue is on exclusivity and uniqueness. “We buy the second-hand goods from an established network, straight from the end consumer or at buying events with retail partners, but also via partner models with premium-quality second-hand stores. In all cases, we are the problem-solvers – because we pay for the pieces up front, whether they are from an end consumer who wants to clear out their wardrobe or an industry partner looking to get rid of their excess goods and one-off pieces,” explains Marcus Schönhart, CEO and partner of Reverse Retail GmbH. The authenticity, quality and fashion credentials of each one-off piece by brands ranging from Acne and Balenciaga to Chanel are checked by an experienced buying team. Only the items that pass their tests are added to the Vite En Vogue shop.

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SECOND-HAND 2.0

“Gone are the days of second-hand clothing only being found in dusty old boutiques and at flea markets – this is a market segment that has now been well and truly accepted by the end consumers. Firstly, the offer of second-hand goods has significantly increased over the last few years due to online offers. And secondly, it is astonishing how high the quality of these second-hand goods is. Around ten percent of the items bought by end consumers and sold via Vite En Vogue still have their labels on them and are therefore virtually new,” says Marcus

THE MARKET NEEDS TO GROW With its two online platforms, Reverse Retail sees itself as one of the first movers on the circular fashion market and therefore a driving force. In the future, the company wants to position itself as even more international and creative in the second-hand segment: “As one of the biggest polluters in the world, the fashion industry needs to find answers to the sustainability challenge. Circular fashion will certainly play a significant role in that. We want to – and will – continue on our path of strong growth. Our next goal is to become the market leader in Europe,” asserts Marcus Schönhart. VITE-ENVOGUE.DE BUDDYANDSELLY.COM

RESALE – DISPLAY COPY PHOTO PALOMA ELSESSER BY DANIEL JACKSON FOR DISPLAY COPY

Any item of clothing we invite into our lives deserves to be cherished. Or to put it very simply: we should love what we already have. New York fashion platform Display Copy has taken this concept to heart and only photographs, styles and sells upcycling, thrift and vintage pieces. TEXT KRISTIN WALZEL

While around 82 billion kilos of clothing are being incinerated or thrown into landfills every year, Brynn Heminway, New Yorkbased creative director and founder of Display Copy, and her team have pledged to only feature used clothing on their fashion platform and in the magazine of the same name. For its editorials, they enlist high-profile photographers, stylists and models to shoot, style and wear the finest upcycled or vintage garments. This is Display Copy’s way of making a clear statement and changing the perception of second-hand clothing.

have and seeking out what already exists. We promote reuse by showcasing the thrifted, the found, the recycled and the upcycled. It’s not inherently about discarding consumerism, it’s about celebrating longevity over trend and style over fashion. Display Copy’s message is one of resourcefulness, collaboration, and celebration. It’s about cherishing each of the items we invite into our lives.”

USED, FOUND, RECYCLED

But Brynn Heminway is taking it one step further: because Display Copy is first and foremost an omni-channel magazine that doesn’t feature a single new fashion item. “Our vision is to inspire people to find the same rush, excitement and style that a new designer dud gives them, but in items that already exist.” The printed version of their debut issue had four different covers, shot by photographers Mark Borthwick, Daniel Jackson, Amy Troost and Andy Harrington. And the editorials showcase curated vintage looks, including a corset from the 19th century teamed with Stephen Sprouse biker shorts from the 80s. The online platform also features shoppable, constantly updated editorials via partners such as Garmentory, Desert Vintage, Funkanova, Early Halloween and This Era Archive. But more than anything, Display Copy is Brynn Heminway’s homage to the longevity of fashion.

As American fashion designer Virgil Abloh explained, fashion will soon be harking back to the past. “I think that we’re gonna hit this really awesome state of expressing your knowledge and personal style with vintage – there are so many clothes that are cool that are in vintage shops and it’s just about wearing them. I think that fashion is gonna go away from buying a boxfresh something; it’ll be like, hey, I’m gonna go into my archive.” This is a view shared by Heminway, who creates looks ranging from army surplus to vintage couture. For her, Display Copy is not only a fashion magazine that showcases new products, but rather a new approach that inspires people to cherish what they already own and to think about what they can do with it. In an interview with author and activist Bel Jacobs, she said: “The magazine isn’t about promoting new products, it’s about loving what we already

CREATING NEW FROM OLD

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PHOTO AMELIA RAMI BY JOHN GUERRERO FOR DISPLAY COPY

A HOMAGE TO LONGEVITY

DISPLAYCOPY.COM

RESALE – VMC

STAYING TRUE TO YOUR OWN PHILOSOPHY

Roger Hatt (middle of top row) and his team from the VMC Original Store.

RESALE – VMC

They do still exist, those stores where customers can immerse themselves in a different world and discover not only inspiration, but also pieces that have what it takes to become lifelong favourites. The VMC Original Store on Rindermarkt in Zurich is one of those unique emporiums that follow their own rules and where the customer is still very much king.

INTERVIEW DENIZ TROSDORFF

VMC is a denim authority for all indigo aficionados, but also a good starting point for people in search of the right pair of jeans. It is a store with prestige, but what gives it its unique charm? What sets it apart and what treasures can we find there? VMC is a family business. First and foremost, it’s important to us to convey this informal, family-like atmosphere – which starts with our employees, extends to our suppliers and ends, of course, with our customers. All of these people have made VMC what it is today. It’s obvious upon entering the store that you prefer a substantial product range over minimalism. But what criteria do you use to curate your portfolio? Our utmost priority is to offer our customers outstanding quality – and of course that’s what we consider when buying in our products. And it’s all in the mix of a good portfolio. We try to factor in all our customers’ tastes at all times. Denim is accessible to everyone. It’s both a democratic workwear product and a luxury item at the same time. But what is denim’s role in the year 2021? Which developments are you pleased

to see, and which ones are you more sceptical about? Denim has always been extremely versatile. Once worn by cowboys riding around on their horses, it went on to become a symbol of rebellion against society in the 70s. Denim is meanwhile well-established in our society and worn by young and old alike. As a denim lover, this makes me very happy! In the last few years, there has also been more of a focus on the quality of denim. A lot of people have their parents’ old jeans hanging in their wardrobes – which also speaks for denim and shows just how versatile a fabric it is.

“The world is changing and people are changing with it. That should also be reflected in the store.” Moving on to current events, which are currently overshadowed by the ongoing COVID crisis, what influence has the pandemic had, or is still having, on your business? Are you noticing a change in consumer behaviour? Like all retail stores, the pandemic was a challenge for us. But we are lucky in that we were able to count on our regular customers, who have shown us the most incredible support during this time. As a retailer who has been in the business since 1986, what experience can you pass on to others?

The fact that we’ve been around for so long isn’t down to me alone. Our employees, suppliers and of course our customers have all played a role in that. Having said that, I do think that flexibility is incredibly important. The world is changing and people are changing with it. That should also be reflected in the store. Digital is the buzzword of the hour. Although you’re represented online with a website, you don’t have an online store. Why not? And is that likely to change anytime soon? As I just mentioned, it’s important to stay flexible, which is why you can now also find us on Instagram. Nevertheless, it is important to us that we stay true to our philosophy. Customers should be able to touch and try on clothing before they buy it. And of course it’s important to us that we can provide our customers with helpful consultation and answer their questions – that enables us to sell them exactly the products that they will enjoy for many years to come. You just mentioned that a lot of people have their parents’ jeans hanging in their wardrobes. And the business with ‘old goods’ is growing – whether you call it resale, pre-loved or secondhand. What’s your opinion on the industry’s efforts to position itself as more sustainable and make the shift towards the circular economy? And what role could a store like VMC play in this development? We are always pleased when people appreciate good quality. For us as a store, quality is the ultimate hallmark. Speaking of quality: in your opinion, which brands are always worth investing in? There are quite a few! But visit us in our store and we’ll be only too happy to show you our exciting products and advise you. You’re all very welcome.

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Awaiting customers here, in addition to the unique interior and vintage décor, are rare and original denim pieces and an excellently curated assortment of rugged clothing, bags and footwear, including a huge selection of cowboy boots. Roger Hatt has been managing his store, which is renowned far beyond Switzerland’s borders, for an impressive 25 years now. Together with his team, he ensures that he offers the utmost quality – both in terms of his unique product assortment and the personal consultation tailored to his customers’ needs. In our interview, the industry connoisseur reveals the secrets behind his staying power as a retailer and explains why flexibility and authenticity play an important role.

VMCORIGINAL.COM

RESALE SHOPS

TWO NEWBIES & ONE OLDIE

There’s no stopping the resale market at the moment. Online shops selling second-hand and vintage clothing are popping up all over the place. Not-a-Shop and Peeces are two of the newcomers to the business, while Vestiaire Collective has already been redefining vintage retail for several years now.

KERING IS SHARING

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SAVING YOUR MUM’S WARDROBE AND THE PLANET Not-a-Shop — At the beginning of last year, Lucio Lupacchini spontaneously decided to replace the seasonal-driven assortment of the store he opened with his brother in 2019 with a second-hand and vintage offer. “I love vintage and most of the stuff we see on the runways has already been around before. Fashion keeps finding new ways of interpretation, but trends repeat themselves too. With our store, we are saving your mum’s wardrobe from an early grave, but also doing our bit to save the planet at the same time.” According to Lupacchini, making the move to second-hand is the best moral option for fashion retailers. On offer are classic brands like Levi’s, Burberry, Lee and Lacoste. So far Not-aShop has only one store in Düsseldorf’s city centre, but the launch of an online shop is also in the pipeline for June. For a better look and feel of what they have to offer, check out their Instagram profile. NOT-A-SHOP.COM

Vestiaire Collective — Established in 2009 in Paris by a number of founders including Fanny Moizant, the vintage platform for luxury fashion was originally called Vestiaire de Copines, but its name was changed in 2012 to gain a foothold on the English-speaking market. And it obviously worked. Together with Tiger Global Management, Kering took a 178 million euro stake in Vestiare in March 2021. Observing the signs of the times, Vestiaire Collective increasingly communicates the sustainable aspects of second-hand goods and recently also launched the ‘Collective For Change’ campaign. “The way the fashion industry is functioning is putting massive pressure on the people as well as the planet. There’s more clothing out there than humanity will ever need, and so much waste along the value chain. It’s our collective duty to stop this race to the bottom!” explains Dounia Wone, the company’s Chief Sustainability and Inclusion Officer. And to underline the sincerity of the campaign, they are donating 20,000 euros to The OR Foundation. VESTIAIRECOLLECTIVE.COM

BBF – BEST BUDDIES FOREVER Peeces — Moritz Gropp and Leon Jungfleisch, the two founders of online resale shop Peeces, have been best buddies since fifth grade. A few years ago, they decided to mix friendship with business: after getting their foot on the online retail ladder via Amazon, Gropp and Jungfleisch established Peeces in 2018 and have been selling streetwear-oriented vintage basics like hoodies, shirts and sweaters online ever since. Along with the quality of the pre-loved wear, it’s also important to the young duo to offer a good customer experience. Their aim is for their customers to not be able to notice whether they are shopping on ASOS or Peeces. This includes the option of free returns. And it’s interesting to see that they don’t differentiate between menswear and womenswear either. A glance at their Insta stories and feed shows that they are obviously appealing to a young streetwear target group who likes to buy unisex clothing, irrespective of regular sizes. And the short videos by Gropp and Jungfleisch are surprisingly modest. Trusting their gut instinct is particularly important to them, explains Moritz Gropp. And their success seems to be proving them right! PEECES.DE

THE NEXT LOGICAL STEP

GREEN PACKAGING

The increase in packaging has led to a flood of paper and plastic piling up on rubbish dumps all over the world. At the end of last year, DHL registered the delivery of 1.8 billion parcels. In Germany, online retailers use around 800,000 tonnes of packaging materials annually. And it’s hardly surprising: following the large-scale store closures in the retail sector, many consumers had no alternative but to turn to online shopping. But there are changes afoot. According to a study by strategy and marketing consultants Simon-Kucher & Partners, around three quarters of consumers attach importance to sustainable packaging. And that’s not all: 83% are even prepared to pay more for that option.

BIODEGRADABLE & RECYCLED Brands are also turning to sustainable packaging and leading the way by example. Like menswear start-up Asket, which has redesigned its packaging: the new sustainable solution does completely without plastic polybags, focusing instead on cards and cardboard boxes made from 100% recycled paper. As a result, the total material usage per order can be reduced by 22%, while packaging-related CO2 emissions are cut by 47%. “When it comes to reducing environmental impact, nothing is straightforward,” explains Estelle Nordin, Asket’s Operations Manager and project manager for the packaging overhaul. “Our twelve-month project was complex and full of steep learning curves. We hope that the white paper we published will provide a useful framework for other brands to follow, regardless of their current packaging solutions.”

GREEN ALTERNATIVES Sending parcels with a green conscience in times of online retail is still far from easy. But there are alternatives: Ökopol with their praxPack project and parcel tracking app Parcello are showing us how it’s done. “If things continue like this in the

retail sector, in four years we will break the one million tonne mark for shipping packaging waste,” says Lisa Rödig from Ökopol. “One solution for curbing the use of resources is to replace disposable packaging with reusable packaging in online retail.” The Hamburg Institute for Ecology and Politics, supported by the Federal Ministry of Education and Research, will be testing a reusable packaging system by Avocadostore, Tchibo and Otto as part of a project starting in August. As Till Zimmermann from Ökopol explains: “The aim is to generate comprehensive findings on how reusable systems need to be designed so that they are practical and economically viable, and on which industry-specific and political framework conditions can support this.” To avoid repeating delivery routes unnecessarily, Parcello has been using on-the-hour exact tracking functions for its orders ever since it was established in 2011. Today, 10 years later, the founders are even striving towards CO2-neutral or positive shipments by planting trees. The more people use the Parcello app or website, the more trees are planted. For every 1,000 parcels tracked, the company plants one tree. This in turn offsets approximately one tonne of CO2. And as the shipping of one parcel produces an average of 500 grams of CO2, one tree offsets around 2,000 shipments.

WHERE THERE’S A WILL, THERE’S A WAY Sustainability reached the mainstream a long time ago. The demand is there and consumers and companies are increasingly open to a rethink – also when it comes to product packaging. Taking their wishes into account, companies need to step up in terms of transparency, information and choice. Now that consumers are willing to pay the extra, it’s high time brands started making the most of the opportunity.

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TEXT KRISTIN WALZEL

PHOTO ASKET

Consumers have been jumping on the fair fashion trend for some time now. For retailers and manufacturers, this means it’s time to start thinking about the next steps and ensuring that they carry on meeting consumer expectations. After all, it’s no longer just about sustainable manufacturing and production, but also how the finished products are packaged and sent out.

ASKET.COM OEKOPOL.DE PARCELLO.ORG

‘TIL YOU DROP AND START LOOKING FOR THE BARE NECESSITIES OF LIFE!

How do manufacturers manage to offer clothing at such discount prices? A question that the founder of low-price brand PrettyLittleThing, Umar Kamani (not in the photo), refuses to answer. Photo from the Arte documentary ‘Fast Fashion – Die dunkle Welt der Billigmode’, which you can watch for free in the arte.tv media library until 6 June.

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“If only I had a dollar for every time I’ve answered the question “What should I buy?” with “Nothing. Buy nothing. You have way too much stuff already”. But buying nothing is not a solution for the industry,” says Nikolay Anguelov, Professor of Economic Development at the University of Massachusetts, Dartmouth, towards the end of the Arte documentary ‘Fast Fashion – Die dunkle Welt der Billigmode’ (Fast Fashion – The Dark World of Cheap Fashion). And there’s no denying that by highlighting this uncomfortable truth, he is making a very valid point.

TEXT CYNTHIA BLASBERG

THE SIMPLE BARE NECESSITIES

I’m not going to start off by gushing about how much #ilovemyjob, but it has to be said, I do enjoy what I do. I enjoy fashion. Fashion gives us the opportunity to express ourselves. To make a statement, to underline our individuality or show that we belong to a group. Fashion can be extravagant and eccentric or subtle and quiet. Fashion can serve as a means of distinction. Fashion connects people. And sometimes fashion is also art. Fashion enables us to showcase ourselves and our personalities. Fashion is part of our lives. But fashion has also become a problem.

When I was a teenager in the 80s, I remember having to travel to the nearest big city to finally get my hands on a pair of much-coveted Doc Martens. The feeling of joy that those boots gave me is indescribable. And of course I wore them every single day – come rain or shine. For my daughter, who is now also a teenager, it’s just an amusing anecdote from the last century. Don’t get me wrong, I’m not wistfully yearning for the past or suggesting we should go back to how things used to be. But it’s a good way of showing us what has gone wrong since. And not only in fashion. The constant oversupply of products that are available to us – wherever and whenever – cannot even be

STOP SHOPPING ‘TIL YOU DROP

STOP SHOPPING

calculated in numbers. These goods are sold to us at ridiculous knock-down prices. As soon as one desire is awakened, it seems to be driven out by the next – and that applies in particular to the business of fast fashion. It feels like the big brands don’t even want us to appreciate the clothes we wear. But I know I’m preaching to the choir here – it’s something we in the industry are all too aware of. For example, in Pretty Little Thing’s spring sale (in April 2021), you can get your hands on a pair of sunglasses for 3.40 euros and a skirt for 14.70 euros. The British brand plays a central role in the ‘Fast Fashion’ documentary by Arte. Its co-founder and CEO is Umar Kamani, son of Mahmud Kamani, who just happens to be the co-founder and CEO of Boohoo. The two fast-fashion brands don’t produce their collections in the traditional low-wage countries, but in their local Leicester, in the heart of England – which technically gives them the ‘made in the UK’ seal. But the documentary exposes the poor working conditions at the production facility, along with the workers’ hourly wage of three pounds, which is way below the British minimum, as being just as exploitative as they would be in the typical low-wage countries. Proving once again that the fast-fashion industry really couldn’t care a less – as long as the profit is right.

FORGET ABOUT YOUR WORRIES AND YOUR STRIFE Admittedly, it is very easy to point the finger at the fast-fashion sector, too easy in fact. We shouldn’t forget that some retailers like H&M and Mango are really working flat out to make their supply chains transparent, using more and more organic fibres, upping their recycling efforts and formulating very specific targets by which to measure their sustainability credentials in the future. Even conventional brands are drawing attention to their sustainability agendas and venturing down the sustainability path. Eco and fair fashion labels are profiting from the new, green mentality and are on course for growth – or at least they were until the COVID-19 pandemic struck. The future of fashion seems to be green and socially responsible. So do the business practices of Boohoo and Pretty Little Thing make them the exceptions to the rule? Hardly – not when 15 euros for a dress by any old brand is still considered reasonable. But by putting the focus on supposedly sustainable, textile solutions, perhaps we are turning a blind eye to the actual problem, i.e. climate change. Because rivers that are still being poisoned by toxic chemicals (by tanneries in Bangladesh, for example), high levels of CO2 emissions, environmental damage caused by monocultures from conventional cotton cultivation

STOP SHOPPING ‘TIL YOU DROP

and other ecological catastrophes are highlighting the dire need for a rethink. As if it weren’t enough that the planet is being destroyed, people are also being exposed to toxins and becoming chronically ill. So it’s high time we slammed on the emergency brake. Because one crucial point seems to be missing from all those sustainability agendas: cutting down on the quantities of clothing that are produced in the first place. But it doesn’t even look like a reduction is on the cards any time soon. The willingness to act with more ecological responsibility and produce fairly is there. But other than that, it seems like most people just want things to remain the same. And that isn’t just something that affects the fashion industry; it’s a general problem. After all, our economic system is still very much driven by the idea of growth.

I MEAN THE BARE NECESSITIES However, this endless flow of goods, including the mountains of clothing, cannot be sustained if we want to seriously tackle climate change. And nor does it seem like a very good idea to leave the fate of our planet in the hands of consumers blinded by cheap offers. Or to put it differently: do we really want to go down in history, by definition, as a consumer society? In 2020, the book ‘Unsere Welt neu denken’ (Rethinking Our World) was published by German political economist and sustainability scientist Prof. Maja Göpel, who is pleading for us to question and rethink the conventional economic teachings we have grown up with. And she obviously also covers the subject of consumerism, dropping thought-provoking sentences like: “Our modern society is configured so that our present is always trying to outdo our past.” Or: “There is a constant pressure to improve, not only from a technological and economic perspective, but also in terms of how we live. Every trend, every job, every enjoyment, every holiday could be yesterday’s news by tomorrow.” Which is a pretty good way to describe our current lifestyle, don’t you agree?

OLD MOTHER NATURE’S RECIPES. THAT BRINGS THE BARE NECESSITIES OF LIFE We are still very much caught up in the maelstrom of the COVID-19 pandemic and the retail sector in particular is fearing that a trail of devastation will be left in its wake – and rightly so. But manufacturers and brands are also looking at piles and piles of unsold goods, which, due to their seasonal sell-by date, will probably never find their way into stores. And remember that we’re talking about clothing here, not food items that are no longer edible by a certain date. In Germany, around 1.3 tonnes of clothing end up in the bin or recycling banks every year. Absurd. And in that case, at the end of the day it doesn’t actually make any difference whether the carbon footprint of the garments was small, or the seamstresses were fairly paid. “Buy less, choose well, make it last!” is a frequently cited quote by Vivienne Westwood. Perhaps we should add the following line to it: “Produce less, pay fair, make our world a f**king sustainable place”!

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The constant oversupply of products that are available to us – wherever and whenever – cannot even be calculated in numbers.

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For the next 64

PHOTOGRAPHY VALENTIN MÜHL

ASSISTANCE DENIZ TROSDORFF

HAIR & MAKE-UP ANNA HOPPE @ 21 AGENCY

PRODUCTION CHERYLL MÜHLEN

STYLING LUCIO LUPACCHINI

MODEL HANNAH @ PLACE MODELS WITH HER DAUGHTER ELIN

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JACKET & JEANS MARC O’POLO TANK TOP BLANCHE JEWELLERY 202 EDITIONS SHOES FLAMINGOS’ LIFE SOCKS MONKI BABY CLOTHING MOOMIN BABY BOX BY REIMA

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DRESS & TANK TOP BLANCHE JEANS KOI JEWELLERY 202 EDITIONS, DEAR DARLING BERLIN BABY CLOTHING SMALLABLE

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JACKET ISKO DENIM MARC O’POLO MULES GLEIN JEWELLERY 202 EDITIONS, DEAR DARLING BERLIN, MAREN JEWELLERY

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TRENCH COAT MARC O’POLO SWEATSHIRT HEY SOHO JEANS KOI NECKLACE & EARRINGS DEAR DARLING BERLIN RING 202 EDITIONS BABY CLOTHING MOOMIN BABY BOX BY REIMA

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TRENCH COAT MARC O’POLO SWEATSHIRT HEY SOHO JEANS KOI NECKLACE & EARRINGS DEAR DARLING BERLIN RING 202 EDITIONS BABY CLOTHING MOOMIN BABY BOX BY REIMA

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BLAZER LEVI’S BODY OPAAK SKIRT BLANCHE JEWELLERY 202 EDITIONS, DEAR DARLIN BERLIN, MAREN JEWELLERY

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KNITTED JUMPER HESSNATUR JEANS ISKO JEWELLERY 202 EDITIONS BABY CLOTHING SMALLABLE

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JUMPER MARC O’POLO POLO SHIRT VINTAGE BURBERRY SHORTS LEVI’S EARRINGS 202 EDITIONS BRACELETS DEAR DARLING BERLIN SOCKS MONKI SHOES GLEIN EARRINGS 202 EDITIONS

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JACKET KOI JEWELLERY 202 EDITIONS BABY CLOTHING SMALLABLE

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ESSAY – NEXT-LEVEL FASHION

NEXT-LEVEL FASHION Fashion for the Metaverse: digital fashion has rapidly developed from a wacky 3D art and gaming asset to a billion-dollar business and creative platform for luxury brands and young designers. It is a revolution in self-expression, creation and sustainability and a future market for tech-hungry Gen Zers. And this is only the beginning. TEXT KAROLINA LANDOWSKI

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Virtual fashion shows. Avatars. Cyber fabrics. The pandemic has accelerated the digitalisation of fashion at warp speed. The last two runway seasons have pretty much catapulted our sector into the digital world. With visual repercussions. Balenciaga presented its autumn/winter collection 2021 in virtual reality, Marine Serre showed dystopian digital fashion films, Mugler sent avatars down a virtual catwalk and, for Calvin Klein, Bella Hadid shared a kiss with digital model Lil Miquela. Digital fashion itself also got an enormous boost, despite still being surprisingly new. It was only in 2018 that the first digital fashion house The Fabricant was founded in Amsterdam. It caused a stir at the beginning of the year when Buffalo launched a pair of purely virtual 3D platform sneakers which, thanks to the technical skills of The Fabricant, are all ablaze with flickering flames. “I strongly believe that fashion does not have to be physical to exist,” says The Fabricant’s Creative Director and co-founder Amber Jae Slooten. “In this day and age, our digital identity is almost more important than

DIGITAL-ONLY Young designer talents are already beginning to dedicate their creativity to purely digital designs, like Iris van Wees who is nominated for the Dutch Design Awards. Big names like Tribute Brand, XR Couture and KAI KAI are developing cyber dresses made up of pixels. Sneaker brands with cryptic names like ISDKV and RTFKT are releasing digital drops made of bits and bytes. And an increasing number of online stores like Replicant Fashion and DressX are curating the growing offer of digital clothing along with virtual versions of physical clothing. All limited editions obviously, as artificial scarcity is something the virtual fashion world has learnt from the analogue one. At the end of February, the first Crypto Fashion Week brought together the worlds of fashion, digital art and blockchain technology on the net – to create a visionary platform for the market of the PHOTO PUMA / THE FABRICANT

our physical one.” True. If life is playing out more and more on social platforms, then it follows that we will also want to dress ourselves virtually too. Whether working from home or on a Zoom date – the current shift of work and private life into the digital realm is making the idea of outfits for virtual meetings an attractive proposition. The time has come for designs that use nothing more than data to underline our virtual personality. Physically non-existent. Unwearable. And hyped for precisely that reason. Just the thing for fast likes.

ESSAY – NEXT-LEVEL FASHION

PHOTO THE FABRICANT

future. By 2036, millenAR and VR, it is innials and Gen Zers will creasingly being used replace the baby boomers as an extension to the as the largest generation real world. A first-class of our society. They are hyperglobal market for ‘mobile first’ and tend fashion brands. Louis to enjoy online fun and Vuitton, Gucci, Burberry game-oriented experienand Versace have already ces. At the same time, designed virtual clothing fashion is playing an infor games like ‘League creasingly important role of Legends’, ‘Pokemon in the gaming industry: Go’ and ‘Honor of Kings’. in 2018, Epic Games, the Gamers can buy skins makers behind the free for their avatars, either game Fortnite, generain exchange for skills ted as much turnover as or money. Skin retailer Amazon with additional Dmarket estimates that merchandise alone: 3 spending on digital skins billion US dollars to be alone will reach 40 billion precise. 42 percent of US dollars in 2021. regular Fortnite players spend money on indiThanks to the advancing vidual gaming outfits, developments of digital so-called skins – a figure identities, it will also be that is showing no signs possible to wear skins This Iridescence couture piece, which only exists digitally and was designed by digital fashion of slowing down anytime outside of video games in house The Fabricant, was sold in 2019 at an auction for 9,500 US dollars. soon. This trend highthe future – on your own lights the fact that there is no getting around the gaming personal avatar, which will then be able to enter all kinds of sector and its digital assets for the fashion industry. And digital spaces in the Metaverse. In future, the Metaverse will names like Gucci, Louis Vuitton, Nike, Burberry and Moschino not only revolutionise the infrastructure of the digital world are already getting in on the game. but also a large part of the physical world in addition to all the services and platforms associated with it – and ultimately the mainstream. There is even talk among experts of the next METAVERSE & MAINSTREAM creative economy forming through the exchange of NFTs and For many luxury brands, digital fashion is a foot in the door to other blockchain-related activities, which are expected to be the Metaverse, an infinite field of interactivity that could be worth billions in next to no time. The hype surrounding purely described as the new internet. This collective, virtual space digital products, aside from the pandemic-induced rise of of the future, constructed by gaming companies as well as online gaming and e-commerce, is mainly down to the boom tech giants like Facebook and Apple, is perfect for digital in NFTs – non-fungible tokens. This blockchain-based unique marketing. After all, digital clothing is primarily bought to proof of ownership is what makes virtual ownership possible be seen – whether by one of the billion Instagram users or in the first place. 2.9 million for the first Twitter feed or 69 one of the 350 million Fortnite gamers. There are currently million dollars for a digital collage by the artist Bleep – NFTs 2.5 billion active gamers worldwide who spend 100 billion guarantee authenticity and provide digital products with their dollars on virtual goods. Some may smirk about the nerdiness value. In addition to crypto-art, this also applies to fashion. of it all, but it’s a lucrative business. Games like Fortnite have In March, 621 sneakers by London-based label RTFKT were grown up and are so much more than mere entertainment auctioned in collaboration with online artist FEWOCiOUS for now. They are places in which culture is being created, where 3.1 million dollars – within just seven minutes. new brands emerge as quickly as fashion trends. Gaming technology is improving at break-neck speed and, thanks to

IN FIVE OR PERHAPS TEN YEARS, A RELATIVELY SUBSTANTIAL SHARE OF FASHION BRANDS’ TURNOVERS WILL COME FROM DIGITAL PRODUCTS.

As digital fashion is an extremely lucrative way to democratise consumerism, luxury brands in particular are investing in virtual products. To prove our affiliation with a brand, we used to have to buy a mobile phone cover for 50 dollars, but now we can buy a virtual piece of clothing for 40 dollars. Working together with fashion tech company Wanna, Gucci released a digital sneaker onto the market that was available for around 12 dollars on its own app. Wanna specialises in augmented reality to create 3D models of sneakers and watches that

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GUCCI SNEAKERS FOR 12 DOLLARS

ESSAY – NEXT-LEVEL FASHION

users can try on virtually themselves – a revolutionary tool for e-commerce. “Our aim as a company is to replace product photos and come up with something that is much more attractive and closer to offline shopping,” says Sergey Arkhangelskiy, Wanna’s CEO, predicting the triumph of AR technology in online stores. For him, the option of trying on shoes and clothing online or even being able to wear them digitally for Zoom calls or Instagram stories could well contribute to reducing surplus production in the fashion industry. And Arkhangelskiy is even going one step further: “In five or perhaps ten years, a relatively substantial share of fashion companies’ turnovers will come from digital products.”

NO SHIPPING. NO WASTE. NO GENDER. NO SIZE. First and foremost, digital fashion is a sustainable approach to luxury design. Virtual clothing can be an add-on for physical luxury items. Fashion houses could introduce made-to-order styles that are based on their virtual bestsellers and, with the sale of virtual products, it is easier to gauge what their customers really want – and therefore reduce unnecessary production costs. Deadstock is so 2019. Digital fashion gives brands the option to react immediately and access new markets at the

AS VIRTUAL CLOTHING DOESN’T REQUIRE ANY FABRIC, IT DOESN’T CONTRIBUTE TO THE 92 MILLION TONNES OF TEXTILE WASTE GENERATED BY FASHION INDUSTRY ANNUALLY. Sustainable denim mill Soorty has chosen The Fabricant to create a digital jumpsuit to launch its Gold Standard cradle-to-cradle denim.

PHOTO AUROBOROS

PHOTO THE FABRICANT

How to dress in digital couture designed by Auroboros.

same time: both those who cannot afford luxury goods and those for whom luxury goods are inaccessible due to underdeveloped retail systems. Because isn’t a digital original of a designer hoodie better than a cheap, poorly sewn copy? Virtual clothing is not restricted by material, size, gender norms or gravity and thereby fits seamlessly into the ideal of aspects like diversity and gender fluidity, which are becoming increasingly important in society. Contact-free cyber fashion by labels like Tribute Brand is available literally for every gender, size and type of person, is designed three-dimensionally and can be superimposed onto any photo. “We strongly believe that digital fashion is the future we should embrace,” say the founders of the brand, who come from fashion, CGI 3D-mo-

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TIMELINE OF DIGITAL FASHION JANUARY 2018 Founding of The Fabricant, the world’s first digital fashion house.

NOVEMBER 2018 Scandinavian brand Carlings launches a digital fashion capsule collection that sells out in less than a week.

MAY 2019 First-ever digital dress by The Fabricant and Dapper Labs is sold for 9,500 US dollars.

APRIL 2020 Launch of Tribute Brand, the first D2C virtual fashion brand that develops and sells virtual fashion clothing. SOURCE THIS OUTFIT DOES NOT EXIST

RADICALLY SUSTAINABLE Virtual fashion brands describe their fashion as revolutionary: in terms of cost, sustainability and creative possibilities. Digital design and digital distribution allow young designers in particular to demonstrate their creativity without materials, studio space or expensive equipment. Fashion schools are increasingly responding to the boom in digital fashion and offering courses in virtual design. The University for the Creative Arts in the UK, for example, has an MA course on all aspects of digital fashion – from virtual design and fittings down to digital pattern making. Virtual fashion defies the imagination. What started as a virtual status symbol on the

MAY 2020 First virtual fashion e-commerce marketplace Replicant is established and features 15+ virtual fashion designers.

JULY 2020 Designer Patrick McDowell showcases and sells his collection Catholic Fairytales virtually during Helsinki Fashion Week.

AUGUST 2020 Launch of e-commerce marketplace Dress-X, bringing more than 50 fashion designers onto the virtual fashion platform.

JANUARY 2021 The Fabricant collaborates with Buffalo London and Dress-X to create the first virtualonly flaming shoe.

ESSAY – NEXT-LEVEL FASHION

gaming scene or a silly mermaid costume for an Insta post has quickly become a new aesthetic language. The digital world offers opportunities for materials that go way beyond fabrics. Materials that could never exist as clothing in the real world, like water, smoke or light. A dress made of stardust, a suit made of sparklers or flaming sneakers? Coding makes all these things possible. Virtual fashion pushes the boundaries of creativity. It removes constraints like the malleability of materials, a humanoid colour spectrum and even gravity. Auroboros launched its first all-digital couture collection in February, inspired by plant structures, human anatomy and supernatural creatures from sci-fi films. An immersive universe in which clothing grows on the body in real time due to crystallisation and is further developed digitally. As virtual clothing doesn’t require any fabric, it doesn’t contribute to the 92 million tonnes of textile waste generated by fashion industry annually. And its production doesn’t require any machinery apart from computers. Or environmentally polluting transport to reach the buyer. It is perhaps the most radical example of sustainable fashion to date. Because as we all know, the most environmentally friendly fashion is the one not being made. And digital fashion comes pretty damn close. Admittedly, no one has done the maths yet on how much data and energy a digital garment consumes. But the sum of the average consumer’s wardrobe ‘deadstock’, the stuff you buy on a whim, will already knock the ball out of the park compared to any digital outfits in the CO2 stakes. The good news for all textile and haptic enthusiasts: as in many other areas of life, analogue and digital worlds will merge in fashion too. And we need both. While analogue fashion at best continues to evolve towards sustainability, timelessness, minimalism and value, digital fashion allows us to express ourselves endlessly without impacting the planet. In the form of flowing pink drapery, illuminated star tentacles or wild tendrils of light.

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PHOTO AUROBOROS

delling, UX design and coding backgrounds. Digital fashion blog This Outfit Does Not Exist categorises fashion customers into three target groups: Monetizers, wearers that actually use the virtual clothing to generate income like influencers, editors and stylists; Flexers, consumers who want to benefit from brand association but can’t afford the price tag; and Gen-Z creatives, who are excited about the concept of genderless, sizeless, gravityfree clothing. To get your (virtual) hands on a virtual fashion garment, you need to go through a three-stage process. First of all, users have to take a photo in which they want to be wearing the virtual outfit, then they pick the desired outfit and send the photo as part of the payment process. In one to three working days, the virtual styling pic lands in your inbox and is ready to post! The process is based on a 3D rendering technology that is still in the development stages. In the near future, clients will even be able to wear virtual clothing in real time and while moving around. And thanks to NFTs they will also be able to ‘own’ digital assets instead of just wearing them virtually.

MOB INDUSTRIES

FASHION WITHOUT BARRIERS Fashion stands for variety – and diversity. It’s not always about the diversity of the collections or the styles, however, but also the fact that fashion should be wearable for all. In short: barrier-free fashion. While most labels are still focusing on a contrived body “norm”, Viennese label MOB Industries is thinking even further ahead – and making fashion inclusive and accessible for everyone.

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TEXT KRISTIN WALZEL

Where practical functionality meets fashion-forward appeal: that’s the ethos behind MOB Industries, a label set up in 2019 by social worker Josefine Thom and business graduate Johann Gsöllpointner. As her older sister is a wheelchair user, Josefine Thom was always on the lookout for clothing alternatives. But the range of young fashion available for people like her sister was heavily restricted in German-speaking countries. Only a few major brands like Nike and Tommy Hilfiger were already offering adaptive fashion. “My older sister has cognitive and physical disabilities. Finding the right clothing for her, that isn’t just functional but also looks good, has always been a challenge. There are only very few manufacturers making barrier-free fashion,” says Thom. In the end she gave up searching and founded her own label. Above all, MOB Industries offers clothing for people with different needs – due to prosthetics, temporary injuries, age-related or cognitive disabilities or chronic autoimmune diseases.

CLOTHES MAKE THE MAN As the poet Gottfried Keller once said: “Clothes make the man – man makes the clothes”. But who was he actually talking about? While standardised garments aren’t usually suited to wheelchair users, people of small stature or prosthetics wearers, getting dressed and undressed is a physical challenge for those affected and their family and carers. And adaptive clothing designed with the needs of the elderly and disabled in mind often leaves a lot to be desired in terms of how it looks: “The main target group are the elderly and the clothing has a functional aesthetic. And in terms of materials, fastenings and styles, there’s not a lot of choice, nor are the looks suited to the modern day,” says the 33-year-old entrepreneur. The Viennese label has been concentrating on barrier-free fashion for two years now, made exclusively in Austria. Together with her partner, Josefine Thom commissions different designers to create modern fashion for her label. Five of the 15 items available in the collection were made in cooperation with three Austrian labels. In the development of the individual items, the designers work closely together with people with disabilities. All the important aspects are discussed and the trial wearers are able to put the clothing to the test. “The different demands of modern wheelchair users are key to the development of the products presented here and wouldn’t have been possible without their cooperation, countless fittings and redesigns. MOB Industries is turning the usual process on its head: the demands of the wheelchair users are the norm here, and then the clothing is additionally adapted for abled wearers,” explains Josefine Thom.

MOB INDUSTRIES Many wheelchair users aren’t even aware that adaptive clothing exists. But thanks to MOB Industries, this is now set to change.

sulated in plastic that are welded onto an easily affixable placket. Thanks to integrated hooks, they can withstand movement and pressure. “All products are barrier-free thanks to our unique and innovative magnet fastenings that we order from an Austrian company,” explains founder Josefine Thom. The label also offers stylish clothing for non-wheelchair users, which is one reason why the collections by MOB Industries don’t differ from other high-end fashion at first sight. But there are differences: with special details like tops that are shorter at the front and longer at the back, the label offers unique solutions for barrier-free fashion. And the trousers are longer rather than shorter so they don’t ride up when you’re sitting down.

FASHION FOR CARERS TOO

CUSTOMERS, NOT PATIENTS

Looking at the MOB Industries website, the styles are reminiscent of casual and cool skaterwear. Exactly the opposite of boring and practical rehabilitation clothing. But most of all, the collections are extremely comfortable. “Our materials are really varied, but also suited to the demands of wheelchair users: from crease-free linen to cotton fabrics with lotus effect and stretch denims to waterproof functional fabrics.” The collection consists of straight-cut shirts with stand-up collars, softshell jackets, printed sweatshirts and unisex trousers – but also casual spring dresses with check patterns.

If you google “dog clothing”, you’ll get millions of hits. Even chain stores like H&M sell jumpers with pompoms and reflective quilted jackets for pampered pooches. But for people with physical disabilities, there’s still very little choice out there – despite the fact that, according to studies, around 7.9 million people in Germany are severely disabled. And around 1.6 million are dependent on a wheelchair. There simply aren’t enough manufacturers and brands offering barrier-free fashion, says Josefine Thom. “Until now, people with disabilities have been seen first and foremost as patients, not as customers. That is also reflected in the brand names, which seem to focus on the whole wheelchair, rehab and caregiving aspect. Handicaps are seen as the primary attribute and purely as deficits.” But physical diversity is so much more than that. So what remains is an appeal to the entire industry: because where else are there so many opportunities to get creative with fashion and think outside the box? MOB-INDUSTRIES.COM

“Adaptive clothing designed with the needs of the elderly and disabled in mind often leaves a lot to be desired in terms of how it looks.”

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The items are all manufactured in Austria – in limited editions and sometimes only on pre-order. And the brand from Austria also offers tailormade items and individual fittings. The items are priced between 60 euros for a logo T-shirt and 99 euros for a pair of trousers. An outdoor jacket will set you back around 385 euros. It’s all in the details: the jackets have an innovative and patented fastening system with magnets encap-

INTERVIEW — UHURA/DIGITAL BERLIN FASHION WEEK

EEK

KA PHOTO EME

NEW PERSPECTIVES

SCHMIDT

In January, Berlin Fashion Week celebrated its first online edition, which also saw the repositioning of the event to focus on digital and sustainability – two buzzwords of the hour that are setting new benchmarks. We asked Margarita Kozakiewicz, CEO of digital agency Uhura (which has been working for BFW for a number of years now), for her take on the tradeshow’s digital shift and an exclusive preview of the upcoming event.

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INTERVIEW DENIZ TROSDORFF

Ms Kozakiewicz, we are now in the second year of the pandemic. What has changed for you personally during this time? And what changed you the most – as a person and in your work for Berlin Fashion Week? Of course it meant a bit of upheaval at first, but, as a digital agency for technology and marketing, we were well prepared for the shift into the digital world that the pandemic has fast-tracked. So we were in a position to help a diverse range of clients to adapt their digital products and communications, despite the new

and unpredictable situation. We also managed to implement exciting new formats and ideas for our clients that would perhaps not have been possible without the pandemic. One of those is the digital edition of Berlin Fashion Week. Of course I also miss meeting people in person and attending networking events, but I am also proud that Uhura has been able to prove itself with its work and show what is possible. And I hope that there’ll be more digital events and products in addition to the ‘real’ events in the future.

Following its repositioning, the first digital edition of Berlin Fashion Week took place in January. What experiences and impressions did it leave you with? How was the format received? Berlin Fashion Week has come back bigger and better in 2021. The repositioning is an expression of a collective spirit of optimism that is jointly supported and promoted by everyone involved. Uhura is adapting to the changing demands and the digital shift of Fashion Week innovatively and with foresight. As a digital agency, we were ideally equipped for the move to almost completely online. New circumstances demand new ideas. All in all, the 11 formats of the 29th Berlin Fashion Week recorded around 300,000 digital participants from Germany and abroad on their various online platforms and livestreams. Beyond that, more than five million users followed it on social media channels alone; another 300,000 users tuned in to the livestream via the Berlin Fashion Week website and got the latest on the individual digital events. We were really thrilled at how agile and fast the individual formats got off the ground and how such creative, sustainable and innovative ideas were implemented. And that we all pulled together to create a strong format that hadn’t existed before in this form.

Margarita Kozakiewicz, CEO and content director of digital agancy Uhura

BFW is continuing its strong focus on sustainability with the format ‘202030 – The Berlin Fashion Summit’. Can you briefly explain it to us and perhaps give us a sneak peek of what we can expect at the coming edition? ‘202030 – The Berlin Fashion Summit’ was founded by Magdalena Schaffrin and Max

PHOTO 202030 - THE BERLIN FASHION SUMMIT

“More than five million users are following the comings and goings of Berlin Fashion Week on its social media channels, with another 300,000 tuning in to the livestream.” Gilgenmann and made its debut during Berlin Fashion Week in January 2021. In the new, non-public format, renowned experts provided guidance on the topics of sustainability, digitalisation, fashion and culture, which were then presented digitally in public presentations. Magdalena Schaffrin is one of the co-founders of the Neonyt tradeshow and Max Gilgenmann runs a creative strategy agency with Studio MM04, providing consultation to companies that wish to become more sustainable. For the coming spring/summer season, ‘202030 – The Berlin Fashion Summit’ will continue to focus on topics like circular economies and cradle-tocradle production. There will be digitalhybrid talks, interviews, discussions and best practices and, above all, more space

Another BFW format ‘Fashion Open Studio/Fashion Revolution’ is offering national and international upcoming designers a platform where they can present their own innovative design and distribution concepts. How does this think-tank work? For the first time and in cooperation with MBFW, the ‘Fashion Open Studio’ took place as part of the ‘Fashion Revolution’ sustainability initiative. ‘Fashion Revolution’ is a global movement that was founded in the wake of the Rana Plaza tragedy in 2013 with the hashtag #WhoMadeMyClothes. It was the first time the organisation had worked on a cooperation with Berlin Fashion Week. A particular highlight was when the ‘Fashion Open Studio’ invited people to take a look behind the scenes of five designer studios to get to know the people, the collections and the processes behind the sustainable business models. Further aspects of the partnership included the presentation of 10 Berlin designers as well as 10 international designers from the 35th International Festival of Fashion, Photography and Fashion Accessories in Hyères. The designers included Buki Akomolafe, Fade Out Label, Anekdot and Karen Jessen.

INTERVIEW — UHURA/DIGITAL BERLIN FASHION WEEK

to interact and network. But the central themes are still fashion economy, fashion products and fashion culture.

The next Berlin Fashion Week will be from 6–12 September. What can we expect? What does the future hold for it? At the summer edition of Berlin Fashion Week the focus will continue to be on future-oriented issues like sustainability, innovation and digitalisation. This will be developed further and reinforced with suitable formats and line-ups. The collective reorientation will also offer potential for new ideas in the coming season, with other new formats rounding off Berlin Fashion Week at the beginning of September 2021. With a line-up consisting of experimental and creative formats, classic fashion shows and groups exhibitions, as well as pioneering panel talks with established and renowned designers and lots of international newcomer talents, Berlin will be staking its claim as the most important arena for national and international creatives in Germany. We are already looking forward to supporting the next Berlin Fashion Week with its digital communication and can’t wait to see what Berlin’s creatives come up with next! We hope you feel the same. UHURA.DE FASHION-WEEK-BERLIN.COM N° 81

The pandemic has certainly accelerated digital processes and hybrid events – digital and physical – are the pioneering formats. How are you responding to these developments? The Uhura digital agency has been successfully assisting Berlin Fashion Week with its communications for several seasons. Fashion Week’s new strategy for January 2021 was accompanied by powerful content and digital communication. This successful hybrid concept has proven that Berlin Fashion Week can undergo a digital transformation and is able to surprise its visitors with a plethora of innovative digital ideas. The initiators have had to adjust their focus to the need for digital offers, reflecting on what German fashion and ‘Made in Berlin’ are famous for: entrepreneurial spirit and innovation. The result was a whole raft of panel talks, designer dialogues and interviews, mainly on the topic of sustainability, and presentations of a selection of exciting new upcoming designers as well as innovative augmented reality formats that were really surprising and pioneering. The new digital formats also require a new communications strategy that will bring the individual formats together and make them even more visible at Berlin Fashion Week in September 2021.

SPOTLIGHT ON … DENIMAZING

A NEW VIRTUAL MARKETPLACE FOR DENIM In the year 2020 we witnessed a massive rise in the importance of online sales. And it is meanwhile clear to everyone involved that digital is an integral (and unavoidable) part of the future. The new Denimazing platform was created for both B2B and B2C online sales – exclusively for the denim market. TEXT CHERYLL MÜHLEN

The right investment Laura Pianazza is actually a newcomer to the whole platform business: for many years she worked in the editorial office of a denim-focused European trade magazine. She soon realised that within the industry, including many companies in her native country Italy, there was a lack of integration of technology and marketing strategies. And many had missed their chance to invest in this transformation. There aren’t many companies that can afford not to be represented online, but a lot of them simply can’t get to grips with the subject matter. Laura Pianazza’s Denimazing to the rescue!

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Denimazing’s partnership with marketing and online sales agency Velvet Media supports the platform in all phases of development, marketing and advertising, both traditionally and via the web and social media. The platform also offers a selection of high-level technology or webmaster courses taught by a team of qualified professionals with vast experience in all things denim, design, sales and marketing.

Service on multiple levels Laura Pianazza definitely has her background as an experienced editor to thank for her strong network of entrepreneur, top

management and marketing agency contacts, which is what helped her turn her idea into a reality. The Denimazing project works side by side with denim fabric manufacturing companies (B2B), finished product brands and retailers (B2C) who all share the same common denominator: denim. A unique service that helps raw material manufacturers find niche markets in companies that create products, who wish their brand to be seen and sold to a growing customer base. In the B2B landscape, companies can sell their own fabrics by the metre thanks to their own 3D presentation and customers can virtually visit their showrooms. Likewise, thanks to virtual tours of their showroom and dedicated areas for sales and chats or video calls with end customers, brands have the same opportunity to sell their creations as on a real e-commerce website. Instead, for companies providing supply chain services (dyeing, washing, etc.), individual virtual rooms will be made available inside the marketplace to enable direct conversations with sales managers from brands and fabric companies. But the goal isn’t just to boost the sales side of things. Denimazing aims to operate on multiple levels – from the organisation of the platform to the traditional marketing and advertising, as well as web and social media strategies. A fantastic opportunity for all those who don’t feel like they have the necessary know-how in this area or are equipped to navigate it on their own, and for a community that thrives on interaction and mutual support. In short: Laura Pianazza is opening up a whole new denim world. DENIMAZING.COM

GRAPHIC ICON MISIRLOU

Denimazing is the brainchild of founder Laura Pianazza, who recognised (and seized) the opportunity in a time of adversity. Its prime objective is to help small and medium-sized companies increase their online sales, focusing on the development of marketing strategies in an omnichannel environment, thanks to an intelligent balance between technology and professional experience.

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