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Content — # BBBMAG 3 Welcome to BREADANDBUTTER

4 ICH BIN MIKE HODIS 6 A Modern identity crisis called berlin 10 ICH BIN Kogi “Poggy” Motofumi 12 THE REAL MCCOY’S 14 Introducing... young dexter navy 15 #bbbmag news

— n ews & Press 29 Friend of fred by J’N’c 30 Fransen sind das neue Volant by blonde 31 Drive Style by the heritage post 32 The harris tweed project by code 34 oversized gets stylish by Wear 35 prints galore by Wear 36 teN C by Inventory 38 v9n12 Taschendiebe by vice

— A rea Guide

— P ress & News

18 Urban fashion

20 Urban base & D.o.c.k.

22 urban superior & Treasury 24 L.o.c.k. & Fire Dept.

25 Alphabetical brand index 28 B&B Media Partners

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Making it in america by Apparel insiders bread & butter by mwb djs at work by sportswear international Drapers by drapers berlino città aperta by fashion L’ADN des marques by wad der anfang war ein albtraum by j’N’C news denim und die umwelt by fashion today only bad sales people are expensive by style in progress our passion for raw denim by denimhunters.com

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Welcome to BREADANDBUTTER Great you made it. So happy you are here! We are proud to present the B&B PREVIEW – the must-have publication to find your way as a Berliner. The B&B PREVIEW provides you with 4 books of fun & business: — 1. #BBBmag

We are delighted to present you an exclusive selection of our most recent project: #BBBMAG. If you want more, go visit BREADANDBUTTER.COM

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— 4. PRESS & NEWS

URBAN BASE

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PART 1 + D.O.C.K. PART 2

URBAN SUPERIOR

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HALL 1 + TREASURY HALL 2

L.O.C.K. & FIRE DEPT.

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ALPHABETICAL BRAND INDEX

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ON A DIFFERENT NOTE: You might have heard rumors or you might even know about it.

The biggest news upfront: BREADANDBUTTER IS GOING PUBLIC! Here it is, the new BREADANDBUTTER schedule for SUMMER 2014.

TUESDAY 8 JULY 2014 PRESS & VIP DAY

WEDNESDAY THURSDAY FRIDAY 9 JULY 2014 10 JULY 2014 11 JULY 2014 PROFESSIONAL DAY

PROFESSIONAL DAY

Fantastic news, right? We are so excited already.

But let’s enjoy this show first!

We wish all of you a successful week.

Don’t be a stranger, we are all Berliners!

Yours sincerely,

Joey W. Elgersma & Katharina Hegemann

PUBLIC DAY

Was unterscheidet deine Tätigkeit bei Fred Perry von deinen früheren Jobs?

Bei Reiss haben wir die Marke quasi erfunden.

Hier ist sie bereits sehr stark. Wir haben 1,2 Millionen hingebungsvolle Hardcore-Fans auf Facebook — die werden immer mehr über Fred Perry wissen als ich. Also unterscheidet sich der Job fundamental von dem bei Reiss. Bei Fred Perry geht es darum, die DNA, den Ethos und die Seele der Marke zu bewahren und zugleich einem

Fred Perry ist eingebettet in die Geschichte verschiedener Subkulturen und Musikszenen — angefangen von den 1950er bis zum heutigen Tag. Die Marke entwickelt sich stetig weiter und hat Fans auf der ganzen Welt. In den Social Media bilden Brand und Shirt quasi eine Einheit, und das zieht sich durch alle Subkultu-

„MIT 14/15 DREHTE SICH BEI MIR ALLES UM THE JAM UND FRED PERRY.“ ren. Und es gibt stets eine Konstante: Fred Perry repräsentiert den modernen, eher cleanen, geschmackssicheren Part der jeweiligen Bewegung. Da gibt es dieses tolle Foto von einem Typen aus L.A., mit Gang-Tattoos selbst auf den Händen und Fingerknöcheln. Ansonsten: Haartolle, Jeans und ein Paar Boots. Und das, was diesen Look zusammenhält, ist das cleane FredPerry-Shirt, zugeknöpft und eng geschnitten.

Tattoo-Träger oder was auch immer — das Shirt ist der gemeinsame Nenner. „Fred Perry ist sowohl bei JD Sports als auch bei Dover Street Market präsent. Es gibt lediglich eine Handvoll Brands, denen dieser Spagat gelingt.“ Welchen Subkulturen fühlt sich Fred Perry heute verbunden?

ALTHOUGH IT’S IMPORTANT TO STAY TRUE TO THE BRAND IDENTITY, IT’S JUST AS IMPORTANT TO ADJUST AND EMBRACE THE MARKET THAT YOU ARE TRYING TO PENETRATE.

BRAND HISTORY

ENGLISH

No 55 / 1-2014

COOL CITIES FLORENCE STREET STYLES RETAIL TALKS AND SERVICE

INTERVIEWS: CHRISTOPHER RAEBURN, HENRIK VIBSKOV, ANDY ROGERS, ANDREAS BAUMGÄRTNER, LINDA LOPPA

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MAKING IT IN AMERICA The Do’s and Don’ts of Doing Business in the USA

— by Gus Floris, Founder Editor-in-Chief , Apparel Insiders

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ith a population of well over 300,000,000 people, the United States has always been looked at by international fashion brands as the Promised Land. The thought process by many is, “If we can do 15 million euro throughout Europe, imagine what we can do in the U.S.” That, my friends, is the first and worst misconception about doing business in here in The States.

As with any market you are trying to break into, establishing your brand in the U.S. takes research and planning. The fact of the matter is, the American fashion market is very different from Europe and the wrong move can put you out of business.

Read this story and many more in the brand new issue of J’N’C JEANSWEAR AND CONTEMPORARY FASHION

Wir sind immer noch Teil der Fankultur im Fußball. Ob man Fußball nun liebt oder hasst — fest steht, dass sich dort auf den Tribünen bis heute eine oftmals sehr modeaffine Jugend versammelt. Dann bekomme ich aber auch Dinge zu hören wie: „Wusstest du, dass es in Thailand eine Underground-Punk-Szene gibt, die nur Fred Perry trägt?“ Und der Typ in L.A., von dem ich eben gesprochen habe, ist ein Latino-Rapper.

Das Tolle an den Social Media ist: Man bekommt mit, was solche Leute mögen. Du siehst Typen, die auf Death Metal oder Hardcore Trash und auf Fred Perry stehen, Street People aus Singapur und ihre Interpretation des Brands. Oder Skater, die Fred Perry tragen.

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Press & News

Fred Perry hieß der Mann aus dem Norden Englands, der Tennis – einstmals ein Upper-Class-Sport – in den 1930er Jahren revolutionieren sollte. Wie? Indem er, Sohn eines Baumwollspinners, dreimal in Folge Wimbledon gewann.

Zum Missfallen des britischen Establishments, was Perry später dazu bringen sollte, in die USA auszuwandern. Im Zweiten Weltkrieg kämpfte er in den Reihen der amerikanischen Armee, war der Liebhaber der deutschen Schauspielerin Marlene Dietrich und lancierte 1952 seine eigene Tennis-Shirt-Kollektion. Die Marke wurde von Clubszene und später unter anderem von den Mods und der Northern-Soul-Gemeinde für sich entdeckt. Allesamt wussten sie ein Shirt zu schätzen, in dem man schwitzen konnte, während man tanzte. Das Markenlogo, der Lorbeerkranz, avancierte zum Symbol der Jugendkultur, während das Tennis-Erbe des Unternehmens zunehmend in den Hintergrund rückte, da man sich dem Sport-Sponsoring weitgehend verweigerte. Anfang des Jahrtausends lancierte Fred Perry seine Footwear und erfand sich selbst neu. Kollaborationen mit Comme des Garçons, Raf Simons, Amy Winehouse oder jüngst mit Rennradfahrer Bradley Wiggins spielten dabei eine zentrale Rolle. Die Marke Fred Perry ist heute unterteilt in die ‚Authentic‘und die ‚ Laurel Wreath‘-Kollektion. Während ‚Authentic‘ vor allem über Stores mit einem Schwerpunkt auf Sportsund -Casualwear verkauft wird, nimmt sich die Zielgruppe von ‚Laurel Wreath‘ etwas anspruchsvoller aus.

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Die Fred-Perry-Büros machen einen recht spartanischen Eindruck...

breiteren Publikum zu vermitteln, was diese drei Dinge ausmacht. Fred Perry ist sowohl in einer Sportkette wie JD Sports als auch bei Dover Street Market präsent, und zwar mit nahezu derselben Produkten. Es gibt lediglich eine Handvoll Brands, denen dieser Spagat gelingt — Nike und Adidas vielleicht.

No 55 / 1-2014

LEGEND

B&B PUBLICATIONS

Rogers, 44, lebt mit seiner Frau, einer FreelanceSchmuckdesignerin, und seinen zwei Söhnen in Süd-London. Zur Head Office von Fred Perry in Covent Garden fährt er mit seinem maßgeschneiderten Single-speed-Bike aus der britischen Fahrradschmiede Bob Jackson. Das passt gut, denn zu den Kollaborationen im Hause Fred Perry gehört eine mit Tour-de-France-Gewinner Bradley Wiggins. Wie viele Fred-PerryTräger liebt Andy Rogers Fußball, auch wenn er sich beim Spielen seinen Knöchel ruiniert hat und sich über seine „schlechten Hüften“ beschwert. Er trägt eine Uhr der Marke Patek Philippe und liebt auch sonstigen Schmuck. Er könne sich gut vorstellen, meint Rogers, eines Tages wieder für ein Schmucklabel zu arbeiten — wie zu Beginn seiner Karriere, als er unter anderem für Tiffany & Co. tätig war.

Rogers Büro bei Fred Perry ist überraschend kahl — nur zwei Laserdrucke von der letzten Fred-Perry-Kampagne hängen an der Wand, als Dekoration und Inspiration zugleich. Es handelt sich um Schwarz-Weiß-Bilder, die Männer in streng zugeknöpften Shirts zeigen, was vordergründig im Kontrast zu Fred Perrys Heritage als smarte Tennis-Marke zu stehen scheint.

Doch diese Sichtweise relativiert sich schnell, blickt man auf die wechselvolle Geschichte des Brands zurück, das in der Vergangenheit immer wieder auch gemeinsame Sache mit jugendlichen Subkulturen gemacht hat — allen voran mit den Mods und der Northern-Soul-Bewegung.

Rogers beschreibt seine Rolle als die des „brand guardian“ und räumt ein: „Manchmal sehen wir vielleicht zu britisch aus.“ Er möchte Fred Perry als eine Marke für Non-Konformisten jeglicher Herkunft etablieren und den Lorbeerkranz auf der Brust als Zeichen der Rebellion. „In Jeans kannst du nicht mehr non-konformistisch sein“, meint er schließlich.

PREVIEW

To help you understand the market somewhat better, here are several points of consideration:

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POPULATION For one thing, of the 300 million+ consumers, 13% are males between the ages of 16–36 and 14% are females. Of those 87 million, you’ll be lucky if 10% are potential customers. Obviously these numbers have a margin of error and can skew up or down. Additionally, of the billions of dollars spent on apparel, only 10% of that is in the premium marketplace. The point being, that although the USA has the third largest population, only a small percent would buy your particular product.

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RETAIL LANDSCAPE The retail landscape is much different in the U.S. While most of the European market is predominantly specialty store driven, the USA is made up of a mixture of independent specialty

stores, specialty store chains, department stores and mass merchants. In order to grow beyond $25 million in turnover, you need the department store business. And the department store business is an extremely difficult tier of distribution.

Business practices in the US include: shipping on consignment, looking for the smallest discrepancy in the order to charge you back and when product goes on sale (which is often far too early in the selling season), the brand needs to make up the margin the retailers are loosing.

These practices are mainly unheard of throughout Europe but are common in America.

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Culture What sells on one continent does not necessarily sell on another. Lifestyles, body types and local customs reflect on what the consumer will and will not wear. Although it’s important to stay true to the brand identity, it’s just as important to adjust and embrace the market that you are trying to penetrate.

In addition to understanding the market you are getting into, you also need to adjust your way of thinking and doing business.

1. Think big but act small. Put your pride and brand arrogance aside and start small. There is no need for a big office, a large staff and your own warehouse facility.

2. Don’t hire your European buddy because he speaks your language. Bring in an experienced and well-regarded operator. A Managing Director from within the US that has the retail connections that can get your product placed and give you important feedback.

3. Hire yourself a U.S.-centric merchandiser that understands the market and consumer buying trends. If you find the right Managing Director, they can assume this role as well. But in either case you will need someone to help edit, adjust

and merchandise your collection to reflect an American mindset. Notice I didn’t say DESIGN. I’m not suggesting redesigning your collection.

I only recommend adjusting it, so the American retailer understands it and isn’t overwhelmed.

4. One of the biggest obstacles European brands have when coming to the U.S. is their production schedule. They typically close their wholesale season too early to take advantage of the extremely late buying that happens in the U.S. If you want to do business here and capitalize on the retailers delayed order placing, you need to be more flexible and extend your selling season.

5. Finally, be patient. It takes time and perseverance to conquer any new land. Start off small, build a strong specialty store distribution and grow within that tier of distribution. You need to have, at the very least, four complete seasons of shipping and selling in the specialty store market before even considering going into the department store business.

Read this story and many more in our brand new magazine issue!

There is no sure fire way to success but Preparation is the Mother of Victory and in order to succeed here you need to be patient, risk tolerant and trust and empower the people you put in charge of your brand.

Apparel Insiders is a business-to-business media company based in the US. With a unique editorial point of view published both online and in print, Apparel Insiders has become the new voice of contemporary sportswear industry. AI reports on and features the people, brands, stores and trends that are moving the fashion industry forward. Apparel Insiders is dedicated to championing the branded fashion business.

WWW.APPARELINSIDERS.COM

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SATURDAY 12 JULY 2014 PUBLIC DAY

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Ein knappes Dreivierteljahr ist vergangen, seit Andy Rogers den Job als Brand Director beim High-Street-Retailer Reiss gegen denselben Posten bei Fred Perry eingetauscht hat. Zuvor war er sieben Jahre lang die rechte Hand von Stella McCartney — als Visual Director. „Ich war der Kreative im Büro, der keine Kleidung entworfen hat.“ Bei Fred Perry kommt dem 44-Jährigen die Aufgabe zu, ein Sportswear-Label zu pushen, bei dem sich längst nicht alles um Sport dreht, und den Bekanntheitsgrad des Brands mit dem Lorbeerblatt-Logo weiter zu erhöhen. „Das Wichtigste ist, das, was wir tun, besser zu machen.“

URBAN FASHION

WARDROBE

BREADANDBUTTER WINTER 2014

News & Press FRIEND OF FRED — Oliver Horton Interview — Andi Zimmermann Fotos

AIRPORT TEMPELHOF: AREAS OVERVIEW

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WELCOME TO AIRPORT TEMPELHOF

RESTAURANT

PREVIEW

BRANDS & BRAINS Andy Rogers – Fred Perry, London

HALL 1 HALL 2

More stuff you will like. Or you don’t but we actually really do. Here you can find editorials by Apparel Insiders, MWB, Sportswear International, Drapers, fashion, WAD, J’N’C, fashion today, style in progress & denimhunters.com

BREADANDBUTTER WINTER 2014

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AIRPORT BERLIN-TEMPELHOF

WIR SIND EIN BERLINER. —BREAD & BUTTER, Airport Berlin-Tempelhof

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— All Brands, Booth Listings and Hallmaps

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ICH BIN EIN BERLINER. —MIKE HODIS, Pasadena

BREADANDBUTTER.com BREAD & BUTTER. 14—16 January 2014 Airport Berlin-Tempelhof

#BBBM AG

Breadandbutter winter 2014

Who ARe you?

I am Mike Hodis.

RIGHT...???

Right on!

WHATS YOUR INSTAGRAM?

@risingsunjeans

WHERE YOU FROM ORIGINALLY?

I was born in Romania, and immigrated to the States in 1982.

WHERE DO YOU LIVE LIKE NOW?

Pasadena, California

WHATS SPECIAL THERE?

Pasadena is rich in design history and it also happens to be the birthplace of the Arts and Crafts movement.

WHAT’S YOUR CORE HUSTLE?

Anything mechanical from the 20s & 30s.

ANY SIDE-BUSINESS?

Not a business, but a hobby. Buying, and trading antique industrial sewing machines.

Read the full interview in our #BBBMAG at breadandbutter. com

HOW DID YOU START?

8 years ago, out of my garage, with a handful of antique sewing machines I collected over the years.

WHATS DRIVES YOU?

Re-inventing the wheel.

GIVE US SOMETHING EXCLUSIVE.

We just started making leather jackets.

WHICH CREATIVE KEEPS ON MOST USED PHRASE/QUOTE? SURPRISING YOU? This is good! Considering...

Technology

BEST BUY IN 2013 WEIRDEST THING YOU OWN?

1920’s Salt and Pepper Chore Jacket, with removable ring back buttons.

WWII Corsair Fighter Plane Drop Tank.

WEIRDEST THING YOU DID? PLEASE DON’T WORST BUY IN 2013 SHOW US. OR MAYBE DO?

1962 Airstream trailer...too much of a project.

Got tricked into eating Camel Hump, and it doesn’t taste like chicken.

MOST INSPIRING THING YOU’VE DONE IN 2013 USA/ASIA/EUROPE OR AFRICA? WHY? Race of Gentlemen

Africa... it’s pure and full of promises.

WHAT DO YOU COLLECT? I LOVE MY HOME-TOWN WHY? Too many things.

It’s quite and green.

MOST INSPIRING PLACE YOU’VE BEEN? I HATE MY HOME-TOWN WHY? Fly-fished the Kern River with no one around for miles.

A bit too hot in the summer.

PERSONAL VICTORY IN 2013?

More reading, less TV.

I WOULD LOVE TO #BBBCONNECT TO...

I’d like to create functional clothing items for local Organic Farmers and Growers, with their specific needs in mind.

HOW WAS YOUR FIRST BERLIN EXPERIENCE?

Fast and furious... had to build and install our stand in two days in a basement in Berlin, which served as a bomb shelter during WWII.

FIRST IMPRESSION OF BREAD & BUTTER AT AIRPORT TEMPELHOF? Awesome and inspiring!

I WASTE TOO MUCH TIME ON?

Watching TV... Netflix is amazingly evil!

I SECRETLY LIKE TO WEAR...

Mismatched socks.

MY DAILY RECIPE/ADDICTION? Instagram

WHO DO YOU LIKE TO INTRODUCE AND WHY?

Evan Morrison... this young man is about to become the second choice for US made Selvedge denim goods, by weaving denim on the 7 selvedge looms he owns.

WWW.RISINGSUNJEANS.COM TWITTER.COM/RISINGSUNJEANS INSTAGRAM.COM/RISINGSUNJEANS

I GOT TRICKED INTO EATING CAMEL HUMP, AND IT DOESN’T TASTE LIKE CHICKEN.

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A Modern Identity Crisis Called berlin Berlin must be the most talked about metropolis of the hour. Go figure — It’s a mystified place with more stories to tell than any other western capital.

— Eeazyp & Hadnet Tesfai

Editors — Bread & Butter, © Paul Ward Pictures

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ith an eventful CV our beloved city came a long way: after the roaring Weimar Republic and being used and abused by historic dictatorship, it idealized its way through the punk rock 70s and the era of squatted houses and wild techno scene in the 90s — and yet, or because of that, managed to hold a very unique appeal. While attracting misfit expats, creatives and free spirits searching for utopia, Berlin always wanted to stay wild at heart — an attitude encoded into its DNA. Today things are changing more rapidly than they ever have. Berlin is a new playground for financial investment and thousands of new inhabitants surge into the city every year like gold diggers into the Wild West. It all happened in no time and Berlin is being put on the international maps faster than you can say “Schienenersatzverkehr”. And since we all know that change can be good and bad, we also know that with fame comes big responsibility and expectations have to be met with reality. To every Yin there is a Yang.

While international media are turning Berlin into the hot topic of the hour, the city is facing a truck load of new (and old) issues. Thanks to high-speed word of mouth (= internet) and a clever marketing campaign enforced by the local government, Berlin presents itself as the ideal place for young people and creative refugees.

They all want a piece of the cake — get free, get inspired, get… hammered. This idea lures you in. Where else in Europe if not in Berlin? Rents are affordable, the lifestyle is laid back and you if you live in the right part of town you will have trouble finding neighbors over the age of 40. But Berlin doesn’t only want to attract the drunk bachelor party crowd from Bristol or the house DJ from Melbourne, the city has embraced an economic model that makes poverty pay, that turns it’s hip image into a new way of making sweet sweet dough. Our mayor puts more and

more emphasis on turning Berlin into Europe’s epicenter in the creative sector — a “Creative City”.The place to turn your ideas into reality and eventually: into a business model. Sounds awesome, doesn’t it? Well it does.

However this ambitious goal has lead to a number of problems (some of which, like selling off public housing and a rising cost of living, we wont be able to discuss today). And if you do decide to pack your bags and want make your time here worthwhile, you best come prepared!

HAVING MONEY AND PAYING FOR STUFF — AND YOU DON’T EVEN HAVE TO FLASH IT AROUND OR MAKE IT RAIN — IS SIMPLY NOT THAT COOL! We see people moving here with expectations as high as they can get — with dreams of finding paradise. But while some are just taking it all in, are enjoying the fun, all the parties and all that cheap beer provided by a perfect laissez-faire infrastructure, others tend to struggle with actually focusing on their craft and visions. We admit, it’s kind of hard to remember why you once came here in between excessive Berghain weekends, flea market strolls and the image of more people sitting in cafés than actually sitting at an office desk. Berlin is one big distraction. So check yourself before you wreck yourself, people! Because if you don’t show up with a set goal and an eager motivation to succeed, Berlin will eat you suckers up alive. The downfall won’t be as painful as in

New York or London, but it will leave you disappointed and the city full of “permanent tourists”.

An advice from a local: Do the city a favor and try to get stuff done! May this be as a coffee barista, musician or journalist — it’s all good.

Berlin doesn’t judge, as long as you manage to stay productive. Because in the end, it’s those who can cope with Berlin’s extreme life-life-work balance that actually add a significant value to the city’s development and are essential in helping Berlin profit from its big potential.

But it’s a long way to the top. What we are facing right now is a city held hostage in a constant struggle between keeping its alternative image and being more than a big playground for hipsters, tourists and unemployed artists. A classic coming-of-age story? Maybe. However no other city worldwide is facing such an absurd imbalance as Berlin. Because what made Berlin so attractive in the first place was that dirty and poor look on its face, its wild at heart DNA. So how will this be possible to preserve when we all know Berlin is on the verge of finishing puberty? Looking back the past decades seemed like the teenage years of our hometown indeed. It went through stubborn phases, it was never good with money, it didn’t care about rules, stayed naive and full of idealism. It was fun while it lasted, but it is how it is and every kid has to face adulthood, every misfit will be pressured into assimilation.

You will find Berliners whining about how things are changing and you will find Berliners striving for international relevance (sometimes this might even be the same person). We want everything to stay the way it was — 10 years ago.

At the same time we want our city to be taken seriously on an international scale, may this be in the fashion, start-up or art scene.

Breadandbutter winter 2014

Breadandbutter winter 2014

#BBBM AG

“If you are big in New York, you are big everywhere. If you are big in Berlin, you’re big in Berlin.” — at least that’s the word on the streets.

To hell with that! None of us want to be called out on it. We feel offended. Although: we never wanted to be New York anyhow. So what the funk is our problem?

Well, there are a few things we do have in common with the city that never sleeps. It’s not the bling bling, but it is the harsh big city syndromes: Berlin — like New York — is not a melting pot. Sure, there’s a big parade every year celebrating multiculturalism and every splinter group kind of gathering of people with a somewhat different background will try to get organized and actually built a float. But so will a few live action role-playing clubs. Good for them. God bless them. Will these groups ever mingle in real life though? Probably not.

Of course the same goes for every metropolis with enough space and enough inhabitants thus creating enough opportunities to stay amongst yours. In Berlin the separation goes deeper. An underground ride on the U8 illustrates how diverse the city is: between Hermannstraße (the stop in the south) and Wittenau (the one in the north) you’ll have encounters with at least eight different groups of passengers that almost simultaneously enter and exit the train on cue.

The more settled, predominantly German crowd of oldschool Neukölln, followed by a colorful mix of immigrants from downtown Neukölln, passing on the baton to the young G8-creatives of Kreuzkölln that share the space with alternatives from around Kotti. As you hit Mitte there’s a flood of tourists and financially stronger hipsters than the ones further south, who all get off as soon as they hit Wedding and are replaced by another mix of immigrants and working class passengers. They are later joined and then out crowded by another more settled and posh set of people who were born in that area and will probably always live there. Apart from having to share the same compartment on the train, these visibly distinct groups hardly have anything in common and there is not the slightest interest in social or emotional exchange.

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FORGET BEING INSPIRED

BY HANGOVERS AND FINDING A CITY THAT WILL GIVE YOU AN IDENTITY WHILE IT’S STILL LOOKING FOR ITS OWN PERSONALITY.

However, more than by cultural differences, Berlin is separated by monetary interests. As mentioned before, being the crazy one in the family is something that runs deep in the veins of the city.

West Berlin was excluded from the compulsory military service until 1990, which led to thousands of young male Germans flocking onto the isolated island throughout the 1960s, 70s and 80s. Artists, students, musicians and punks, found a safe haven for their lifestyle, a place where financial status didn’t matter as much. Until today there are hardly any old family businesses, hardly any old money. In the 1990s it was more about cheap underground fun, clubs, drugs, excess and overindulgence. It was during those innocent years, when everything was exciting, new and possible, and Berlin — all of a sudden — a safe place to live. You didn’t have to worry about being blown up by some communist regime from the East just to prove a point. The cold war had ended, the festivities had just begun and who needed money when secret paaarteys were for free?

The absence of serious money is something Berlin has been used to for decades. It is practically famous for it. It has cultivated the cheap chic kind of attitude where monetary funds raise nothing but eyebrows and suspicion. Especially (not to say mainly) within the hip crowd who moved here seeking just that: a cheap but free lifestyle. Having money and paying for stuff — and you don’t even have to flash it around or make it rain — is simply not that cool.

People will choose to stand in line for the guest list forever in the rain instead of just paying to get into the club, concert or party. Even though life as an in-kid requires quite a lot of dough: Have you checked prices for bikes, limited edition sneakers or coffee these days? Sorry, we’re digressing. It’s only slooowly, slowly that this is changing: Ask the friendly folks over at Soho House Berlin about it.

So forget the melting pot when you come here.

Yeah, there is a colorful side of multicultural

harmony to the city, where neither ethnicity, cultural background nor social status matter – but you’ll have to look hard and work for it. And you need to be able to speak… English. Forget speaking German. Who cares about German, right? Working at a café and developing different projects on the side doesn’t require to actually know the language. English should do.

Forget being inspired by hangovers and finding a city that will give you an identity while its still looking for its own personality. Forget about all that. Instead, this is what you do when you come here:

Make a plan. And stick to it.

Get a paid job.

Get a hobby.

Pick a crew.

Learn German.

If you follow this simple guideline no one will be left disappointed and Berlin can turn into your own personal paradise — even as a rapidly changing and slowly establishing city. At the same time it’s important to be aware of what is happening around you. Berlin is thankful for every new inhabitant; its arms will always be wide open to. But like anything, it’s what you make of it. We just all need to respect this delicate stage that Berlin is in at the moment. And maybe, just maybe, if we all start to contribute — even if it’s just a little — this will remain the best place on earth.

Read the full article in our #BBBMAG at breadandbutter. com

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Breadandbutter winter 2014

ICH BIN EIN BERLINER. —Poggy, Tokyo

BREADANDBUTTER.com BREAD & BUTTER. 14—16 January 2014 Airport Berlin-Tempelhof

#BBBM AG

Breadandbutter winter 2014

Preview

WHO ARE YOU?

Kogi “Poggy” Motofumi

WHAT’S YOUR INSTAGRAM?

@poggytheman @unitedarrowsandsons

WHERE YOU FROM ORIGINALLY? Sapporo, Japan.

WHERE DO YOU LIVE LIKE NOW?

Tokyo, Japan.

WHAT IS YOUR ROLE WITHIN UNITED ARROWS?

United Arrows Buyer, United Arrows & Sons Director

BEST BUY IN 2013?

Stüssy Bucket Hat!

MOST INSPIRING THING FOR YOU IN TOKYO?

People on the street, it’s a pure craftsmanship.

MOST INSPIRING PLACE YOU’VE BEEN? NYC always inspires me a lot.

I AM REALLY INTO PIGALLE FROM PARIS AND ART COMES FIRST FROM LONDON.

WHICH DESIGNER/BRAND KEEPS ON SURPRISING YOU?

For now I am really into PIGALLE from Paris and ART COMES FIRST from London. Their street taste combined with good quality reminds me of the roots of my own fashion.

FAVORITE BAND/ARTIST ?

Japanese singer Eigo Kawashima, Public Enemy, Rage Against The Machine.

WEIRDEST THING YOU OWN?

I have this 90s Hip Hop taste necklace made with beads and a medallion that says POGGY MASTER X.

USA, ASIA, EUROPE OR AFRICA? WHY? I am interested in Africa for their good and open more simpler mind state on things.

PERSONAL VICTORY IN 2013?

We had a Larry Clark Stuff in Tokyo exhibition with Boohooray from New York. Larry Clark Stuff in Tokyo is a comprehensive overview of Larry’s books, films and influence. Telling the story with vintage polaroids, original 90s skateboards and skater t-shirts, original posters, proofs and manuscripts.

I WOULD LOVE TO #BBBCONNECT TO .....

I would like to work with everyone – it just needs to be interesting!

HOW WAS YOUR BERLIN EXPERIENCE?

I HAVE THIS 90S HIP HOP TASTE NECKLACE MADE WITH BEADS AND A MEDALLION THAT SAYS POGGY MASTER X.

I thought the style of the men is more masculine then in any other city. It was very inspiring to see fashion scene in Berlin.

FIRST IMPRESSION OF BREAD & BUTTER AT AIRPORT TEMPELHOF? Definitely BBB at Airport Tempelhof is a very special tradeshow. I felt it is kind of Street style version of Pitti UOMO.

WWW.UNITED-ARROWS.JP WWW.INSTAGRAM.COM/UNITEDARROWSANDSONS

Read the full interview in our #BBBMAG at breadandbutter. com

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#BBBM AG

THE REAL MCCOY’S

This is a story about my experience at the Real McCoy’s HQ in Japan. A dive into their daily life. THEM showing US their personal interests, their archives and their passions.

Read the full story in our #BBBMAG at breadandbutter. com

Breadandbutter winter 2014 — Joey W. Elgersma

Author — Bread & Butter, © Paul Ward Pictures

A

re-production company that shared their uniqueness with me, explaining their definition of “ALL AMERICANO”. OG vintage garments vs. the perfect authentic replicas. At the end of the day, it is all about two international kids playing catch on an indigo blue painted rooftop, talking about those “9 innings shut out games” and figuring out that life is pretty great if you do what you love.

While we were in Japan we decided to jump on the bullet train to spend a day in the life with “Young Kento Tsujimoto” from “The Real McCoy’s”. A 3 hour journey brought us to Shin-Kobe station where we got picked up in a black on black A-team bus which drove us to the docks of Kobe. That’s where we reached our final destination. The Home of “The Real McCoy’s”.

A truly remarkable space, where you have the feeling to be inside a space shuttle ready to send you back in time where cowboys meet fighter pilots, where Andy Warhol’s factory is turned around into that “design” storage room of the US Army Air Force.

This feeling brings me directly to the uniqueness of the brand, which can only exist in your world if you have a huge passion/obsession for specific things like Mr. Tsujimoto does. Kento’s dad might be the biggest collector of original american vintage out there, but he started the business as a hobby when California was all about long hair, surfing & smoking pot in your VW camper. Stacking up originals and shipping them to Japan. That emotion, that inspiration is still the the aim and business philosophy of The Real McCoy’s today. The brand doesnt count with any designers in their team because everything they do is classic uniform reproduction – it’s all about function over fashion in the best way possible.

SO MUCH TO WRITE ABOUT, SO MUCH TO SHOW YOU! THAT’S WHY I DECIDED TO SELECT SOME PICTURES AND LET KENTO CAPTION THEM.

ICH BIN KENTO TSUJIMOTO – INSTAGRAM: @KENTOTSUJIMOTO

501 LEVI’S COLLECTION. THE JEANS RANGE FROM WORLD WAR II TO THE LATE 60’S.

BULL DURHAM

#BBBM AG

Breadandbutter winter 2014

We have 5 flagship stores in Japan where we sell all products we produce. In europe you can buy a really good selection at 14 oz.

HOW MANY STORES DO YOU HAVE IN JAPAN? AND WHERE CAN PEOPLE BUY YOUR PRODUCTS? We have a very tightly controlled selection of wholesale accounts throughout Japan & the rest of the world. We have 5 flagship stores in Japan where we sell all products we produce. In europe you can buy a really good selection at 14 oz.

PLEASE SHOW US YOUR FAVOURITE PRODUCT! One of our main jackets is the A-2 jacket which you can see on the below picture. It’s a reproduction of the most praised flight jacket of the U.S. Air Force. The Real McCoy’s MFG. TYPE A-2 jackets feature a slimmer silhouette than it’s vintage predecessor.

JOEY & ME PLAYING CATCH ON TOP OF THE WAREHOUSE. I WOULD’VE EASILY STRUCK HIM OUT WITH MY SLIDER. MY ARM FELT GOOD THAT DAY.

VINTAGE HAWAIIAN SHIRTS AND A PART OF OUR PRINTED T-SHIRT ARCHIVE.

The Real McCoy’s MFG. TYPE A-2 jacket.

a piece OF OUR MILITARY ARCHIVE. GOING THROUGH THE SHEEP SKIN FOR QUALITY CHECK.

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Breadandbutter winter 2014

INTRODUCING… YOUNG DEXTER NAVY Dexter Navy (22) is a filmmaker and photographer from London.

I met up with him for the first time during BBB a few seasons ago. Great kid.

— Joey W. Elgersma

Author

W

e quickly found out that we have a lot of friends in common so before you know you meet again & again & again. Yeah. This is the perfect example of a #bbbconnect.

THEOPHILUS LONDON FOR I-D MAGAZINE

His pictures give me a great feeling. An uncensored ride through today’s youth culture. Navy’s been shooting and filming since he was 15 years old.

Most of his work is done from London, Paris and Los Angeles, but with this specific eye on style & detail and with such a Hollywood name it makes sense we will see him all around the globe.

DEXTER IS THE FIRST FEATURE IN OUR INTRODUCING SERIES.

49 SECONDS FO SHOOT FLACKO

WE ARE SHARING 10 IMAGES, 10 MOMENTS OF HIS LIFE WITH YOU. #BBBCONNECT WITH DEXTER: dexternavy.tumblr.com i-donline.com/authors/dexter-navy @dexternavy

EATING PIZZA WITH GRYPHON O’SHEA

PORTOBELLO ROAD

NICK WOOSTER IN VEGAS

THE FENCE BRADLEY SAVIOU FOR LEFT SHOE

STILL BROKE

ROCK A HOOLA BBC LOOK-BOOK IAN CONNOR ON VENICE BEACH

Read the full article in our #BBBMAG at breadandbutter. com

#BBBM AG

Breadandbutter winter 2014

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#bbbmag news

Highlighting industry news, product novelties and exclusive inside stories of profes­sionals and interesting characters, the magazine is a full online experience with much to discover, just like we know it from those days at our venue at Tempelhof.

CODY IS BACK

INTRODUCING KOTTÉ

DR. DENIM JEANSMAKERS – THEY CANNOT STOP US!

BBB MUSIC OF THE WEEK

We are super happy to inform you that Cody is back at BREAD & BUTTER! – Read More Online

The association between Jesús Ming and Doms.

After struggling in diffe – Read More Online

We believe that everyone has the right to wear as tight pants as they – Read More Online

What we’ve been listening to this week(end) – Read More Online

GOOD LIFE GOOD FOOD – ASIAN DELIGHTS

RELAUNCH OF JUNK DE LUXE

Yumyummy! We’ve teamed up with some true experts for your next visit – Read More Online

Did you know? JUNK de LUXE has been restructured and is now ready to – Read More Online

DAVID LACHAPELLE X HAPPY SOCKS

SamsØe & SamsØe FW14

For this collaboration Happy Socks chose an approach that would make – Read More Online

We are excited to share the journey of designer duo Mia Kappelgaard & – Read More Online

Check out our news section in #BBBMAG at breadandbutter. com

SHOP ONLINE AT DRYKORN.COM

Breadandbutter winter 2014

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Area Guide

— All Brands, Booth Listings and Hallmaps

welcome to airport Tempelhof Airport Tempelhof: Areas overview

content urban fashion hall 1 hall 2

18 19

urban base

part 1 + D.o.c.k. part 2

20 21

urban superior hall 1 + treasury hall 2

22 23

l.o.c.k. & fire dept.

HALL 1

alphabetical brand index

HALL 2

legend

Main Entrance/Exit

Technical Office

Taxi T. +49 (0)30 26 10 26 T. +49 (0)30 44 33 22 T. +49 (0)30 20 20 20

General Aviation Terminal

First Aid/Erste Hilfe T. +49 (0)30 816 90 13 90

Ticket Scan

•

opening times Tuesday & Wednesday: 10 a.m. – 7 p.m.

Thursday: 10 a.m. – 6 p.m.

Wi-fi connection PLATZ DER LUFTBRÜCKE

You can access our wireless internet conection throughout the whole exhibition area.

LOGIN: Wi-Fi Network: BREADANDBUTTER Username: bbb Password: berlin

AU R A NTS

ENTRANCE EXIT

ST

Toilets for disabled

OD & DRINK

ND ALL B &

Toilets

B&B Airport & City Shuttle 3.30 p.m. – 7.30 p.m.

Every 30 minutes to TXL Tegel, SXF Schönefeld, S+U Alexanderplatz

FO

FI

Info Point

Parking fixed prices

•

B&B Publications

Metro

FÉS & RE

Wardrobe

CA

Café

25

Visitor Shuttle 10 a.m. – 7 p.m.

B

Restaurant

24

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Urban fashion —HALL 1

H3.30.1 H3.30.2 BOOM BAP WEAR OILL, Friis Co.

H3.29 Culture

H3.25 gsus sindustries

H3.26 Humör, nümph

H3.26 Anerkjendt

H3.27 Vagabond

H3.28 mbyM

URBAN FASHION HALL 2

H3.16.1 minimum

H3.16.2 Louche, HYMN

TAPAS BAR

BY BAR RAVAL

H3.17.1 KOAH

H3.18.1 Minnetonka

H3.18.2 Brigitte Bardot

H3.17.2 Sweet Pants

H3.18.4 Seven Tees

H3.18.3 JuJu Shoes

H3.15.1 Geddes & Gilmore

H3.14.1 Serge Pariente

H3.15.2 HUB Footwear

H3.14.4 Napp Jeans

H3.2.1 Sweet Years

H3.2.3 LOGOSH!RT

H3.20.1 One Wolf H3.20.4 Angelia & Pets

H3.14.2 Gnious

H3.20.2 muchacho H3.20.3 Inkkas

H3.13.2 H3.13.1 Candy for Volley Richmen Australia

H3.14.3 L1 Premium Goods

H3.2.2 alife and kickin, alife & famous, CNSRD

H3.22.1 H3.22.2 H3.22.3 Cuckoos FAGUO Quay Eyeware Nest Australia

H3.19.1 H3.19.2 nANA jUDY

Gardenia Copenhagen, ShoeBiz Copenhagen, PeleCheCoco

H3.13.4 H3.13.3 Natural Everlast World

H3.21.1 White Tent H3.21.4 Ecattus H3.21.5 XXL Hardwear H3.21.8 KOMRAD INVASION

H3.21.2 Noble Project H3.21.3 Mipacha H3.21.6 Myboo, Impure H3.21.7 KOTTÉ

H3.23.1 H3.23.2 Nena & ithinkso Pasadena H3.23.3 StepArt

H3.12.1 ELEKTRODE H3.12.3 Naketano

H3.21.9 NudeAudio

H3.5 Allinclusive Apparel

H3.3 Lonsdale

H3.12.2 POP BOUTIQUE, Vintage Clothing Company

H3.8 OnePiece

H3.7 Anvil

H3.24.1 GABBA

H3.24.2 Kronstadt Fat Moose

H3.24.3 Satorisan

Just Junkies

H3.11.1 Weekend Offender

H3.11.2 Tailored

by Solid

H3.10 !Solid, Desires

H3.6.1 Lindbergh

H3.6.1 Lindbergh

H3.6.2 Shine

HALL 1

—Booth listing !Solid alife & famous alife and kickin Allinclusive Apparel Anerkjendt Angelia & Pets Anvil BOOM BAP WEAR Brigitte Bardot Candy For Richmen CNSRD Cuckoos Nest Culture Desires Ecattus ELEKTRODE Everlast FAGUO Fat Moose Friis Co. GABBA Gardenia Copenhagen Geddes & Gilmore Gnious gsus sindustries HUB Footwear Humör HYMN Impure Inkkas ithinkso Juju Shoes Just Junkies KOAH Komrad Invasion KOTTÉ Kronstadt L1 Premium Goods Lindbergh Logosh!rt Lonsdale

—catering H3.10 H3.2.2 H3.2.2 H3.5 H3.26 H3.20.4 H3.7 H3.30.1 H3.18.2 H3.13.2 H3.2.2 H3.22.1 H3.29 H3.10 H3.21.4 H3.12.1 H3.13.3 H3.22.2 H3.24.2 H3.30.2 H3.24.1 H3.19.1 H3.15.1 H3.14.2 H3.25 H3.15.2 H3.26 H3.16.2 H3.21.6 H3.20.3 H3.23.2 H3.18.3 H3.24.2 H3.17.1 H3.21.8 H3.21.7 H3.24.2 H3.14.3 H3.6.1 H3.2.3 H3.3

Louche mbyM minimum Minnetonka Mipacha muchacho Myboo Naketano nANA jUDY Napp Jeans Natural World Nena & Pasadena Noble Project NudeAudio nümph OILL One Wolf OnePiece PeleCheCoco POP BOUTIQUE, Vintage Clothing Company Quay Eyeware Australia Satorisan Serge Pariente Seven Tees Shine Shoe Biz Copenhagen StepArt Sweet Pants Sweet Years Tailored by Solid Vagabond Volley Australia Weekend Offender White Tent XXL Hardwear

H3.16.2 H3.28 H3.16.1 H3.18.1 H3.21.3 H3.20.2 H3.21.6 H3.12.3 H3.19.2 H3.14.4 H3.13.4 H3.23.1 H3.21.2 H3.21.9 H3.26 H3.30.2 H3.20.1 H3.8 H3.19.1 H3.12.2 H3.22.3 H3.24.3 H3.14.1 H3.18.4 H3.6.2 H3.19.1 H3.23.3 H3.17.2 H3.2.1 H3.11.2 H3.27 H3.13.1 H3.11.1 H3.21.1 H3.21.5

by

Tapas & bocadillos Caterer: Bar Raval Payment: Cash, EC and credit cards Seats: 80 Open: Tue. & Wed.: 10 a.m. — 7 p.m.

Thu.: 10 a.m. — 6 p.m.

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Urban fashion —HALL 2

H4.27.1 EMU Australia

H4.27.2 St-Martins, SNOB de NOBLESSE

URBAN FASHION HALL

H4.16.1 Lavand, Ginger + Soul

H4.26.1 Gipsy

H4.26.2 Yumi

H4.25.1 H4.25.2 erfurt luxury Coolway accessories

H4.17 Surkana

H4.22 ICHI

H4.23.2 Glamorous

H4.18.1 SisterS Point

H4.18.2 Buffalo

H4.19.2 H4.20.1 H4.19.1 Compañia- Deby Colors of fantastica Debo California, Canadian Classics H4.19.3 H4.20.4 H4.19.4 Slang SUPE Ca’Shott Barcelona

H4.20.2 Victoria

H4.21.1 H4.21.2 Nat & Nin, Australia Antonyme Luxe Collective

by Nat & Nin H4.21.5 H4.21.4 NOVESTA Best Mountain

H4.20.3 mint.

H4.21.3 nice things, PalomaS

MISS WILD’S SWEETS H4.15 King Louie

H4.14.1 Fever London

H4.14.2 ANNA SCOTT

H4.13.4 terre & mer H4.13.7 Zwei

H4.1.4 Rocket Dog

H4.23.1 Yerse

H4.24.2 Oilily

URBAN BASE

1

H4.16.2 Molly Bracken

H4.1.1 Fly London

H4.24.1 Fritzi aus Preußen

H4.1.5 H4.1.3 Cubanas Crocs

H4.13.5 Sendra Boots H4.13.6 KuSan

H4.6 smash!, Mismash, Paramita

H4.13.1 H4.13.3 Riverside Zilch

H4.13.2 Kling

H4.2 Gaudi

H4.12.1 TEN POINTS

H4.12.2 Luxalicious

H4.11.1 H4.11.2 Derhy Saint Tropez

H4.3.1 Birkenstock, Papillio

H4.3.2 CARTOON

H4.10.2 kaffe

H4.10.3 fransa H4.10.4 b.young

H4.11.4 H4.11.3 Little Blend She Mistress

H4.12.3 ’snoboot

H4.10.1 Cream

H4.4 Maze

H4.5 Blend

HALL 2

—Booth listing ’snoboot ANNA SCOTT Antonyme by Nat & Nin Australia Luxe Collective b.young Best Mountain Birkenstock Blend BlendShe Buffalo Canadian Classics CARTOON Ca’Shott Colors of California Compañia Fantastica Coolway Cream Crocs Cubanas Deby Debo Derhy EMU Australia erfurt luxury accessories Fever London Fly London fransa Fritzi aus Preußen Gaudì Ginger+Soul Gipsy Glamorous ICHI kaffe King Louie Kling KuSan Lavand Little Mistress Luxalicious Maze mint.

—catering H4.12.3 H4.14.2 H4.21.1 H4.21.2 H4.10.4 H4.21.4 H4.3.1 H4.5 H4.11.3 H4.18.2 H4.19.1 H4.3.2 H4.19.4 H4.19.1 H4.19.2 H4.25.2 H4.10.1 H4.1.3 H4.1.5 H4.20.1 H4.11.1 H4.27.1 H4.25.1 H4.14.1 H4.1.1 H4.10.3 H4.24.1 H4.2 H4.16.1 H4.26.1 H4.23.2 H4.22 H4.10.2 H4.15 H4.13.2 H4.13.6 H4.16.1 H4.11.4 H4.12.2 H4.4 H4.20.3

Mismash Molly Bracken Nat & Nin nice things Paloma S NOVESTA Oilily Papillio Paramita Riverside Rocket Dog Saint Tropez Sendra Boots SisterS Point Slang Barcelona smash!

SNOB de NOBLESSE St-Martins SUPE Surkana TEN POINTS terre & mer Victoria Yerse Yumi Zilch ZWEI

H4.6 H4.16.2 H4.21.1 H4.21.3 H4.21.5 H4.24.2 H4.3.1 H4.6 H4.13.1 H4.1.4 H4.11.2 H4.13.5 H4.18.1 H4.19.3 H4.6 H4.27.2 H4.27.2 H4.20.4 H4.17 H4.12.1 H4.13.4 H4.20.2 H4.23.1 H4.26.2 H4.13.3 H4.13.7

homemade cakes & coffee Caterer: Fräulein Wild Payment: Cash only Seats: 45 Open: Tue. & Wed.: 10 a.m. — 7 p.m.

Thu.: 10 a.m. — 6 p.m.

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Breadandbutter winter 2014

Urban base & D.o.c.k.

—Part 1 A 39 PALLADIUM URBA

N FAS

D 1.1 Jilted Royalty D 1.2 Daily Paper

HION

A 38 diadora HALL

A 37 ELEVENPARIS

1

A 40.2 New Balance

A 36.2 Franklin & Marshall

D.O.C

.K.

A 63.1 Supremebeing A 63.2 D 2.1 American A 63.5 FIRMACollege USA JIMMY’Z, A 63.4 MENT A 61.1 Kappa Maui and D 2.2 A 63.3.2 A 63.3.1 KangaROOS A 61.2 New Black Native Sons A 59 Creative Rothco A 40.3 Youth elvine Recreation RVLT/ A 64.1 D 3.1 Revolution LOSERS A 64.2 Muschi A 62.1 A 62.2 Kreuzberg A 64.3 Majestic D 3.2 BRANDBLACK Manhattan A Cut Above KOMONO Athletic D 3.3 A 62.4 Portage Ransom Panuu A 62.3 A 60.1 Dedicated, Brunotti A 60.2 A 41.1 A 41.2 Mr. GUGU & Cheapo Brooks DJ Miss GO Heritage ragwear A 41.3 Clarks D4 A 42.1 Originals, HEX ’47 Brand A 42.2 Clarks Dickies D.O Sportswear D 6.1 FIRST .C.K. FLOOR Bobby D 6.2 D 6.3 Fresh Karl LIGNE Alley

A 36.1 Reebok Classic

A 35 Redskins Territory

A 34 Mustang, Bogner Jeans, Sansibar Denim

A 57.1 Hickory A 57.2 A 55 Smoke Dr.Martens Gola Classics A 58.1 A 58.2 Buff A 56 Chunk CR7 – Cristiano Ronaldo, Resteröds A 43 FILA, A 44 Le Coq Sportif, Freeman T. Pantofola D’Oro Porter

A 54.1 le temps des cerises, Japan Rags A 54.2 TheLabelFinder

A 32 mavi

A 31 Converse

A 53 A 52.1 Blutsgeschwister Calvin Klein Footwear, Calvin Klein Jeans Footwear A 52.2 Indicode Jeans

A 50 Onitsuka Tiger A 51.1 Superga

A 45 khujo

CINQ D 6.4 D 6.5 LIMITED GODLY LES (ART)ISTS D 6.6 DSSENT

A 30 Bench.

A 46 Petrol Industries

A 51.2 K-Way

A 47 one green elephant

A 49.1 FAME ON YOU PARIS A 49.3 Legend Belts

A 49.2 KUYICHI

Custo

AIRFIEL BISTR

A 48 Dr. Denim Jeansmakers

B& MAGAZIN LOUNG

B&B WARDROBE

G1 WeAr

G2 WAD

—Booth listing urban base ’47 Brand American College USA Bench.

Blutsgeschwister Bogner Jeans BRANDBLACK Brooks Heritage Brunotti Buff Calvin Klein Footwear Calvin Klein Jeans Footwear Cheapo Chunk CR7 – Cristiano Ronaldo Clarks Originals Clarks Sportswear Converse Creative Recreation Dedicated diadora Dickies Dr. Denim Jeansmakers Dr. Martens

A 42.1 A 63.2 A 30 A 53 A 34 A 62.1 A 41.1 A 60.1 A 58.1 A 52.1 A 52.1 A 62.3 A 58.2 A 56 A 41.3 A 41.3 A 31 A 63.3.2 A 62.3 A 38 A 42.2 A 48 A 57.2

ELEVENPARIS elvine FAME ON YOU PARIS FILA Franklin & Marshall Freeman T. Porter Gola Classics Hickory Smoke Indicode Jeans Japan Rags JIMMY’Z K-Way KangaROOS Kappa khujo KOMONO Kuyichi Le Coq Sportif le temps des cerises Legend Belts LOSERS Majestic Athletic Manhattan Portage

—catering

A 37 A 59 A 49.1 A 43 A 36.2 A 44 A 55 A 57.1 A 52.2 A 54.1 A 63.5 A 51.2 A 61.1 A 63.4 A 45 A 64.3 A 49.2 A 43 A 54.1 A 49.3 A 64.1 A 64.2 A 62.2

Maui and Sons mavi Mr. GUGU & Miss GO Mustang Native Youth New Balance one green elephant Onitsuka Tiger Palladium Pantofola D’Oro Panuu Petrol Industries ragwear Redskins Territory Reebok Classic Resteröds Rothco RVLT / Revolution Sansibar Denim Superga Supremebeing TheLabelFinder

A 63.5 A 32 A 60.2 A 34 A 61.2 A 40.2 A 47 A 50 A 39 A 43 A 62.4 A 46 A 41.2 A 35 A 36.1 A 56 A 63.3.1 A 40.3 A 34 A 51.1 A 63.1 A 54.2

D 6.4 D4 D 1.1 D 6.2 D 6.5

LIGNE CINQ LIMITED Muschi Kreuzberg New Black Ransom

D 6.3 D 3.1 D 2.2 D 3.3

—Booth listing D.o.c.k.

A Cut Above Bobby Fresh Daily Paper DSSENT FIRMAMENT

D 3.2 D 6.1 D 1.2 D 6.6 D 2.1

GODLY HEX Jilted Royalty Karl Alley LES (ART)ISTS

AIRFIELD BISTRO coffee, drinks & sandwiches Caterer: B&B Payment: Cash, EC and credit cards Seats: 60 Open: Tue. & Wed.: 9 a.m. — 7 p.m.

Thu.: 9 a.m. — 6 p.m.

W

A r ea Guide

Breadandbutter winter 2014

Preview

Urban base —Part 2

A 20 Lacoste Footwear

A 27 PME Legend

A 28 Marc O’Polo

A 26 Liu Jo

A 29 Scotch&Soda Maison Scotch

A 9.5 Custo Barcelona AIRFIELD BISTRO

A 9.1 new era

A 12.3 TextilWirtschaft A 9.2 Donkey Products A 9.3 Sportswear International

A 10.1 TOMS

A 10.2 Happy Socks

A 11 Cowboysbelt

A 12.2 Herrlicher A 12.1 rich & royal

A 13.2 Voi Jeans Co.

A5 CAMPUS

A 14.2 DEELUXE Est.74

A 15.2 A 15.1 Circle of Puffa Trust

A 9.4 mode... information

A8 HAMAKI-HO

A7 Alpha Industries

ALL 1

IOR H

ER N SUP URBA

A1 Strellson Premium, Strellson Sportswear

A 17 Moon Boot, Dolomite

A 16.1 DSTREZZED

A 16.2 Affliction Clothing A 15.3 A 15.4 Steve Madden EINSTEIN & NEWTON A3 Silvian Heach

A2 Nickelson

A4 Antony Morato B&B PRESSLOUNGE

A6 TOM TAILOR

B&B MAGAZINE LOUNGE

B&B COFFEE LOUNGE

B&B FOOD GATES SERVICE SHOP

G1 WeAr

G2 WAD

A 14.1 Aeronautica Militare – Collezione Privata

A 13.1 Nobis

A 22 Napapijri

A 23 Desigual

A 24 Timberland

A 25 Fornarina

A 21 NZA New Zealand Auckland

G3 J’N’C WAD

—Booth listing Aeronautica Militare – Collezione Privata Affliction Clothing Alpha Industries Antony Morato CAMPUS Circle of Trust Cowboysbelt Custo Barcelona DEELUXE Est.74 Desigual Dolomite Donkey Products DSTREZZED EINSTEIN & NEWTON Fornarina HAMAKI-HO Happy Socks Herrlicher J’N’C Lacoste Footwear Liu Jo Maison Scotch Marc O’Polo mode... information Moon Boot NZA New Zealand Auckland Napapijri new era Nickelson Nobis PME Legend Puffa rich&royal Scotch & Soda Silvian Heach Sportswear International Steve Madden Strellson Premium Strellson Sportswear TextilWirtschaft Timberland

—catering A 14.1 A 16.2 A7 A4 A5 A 15.2 A 11 A 9.5 A 14.2 A 23 A 17 A 9.2 A 16.1 A 15.4 A 25 A8 A 10.2 A 12.2 G3 A 20 A 26 A 29 A 28 A 9.4 A 17 A 21 A 22 A 9.1 A2 A 13.1 A 27 A 15.1 A 12.1 A 29 A3 A 9.3 A 15.3 A1 A1 A 12.3 A 24

TOM TAILOR TOMS Voi Jeans Co. WAD Magazine WeAr Magazine

A6 A 10.1 A 13.2 G2 G1

FOOD

GATES

Roastbeef, “Berliner Buletten”, salad & pasta Caterer: B&B Payment: Cash, EC and credit cards Seats: 340 Open: Tue. — Thu.: 11 a.m. — 5 p.m.

coffee, drinks & sandwiches Caterer: B&B Payment: Cash, EC and credit cards Seats: 40 Open: Tue. & Wed.: 10 a.m. — 7 p.m.

Thu.: 10 a.m. — 6 p.m.

21

22

A r ea Guide

Preview

Breadandbutter winter 2014

Urban superior & Treasury —HALL 1

URBAN BASE

H5.11 Goosecraft

H5.12 Barts

H5.13.1 H5.13.2 Minus modström

H5.15 SET

H5.14 CODELLO

URBAN SUPERIOR HALL 2

H5.10 Samsøe & Samsøe

H5.21.1 Death by Zero

H5.20.1 flip*flop

H5.21.2 FREDs BRUDER

H5.20.3 GEORGE GINA & LUCY

H5.21.3 Dawn

H5.20.2 Twist & Tango

H5.22.1 OAKWOOD

H5.21.4 Blaumax

H5.23.1 Lemon Jelly

H5.23.2 Bensimon Collection

H5.19.2 H5.19.3 H5.19.4 H5.19.1 Ana Helen SHENDORA We love 8MN Jeans H5.19.7 H5.19.5 bedacht pavuna

H5.22.2 GOLDMUD H5.22.3 Durango Leather Company

H5.19.8 Schiesser Revival

H5.19.9 STYLESNOB

H5.23.3 Nokian Footwear

H5.23.4 Bickley+ Mitchell

H5.18.1 SOIA & KYO

H5.18.2 Valerie

H5.18.4 ESKEY

H5.18.3 The Original Muck Boot Company

H5.24.1 aunts& uncles H5.24.3 Giesswein

H5.16 Floris van Bommel

H5.17 European Culture

H5.25.1 Sorel

H5.24.2 Eska H5.25.2 LPB Shoes

TREA SURY

H5.1 CARRERA

H5.2 Jacques Britt

BERLIN KAFFEE DELI

H5.4.2 AB AETERNO

H5.4.18 Wood’d

H5.4.15 H5.4.16 MAKO neonneid Bags

H5.4.14 H5.4.13 Boudoir K and J des Lubies – Paris

H5.4.3 Fahrer

H5.4.4 CASHMERE ’N’ PEARL

H5.4.8 H5.4.9 H5.4.6 H5.4.7 reserved Pisidia Palo, ARTILLERYLANE wewood

H5.4.10 H5.4.11 Beltion Ziiiro Bag

—Booth listing urban superior 8MN Ana Helen aunts&uncles Barts bedacht Bensimon Collection Bickley+Mitchell Blaumax CARRERA CODELLO DAWN Death by Zero Durango Leather Company ESKA ESKEY European Culture flip*flop Floris van Bommel FREDsBRUDER GEORGE GINA & LUCY Giesswein GOLDMUD goosecraft

H5.19.4 H5.19.1 H5.24.1 H5.12 H5.19.7 H5.23.2 H5.23.4 H5.21.4 H5.1 H5.14 H5.21.3 H5.21.1 H5.22.3 H5.24.2 H5.18.4 H5.17 H5.20.1 H5.16 H5.21.2 H5.20.3 H5.24.3 H5.22.2 H5.11

Jacques Britt Lemon Jelly LPB Shoes Minus modström Nokian Footwear OAKWOOD pavuna Samsøe & Samsøe Schiesser Revival SET SHENDORA SOIA & KYO Sorel STYLESNOB The Original Muck Boot Company Twist & Tango Valerie We love Jeans

—catering H5.2 H5.23.1 H5.25.2 H5.13.1 H5.13.2 H5.23.3 H5.22.1 H5.19.5 H5.10 H5.19.8 H5.15 H5.19.2 H5.18.1 H5.25.1 H5.19.9 H5.18.3 H5.20.2 H5.18.2 H5.19.3

—Booth listing treasury AB AETERNO ARTILLERYLANE BELTION bag Boudoir des Lubies – Paris CASHMERE’N’PEARL FAHRER K and J

H5.4.2 H5.4.7 H5.4.10 H5.4.14 H5.4.4 H5.4.3 H5.4.13

MAKO BAGS Neonneid Palo Pisidia wewood Wood’d ZIIIRO

H5.4.12 reserved

H5.4.15 H5.4.16 H5.4.18 H5.4.9 H5.4.18 H5.4.18 H5.4.11

coffee, drinks & snacks Caterer: Tres Cabezas Payment: Cash, EC and credit cards Seats: 30 Open: Tue. & Wed.: 10 a.m. — 7 p.m.

Thu.: 10 a.m. — 6 p.m.

A r ea Guide

Breadandbutter winter 2014

Preview

Urban superior —HALL 2

H6.11 Original Penguin

H6.12.1 Refrigue

H6.12.2 Jaggy

H6.13.1 nabholz

H6.13.2 Victorinox

H6.14 CINQUE

H6.15.1 SUIT

H6.15.2 Bruun & Stengade

H6.17.1 Oscar Jacobson

H6.16 windsor.

H6.17.2 Ben Sherman

H6.18 Barbour International

H6.19 Tiger of Sweden

L.O.C.K.

URBAN SUPERIOR HA

LL 1

H6.10 JOOP!

H6.28.1 H6.28.2 DKNY Duck and Active Shoes Cover

H6.29.1 J&JOY

H6.28.3 RIORIM, Alan Rust

H6.29.2 CINQUE BAGS

H6.30.1 H6.30.2 Knowledge Frank Cotton Wright Apparel

H6.30.3 VITO

H6.31.1 H6.31.2 Stockman Sneaky Steve

H6.24.1 Junk de Luxe

H6.29.3 Piper Maru

H6.24.2 Karhu Originals

PANE & BURRO

H6.31.3 JOHNNYLOVE

H6.27.2 Purple Label

by Benvenuto

H6.26.1 NAGANO

H6.26.2 van Laack

H6.27.3 ZOHAC

H6.1 LAGERFELD, KARL LAGERFELD MEN’S

H6.24.3 SENNES

H6.25.1 NOBRAND H6.25.2 Bendorff Polo Club

H6.2.1 GANT Men/Women, GANT Footwear

H6.2.2 CG – Club of Gents

H6.3 A Fish named Fred

H6.24.5 H6.24.4 Künzli Oscar of Classic Sweden

H6.4 Move by Digel

H6.32.2 R2 Westbrook

H6.22.1 UBER H6.23.3 Robert Graham

H6.22.3 H6.22.4 M. FORBES & Moustache LEWIS

H6.22.5 Blick.

H6.22.2 Shoe the Bear

H6.20 DRYKORN

H6.21.1 Rehard

H6.21.2 Exibit

H6.23.1 Blackstone H6.6 Atelier Scotch H6.6 Atelier Scotch

H6.5 camel active

—Booth listing A Fish Named Fred Alan Rust Atelier Scotch Barbour International™ Ben Sherman BendorffPolo Club Bertoni Blackstone Blick.

Bruun & Stengade camel active CG - Club of Gents CINQUE CINQUE BAGS DKNY Active Shoes DRYKORN Duck and Cover EDUARD DRESSLER Exibit FORBES & LEWIS Frank Wright GANT Footwear GANT Men/Woman J&JOY Jaggy JAGVI JOHNNYLOVE JOOP! Junk de Luxe Karhu Originals KARL LAGERFELD MENS KnowledgeCotton Apparel Künzli Classic LAGERFELD LUPACO Munich M.Moustache Mouli MOVE by Digel MUNICH nabholz NAGANO

H6.33.2 MUNICH

H6.33.1 Bertoni

H6.31.4 H6.31.5 H6.31.5 LUPACO Jagvi Munich Jagvi

H6.24.6 TEE LIBRARY

H6.27.1 VIP FLAP

H6.32.1 Mouli

H6.7 EDUARD DRESSLER

—catering H6.3 H6.28.3 H6.6 H6.18 H6.17.2 H6.25.2 H6.33.1 H6.23.1 H6.22.5 H6.15.2 H6.5 H6.2.2 H6.14 H6.29.2 H6.28.1 H6.20 H6.28.2 H6.7 H6.21.2 H6.22.4 H6.30.2 H6.2.1 H6.2.1 H6.29.1 H6.12.1 H6.31.5 H6.31.3 H6.10 H6.24.1 H6.24.2 H6.1 H6.30.1 H6.24.5 H6.1 H6.31.4 H6.22.3 H6.32.1 H6.4 H6.33.2 H6.13.1 H6.26.1

NOBRAND Original Penguin Oscar Jacobson Oscar of Sweden Piper Maru Purple Label by Benvenuto R2 Westbrook Refrigue Rehard RIORIM Robert Graham SENNES Shoe the Bear Stockman SUIT TEE LIBRARY Tiger of Sweden UBER van Laack Victorinox VIP FLAP VITO windsor.

ZOHAC

H6.25.1 H6.11 H6.17.1 H6.24.4 H6.29.3 H6.27.2 H6.32.2 H6.12.1 H6.21.1 H6.28.3 H6.23.3 H6.24.3 H6.22.2 H6.31.1 H6.15.1 H6.24.6 H6.19 H6.22.1 H6.26.2 H6.13.2 H6.27.1 H6.30.3 H6.16 H6.27.3

antipasti & panini Caterer: Tres Cabezas Payment: Cash, EC and credit cards Seats: 80 Open: Tue. & Wed.: 10 a.m. — 7 p.m.

Thu.: 10 a.m. — 6 p.m.

23

24

A r ea Guide

Preview

Breadandbutter winter 2014

L.O.c.k. & fire dept.

—Labels of common kin OUT L.O.C.K.

H7.11 Shinola

H7.12 Stetson

H7.13 Fred Perry

H7.14 Carhartt Work In Progress

H7.15 Penfield

H7.16 CODE magazine

URBAN SUPERIOR HA

H7.18.2 Noodles Noodles & Noodles Corp.

H7.17.2 Canada Goose

H7.17.1 Woods arctic brand

FIRE DEPT.

H7.43.1 Gilded Age, Bowery

H7.43.2 Blue de Gênes

H7.27 Frye H7.10.2 LEVI’S® Vintage Clothing, LEVI’S® Made & Crafted

H7.42.1 Ten c

H7.28.1 Mexicana

H7.28.4 Laco

H7.26 Pendleton Woolen Mills

H7.1.1 Red Wing Shoes

H7.1.2 Nudie Jeans Co

H7.25 Deus Ex Machina

H7.42.2 Care Label

H7.28.2 Claes Göran H7.28.3 Rokker

H7.41.1 H7.41.2 Salvatore Museum Piccolo

H7.29.1 H7.29.2 Lightning DUKES Bolt Finest Artisan H7.29.3 Meindl

H7.24.1 the last conspiracy H7.24.2 Rocky Mountain Featherbed

H7.40.1 H7.40.2 Schott N.Y.C. Bailey of Hollywood

H7.30.1 G.R.P.

H7.37 Ludwig Reiter

H7.38 Gloverall

H7.31.1 Merz b. Schwanen

CRAFTSMAN’S CANTEEN

H7.30.2 BUTTERO

H7.23.3 H7.23.2 Stevenson Neuw Overall Co. Denim

H7.2 CLOSED

H7.39 Armor Lux

H7.31.3 H7.31.2 MAHIOUT, Pantherella Fabrication Locale H7.31.4 Viberg

H7.3.1 DENHAM

H7.22.1 H7.22.2 Brown-Duck Parts & Digger – Warehouse Compay Ltd.

H7.6 K.O.I – Kings Of Indigo

H7.3.2 Spiewak

H7.5 Blauer, BPD

H7.19.1.1 Private White

H7.35 KAVAT

H7.36 HESTRA

H7.34.1 Dubarry of Ireland

H7.33.1 H7.33.2 H7.32.1 H7.32.2 Kohzo Holubar Tricker’s Brixtol H7.32.3 H7.32.4 Blundstone H7.33.3 HEMLEY Bleu de Chauffe

H7.21.1 H7.21.2 Jean Shop Simon & Mary

H7.44 ECCO Leather

H7.4 Nigel Cabourn

H7.33.4 H7.33.5 Arpenteur Westage & Co.

H7.21.4 H7.21.3 Emma Opitz Wolverine 1000 Mile Collection

Early Hollywood H7.8.4 Ecco Leather H7.44 Edwin H7.7.2 EmmaOpitz H7.21.4 Fabrication Locale H7.31.3 Feinschmuck FD14 Filson H7.10.1 First Arrow’s H7.8.6 Fred Perry H7.13 Frye H7.27 G.R.P. H7.30.1 Ganzo H7.8.1.1 Gilded Age H7.43.1 Gloverall H7.38 Good Genes H7.7.1 HEMLEY H7.32.4 Heritage Post H7.8.12 Herschel Supply Co. H7.19.1.2 HESTRA H7.36 Holubar H7.33.2 INVENTORY Magazine H7.8.11 Japan Blue Jeans H7.8.1.3 JEAN SHOP H7.21.1 Jelado H7.8.7 John Gluckow H7.8.7 K.O.I – Kings Of Indigo H7.6 KAVAT H7.35 Kohzo H7.33.1

Laco LEVI’S® Made & Crafted LEVI’S® Vintage Clothing Lightning Bolt Ludwig Reiter Lyle & Scott MAHIOUT MEINDL Men’s file Merz b. Schwanen Mexicana Momotaro Jeans Museum Neuw Denim Nigel Cabourn Noodles Noodles & Noodles Corp.

Nudie Jeans Co Old York Pailot River Pantherella Parts Pendleton Woolen Mills Penfield Private White

Fil-Noir Golden Bear Sportswear HANSEN INIS MEÀIN Oak Street Bootmakers Orslow Otter Wax

FD 10 FD 14 FD 2 FD 17 FD 11 FD 3 FD 14

PassionFrance Pike Brothers Rancourt & Co. R.J.B Scarti-Lab SOLOVAIR Tanner Goods

FD 14 Tellason, Tanner Goods, Golden Bear Sportswear, Croots, Feinschmuck

H7.8.13 L.O.C.K. H7.8.12 BLOGGERS: H7.8.10 H7.8.11 Heritage Koo, men’s file INVENTORY Post Mr Mort H7.8.5 Superior Labor

H7.8.1.1 Ganzo

H7.7.2 Edwin

FD 2 Hansen FD 3 orslow FD 4 Rancourt & Co. FD 5 BROOKS ENGLAND FD 6 Alexander Leathers

FD 13 Fidelity, Wrenchmonkees Apparel Co.

H7.20 Rising Sun & Co.

H7.8.9 CLUTCH Magazine, 2nd Magazine, Lightning Magazine

FD 7 Three Animals FD 12 Big John FD 11 Oak Street Bootmakers FD 10 Fil-Noir

FD 8 SOLOVAIR FD 9 Scarti-Lab

H7.8.7 Jelado, H7.8.1.2 John gluckow Soulive H7.8.4 H7.8.6 Old York, H7.8.1.3 Ace Boots, Momotaro First Arrow Pailot River, Jeans, H7.8.3 H7.8.2 Japan Pure Early Hollywood Brown’s Blue Jeans Beach Jacket Blue Japan

H7.7.1 The Good Genes

H7.8.8 The Real McCoy’s

—catering H7.28.4 H7.10.2 H7.10.2 H7.29.1 H7.37 H7.18.1 H7.31.3 H7.29.3 H7.8.10 H7.31.1 H7.28.1 H7.8.1.3 H7.41.2 H7.23.2 H7.4 H7.18.2 H7.1.2 H7.8.4 H7.8.4 H7.31.2 H7.22.2 H7.26 H7.15 H7.19.1.1

Pure Blue Japan Red Wing Shoes Rising Sun & Co. Rocky Mountain Featherbed ROKKER Salvatore Piccolo Schott N.Y.C. Shinola SIMON AND MARY Soulive Spiewak Stetson Stevenson Overall Co. Superior Labor Ten c The last conspiracy The Real McCoy’s Tricker’s VIBERG Warehouse Company Ltd. Westage & Co. Wolverine 1000 Mile Collection Woods Arctic Brand

H7.8.3 H7.1.1 H7.20 H7.24.2 H7.28.3 H7.41.1 H7.40.1 H7.11 H7.21.2 H7.8.1.2 H7.3.2 H7.12 H7.23.3 H7.8.5 H7.42.1 H7.24.1 H7.8.8 H7.32.1 H7.31.4 H7.22.1 H7.33.5 H7.21.3 H7.17.1

—Booth listing fire dept.

FD 15 FD 6 FD 12 FD 5 FD 14 FD 14 FD 13

H7.19.2 Aigle

FD 17 INIS MEÀIN FD 16 The Flat Head, RJB FD 15 3sixteen

H7.8.14 Denimhunters

—Booth listing l.o.c.k.

Ace Boots H7.8.4 Aigle H7.19.2 Armor Lux H7.39 Arpenteur H7.33.4 Bailey of Hollywood H7.40.2 Blauer H7.5 Bleu de Chauffe H7.33.3 Blue de Gênes H7.43.2 Blundstone H7.32.3 BOWERY H7.43.1 BPD H7.5 BRIXTOL H7.32.2 Brown’s Beach Jacket H7.8.2 BUTTERO H7.30.2 Canada Goose H7.17.2 Care label H7.42.2 Carhartt Work In Progress H7.14 Claes Göran H7.28.2 CLOSED H7.2 CLUTCH Magazine H7.8.9 CODE magazine H7.16 Corgi H7.34.2 DENHAM H7.3.1 Denimhunters H7.8.14 Deus Ex Machina H7.25 Dubarry of Ireland H7.34.1 DUKES Finest Artisan H7.29.2

H7.19.1.2 Herschel Supply Co.

H7.34.2 Corgi

FIRST FLOOR

3sixteen Alexander Leathers Big John BROOKS ENGLAND Croots Dehen1920 Fidelity

FD 1 Pike Brothers

FD 18 PassionFrance

LL 2

H7.10.1 Filson

HALLIGAN’S

H7.18.1 Lyle & Scott

FD18 FD 1 FD 4 FD 16 FD 9 FD 8 FD 14

Tellason The Flat Head Three Animals Wrenchmonkees Apparel Co.

FD 14 FD 16 FD 7 FD 13

salad, quiche & boiled filet Caterer: Nola’s Payment: Cash, EC and credit cards Seats: 150 Open: Tue. & Wed.: 10 a.m. — 7 p.m.

Thu.: 10 a.m. — 6 p.m.

coffee & drinks Caterer: Tres Cabezas Payment: Cash only Seats: 20 Open: Tue. & Wed.: 10 a.m. — 7 p.m.

Thu.: 10 a.m. — 6 p.m.

A r ea Guide

Breadandbutter winter 2014

Preview

25

brand index —all brands from a—z Brand Booth No

—# !Solid ’snoboot 3sixteen 47 Brand 8MN

—A

A Cut Above A Fish Named Fred AB AETERNO Ace Boots Aeronautica Militare – Collezione Privata Affliction Clothing Aigle Alan Rust Alexander Leathers alife & famous alife and kickin Allinclusive Apparel Alpha Industries American College USA Ana Helen Anerkjendt Angelia & Pets ANNA SCOTT Antony Morato Antonyme by Nat & Nin Anvil Armor Lux Arpenteur ARTILLERYLANE Atelier Scotch aunts&uncles Australia Luxe Collective

—B

b.young Bailey of Hollywood Barbour International™ Barts bedacht BELTION bag Ben Sherman Bench.

BendorffPolo Club Bensimon Collection Bertoni Best Mountain Bickley+Mitchell Big John Birkenstock Blackstone Blauer Blaumax Blend BlendShe Bleu de Chauffe Blick.

Blue de Gênes Blundstone Blutsgeschwister Bobby Fresh Bogner Jeans BOOM BAP WEAR BOWERY BPD BRANDBLACK Brigitte Bardot BRIXTOL BROOKS ENGLAND Brooks Heritage Brown’s Beach Jacket Brunotti Bruun & Stengade Boudoir des Lubies – Paris Buff Buffalo BUTTERO

area page

H3.10 H4.12.3 FD 15 A 42.1 H5.19.4

URBAN FASHION HALL 1 URBAN FASHION HALL 2 FIRE DEPT. at L.O.C.K. Urban Base Pt.1 URBAN SUPERIOR HALL 1

18 19 24 20 22

D 3.2 H6.3 H5.4.2 H7.8.4

D.O.C.K. URBAN SUPERIOR HALL 2 TREASURY L.O.C.K.

20 23 22 24

A 14.1 A 16.02 H7.19.2 H6.28.3 FD 6 H3.2.2 H3.2.2 H3.5 A7 A 63.2 H5.19.1 H3.26 H3.20.4 H4.14.2 A4 H4.21.1 H3.7 H7.39 H7.33.4 H5.4.7 H6.6 H5.24.1 H4.21.2

Urban Base Pt.2 Urban Base Pt.2 L.O.C.K. URBAN SUPERIOR HALL 2 FIRE DEPT. at L.O.C.K. URBAN FASHION HALL 1 URBAN FASHION HALL 1 URBAN FASHION HALL 1 Urban Base Pt.2 Urban Base Pt.1 URBAN SUPERIOR HALL 1 URBAN FASHION HALL 1 URBAN FASHION HALL 1 URBAN FASHION HALL 2 Urban Base Pt.2 URBAN FASHION HALL 2 URBAN FASHION HALL 1 L.O.C.K. L.O.C.K. TREASURY URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 1 URBAN FASHION HALL 2

21 21 24 23 24 18 18 18 21 20 22 18 18 19 21 19 18 24 24 22 23 22 19

H4.10.4 H7.40.2 H6.18 H5.12 H5.19.7 H5.4.10 H6.17.2 A 30 H6.25.2 H5.23.2 H6.33.1 H4.21.4 H5.23.4 FD 12 H4.3.1 H6.23.1 H7.5 H5.21.4 H4.5 H4.11.3 H7.33.3 H6.22.5 H7.43.2 H7.32.3 A 53 D 6.1 A 34 H3.30.1 H7.43.1 H7.5 A 62.1 H3.18.2 H7.32.2 FD 5 A 41.1 H7.8.2 A 60.1 H6.15.2 H5.4.14 A 58.1 H4.18.2 H7.30.2

URBAN FASHION HALL 2 L.O.C.K. URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 1 TREASURY URBAN SUPERIOR HALL 2 Urban Base Pt.1 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 2 URBAN FASHION HALL 2 URBAN SUPERIOR HALL 1 FIRE DEPT. at L.O.C.K. URBAN FASHION HALL 2 URBAN SUPERIOR HALL 2 L.O.C.K. URBAN SUPERIOR HALL 1 URBAN FASHION HALL 2 URBAN FASHION HALL 2 L.O.C.K. URBAN SUPERIOR HALL 2 L.O.C.K. L.O.C.K. Urban Base Pt.1 D.O.C.K. Urban Base Pt.1 URBAN FASHION HALL 1 L.O.C.K. L.O.C.K. Urban Base Pt.1 URBAN FASHION HALL 1 L.O.C.K. FIRE DEPT. at L.O.C.K. Urban Base Pt.1 L.O.C.K. Urban Base Pt.1 URBAN SUPERIOR HALL 2 TREASURY Urban Base Pt.1 URBAN FASHION HALL 2 L.O.C.K.

19 24 23 22 22 22 23 20 23 22 23 19 22 24 19 23 24 22 19 19 24 23 24 24 20 20 20 18 24 24 20 18 24 24 20 24 20 23 22 20 19 24

Brand Booth No

—C

Ca’Shott Calvin Klein Footwear Calvin Klein Jeans Footwear camel active CAMPUS Canada Goose Canadian Classics Candy For Richmen Care label Carhartt Work In Progress CARRERA CARTOON CASHMERE’N’PEARL CG – Club of Gents Cheapo Chunk CINQUE CINQUE BAGS Circle of Trust Claes Göran Clarks Originals Clarks Sportswear CLOSED CLUTCH Magazine CNSRD CODE magazine CODELLO Colors of California Compañia Fantastica Converse Coolway Corgi Cowboysbelt CR7 – Cristiano Ronaldo Cream Creative Recreation Crocs Croots Cubanas Cuckoos Nest Culture Custo Barcelona

—D

Daily Paper DAWN Death by Zero Deby Debo Dedicated DEELUXE Est.74 Dehen1920 DENHAM Denimhunters Derhy Desigual Desires Deus Ex Machina Diadora Dickies DKNY Active Shoes Dolomite Donkey Products Dr. Denim Jeansmakers Dr. Martens DRYKORN DSSENT DSTREZZED Dubarry of Ireland Duck and Cover DUKES Finest Artisan Durango Leather Company

—E

Early Hollywood Ecattus Ecco Leather EDUARD DRESSLER Edwin EINSTEIN & NEWTON ELEKTRODE

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H4.19.4 A 52.1 A 52.1 H6.5 A5 H7.17.2 H4.19.1 H3.13.2 H7.42.2 H7.14 H5.1 H4.3.2 H5.4.4 H6.2.2 A 62.3 A 58.2 H6.14 H6.29.2 A 15.2 H7.28.2 A 41.3 A 41.3 H7.2 H7.8.9 H3.2.2 H7.16 H5.14 H4.19.1 H4.19.2 A 31 H4.25.2 H7.34.2 A 11 A 56 H4.10.1 A 63.3.2 H4.1.3 FD 14 H4.1.5 H3.22.1 H3.29 A 9.5

URBAN FASHION HALL 2 Urban Base Pt.1 Urban Base Pt.1 URBAN SUPERIOR HALL 2 Urban Base Pt.2 L.O.C.K. URBAN FASHION HALL 2 URBAN FASHION HALL 1 L.O.C.K. L.O.C.K. URBAN SUPERIOR HALL 1 URBAN FASHION HALL 2 TREASURY URBAN SUPERIOR HALL 2 Urban Base Pt.1 Urban Base Pt.1 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 Urban Base Pt.2 L.O.C.K. Urban Base Pt.1 Urban Base Pt.1 L.O.C.K. L.O.C.K. URBAN FASHION HALL 1 L.O.C.K. URBAN SUPERIOR HALL 1 URBAN FASHION HALL 2 URBAN FASHION HALL 2 Urban Base Pt.1 URBAN FASHION HALL 2 L.O.C.K. Urban Base Pt.2 Urban Base Pt.1 URBAN FASHION HALL 2 Urban Base Pt.1 URBAN FASHION HALL 2 FIRE DEPT. at L.O.C.K. URBAN FASHION HALL 2 URBAN FASHION HALL 1 URBAN FASHION HALL 1 Urban Base Pt.2

19 20 20 23 21 24 19 18 24 24 19 19 22 19 20 20 23 23 21 24 20 20 24 24 18 24 22 19 19 20 19 24 21 20 19 20 19 24 19 18 18 21

D 1.2 H5.21.3 H5.21.1 H4.20.1 A 62.3 A 14.2 FD 14 H7.3.1 H7.8.14 H4.11.1 A 23 H3.10 H7.25 A 38 A 42.2 H6.28.1 A 17 A 9.2 A 48 A 57.2 H6.20 D 6.6 A 16.1 H7.34.1 H6.28.2 H7.29.2 H5.22.3

D.O.C.K. URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 1 URBAN FASHION HALL 2 Urban Base Pt.1 Urban Base Pt.2 FIRE DEPT. at L.O.C.K. L.O.C.K. L.O.C.K. URBAN FASHION HALL 2 Urban Base Pt.2 URBAN FASHION HALL 1 L.O.C.K. Urban Base Pt.1 Urban Base Pt.1 URBAN SUPERIOR HALL 2 Urban Base Pt.2 Urban Base Pt.2 Urban Base Pt.1 Urban Base Pt.1 URBAN SUPERIOR HALL 2 D.O.C.K. Urban Base Pt.2 L.O.C.K. URBAN SUPERIOR HALL 2 L.O.C.K. URBAN SUPERIOR HALL 1

24 22 22 23 20 21 24 24 24 19 21 18 24 20 20 23 21 21 20 20 23 20 21 24 23 24 22

H7.8.4 H3.21.4 H7.44 H6.7 H7.7.2 A 15.4 H3.12.1

L.O.C.K. URBAN FASHION HALL 1 L.O.C.K. URBAN SUPERIOR HALL 2 L.O.C.K. Urban Base Pt.2 URBAN FASHION HALL 1

24 18 24 23 24 21 18

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A r ea Guide

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ELEVENPARIS Elvine EmmaOpitz EMU Australia erfurt luxury accessories ESKA ESKEY European Culture Everlast Exibit

A 37 A 59 H7.21.4 H4.27.1 H4.25.1 H5.24.2 H5.18.4 H5.17 H3.13.3 H6.21.2

Urban Base Pt.1 Urban Base Pt.1 L.O.C.K. URBAN FASHION HALL 2 URBAN FASHION HALL 2 URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 1 URBAN FASHION HALL 1 URBAN SUPERIOR HALL 2

20 20 24 19 19 22 22 22 18 23

H7.31.3 H3.22.2 H5.4.3 A 49.1 H3.24.2 FD14 H4.14.1 FD 13 FD 10 A 43 H7.10.1 D 2.1 H7.8.6 H5.20.1 H5.16 H4.1.1 H6.22.4 A 25 H6.30.2 A 36.2 H4.10.3 H7.13 H5.21.2 A 44 H3.30.2 H4.24.1 H7.27

L.O.C.K. URBAN FASHION HALL 1 TREASURY Urban Base Pt.1 URBAN FASHION HALL 1 L.O.C.K. URBAN FASHION HALL 2 FIRE DEPT. at L.O.C.K. FIRE DEPT. at L.O.C.K. Urban Base Pt.1 L.O.C.K. D.O.C.K. L.O.C.K. URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 1 URBAN FASHION HALL 2 URBAN SUPERIOR HALL 2 Urban Base Pt.2 URBAN SUPERIOR HALL 2 Urban Base Pt.1 URBAN FASHION HALL 2 L.O.C.K. URBAN SUPERIOR HALL 1 Urban Base Pt.1 URBAN FASHION HALL 1 URBAN FASHION HALL 2 L.O.C.K.

24 18 22 20 18 24 19 24 24 20 24 20 24 22 22 19 23 21 23 20 19 24 22 20 18 19 24

H7.30.1 H3.24.1 H6.2.1 H6.2.1 H7.8.1.1 H3.19.1 H4.2 H3.15.1 H5.20.3 H5.24.3 H7.43.1 H4.16.1 H4.26.1 H4.23.2 H7.38 H3.14.2 D 6.4 A 55 FD 14 H5.22.2 H7.7.1 H5.11 H3.25

L.O.C.K. URBAN FASHION HALL 1 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 L.O.C.K. URBAN FASHION HALL 1 URBAN FASHION HALL 2 URBAN FASHION HALL 1 URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 1 L.O.C.K. URBAN FASHION HALL 2 URBAN FASHION HALL 2 URBAN FASHION HALL 2 L.O.C.K. URBAN FASHION HALL 1 D.O.C.K. Urban Base Pt.1 FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 1 L.O.C.K. URBAN SUPERIOR HALL 1 URBAN FASHION HALL 1

24 18 23 19 24 18 19 18 22 22 24 19 19 19 24 18 20 20 24 22 24 22 18

A8 FD 2 A 10.2 H7.32.4 H7.8.12 A 12.2 H7.19.1.2 H7.36 D4 A 57.1 H7.33.2 H3.15.2 H3.26 H3.16.2

Urban Base Pt.2 FIRE DEPT. at L.O.C.K. Urban Base Pt.2 L.O.C.K. L.O.C.K. Urban Base Pt.2 L.O.C.K. L.O.C.K. D.O.C.K. Urban Base Pt.1 L.O.C.K. URBAN FASHION HALL 1 URBAN FASHION HALL 1 URBAN FASHION HALL 1

23 24 21 24 24 21 24 24 20 20 24 18 18 18

H4.22 H3.21.6 A 52.2 FD 17 H3.20.3 H7.8.11 H3.23.2

URBAN FASHION HALL 2 URBAN FASHION HALL 1 Urban Base Pt.1 FIRE DEPT. at L.O.C.K. URBAN FASHION HALL 1 L.O.C.K. URBAN FASHION HALL 1

19 18 20 24 18 24 18

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Fabrication Locale FAGUO FAHRER FAME ON YOU PARIS Fat Moose Feinschmuck Fever London Fidelity Fil-Noir FILA Filson FIRMAMENT First Arrow’s flip*flop Floris van Bommel Fly London FORBES & LEWIS Fornarina Frank Wright Franklin & Marshall fransa Fred Perry FREDsBRUDER Freeman T. Porter Friis Co. Fritzi aus Preußen Frye

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G.R.P. GABBA GANT Footwear GANT Men/Woman Ganzo Gardenia Copenhagen Gaudì Geddes & Gilmore GEORGE GINA & LUCY Giesswein Gilded Age Ginger+Soul Gipsy Glamorous Gloverall Gnious GODLY Gola Classics Golden Bear Sportswear GOLDMUD Good Genes goosecraft gsus sindustries

—H

HAMAKI-HO HANSEN Happy Socks HEMLEY Heritage Post Herrlicher Herschel Supply Co. HESTRA HEX Hickory Smoke Holubar HUB Footwear Humör HYMN

—I

ICHI Impure Indicode Jeans INIS MEÀIN Inkkas INVENTORY Magazine ithinkso

Breadandbutter winter 2014

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—J

J&JOY Jacques Britt Jaggy JAGVI Japan Blue Jeans Japan Rags JEAN SHOP Jelado Jilted Royalty JIMMY’Z John Gluckow JOHNNYLOVE JOOP! Juju Shoes Junk de Luxe Just Junkies J’N’C

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K and J K-Way K.O.I – Kings Of Indigo kaffe KangaROOS Kappa Karhu Originals Karl Alley KARL LAGERFELD MENS KAVAT khujo King Louie Kling KnowledgeCotton Apparel KOAH Kohzo KOMONO Komrad Invasion KOTTÉ Kronstadt KuSan Kuyichi Künzli Classic

—L

L1 Premium Goods Laco Lacoste Footwear LAGERFELD Lavand Le Coq Sportif Le Temps des Cerises Legend Belts Lemon Jelly LES (ART)ISTS LEVI’S® Made & Crafted LEVI’S® Vintage Clothing Lightning Bolt LIGNE CINQ LIMITED Lindbergh Little Mistress Liu Jo Logosh!rt Lonsdale LOSERS Louche LPB Shoes Ludwig Reiter LUPACO Munich Luxalicious Lyle & Scott

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M.Moustache MAHIOUT Maison Scotch Majestic Athletic MAKO BAGS Manhattan Portage Marc O’Polo Maui and Sons Mavi Maze mbyM MEINDL Men’s file Merz b. Schwanen Mexicana minimum Minnetonka mint.

Minus Mipacha

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H6.29.1 H5.2 H6.12.1 H6.31.5 H7.8.1.3 A 54.1 H7.21.1 H7.8.7 D 1.1 A 63.5 H7.8.7 H6.31.3 H6.10 H3.18.3 H6.24.1 H3.24.2 G3

URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 L.O.C.K. Urban Base Pt.1 L.O.C.K. L.O.C.K. D.O.C.K. Urban Base Pt.1 L.O.C.K. URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 URBAN FASHION HALL 1 URBAN SUPERIOR HALL 2 URBAN FASHION HALL 1 Urban Base Pt.2

23 22 23 23 24 20 24 24 20 20 24 23 23 18 23 18 21

H5.4.13 A 51.2 H7.6 H4.10.2 A 61.1 A 63.4 H6.24.2 D 6.2 H6.1 H7.35 A 45 H4.15 H4.13.2 H6.30.1 H3.17.1 H7.33.1 A 64.3 H3.21.8 H3.21.7 H3.24.2 H4.13.6 A 49.2 H6.24.5

TREASURY Urban Base Pt.1 L.O.C.K. URBAN FASHION HALL 2 Urban Base Pt.1 Urban Base Pt.1 URBAN SUPERIOR HALL 2 D.O.C.K. URBAN SUPERIOR HALL 2 L.O.C.K. Urban Base Pt.1 URBAN FASHION HALL 2 URBAN FASHION HALL 2 URBAN SUPERIOR HALL 2 URBAN FASHION HALL 1 L.O.C.K. Urban Base Pt.1 URBAN FASHION HALL 1 URBAN FASHION HALL 1 URBAN FASHION HALL 1 URBAN FASHION HALL 2 Urban Base Pt.1 URBAN SUPERIOR HALL 2

22 20 24 19 20 20 23 20 23 24 20 19 19 23 18 24 20 18 18 18 19 20 23

H3.14.3 H7.28.4 A 20 H6.1 H4.16.1 A 43 A 54.1 A 49.3 H5.23.1 D 6.5 H7.10.2 H7.10.2 H7.29.1 D 6.3 H3.6.1 H4.11.4 A 26 H3.2.3 H3.3 A 64.1 H3.16.2 H5.25.2 H7.37 H6.31.4 H4.12.2 H7.18.1

URBAN FASHION HALL 1 L.O.C.K. Urban Base Pt.2 URBAN SUPERIOR HALL 2 URBAN FASHION HALL 2 Urban Base Pt.1 Urban Base Pt.1 Urban Base Pt.1 URBAN SUPERIOR HALL 1 D.O.C.K. L.O.C.K. L.O.C.K. L.O.C.K. D.O.C.K. URBAN FASHION HALL 1 URBAN FASHION HALL 2 Urban Base Pt.2 URBAN FASHION HALL 1 URBAN FASHION HALL 1 Urban Base Pt.1 URBAN FASHION HALL 1 URBAN SUPERIOR HALL 1 L.O.C.K. URBAN SUPERIOR HALL 2 URBAN FASHION HALL 2 L.O.C.K.

18 24 21 23 19 20 20 20 22 20 24 24 24 20 18 19 21 18 18 20 18 22 24 23 19 24

H6.22.3 H7.31.3 A 29 A 64.2 H5.4.15 A 62.2 A 28 A 63.5 A 32 H4.4 H3.28 H7.29.3 H7.8.10 H7.31.1 H7.28.1 H3.16.1 H3.18.1 H4.20.3 H5.13.1 H3.21.3

URBAN SUPERIOR HALL 2 L.O.C.K. Urban Base Pt.2 Urban Base Pt.1 TREASURY Urban Base Pt.1 Urban Base Pt.2 Urban Base Pt.1 Urban Base Pt.1 URBAN FASHION HALL 2 URBAN FASHION HALL 1 L.O.C.K. L.O.C.K. L.O.C.K. L.O.C.K. URBAN FASHION HALL 1 URBAN FASHION HALL 1 URBAN FASHION HALL 2 URBAN SUPERIOR HALL 1 URBAN FASHION HALL 1

23 24 21 20 22 20 21 20 20 19 18 24 24 24 24 18 18 19 22 18

A r ea Guide

Breadandbutter winter 2014 Brand Booth No

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Mismash mode... information modström Molly Bracken Momotaro Jeans Moon Boot Mouli MOVE by Digel Mr. GUGU & Miss GO muchacho MUNICH Muschi Kreuzberg Museum Mustang Myboo

H4.6 A 9.4 H5.13.2 H4.16.2 H7.8.1.3 A 17 H6.32.1 H6.4 A 60.2 H3.20.2 H6.33.2 D 3.1 H7.41.2 A 34 H3.21.6

URBAN FASHION HALL 2 Urban Base Pt.2 URBAN SUPERIOR HALL 1 URBAN FASHION HALL 2 L.O.C.K. Urban Base Pt.2 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 Urban Base Pt.1 URBAN FASHION HALL 1 URBAN SUPERIOR HALL 2 D.O.C.K. L.O.C.K. Urban Base Pt.1 URBAN FASHION HALL 1

19 21 22 19 24 21 23 23 20 18 23 20 24 20 18

A 21 H6.13.1 H6.26.1 H3.12.3 H3.19.2 A 22 H3.14.4 H4.21.1 A 61.2 H3.13.4 H3.23.1 H5.4.16 H7.23.2 A 40.2 D 2.2 A 9.1 H4.21.3 A2 H7.4 A 13.1 H3.21.2 H6.25.1 H5.23.3

Urban Base Pt.2 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 URBAN FASHION HALL 1 URBAN FASHION HALL 1 Urban Base Pt.2 URBAN FASHION HALL 1 URBAN FASHION HALL 2 Urban Base Pt.1 URBAN FASHION HALL 1 URBAN FASHION HALL 1 TREASURY L.O.C.K. Urban Base Pt.1 D.O.C.K. Urban Base Pt.2 URBAN FASHION HALL 2 Urban Base Pt.2 L.O.C.K. Urban Base Pt.2 URBAN FASHION HALL 1 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 1

21 23 23 18 18 21 18 19 20 18 18 22 24 20 20 21 19 21 24 21 18 23 22

H7.18.2 H4.21.5 H3.21.9 H7.1.2 H3.26

L.O.C.K. URBAN FASHION HALL 2 URBAN FASHION HALL 1 L.O.C.K. URBAN FASHION HALL 1

24 19 18 24 18

FD 11 H5.22.1 H4.24.2 H3.30.2 H7.8.4 A 47 H3.20.1 H3.8 A 50 H6.11 FD 3 H6.17.1 H6.24.4 FD 14

FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 1 URBAN FASHION HALL 2 URBAN FASHION HALL 1 L.O.C.K. Urban Base Pt.1 URBAN FASHION HALL 1 URBAN FASHION HALL 1 Urban Base Pt.1 URBAN SUPERIOR HALL 2 FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 FIRE DEPT. at L.O.C.K.

24 22 19 18 24 20 18 18 20 23 24 23 23 24

H7.8.4 A 39 H5.4.18 H7.31.2 A 43 A 62.4 H4.3.1 H4.6 H7.22.2 FD18 H5.19.5 H3.19.1 H7.26 H7.15 A 46 FD 1 H6.29.3 H5.4.9 A 27

L.O.C.K. Urban Base Pt.1 TREASURY L.O.C.K. Urban Base Pt.1 Urban Base Pt.1 URBAN FASHION HALL 2 URBAN FASHION HALL 2 L.O.C.K. FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 1 URBAN FASHION HALL 1 L.O.C.K. L.O.C.K. Urban Base Pt.1 FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 2 TREASURY Urban Base Pt.2

24 20 22 24 20 20 19 19 24 24 22 18 24 24 20 24 23 22 21

H3.12.2 H7.19.1.1 A 15.1 H7.8.3 H6.27.2

URBAN FASHION HALL 1 L.O.C.K. Urban Base Pt.2 L.O.C.K. URBAN SUPERIOR HALL 2

18 24 21 24 23

H3.22.3

URBAN FASHION HALL 1

18

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NZA New Zealand Auckland nabholz NAGANO Naketano nANA jUDY Napapijri Napp Jeans Nat & Nin Native Youth Natural World Nena & Pasadena Neonneid Neuw Denim New Balance New Black new era nice things Paloma S Nickelson Nigel Cabourn Nobis Noble Project NOBRAND Nokian Footwear Noodles, Noodles & Noodles Corp.

NOVESTA NudeAudio Nudie Jeans Co nümph

—O

Oak Street Bootmakers OAKWOOD Oilily OILL Old York One Green Elephant One Wolf OnePiece Onitsuka Tiger Original Penguin Orslow Oscar Jacobson Oscar of Sweden Otter Wax

—P

Pailot River Palladium Palo Pantherella Pantofola D’Oro Panuu Papillio Paramita Parts PassionFrance pavuna PeleCheCoco Pendleton Woolen Mills Penfield Petrol Industries Pike Brothers Piper Maru Pisidia PME Legend POP BOUTIQUE, Vintage Clothing Company Private White Puffa Pure Blue Japan Purple Label by Benvenuto

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Quay Eyeware Australia

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—R

R2 Westbrook ragwear Rancourt & Co. Ransom Red Wing Shoes Redskins Territory Reebok Classic Refrigue Rehard Resteröds rich&royal RIORIM Rising Sun & Co. Riverside R.J.B Robert Graham Rocket Dog Rocky Mountain Featherbed ROKKER Rothco RVLT / Revolution

—S

Saint Tropez Salvatore Piccolo Samsøe & Samsøe Sansibar Denim Satorisan Scarti-Lab Schiesser Revival Schott N.Y.C. Scotch & Soda Sendra Boots SENNES Serge Pariente SET Seven Tees SHENDORA Shine Shinola Shoe Biz Copenhagen Shoe the Bear Silvian Heach SIMON AND MARY SisterS Point Slang Barcelona smash!

SNOB de NOBLESSE SOIA & KYO SOLOVAIR Sorel Soulive Spiewak Sportswear International St-Martins StepArt Stetson Steve Madden Stevenson Overall Co. Stockman Strellson Premium Strellson Sportswear STYLESNOB SUIT SUPE Superga Superior Labor Supremebeing Surkana Sweet Pants Sweet Years

—T

Tailored by Solid Tanner Goods TEE LIBRARY Tellason Ten c TEN POINTS terre & mer TextilWirtschaft The Flat Head The last conspiracy The Original Muck Boot Company The Real McCoy’s TheLabelFinder Three Animals Tiger of Sweden Timberland TOM TAILOR TOMS Tricker’s

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H6.32.2 A 41.2 FD 4 D 3.3 H7.1.1 A 35 A 36.1 H6.12.1 H6.21.1 A 56 A 12.1 H6.28.3 H7.20 H4.13.1 FD 16 H6.23.3 H4.1.4 H7.24.2 H7.28.3 A 63.3.1 A 40.3

URBAN SUPERIOR HALL 2 Urban Base Pt.1 FIRE DEPT. at L.O.C.K. D.O.C.K. L.O.C.K. Urban Base Pt.1 Urban Base Pt.1 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 Urban Base Pt.1 Urban Base Pt.2 URBAN SUPERIOR HALL 2 L.O.C.K. URBAN FASHION HALL 2 FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 2 URBAN FASHION HALL 2 L.O.C.K. L.O.C.K. Urban Base Pt.1 Urban Base Pt.1

23 20 24 20 24 20 20 23 23 20 21 23 24 19 24 23 19 24 24 20 20

H4.11.2 H7.41.1 H5.10 A 34 H3.24.3 FD 9 H5.19.8 H7.40.1 A 29 H4.13.5 H6.24.3 H3.14.1 H5.15 H3.18.4 H5.19.2 H3.6.2 H7.11 H3.19.1 H6.22.2 A3 H7.21.2 H4.18.1 H4.19.3 H4.6 H4.27.2 H5.18.1 FD 8 H5.25.1 H7.8.1.2 H7.3.2 A 9.3 H4.27.2 H3.23.3 H7.12 A 15.3 H7.23.3 H6.31.1 A1 A1 H5.19.9 H6.15.1 H4.20.4 A 51.1 H7.8.5 A 63.1 H4.17 H3.17.2 H3.2.1

URBAN FASHION HALL 2 L.O.C.K. URBAN SUPERIOR HALL 1 Urban Base Pt.1 URBAN FASHION HALL 1 FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 1 L.O.C.K. Urban Base Pt.2 URBAN FASHION HALL 2 URBAN SUPERIOR HALL 2 URBAN FASHION HALL 1 URBAN SUPERIOR HALL 1 URBAN FASHION HALL 1 URBAN SUPERIOR HALL 1 URBAN FASHION HALL 1 L.O.C.K. URBAN FASHION HALL 1 URBAN SUPERIOR HALL 2 Urban Base Pt.2 L.O.C.K. URBAN FASHION HALL 2 URBAN FASHION HALL 2 URBAN FASHION HALL 2 URBAN FASHION HALL 2 URBAN SUPERIOR HALL 1 FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 1 L.O.C.K. L.O.C.K. Urban Base Pt.2 URBAN FASHION HALL 2 URBAN FASHION HALL 1 L.O.C.K. Urban Base Pt.2 L.O.C.K. URBAN SUPERIOR HALL 2 Urban Base Pt.2 Urban Base Pt.2 URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 2 URBAN FASHION HALL 2 Urban Base Pt.1 L.O.C.K. Urban Base Pt.1 URBAN FASHION HALL 2 URBAN FASHION HALL 1 URBAN FASHION HALL 1

19 24 22 20 18 24 22 24 21 19 23 18 22 18 22 18 24 18 23 21 24 19 19 19 19 22 24 22 24 24 21 19 18 24 21 24 23 21 21 22 23 19 20 24 20 19 18 18

H3.11.2 FD 14 H6.24.6 FD 14 H7.42.1 H4.12.1 H4.13.4 A 12.3 FD 16 H7.24.1

URBAN FASHION HALL 1 FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 2 FIRE DEPT. at L.O.C.K. L.O.C.K. URBAN FASHION HALL 2 URBAN FASHION HALL 2 Urban Base Pt.2 FIRE DEPT. at L.O.C.K. L.O.C.K.

18 24 23 24 24 19 19 21 24 24

H5.18.3 H7.8.8 A 54.2 FD 7 H6.19 A 24 A6 A 10.1 H7.32.1

URBAN SUPERIOR HALL 1 L.O.C.K. Urban Base Pt.1 FIRE DEPT. at L.O.C.K. URBAN SUPERIOR HALL 2 Urban Base Pt.2 Urban Base Pt.2 Urban Base Pt.2 L.O.C.K.

22 24 20 24 23 21 21 21 24

28

A r ea Guide

Preview

Breadandbutter winter 2014

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Twist & Tango

H5.20.2

URBAN SUPERIOR HALL 1

22

H6.22.1

URBAN SUPERIOR HALL 2

23

H7.33.5 H5.4.18 H3.21.1 H6.16

L.O.C.K. TREASURY URBAN FASHION HALL 1 URBAN SUPERIOR HALL 2

24 22 18 23

H3.27 H5.18.2 H6.26.2 H7.31.4 H4.20.2 H6.13.2 H6.27.1 H6.30.3 A 13.2 H3.13.1

URBAN FASHION HALL 1 URBAN SUPERIOR HALL 1 URBAN SUPERIOR HALL 2 L.O.C.K. URBAN FASHION HALL 2 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 URBAN SUPERIOR HALL 2 Urban Base Pt.2 URBAN FASHION HALL 1

18 22 23 24 19 23 23 23 21 18

Westage & Co. wewood White Tent windsor.

Wolverine 1000 Mile Collection Wood’d Woods Arctic Brand Wrenchmonkees Apparel Co.

H7.21.3 H5.4.18 H7.17.1 FD 13

L.O.C.K. TREASURY L.O.C.K. FIRE DEPT. at L.O.C.K.

24 22 24 24

H3.21.5

URBAN FASHION HALL 1

18

H4.23.1 H4.26.2

URBAN FASHION HALL 2 URBAN FASHION HALL 2

19 19

G2 H7.22.1 H5.19.3 G1 H3.11.1

Urban Base Pt.2 L.O.C.K. URBAN SUPERIOR HALL 1 Urban Base Pt.2 URBAN FASHION HALL 1

21 24 22 21 18

H5.4.11 H4.13.3 H6.27.3 H4.13.7

TREASURY URBAN FASHION HALL 2 URBAN SUPERIOR HALL 2 URBAN FASHION HALL 2

22 19 23 19

—U UBER

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Vagabond Valerie van Laack VIBERG Victoria Victorinox VIP FLAP VITO Voi Jeans Co. Volley Australia

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WAD Magazine Warehouse Company Ltd. We love Jeans WeAr Magazine Weekend Offender

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XXL Hardwear

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News & Press Friend of Fred Brands & Brains Andy Rogers – Fred Perry, London

Rogers, 44, lebt mit seiner Frau, einer FreelanceSchmuckdesignerin, und seinen zwei Söhnen in Süd-London. Zur Head Office von Fred Perry in Covent Garden fährt er mit seinem maßgeschneiderten Single-speed-Bike aus der britischen Fahrradschmiede Bob Jackson. Das passt gut, denn zu den Kollaborationen im Hause Fred Perry gehört eine mit Tour-de-France-Gewinner Bradley Wiggins. Wie viele Fred-PerryTräger liebt Andy Rogers Fußball, auch wenn er sich beim Spielen seinen Knöchel ruiniert hat und sich über seine „schlechten Hüften“ beschwert. Er trägt eine Uhr der Marke Patek Philippe und liebt auch sonstigen Schmuck. Er könne sich gut vorstellen, meint Rogers, eines Tages wieder für ein Schmucklabel zu arbeiten — wie zu Beginn seiner Karriere, als er unter anderem für Tiffany & Co. tätig war.

Die Fred-Perry-Büros machen einen recht spartanischen Eindruck...

Ich muss mit dem Office Manager reden — ich hasse den Eingangsbereich. Es gehört zu meinem Job, mich um solche Dinge zu kümmern.

Was unterscheidet deine Tätigkeit bei Fred Perry von deinen früheren Jobs?

Bei Reiss haben wir die Marke quasi erfunden.

Hier ist sie bereits sehr stark. Wir haben 1,2 Millionen hingebungsvolle Hardcore-Fans auf Facebook — die werden immer mehr über Fred Perry wissen als ich. Also unterscheidet sich der Job fundamental von dem bei Reiss. Bei Fred Perry geht es darum, die DNA, den Ethos und die Seele der Marke zu bewahren und zugleich einem

breiteren Publikum zu vermitteln, was diese drei Dinge ausmacht. Fred Perry ist sowohl in einer Sportkette wie JD Sports als auch bei Dover Street Market präsent, und zwar mit nahezu derselben Produkten. Es gibt lediglich eine Handvoll Brands, denen dieser Spagat gelingt — Nike und Adidas vielleicht.

Woher diese breite Zielgruppe?

Fred Perry ist eingebettet in die Geschichte verschiedener Subkulturen und Musikszenen — angefangen von den 1950er bis zum heutigen Tag. Die Marke entwickelt sich stetig weiter und hat Fans auf der ganzen Welt. In den Social Media bilden Brand und Shirt quasi eine Einheit, und das zieht sich durch alle Subkultu-

„Mit 14/15 drehte sich bei mir alles um The Jam und Fred Perry.“ ren. Und es gibt stets eine Konstante: Fred Perry repräsentiert den modernen, eher cleanen, geschmackssicheren Part der jeweiligen Bewegung. Da gibt es dieses tolle Foto von einem Typen aus L.A., mit Gang-Tattoos selbst auf den Händen und Fingerknöcheln. Ansonsten: Haartolle, Jeans und ein Paar Boots. Und das, was diesen Look zusammenhält, ist das cleane FredPerry-Shirt, zugeknöpft und eng geschnitten.

Tattoo-Träger oder was auch immer — das Shirt ist der gemeinsame Nenner. „Fred Perry ist sowohl bei JD Sports als auch bei Dover Street Market präsent. Es gibt lediglich eine Handvoll Brands, denen dieser Spagat gelingt.“

Read this story and many more in the brand new issue of J’N’C ENGLISH

JEANSWEAR AND CONTEMPORARY FASHION

No 55 / 1-2014

COOL CITIES FLORENCE STREET STYLES RETAIL TALKS AND SERVICE

COOL CITIES / FLORENCE

INTERVIEWS: CHRISTOPHER RAEBURN, HENRIK VIBSKOV, ANDY ROGERS, ANDREAS BAUMGÄRTNER, LINDA LOPPA

ENGLISH

Wir sind immer noch Teil der Fankultur im Fußball. Ob man Fußball nun liebt oder hasst — fest steht, dass sich dort auf den Tribünen bis heute eine oftmals sehr modeaffine Jugend versammelt. Dann bekomme ich aber auch Dinge zu hören wie: „Wusstest du, dass es in Thailand eine Underground-Punk-Szene gibt, die nur Fred Perry trägt?“ Und der Typ in L.A., von dem ich eben gesprochen habe, ist ein Latino-Rapper.

Das Tolle an den Social Media ist: Man bekommt mit, was solche Leute mögen. Du siehst Typen, die auf Death Metal oder Hardcore Trash und auf Fred Perry stehen, Street People aus Singapur und ihre Interpretation des Brands. Oder Skater, die Fred Perry tragen.

Fred Perry hieß der Mann aus dem Norden Englands, der Tennis – einstmals ein Upper-Class-Sport – in den 1930er Jahren revolutionieren sollte. Wie? Indem er, Sohn eines Baumwollspinners, dreimal in Folge Wimbledon gewann.

Zum Missfallen des britischen Establishments, was Perry später dazu bringen sollte, in die USA auszuwandern. Im Zweiten Weltkrieg kämpfte er in den Reihen der amerikanischen Armee, war der Liebhaber der deutschen Schauspielerin Marlene Dietrich und lancierte 1952 seine eigene Tennis-Shirt-Kollektion. Die Marke wurde von Clubszene und später unter anderem von den Mods und der Northern-Soul-Gemeinde für sich entdeckt. Allesamt wussten sie ein Shirt zu schätzen, in dem man schwitzen konnte, während man tanzte. Das Markenlogo, der Lorbeerkranz, avancierte zum Symbol der Jugendkultur, während das Tennis-Erbe des Unternehmens zunehmend in den Hintergrund rückte, da man sich dem Sport-Sponsoring weitgehend verweigerte. Anfang des Jahrtausends lancierte Fred Perry seine Footwear und erfand sich selbst neu. Kollaborationen mit Comme des Garçons, Raf Simons, Amy Winehouse oder jüngst mit Rennradfahrer Bradley Wiggins spielten dabei eine zentrale Rolle. Die Marke Fred Perry ist heute unterteilt in die ‚Authentic‘und die ‚ Laurel Wreath‘-Kollektion. Während ‚Authentic‘ vor allem über Stores mit einem Schwerpunkt auf Sportsund -Casualwear verkauft wird, nimmt sich die Zielgruppe von ‚Laurel Wreath‘ etwas anspruchsvoller aus.

No 55 / 1-2014

Welchen Subkulturen fühlt sich Fred Perry heute verbunden?

Brand History

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Ein knappes Dreivierteljahr ist vergangen, seit Andy Rogers den Job als Brand Director beim High-Street-Retailer Reiss gegen denselben Posten bei Fred Perry eingetauscht hat. Zuvor war er sieben Jahre lang die rechte Hand von Stella McCartney — als Visual Director. „Ich war der Kreative im Büro, der keine Kleidung entworfen hat.“ Bei Fred Perry kommt dem 44-Jährigen die Aufgabe zu, ein Sportswear-Label zu pushen, bei dem sich längst nicht alles um Sport dreht, und den Bekanntheitsgrad des Brands mit dem Lorbeerblatt-Logo weiter zu erhöhen. „Das Wichtigste ist, das, was wir tun, besser zu machen.“

Rogers Büro bei Fred Perry ist überraschend kahl — nur zwei Laserdrucke von der letzten Fred-Perry-Kampagne hängen an der Wand, als Dekoration und Inspiration zugleich. Es handelt sich um Schwarz-Weiß-Bilder, die Männer in streng zugeknöpften Shirts zeigen, was vordergründig im Kontrast zu Fred Perrys Heritage als smarte Tennis-Marke zu stehen scheint.

Doch diese Sichtweise relativiert sich schnell, blickt man auf die wechselvolle Geschichte des Brands zurück, das in der Vergangenheit immer wieder auch gemeinsame Sache mit jugendlichen Subkulturen gemacht hat — allen voran mit den Mods und der Northern-Soul-Bewegung.

Rogers beschreibt seine Rolle als die des „brand guardian“ und räumt ein: „Manchmal sehen wir vielleicht zu britisch aus.“ Er möchte Fred Perry als eine Marke für Non-Konformisten jeglicher Herkunft etablieren und den Lorbeerkranz auf der Brust als Zeichen der Rebellion. „In Jeans kannst du nicht mehr non-konformistisch sein“, meint er schließlich.

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Oliver Horton Interview Andi Zimmermann Fotos

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fransen sind das neue volant Grün ist das neue Schwarz? Schon lange nicht mehr!

BLONDE durchforstet für euch die sprudelnde Modewelt nach den neuesten, skurrilsten und natürlich besten Trends. Dieses Mal: Fransen.

— Anna Bok

Text

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iebe Modemädchen, im kommenden Frühjahr lassen wir uns style-mäßig so richtig hängen—und zwar im wahrsten Sinne des Wortes: Die Fransen sind zurück! Geht es nämlich nach der internationalen Designer-Crowd, reiten wir ab sofort im Western-Look durch die Großstadtprärie.

Gut, wir geben zu, Mode im Wild-West-Stil stand in den vergangenen Jahren nicht gerade an der Spitze unserer Style-Agenda. Genauer gesagt folgten wir dem Fransen-Trend vermutlich mit vollster Inbrunst das letzte Mal im Grundschulalter—und zwar in Form unseres IndianerFaschingskostüms. Schuld daran ist wahrschei n l ich Wi n net ou , ber ü h mt es t er Indianer-Häuptling aus unseren Kinderbüchern, der gemeinsam mit Bleichgesicht Old Shatterhand für Frieden und Gerechtigkeit kämpfte.

Nun also spielen die Designer in ihren Frühjahr-/ Sommer-Kollektionen 2014 Cowboy und Indianer: Bei Calvin Klein, Missoni, den Olsen-Zwillingen (aka The Row) und Rodarte baumeln Fransen nämlich ab sofort en masse an der Klamotte. Den Rodarte-Schwestern wurden Fransen übrigens quasi schon in die Wiege gelegt: Kate und Laura Mulleavy wuchsen in Los Angeles auf, da ist der wilde Westen bekanntlich nicht weit. Und auch Altuzarra setzte in seiner Schau mit einem weißen Fransen-Lederhemd auf den altbewährten Cowboy-Look. Fast vermisste man auf den Laufstegen schon das TipiZelt, um die Pfeil-und-Bogen-Romantik perfekt zu machen.

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Die Fransen sind zurück!

Geht es nämlich nach der internationalen Designer-Crowd, reiten wir ab sofort im Western-Look durch die GroSSstadtprärie.

Aber so hübsch das wippende Dekor auch aussehen mag, styling-technisch ist bei der Franse größte Vorsicht geboten—außer man befindet sich gerade auf dem Weg nach Coachella oder zu einer 20er-Jahre-Mottoparty, wo FransenHängerchen zum Inventar gehören—schließlich wackeln die Fäden beim flotten Charleston so schön hin und her. In allen anderen Lebenslagen möchte man jedoch weder a) mit einem Ganzkörper-Wischmopp assoziiert noch b) mit lautem Lu-lu-lu-Schrei von der Umwelt begrüßt werden. Fransen sollten also nur sparsam eingesetzt werden, der Rest der Klamotte darf gerne minimalistisch bleiben. Allein schon aus dem Grund, weil eine solche „Hang-loose-Klamotte“ bei schneller Bewegung Dinge freilegen kann, die nach Gänsebraten- und Plätzchen-Orgien vielleicht besser nicht zur Schau gestellt werden sollten.

Und wer sich bis hierhin noch nicht gefragt hat: „Wieso trugen Cowboys und Indianer überhaupt diese seltsamen Fäden an ihrer Lederkluft?“, dem sei gesagt: Sie leiten angeblich den Regen gut ab. Darüber hinaus galten bei den Indianern bodenlange Fransen an ihren Friedenspfeifen als Übermittler von positiven Erdkräften. Nun, das kann man beides immer gut gebrauchen, großes Indianer-Ehrenwort. In diesem Sinne ruft BLONDE zu euch nach draußen in den Modekosmos: Franse, howgh!

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alles andere als eine Maskerade, denn aus der Begeisterung für Motorsport erwächst auch die Faszination für das gesamte Lebensgefühl vergangener Zeiten.

— Stefanie Kobayashi

Text — Horst A. Friedrichs

Fotos

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s muss nicht gleich der Bugatti sein, wenn wir von Oldtimern sprechen. Auch die Bubble Cars Mini oder Fiat 500 haben ihren besonderen Charme und ihren Charakter, zu dem der Fahrer den passenden Stil entwickelt oder sich der Zeit anpasst, aus der das chromglänzendes Juwel stammt.

Das ist alles andere als eine Maskerade, denn aus der Begeisterung für Motorsport erwächst auch die Faszination für das gesamte Lebensgefühl vergangener Zeiten.

Bei Treffen, Veranstaltungen und Rennen, wie dem Goodwood Revival, den Vintage Revival Montlhéry oder dem Prescott Speed Hill Climb treffen dann Jahrzehnte aufeinander. Schätze vom Anfang des Jahrhundert wie ein ClémentGladiator von 1901 oder ein 1919 Grafton Cyclecar treffen auf 40er Jahre Schönheiten wie den Ford C Type und auf Zeitzeugen des Motorsports wie eine Lotus 22 und einen 1959er Poggi. Immer mit dem dazu passenden Fahrer, denn die Devise und die Kleiderordnung lautet „period correct“, was den leidenschaftlichen Anhängern aus der Welt der „Vintage Cars“ nicht schwer fällt— und sogar großen Spaß macht.

Drive style

Horst A. Friedrichs—Drive Style Prestel Verlag, www.prestel.de

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Ein Mann, ein Auto, ein Stil. Horst A. Friedrichs dokumentiert in seinem neuen Werk die Szene der britischen Oldtimer-Liebhaber in ihrer beeindruckenden Vielfalt.

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THE HARRIS TWEED PROJECT A preview of the Harris Tweed feature in the upcoming international issue of CODE.

— Martin Scott Powell

(www.kramerkramer.com)

Photographer — Kanako B.Koga

Styling

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arris Tweed must be one of the most traditional fabrics around. In the last two years, it’s appeared on sneakers, on caps, was used by quite a few smart Japanese streetwear labels and, of course, by Mr Nigel Cabourn. Under the radar, tweed was everywhere. It was about time we did a bit of research.

After three months of reaching out to a large number of weavers on the isles of Harris and Lewis and others involved in the Harris Tweed industry, a team went to the outer edges of Europe, the Outer Hebrides. The goal for the story was to really capture the spirit of islands and bring across a sense of the place and its people.

Photographer Martin Scott Powell (www. kramerkramer.com) and CODE’s Paris-based fashion director Kanako Koga spent several days on the island for the shoot. Working five days straight from 9 in the morning to 10 in the evening, driving from farms to weavers to mills, being bitten by midges after dusk, they both really got into the spirit of it.

The landscape on the isles of Harris and Lewis is exactly how you would imagine it on an island at the north-western end of Scotland: Rugged, rocky, windy, heathery… all punctuated by pops of the brilliant colours of the local flowers, the luminous green grass, white beaches (at least on a sunny day) and the sea’s bright turquoise (again, at least on a sunny day). It’s here that one of Britain’s most iconic fabrics is produced.

The goal of the feature was to portray the islands and islanders as well as the fabric because, well, firstly, CODE is always about people, but in this case especially so because tweed reflects the place where it is made in both character (sturdy, pragmatic, windproof) and in colours (peat, dark green, heather, speckled with tiny dots of bright colours). The process of making Harris Tweed is protected by an Act of Parliament, which stipulates that it has to be hand-woven at a weaver’s home on the island. It is one of the last textiles manufactured — made on a commercial scale — in such a traditional way.

For many of the weavers, colour designers and mill workers we spoke to, tweed is part of the family history, and they started to learn making tweed in their early teens.

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One of the challenges facing the industry there is that the average age of the weavers is going on 50. And life on the islands still moves in very traditional ways. (“It really feels like it’s a place fallen out of time,” said Martin). So you could be forgiven for thinking that the islanders — even though they’ve certainly seen their fair share of member of the press come by — wouldn’t necessarily be the kind of men that would feel at ease being styled by a bubbly Frenchwoman with a background in the world of haute couture and then having their picture taken in front of atmospheric rocks and crofts. But the ones who were asked about it said they really enjoyed it.

In a way, the Harris Tweed feature is a perfect example for what CODE is about: people with presence and charisma rather than conventional beauty; fascinating stories; remarkable materials. CODE is eclectic by nature, featuring

styles from heritage to high tech, from sartorial to denim, from bespoke to sneakers. From a CODE perspective, these are all facets of contemporary men’s style. No models, but real people and real stories. Informing, inspiring and entertaining.

When we publish CODE in Germany, Austria and Switzerland for the first time in March 2014, we hope to bring all these values with it, with stories that are relevant for the readers here. At the moment, CODE is published as an annual English-language bookazine with international distribution and, twice a year, in a local Dutch edition. The twice-yearly German edition is all set to become a great addition to the family. www.codemagazine.eu www.codemagazine.de www.facebook.com/wearecode www.facebook.com/CODEdeutschland

the brilliant colours of the local flowers, the luminous green grass, white beaches and the sea’s bright turquoise. It’s here that one of Britain’s most iconic fabrics is produced.

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OVERSIZED GETS STYLISH The dictator of skinny jeans and figure-hugging clothes has definitely come to an end.

If designers are able to make their Spring/Summer 2014 womenswear collections convincing enough, then the oversize trend will become prevalent in today’s industry — another gimmick coming straight from menswear.

— Karen Rouach

Author

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and-covered sleeves, hunched shoulders and seamless trousers are the new dress codes for the S/S 2014 season. The entire Acne resort collection is based on volumes. From printed pants to denim parkas, all styles are designed in large sizes and seem to blur the silhouette lines.

Outfits are done mostly in non-colors with excep-

tion to a suit in bright orange. The Gucci woman is also likely to disappear under her clothes. This surprisingly relaxed decision from the Italian fashion house was inspired by former supermodel Jerry Hall’s style resulting in striped and floral printed ensembles with oversized volumes.

Just think of loose fluid pants and blazers or the newly shaped T-blouses.

Alexander Wang has introduced his new silhouette with leather flares and mellowed with feminine tones like soft pink. His trousers are pleated and styled with zipped vests or slightly bulky tops. At Chloé, designer Clare Waight Keller once again shows how to master proportions perfectly. To restore this balance, she matches high-waist oversized Marlene pants with fitted shirts —a total look offered in

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clear white. Altuzarra also recommends wearing big-volume clothing in the evening. His golden lamé overalls are so big that they look like a dress and are worn with a black dinner jacket.

Luxurious sportswear ready-to-wear design brands such as Y-3, Lacoste and Calvin Klein have also jumped on the bandwagon of this new trend. For instance, Calvin Klein’s resort range presents wide-legged trousers with T-shaped tops or Safari-style blazers.

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PRINTS GALORE Designer menswear collections for S/S 2014 present fun and fresh prints.

— Tjitske Storm

Author

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side from a vast assortment of flowers, tropical dandy styles, sixties pop graphics and abstract bold geometrics also appear in various menswear collections. Julien David’s casual streetwear look makes references to pioneering reggae artists by combining relaxed tropical palm tree prints with militant messages. A similar contrast between war and love is showcased at Prada, where movies like Pearl Harbor serve as inspiration for retro-Hawaiian prints lowered down with dark colored jackets. Light-hearted interpretations of tropical summers are seen at Calvin Klein, where images of color-gradient clouds are digitally printed on shirts and sweaters. And Katie Eary mixes comic pink flamingos with red leopard skins.

Raf Simons unveils an artificially flavored nature with his Sixties Pop-Art inspired prints. Elongated T-shirts made out of synthetic fiber show graphical statements in symbols and texts. A different type of geometric creativity is embodied in James Long’s collection. Streamlined tops with shifting vertical stripes capture the aerodynamic movement of cycling in a colorful way.

At Opening Ceremony, stripes are used to make abstract black/white patterns as well as asymmetrical color blocking.

These prints achieve an extra dimension through wrapped layer constructions inspired by the Korean technique pojagi. In an elegant way, designs with quirky and fresh polka dots appear in some collections ranging from Burberry Prorsum, Marni to KrisVanAssche. All executed in black and white, they create an effortless blend of sports with traditional classics. One of Marni’s designs demonstrates the most creativity, with dots placed on a layered jacket in a technically complex fashion.

Incorporating all kinds of flowers with other motifs into new modernity is a major feature showcased by many prominent designers. Moschino piles up strips of heritage prints which create patchwork looks with flowers, clouds, thunderbolts, water and earth all mix in. Bikkembergs implemented clear graphic stripes with a sporty touch to clash with romantically painted flowers, while Marc Jacobs plays it tender with soft little flowers. Elvis Presley Fifties style is revisited here in pastel colored suits with matching ties. In the 90’s revival of Christopher Shannon, cute mini flowers were sprinkled all over on shorts and shirts.

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TEN C

An excerpt from Inventory magazine, Issue 09

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Philip Watts Writer Rick Pushinsky Photographer

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n work, as in life, there is a tendency to repeat oneself — one’s errors, mistakes and missteps. To learn from those processes, to understand their significance and influence, is to move forward, to march into a future of purpose and promise. To use those same lessons to create something new, something significant, definitive and important, is frequently an exhausting endeavour the rewards of which, while distant, are often great. But how do you take everything that you’ve learned — the good, the bad, the other — and apply those lessons to something you already cherish, something that needs very little improvement in the first place? The only way is to make those changes anyway, no matter how small, and allow those adjustments to speak for themselves, free from the burden of the small things that were wrong with them.

Ten C, The Emperor’s New Clothes, is a collection of jackets by Paul Harvey and Alessandro Pungetti that offers an anonymous but important take on classic men’s sportswear. It’s outerwear that’s designed to last, not to be updated and replaced; that speaks for itself, by speaking quietly but with authority. There is an absence of extraneous detail, of bells and of whistles, and in their place there is minimalism and an emphasis on functionality. On a Ten C jacket everything works just the way it should — only everything works better than it should; everything refined, everything unnecessary removed — so that you’re left with the finite; the essential; the only jacket of its kind you’re likely to ever need.

For Paul and Alessandro the aim was to find the flaws in what they considered the definitive versions of their type, to examine each little detail, making things better by taking away as much as they added. The changes they made were only those that were absolutely essential, that would result in a better garment. They perfected the cut, and the necessities: the pockets, hoods, liners and the fabric itself. This fabric is the devil in the detail on a Ten C garment, the key ingredient to the jacket’s success, but also it’s most problematic element. A volatile and difficult material, it is everything about the jacket, once cut and fit have been taken into account. There is no camouflage and no embellishment here, nothing to hide any potential shortcomings, and instead the basics, the essentials, are left out in the open — ready to be held, and held accountable.

What was the initial thought process and inspiration behind Ten C? alessandro pungetti : We didn’t ponder or think

about it too much. It was a natural process for both of us really.

paul harve y : It was a very deliberate decision

though. We wanted to be very direct, and to take away the constraints that you suffer as a designer when you’re not actually doing your own line.

When you work for somebody else, the limits on anything you do usually lead to you being creative.

Which is a great lesson to learn, because when you have no limits, it’s actually very difficult.

When you have constraints it’s interesting to work around them. You’re bound by certain rules,

so you have to improvise, and that makes it interesting. Obviously those limits, when imposed from an outside force, mean that there are some things you can’t do, which can lead to frustrations. Alessandro and I wanted to do something for ourselves, and get rid of as many of the rules as we could — that every six months you have to make a new collection, that the pieces have to change completely, and that you have to throw everything away and start over. All those sorts of things we wanted to say, »No, it doesn’t have to be like this.« We wanted to work in an almost too truthful, too direct way. Strip it right down to what men’s sportswear is really about.

What about using the same fabric throughout the collection? ph : That really came from discovering this amaz-

ing fabric. Which I think was a little bit of masochism on our part! Alessandro had actually already tried using it on a couple of occasions within C.P. Company, but it had always been excluded because it was too dangerous. a p : It is a really difficult material, made by a Japanese company. The yarn is extremely interesting, because it’s completely different from any other material I’ve ever encountered. I really wanted to try to use it but that’s impossible at a larger company, even though it’s an incredible fabric.

Strip it right down to what men’s sportswear is really about

ph : It’s basically a jersey, similar to the fabric of

a T-shirt, but much, much heavier. Although it has its problems. They use as many polyester microfibres as possible to create it, and because the fibres are so fine they can’t actually weave them, so they stick them together in bunches instead. It’s composed of ten or twelve microfibres in each thread, and when we go and dye it, those fibres separate. It’s a knitted fabric, which makes things much more difficult. It’s not as stable as a woven fabric, and when we come to dye it we have shrinkages ranging from 2% to 15%. So every roll of fabric has to be tested at the beginning, the middle, and the end. If you’re working in big production, a brand like C.P. Company or Stone Island, you understandably don’t want that kind of problem. On top of all that it’s also very expensive. It’s one of those things that you usually try once, and even though the results are amazing, it’s too risky and you don’t touch it again. For some reason, we couldn’t let go of it, and wanted to try to find a way to make it work for us.

So what is it that really defines Ten C for you both; what is it that you want the garments to say to the person that picks them up for the first or thousandth time? ph : We would like them to take away something

precious, and something that they will treasure.

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We would like them to take away something precious, and something that they will treasure

ALESSANDRO AND I WANTED TO DO SOMETHING FOR OURSELVES

The Ten C business model is not sensible. It’s expensive, time-consuming, and goes against the traditional fashion industry standard. To produce something at great cost, and to charge a lot for it, is not playing to the rules in which the system abides — to produce as much as you can, as often and as cheaply as you can, for as much money as you can make from it. What the Ten C method does instead, is cater to the few that seek an alternative; those that appreciate fashion for all its design orientated innovation, but want something to last and to cherish.

Read the full version of this story in ISSUE 09 of INVENTORY

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That sounds really silly, but ultimately that’s the goal. We have every piece of the collection here, and every time you try something on, no matter how many times, you always think, »Fucking hell, this is amazing.« The idea of having something you love, something really precious to you, is really powerful, and that’s important to us.

One of the things that first inspired this whole thing was my grandmother’s wooden spoon, which is over a hundred years old now, and really reflects that whole idea. It’s just such a nice object, and it means the world to me, and what we want to do is to follow that idea in some way.

A lot of craftsmanship has disappeared over the years, and that’s a real shame. I have a carpenter I work with for example, who’s about sixty now, and he’s made four different wardrobes for me.

All the joints are still dovetailed; there’s some glue and occasionally a screw, but the whole thing just sticks together, and gets better and better over time. If you just take one drawer out and look at it, you think, »Fucking hell, that’s great.« And that’s the feeling we want Ten C to provide.

Maybe someone’s opening their own wardrobe in the summer, and they just touch a Ten C jacket there and think, »Wow, that’s great,« and they look forward to the weather turning so that they can wear it again.

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Taschendiebe ADRIAN PARVULESC Fotos CLAUDIA RECH Styling Verena Gillmeier Haare und Make-up Kajsa Blom Stylingassistenz Nicholas @ Indeed, Ella @ Izaio, Lian, Clemens Models Besonderen Dank an das Hotel Bogota und Joachim Rissmann

Breadandbutter winter 2014

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Breadandbutter winter 2014

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von links nach rechts Hemd und Hose von Dickies, Schal von AmericanApparel, Vintage-Mantel, Kette und Schuhe; Vintage-Jacke, Pullover und Schal, Schuhe von Monki, Hose von Nhu Duong Jacke von Cheap Monday; Hose von Nhu Duong, Kleid von Vaisslle, Tasche von Weekday, Jacke vonMTWTFSS/HE By Weekday Top, Rock und Korsett von Nhu Duong, Vintage-Schuhe Kimono von Monki; Hemd von Dickies Hemd von Dickies, Vintage-Pullover, Hose von Nhu Duong, Tasche von MTWTFSS/HE

By Weekday, Kette von Cheap Monday, Sonnenbrille von Carhartt Sweatshirt von Nike; Hemd von American Apparel, G端rtel von Weekday Collection, Vintage-Rock, Schuhe von Cheap Monday, Handschuhe von Nike Jacke von Carhartt; T-Shirt und Schal von American Apparel, Vintage-Mantel, Latzhose von Dickies; Jacke von American Apparel, Vintage-Schal Kimono von Monki, Halskette von Bershka; Hose vonNike Hose von Nhu Duong, Kleid von Vaisslle, Tasche von Weekday, Jacke von MTWTFSS/ HE By Weekday, Schuhe von Cheap Monday; Hose von Dickies, Jacke von Cheap Monday, T-Shirt von American Apparel, Vintage-Schuhe und Halskette Kimono von Monki, Halskette von Bershka; Hose von Nike Hemd von Dickies, Kimono von Monki, Leggings von Nike, Vintage-Top, -Socken und -Schuhe; Latzhose von Dickies, Hemd von Dickies, BH von Monki

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Press & News Although it’s important to stay true to the brand identity, it’s just as important to adjust and embrace the market that you are trying to penetrate.

Making it in America The Do’s and Don’ts of Doing Business in the USA

W

ith a population of well over 300,000,000 people, the United States has always been looked at by international fashion brands as the Promised Land. The thought process by many is, “If we can do 15 million euro throughout Europe, imagine what we can do in the U.S.” That, my friends, is the first and worst misconception about doing business in here in The States.

As with any market you are trying to break into, establishing your brand in the U.S. takes research and planning. The fact of the matter is, the American fashion market is very different from Europe and the wrong move can put you out of business.

To help you understand the market somewhat better, here are several points of consideration:

1

Population For one thing, of the 300 million+ consumers, 13% are males between the ages of 16–36 and 14% are females. Of those 87 million, you’ll be lucky if 10% are potential customers. Obviously these numbers have a margin of error and can skew up or down. Additionally, of the billions of dollars spent on apparel, only 10% of that is in the premium marketplace. The point being, that although the USA has the third largest population, only a small percent would buy your particular product.

2

Retail Landscape The retail landscape is much different in the U.S. While most of the European market is predominantly specialty store driven, the USA is made up of a mixture of independent specialty

stores, specialty store chains, department stores and mass merchants. In order to grow beyond $25 million in turnover, you need the department store business. And the department store business is an extremely difficult tier of distribution.

Business practices in the US include: shipping on consignment, looking for the smallest discrepancy in the order to charge you back and when product goes on sale (which is often far too early in the selling season), the brand needs to make up the margin the retailers are loosing.

These practices are mainly unheard of throughout Europe but are common in America.

3

Culture What sells on one continent does not necessarily sell on another. Lifestyles, body types and local customs reflect on what the consumer will and will not wear. Although it’s important to stay true to the brand identity, it’s just as important to adjust and embrace the market that you are trying to penetrate.

In addition to understanding the market you are getting into, you also need to adjust your way of thinking and doing business.

1. Think big but act small. Put your pride and brand arrogance aside and start small. There is no need for a big office, a large staff and your own warehouse facility.

2. Don’t hire your European buddy because he speaks your language. Bring in an experienced and well-regarded operator. A Managing Director from within the US that has the retail connections that can get your product placed and give you important feedback.

3. Hire yourself a U.S.-centric merchandiser that understands the market and consumer buying trends. If you find the right Managing Director, they can assume this role as well. But in either case you will need someone to help edit, adjust

and merchandise your collection to reflect an American mindset. Notice I didn’t say DESIGN. I’m not suggesting redesigning your collection.

I only recommend adjusting it, so the American retailer understands it and isn’t overwhelmed.

4. One of the biggest obstacles European brands have when coming to the U.S. is their production schedule. They typically close their wholesale season too early to take advantage of the extremely late buying that happens in the U.S. If you want to do business here and capitalize on the retailers delayed order placing, you need to be more flexible and extend your selling season.

5. Finally, be patient. It takes time and perseverance to conquer any new land. Start off small, build a strong specialty store distribution and grow within that tier of distribution. You need to have, at the very least, four complete seasons of shipping and selling in the specialty store market before even considering going into the department store business.

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There is no sure fire way to success but Preparation is the Mother of Victory and in order to succeed here you need to be patient, risk tolerant and trust and empower the people you put in charge of your brand.

Apparel Insiders is a business-to-business media company based in the US. With a unique editorial point of view published both online and in print, Apparel Insiders has become the new voice of contemporary sportswear industry. AI reports on and features the people, brands, stores and trends that are moving the fashion industry forward. Apparel Insiders is dedicated to championing the branded fashion business. www.apparelinsiders.com

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— by Gus Floris, Founder

Editor-in-Chief , Apparel Insiders

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BREAD & Butter This season sees contemporary trade show bread & butter return to Berlin’s Tempelhof Airport, presenting a selection of brands across the denim, sports, street and casual sectors. mwb takes a look at what autumn/winter 2014 has to offer.

JUNK DE LUXE Since its acquisition by Danish fashion company Minimum earlier last year, Junk de Luxe has undergone a restructure, and will be showcasing its latest collection at the a/w 14 edition of the show. With a dedicated focus on the wholesale market for the new season, the brand has developed a more premium quality, where finer detail is key. Inspiration is drawn from creativity, art, music and historical buildings, with chunky knits, leather jackets, front prints and Liberty fabrics all standing as highlights of the new range.

WEEKEND OFFENDER Returning to the Berlin show for the second consecutive season, Weekend Offender will present both its Mainline and Category A collections.

While the lines are different in design, both contain the brand’s signature crisp shirting and popular parka outerwear. Textured knitwear is key, with technical fleece garments featuring contrast nylon pockets and trims. A popular print throughout is paisley, seen on collars and panel detailing, while the label’s logo has been revamped for the new season in a navy and cream colour palette to create a more polished feel.

ORIGINAL PENGUIN Taking inspiration from mountainous terrains, Original Penguin presents a collection worthy of any adventure. Buyers can expect selvedge five-pocket denim and indigo bombers, layered with waffleknit Henleys. Cotton sweatshirts contrasted with print-chested pockets and shawl-collar cardigans, meanwhile, add sophistication. Moving through the season, the collection sees two colour palettes – a rich mix of tomato, coral and plum, followed by brighter options in turquoise and crimson.colour palette to create a more polished feel.

DUCK AND COVER British label Duck and Cover does what it does best this season, using Bread & Butter as the platform to showcase its a/w 14 collection of outerwear and knits, alongside tees, denim and accessories.

Drawing inspiration from ship building, oil-rig workers and welders, workwear influences can be seen throughout, with key styles including multi-pocket outerwear, MA1 models and padded jackets with detachable linings. Combi textures modernise the collection, as knitwear is teamed with melton and leather while fur hoods are partnered with rubberised trims.

TIMBERLAND The focus for Timberland this season is on versatility, bringing the great outdoors into the city.

Focusing on style that is rugged, refined and, of course, sustainable, the brand’s footwear collection features weather-ready two-tone boots through to trend-led suede sneakers. Timberland’s apparel range, meanwhile, focuses on refined styling with functional detailing. Supple leather jackets, tailored blazers perfect for layering and heavy-weight outerwear options create a musthave winter outerwear offer.

ELVINE Winter is the season when Swedish label Elvine really comes into its own, and a/w 14 is no different. Designed under the ethos that jackets “should be warm, functional and refined”, the latest drop features bomber jackets through to parkas with fur-lined hoods. A muter colour palette, meanwhile, sees variations of grey, black, blue, wine and orange.

ORIGINAL PENGUIN

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Anerkjendt Scandinavian label Anerkjendt returns to the show this season with a range of signature designs – the focus firmly on print, yet with a clean silhouette. Highlights of the a/w 14 collection include a series of sweatshirts, with heavy washed front prints and printed sweats. Shirting, meanwhile, will see an update with a series of intricate prints in an autumnal colour palette of browns, blues, deep green, dark blue, army green, black, grey and white.

ELEVEN PARIS French brand Eleven Paris will be returning this season with both its men’s and womenswear offer. Retaining its signature Parisian design ethos – simple, classic wardrobe staples with a trendappropriate twist – the brand continues to develop its many sub-divisions. Spanning apparel, footwear, accessories and charity collaborations, key campaigns include the Movember x Eleven Paris T-shirt capsule collection.

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ELVINE

Anerkjendt

WEEKEND OFFENDER DUCK AND COVER

ELEVEN PARIS

TIMBERLAND

JUNK DE LUXE

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Breadandbutter winter 2014

DJs at work Creativity can proceed through unexpected hybridization paths. Liam Maher, design director of Denham, believes in the importance of mixing elements from different decades, countries and segments just like a DJ with his own mix.

— by Maria Cristina Pavarini

Editor

L

ast year Liam Maher, design director of the Dutch brand Denham the Jeanmaker, participated the event-exhibition “The Hard Graft: DJ Technique Applies to Menswear” he worked on with Sam Lambert & Shaka Maidoh, founders of A.C.F.-Art Comes First. The initiative was so successful that it also moved around the world and was presented at different trade shows and in several cities. For these events Maher’s creative process is reminiscent of a DJ at work: “I have often felt that designing menswear has many similarities with what a DJ does when remixing standards from music genres such as jazz and pop. A menswear designer has to try and harmonize the most potent influences from his vintage research into a single contemporary concept”, he says. Thus he presented single

items or outfits that can include elements taken from different products, segments, countries and decades.

Maher and his team produced a selection of pieces inspired by different singers and genres all expressing different zeitgeist together.

Through the process actual garments were disassembled and reassembled into new clothing concepts that mixed past legends of music with contemporary pioneers such as, for instance, Thelonius Monk, Miles Davis, Dizzy Gillespie, Chet Baker, Jimi Hendrix, Billy Bragg, Bob Gedolf, Ian Dury, Peter Murphy, Robin Gibb, Matisyahu and Yasijn Bey. Maher generally appreciates how an item can be dissected, hybridized and symbolically restitched: “In one piece, for instance, I happened to combine a 1960s rocker style biker jacket sourced during a holiday in Edinburgh, a 1990s calfskin shirt bought as new in Amsterdam, a WWII British Navy cap patch sourced during a business trip to the UK and a deadstock corduroy

workwear waistcoat bought at Clignancourt in Paris. In that piece I had stitched together four stylistic areas, three cultures, one world war and a myriad of personal memories—as I had done for almost every item of our DJ Technique events”.

When designing for Denham Maher follows similar paths: “My work at Denham is more sharply focused on our brand’s roots in workwear and utility ideas but the process is very much the same”, he says. “I start taking inspiration from the naturally rich historical narratives of the past through our vintage research archive–the DGL (Denham Garment Library) and the lessons of our predecessors sometimes buried within these garments. I then try to weave those together with more modern characteristics relating to the energy, optimism, speed and dynamism we associate with the future.”

Music plays a key role at Denham–founder Jason Denham has a passion for it and often signs collaborations with interesting music personalities

such as British musician and producer James Lavelle. Though the brand prefers to focus on sources that resonate with a rebellious spirit of invention. Maher continues: “Each season we work with thematic motifs. Over the years we have been inspired by a wide range of things; early zeppelin travel, arctic submarine exploration, 1940s film noir, Japanese music festivals and similar ideas… But we always begin with vintage research and then work to create progressive new ideas. In fact our mantra is: ‘Worship tradition but destroy convention’”. He adds: “Worshipping tradition is important because it teaches us how crucial is quality, although we don’t want to look backwards every day. I believe that it is also important to destroy conventions.

This way we can create modern contemporary garments with a genuine sense of history”.

And what about the future evolution of the denim and sportswear market? “If we can deliver products that are both 100% useful and 100% meaningful for people, the market should evolve in a very cool way”, he says.

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About Liam Maher Maher is the great grandson of an Irish tailor, son of a professor and nephew of a comic book artist. His early career included directing global creative for Timberland and Burton Snowboards. While working for Oilily (2001–2008) as creative director he also consulted for Hiroki Nakamura’s Visvim during the brand’s inception and contributed to Joe Corre and Simon Armitage’s A Child of the Jago during the label’s launch phase. His own Young Meagher & The Militant Guild of Rural Tailors project was featured in Tokyo, New York and Los Angeles. He joined Jason Denham in 2008 as he was forming the Denham brand and still serves as the label’s design director.

Left page, f. l.: Denham designer Liam Maher, Shaka Maidoh and Sam Lambert, the founders of the exhibit “the hard graft: dj technique applied to menswear” this page: pieces from the exhibition

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Visit us at our Booth at Urban Base!

About Denham the Jeanmaker — Founder: Jason Denham — Founded: 2008 — Monobrand stores: Eight (four in Amsterdam, one in London

and three in Japan–two in Tokyo and one in Osaka) — Wholesale doors: 400 — Key markets: Netherlands, Germany, UK and Japan — Growing markets: Belgium, Italy, Scandinavia and working

with key retailers in Asia and Australia — Domestic sales: 47% of the total 2012 sales — Export: 28% from EU and 25% from rest of world (mainlyJapan) — New product: Category 5, a classic five-pocket jean available

in four fits for both men and women characterized by progressive

washes and inspired by the brand’s own archives

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pr ess & NEWS — by Eric Musgrave

+44 7702 628848

eric.musgrave@emap.com

B

read&Butter will be celebrating its 13th anniversary in July this year, but Drapers is slightly ahead in seniority — on August 6 2014 the renowned British B2B title will rack up 127 years of serving its community.

The creation of a Victorian publishing entrepreneur (who also founded the Financial Times in 1888, the year after the first appearance of The Drapers’ Record, to give it its correct original title, Drapers has developed and changed along with the industry it has informed so well. And in this digital age it continues to do so, with drapersonline.com and a busy programme of awards, conferences and networking events complementing the weekly magazine. Both the site and the printed publication were given a new look at the beginning of this year.

The magazine has had a very close supportive relationship with BBB ever since the debut show in Cologne way back in July 2001. The magazine was called Drapers Record in those days, but Drapers was created in October 2002 by the merger of Drapers Record and its brother publication Menswear. That move was overseen by editorial director Eric Musgrave, who sees considerable similarities between the work of a trade paper and a trade show. “We both exist to bring together the fashion community, to share information and views, and to give a lead to new directions. Drapers mainly does this in two dimensions, while Bread&Butter does it primarily in 3-D. It’s been great to be associated with this amazing event for more than a dozen years.”

For most of its existence BBB has attracted more important British brands and more significant British buyers than any show in the UK. Drapers has played a pivotal role in establishing the show’s

Drapers

Breadandbutter winter 2014 reputation and credentials. Its coverline from 26 July 2003 — Berlin Rocks! — perfectly summed up the mood of the early shows in the German capital.

Drapers was slightly sceptical about the move to Barcelona in July 2005, but it was one of the first to report on the brilliant reaction to this exciting move. As the fair was such a massive collection of the jeanswear-streetwear world, Drapers used it to research in-depth reports of upcoming trends.

At the July 2011 show, the editorial team from London descended on Tempelhof and shot its entire special streetwear supplement using exhibitors as the best models for their own clothes.

It was a great manifestation of the synergy between the industry, the fair and the magazine.

After leaving Drapers in 2006, Eric Musgrave spent seven years as a freelance writer and contributed a couple of times to the BBB Tradeshow Guide. Using experience gained working for Sportswear International in the 1980s and 1990s, he wrote a long piece about the Urban Superior phenomenon for the January 2012 show and about the denim market for the July 2012 edition.

He was spotted on the Candiani stand at the Temple of Denim that season selecting his customised jeans.

After a break of seven years and seven weeks, Musgrave returned to Drapers as editorial director in July 2013 and is now looking forward to adding to his large collection of BBB lanyards and ID cards. “It’s interesting to see BBB adapting to changes in the market, just as Drapers is doing with its new look for the magazine and the website. Like the fair, our work will never be done, it will never be finished, we just have to keep analysing what our community wants and delivering it.”

To highlight streetwear trends for the upcoming season, Drapers fashion team of Graeme Moran and Emily Norval did an excellent edgy shoot in London with photographer Leonn Ward, examples of which we show here. As usual, the Drapers team will be at BBB in force this season.

“I’d like to see brands and buyers uniting behind Karl-Heinz Miller and his talented gang as we have all had some great times at Bread&Butter.

Let’s hope they continue for many years to come,” says Musgrave.

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Karl-Heinz Müller di Bread & Butter aprirà il salone al pubblico a partire dall’edizione di luglio 2014. Intanto a Berlino l’effetto domino è già cominciato

— Elena Azzola

Autrice

destando scalpore ma anche generando proseliti, in alcuni casi già da questa tornata di moda nella capitale tedesca.

I

CINQUE GIORNI AL POSTO DI TRE E AL VIA I PUBLIC DAYS Ma partendo da Bread&Butter, il programma al Tempelhof a luglio 2014 sarà articolato su cinque giorni, anziché sui canonici tre: il primo (l’8 luglio) sarà dedicato alla stampa, nei due giorni successivi (9 e 10 luglio), definiti “professional days”, gli interlocutori saranno i compratori e i dettaglianti e, infine, negli ultimi due (11 e 12 luglio), i cosiddetti “public days”, la manifestazione si aprirà al pubblico. La suddivisione delle giornate in base al target di riferimento non sarà rigida: i rappresentanti dei media e gli operatori professionali potranno infatti visitare la fiera durante tutti e cinque i giorni di svolgimento. Invece il consumatore finale sarà accolto solo nelle due giornate conclusive, in cui si concentreranno, tra l’altro, concerti ed eventi. Per il pubblico il biglietto di entrata giornaliero sarà di 25 euro. Per gli addetti ai lavori la policy di ammissione rimarrà invariata, ossia gratuita per tutti i professionisti il cui business è strettamente legato a BBB e di 500 euro per coloro che invece utilizzano questa piattaforma per andare a caccia di clienti. «Non si venderà al consumatore finale», chiarisce Karl-Heinz Müller, che vuole assolutamente evitare di entrare in rotta di collisione con i dettaglianti. Tuttavia, le aziende potranno mostrare le nuove collezioni o quelle in arrivo nei negozi agli appassionati di moda durante i “public days”. Per gli espositori il prezzo al metro quadro degli stand sarà ritoccato, passando da 380 a 400 euro al giorno.

«Le fiere tradizionali non bastano più - afferma Müller -. I consumatori oggi sono in grado di dare stimoli all’industria del fashion: sono loro la chiave di volta e i brand desiderano entrare direttamente in contatto con loro».

ch bin ein Berliner” (“Io sono un berlinese”): con questo slogan, che riprende la famosa frase pronunciata da John F. Kennedy in visita ufficiale a Berlino Ovest nel 1963, parte una nuova edizione di Bread&Butter, il salone dello sportswear e della moda giovane, di scena dal 14 al 16 gennaio al Tempelhof. Un percorso articolato nelle sezioni Urban Base, D.O.C.K., Urban Fashion, Urban Superior, Treasury e L.O.C.K. con Fire Dep. at L.O.C.K., per un un totale di circa 500 marchi in mostra. Una realtà espositiva che ha fatto molto parlare di sé nelle ultime settimane, a causa della decisione di aprire al pubblico dalla seconda edizione del 2014. Il suo artefice, Karl-Heinz Müller, è abituato, per la verità, ad attirare attenzioni e polemiche su di sé: è da sempre un innovatore, da quando lanciò questa rivoluzionaria piattaforma (a metà strada tra l’appuntamento di business e l’happening, dove divertirsi e trovare ispirazione) a Colonia nel lontano 2001, a quando decise di trasferirla a Berlino nel gennaio 2003, intuendo le potenzialità di una città giovane e affascinante, ancora completamente digiuna in fatto di moda. Ci fu poi l’alternanza “stagionale” con Barcellona (dal 2005 al 2007). Quindi il trasloco in via esclusiva nella capitale della Catalogna (dal 2007 al 2009) e, infine, il ritorno in grande stile a Berlino, nella scenografica location del Berlin-Tempelhof Airport. Ora, un altro decisivo punto di svolta per la “creatura” di Müller: il salone “a porte aperte”, a partire dalla prossima edizione di luglio. Una decisione motivata dai cambiamenti in atto nell’assetto distributivo e non solo. «Molti marchi mostrano sempre meno interesse a presentarsi esclusivamente al canale wholesale - afferma Müller -. L’aumento delle catene verticalizzate, dei monomarca e degli shop online ha spostato progressivamente il focus di molti partecipanti verso l’ultimo anello della filiera distributiva: il consumatore finale». Müller è critico anche verso la piega che ha preso la moda nella città del Muro. Il fondatore di Bread&Butter vede il pericolo che Berlino diventi una sede anonima di manifestazioni sul fashion, dopo che numerose organizzazioni e fiere si sono insediate qui, cavalcando l’onda lunga del successo ottenuto dalla più recente delle capitali internazionali dello stile.

«In questo modo si è arrivati a un punto di saturazione anche a Berlino - commenta Müller -. Si pesca tutti nello stesso stagno e quasi nessuno ha un profilo ben definito». Di qui la voglia di rimescolare le carte con una nuova formula, che sta

ALTRI ATTORI SONO PRONTI A RACCOGLIERE LA SFIDA “Global hub of modern lifestyle” è la definizione più calzante che il guru di Bread&Butter trova per spiegare questo nuovo, inclusivo format, che si rivolge a tutti gli anelli della filiera. «Sebbene ci siano alcune realtà che mi hanno comunicato di voler riconsiderare la loro posizione, non sto facendo questo per riportare i big brand a Bread&Butter, come alcuni dicono», chiarisce il managing director della kermesse. Le reazioni al nuovo corso da parte dei rappresentanti del settore sono state infatti di segno diverso, ma nel complesso positive. Quello che è certo è che

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Berlino città aperta

l’iniziativa ha determinato un effetto domino: il salone Panorama, che ha debuttato un anno fa nel nuovissimo Berlin ExpoCenter Airport a Schönefeld, si è detto pronto a istituire un “consumer day”, mentre Img, che organizza la Mercedes-Benz Fashion Week Berlin, già da questa edizione apre per la prima volta al pubblico la tensostruttura alla Porta di Brandeburgo il 18 gennaio, in occasione della sfilata “Shop the Runway presented by Fashion ID”. Un’idea sviluppata insieme a Peek & Cloppenburg Düsseldorf e al suo e-store Fashion ID. In pedana verranno presentati i look della prossima stagione estiva di marchi come Marc Cain, Marc O’Polo, Sir Oliver, Gant e Napapijri, che pochi giorni dopo saranno in vendita nei negozi P&C, così come sul sito del retailer. Le distanze si riducono sempre più, dunque, tra il fashion system e i cosiddetti “consumatori-attori”, le cui scelte d’acquisto partono da una nuova consapevolezza.

Karl-Heinz Müller e, in seconda battuta, altri berlinesi se ne sono accorti prima degli altri.

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L’ADN des marques au coeur d’un nouveau marché 2014 se lève, et avec elle s’enclenchent de nouveaux modes de consommation. Des stratégies de marque aux collaborations mode, en passant par nos nouvelles façons d’acheter, les codes ont changé et le marché a évolué.

Et pour s’intéresser davantage aux nouveaux phénomènes gravitant autour de notre quotidien, nous nous sommes intéressés à l’avis de Bruno Collin, co-fondateur du WAD. En effet, fort d’une vaste expérience de l’univers de la mode, Bruno bénéficie d’une maîtrise des codes du milieu et d’un recul suffisant afin de juger ces transformations, et de partager sa vision des choses.

Aujourd’hui, les marques vivent un tournant dans leur stratégie de communication et de création. L’heure n’est plus à la prolifération et à la multiplication de collections et de produits en tout genre, et ce pour de nombreuses raisons dont la plus importante semble être la période de crise que nous traversons. En effet, les consommateurs vivent cette période comme une occasion de se recentrer sur l’essentiel et de trouver refuge dans des valeurs sûres et réconfortantes. Un état d’esprit que les labels de mode ont bien compris, et qui les pousse désormais à un retour aux sources, en se concentrant sur leur ADN et leur histoire. De la sorte, le label Edwin travaille corps et âme sur ses jeans à la toile japonaise haut de gamme. Connue depuis 1947 pour son authenticité, son savoir-faire et ses valeurs éthiques, la marque de denim renouvelle ses collections par le biais de diverses techniques de délavage bien spécifiques. L’enjeu est donc celui-ci, fusionner la tradition et la modernité, provoquer la rencontre entre patrimoine et innovation, le tout sans perdre l’essentiel, et sans se perdre soi-même en tant que représentant d’une marque aux racines profondes. Aussi l’exemple de marques comme Aigle ou Timberland coule de source. A l’origine de basiques forts qu’elles ont su revisiter à travers les années, ces marques reviennent aujourd’hui sur le devant de la scène après avoir cultivé leur singularité.

Il faut dire que l’on voit au loin le rideau se refermer sur le règne de la sneaker. Et celle qui semble tirer son épingle du jeu, c’est la botte. En cuir, en daim ou en caoutchouc, son style authentique séduit, mais pour autant ici le risque est le même, et pour innover au-delà des acquis, les boots deviennent hybrides, et intègrent l’allure de la basket. On retiendra notamment l’exemple du modèle Burford par Onitsuka Tiger, présentant une bottine dans une sneaker ou une sneaker dans une bottine. Dolfie et Dr Martens se sont aussi prêtées au jeu avec brio, à travers une bottine à franges aux inspirations indiennes pour Dolfie, et une bottine en cuir métallique argenté et à la semelle façon basket chez Dr Martens.

Ainsi, l’identité de la marque reste présente, tout en proposant un produit nouveau et davantage destiné à l’univers urbain. Ce qui est ici remarquable du côté du footwear se retrouve alors dans le vêtement chez Diesel, à travers sa ligne de Jogg Jeans. Des plus novatrices, les pièces de cette gamme se veulent aussi confortables qu‘un jogging, tout en gardant l‘esthétique du denim. Mais la marque ne s‘arrête pas là en terme d‘innova-

tion. Avec ses jeans à la technologie 3D, Diesel revisite ses modèles traditionnels en les dôtant d‘une technologie exclusive, à l‘esthétique inédite et préformée et à la texture améliorée. En effet, ces jeans sont conçus comme s‘ils avaient déjà été portés, apportant confort et style nouveau.

Diesel démontre une prouesse stylistique dans sa démarche, en inscrivant ses évolutions dans le temps tout en préservant son marché.

Un autre point primordial aux yeux du co-fondateur du WAD, ce sont les relations entre les différentes marques. Le succès d‘une marque devrait aujourd‘hui se déceler à travers sa complémentarité avec une autre. En effet, au-delà de la concurrence, les labels doivent désormais songer à unir leur expertise et leur singularité au profit d‘un nouveau marché urbain, plus riche et diversifié. D‘où l‘importance des collaborations entre labels, comme Champion x Supreme, BWGH x Puma, ou encore Herschel x New Balance, pour n‘en citer que quelques unes.

Ces partenariats mettent en avant une reconnaissance commune et une envie de fusionner les divergences jusqu‘à sortir des frontières. Si l‘on considère la contribution de Jérémy Scott pour Adidas, il va s‘en dire que le créateur a apporté un élan créatif à la marque de sports, l‘élevant au rang de marque de mode à part entière grâce à une distinction entre deux lignes : Adidas Originals, gamme plus pointue, et Adidas Performance, dédiée au sport. Aujourd‘hui, la marque de sport s‘associe au créateur belge Raf Simons pour l‘élaboration de sneakers, aux lignes et aux couleurs démentielles. Une manière de mixer les influences et les domaines d‘expertise, pour ce créateur imprégné dans le domaine du luxe, mais avide d‘individualité et inspiré par le quotidien conflictuel des ados. Aller au-delà de ce que l‘on connait, voilà un exercice auquel se sont prêtées d‘autres marques et dans d‘autres circonstances. L‘on assiste aujourd‘hui à une mode beaucoup moins unisexe qu‘auparavant, avec une distinction homme/femme forte. Les collections femme et les collections homme ne sont donc plus qu‘une simple adaptation de l‘autre, mais chaque ligne se veut pensée et conçue en pensant spécifiquement au client, et donc au genre. Aussi, G-star, marque initialement masculine, développe aujourd‘hui de plus en plus sa ligne womenswear, tentant de rompre son image de marque 100% masculine, alors qu‘Eleven Paris arrivait en 2003 avec deux collections spécifiques pour l‘homme et pour la femme. On constate alors cette particularité chez les jeunes labels, une distinction immédiate du genre, avec des collections adaptées à chacun.

Finalement, cultiver les différences entre deux univers permet de mieux laisser éclater au grand jour leurs similitudes et de les valoriser, créant de nouvelles perspectives et révélant de nouveaux points communs en partageant l‘essence de chaque marque. En un sens, la vague de collaborations que l‘on constate aujourd‘hui répond à un phénomène de mouvement dans les tendances.

Des tendances qui, au lieu d‘aller et venir, perdurent et se réinterprètent de multiples façons, en puisant toujours dans la tradition et l‘authenticité de chaque maison. Si l‘imprimé léopard

n‘est aujourd‘hui plus associé aux filles de petite vertu, l‘imprimé camouflage a également renversé les barrières et n‘est plus réservé au milieu militaire. En effet, le léopard a retrouvé ses lettres de noblesse grâce à la toute première collaboration entre Adidas et Jérémy Scott en 2001. Les joggings et track jackets aux imprimés léopard ont ainsi marqué l‘époque et donner de la crédibilité à la marque, tant la popularité de Jérémy Scott est, à cette époque, flamboyante. Une collaboration réussie lorsque l‘on considère que le partenariat entre les deux marques ne cesse de se renouveler, proposant des collections toujours plus folles. Du côté du camouflage, c‘est Carharrt le maître de l‘imprimé. Revisité de manière tantôt graphique, tantôt colorée, la marque lui confère un terrain de jeu beaucoup plus vaste que le simple domaine militaire, en lui offrant le statut fort de „tendance“.

Pour autant, avec l‘ampleur qu‘ont pris les réseaux sociaux et le monde digital, les tendances fusent et se veulent plus vastes, donnant aux marques du fil à retordre.

Avec un marché bousculé par internet, la communication n‘a jamais été autant à l‘honneur, et chaque label se doit de relever le challenge d‘un beau support médiatique, pensé et travaillé à l‘image de son univers, afin de diffuser son actualité de la manière la plus cohérente. Ainsi, les marques se détachent de plus en plus des bureaux de presse multimarques pour gérer elles-même leur communication, en s‘alliant par exemple avec des photographes ou des magazines pour alimenter leur propre média. Bien sûr, ces partenariats ne sont pas les seuls couronnés de succès, ce qui fonctionne particulièrement bien à l‘heure actuelle, ce sont les réseaux sociaux.

Aussi des marques comme Lacoste ou Levi‘s comptent plus de 12 millions de followers sur facebook et 400 000 sur twitter. Un record de chiffres impressionnant qui démontre alors l‘enjeu d‘une bonne relation avec ses clients. Car aujourd‘hui, alors que tournent les blogs de mode et les galeries de looks comme Lookbook.nu, la mode se doit de travailler au plus près de ses consommateurs. Des consommateurs soucieux de leur image, mais après tout quoi de plus primordial lorsque l‘on sait que l‘issue d‘un premier contact avec une nouvelle personne repose dans l‘apparence physique, et de surcroît dans le message passé via sa tenue vestimentaire ? Chacun s‘approprie alors les codes d‘une maison, rema-

nie les pièces d‘une collection selon sa façon d‘être et personnalise ainsi au maximum son look final, mixant des marques de masse à des marques de luxe, sans oublier les labels street et urbains.

A l‘heure où tous les styles se mélangent et où l‘on aspire à se créer son propre look, la réalité du marché est telle que le consommateur, plus que jamais, est roi. Un statut que les salons professionnels ont bien compris, comme le Bread and Butter qui s‘ouvrira dès l‘été prochain au grand public, pour le plus grand plaisir des consommateurs avertis et curieux, désireux de connaître en avant-première les futures tendances et d‘anticiper leur tenue de demain.

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Eigentlich wollte er die weite Welt sehen und nicht nur den Familienbetrieb, doch schon früh war klar, dass Alberto Candiani eines Tages die Jeans-Fabrik seines Vaters übernehmen werde.

Wie er seine Rolle trotzdem gefunden hat und welche Visionen er für die Branche hat, erklärt er im Interview.

„Ich musste den Mitarbeitern erst einmal beweisen, dass ich auch in der Lage bin, das Unternehmen zu leiten, und dass ich mehr kann, als nur der CandianiSohn zu sein.“

„Der Anfang war ein Albtraum“ —

—

Franziska Klün Interview Katharina Poblotzki Fotos

H

err Candiani, Sie sind erst 31 Jahre alt und gelten bereits als einer der führenden DenimExperten weltweit. Wie macht man das?

Meine Erfahrung reicht ja auch schon ziemlich weit zurück! Ich bin wortwörtlich in einer Denim-Fabrik geboren und aufgewachsen, die Häuser meiner Familie stehen auf dem Gelände von TRC Candiani. Als Kind spielte ich mit Baumwolle, ich habe immer in dieser Umgebung gelebt. An dem Tag, als ich meinen Universitätsabschluss feierte, feierten wir auch meinen Einstand bei TRC Candiani.

Nicht einmal für eine Woche wollte mein Vater mich gehen lassen. Insofern liegt meine Expertise in meiner DNA.

Hätten Sie auch ausbrechen und etwas komplett anderes tun können? Hatten Sie eine Wahl?

Leider nein. Am Anfang war das ein Albtraum, schließlich wusste ich lange nicht, ob es mir gefallen wird, eines Tages die Fabrik meiner Familie zu übernehmen. Ich fand Jeans immer gut, aber es war keine große Leidenschaft damit verbunden. Ich bin kein Denim-Fanatiker oder so. Ich interessiere mich für viele andere Dinge — Technologie, Kultur, insbesondere Musik.

Ich habe immer selbst Musik gemacht. Erst als DJ, doch als es plötzlich cool wurde aufzulegen und das alle machten, musste ich rebellieren—also habe ich eine Band gegründet, „Army of the Universe“. Uns gibt es weiterhin, wir touren und sind vor allem in Amerika bekannt.

Und als es dann bei Candiani ernst wurde und ich dort anfing, gefiel es mir plötzlich doch.

Sie waren 28, als Sie die Firma übernahmen.

Fühlten Sie sich je zu jung für dieses große Erbe?

Nein, nie. Aber der Prozess der Übernahme ist auch noch nicht abgeschlossen. Mein Vater ist weiterhin Vorsitzender des Unternehmens —

und das ist gut so. Er ist noch präsent in der Firma und löst sich gleichzeitig emotional immer mehr davon.

Viele Ihrer Mitarbeiter arbeiten ihr Leben lang bei Candiani, selbst deren Eltern waren bei Ihnen angestellt, voraussichtlich werden ihre Kinder dort arbeiten. Wie wurden Sie aufgenommen?

Ich musste mich in der Firma erst einmal positionieren, neue Ideen entwickeln und den Menschen beweisen, dass ich auch in der Lage bin, das Unternehmen zu leiten, und dass ich mehr kann, als nur der Candiani-Sohn zu sein.

Die erste große Veränderung unter Ihrer Leitung?

Die Art und Weise, wie wir unsere Stoffe präsentieren, haben wir verändert. Wir zeigen unsere Materialien nun in Kleiderform, was bei den Designern sehr gut ankommt. Nachdem uns das alle anderen Jeansfabriken nachgemacht hatten, beschloss ich, ins Marketing zu investieren. Anfangs glaubte ich, das selbst in die Hand nehmen zu können. Doch ich merkte schnell, dass das nicht funktioniert, und holte

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„Handwerk und Industrie sind keine Gegensätze mehr, und wir repräsentieren das meines Erachtens ziemlich gut.“ Simon Giuliani zu uns. Er ist ein absolutes Marketing-Genie.

Wenn Sie das Erbe betrachten, das Sie angetreten haben, worauf sind Sie besonders stolz?

Anfang der 00er-Jahre als es der Wirtschaft unglaublich gut ging, brach in der Denim-Branche eine neue Ära an. Schöner Stretch-Denim war damals noch sehr schwer zu finden. Der größte Erfolg meines Vater und der Firma war es, einen solchen zu entwickeln. Damit wurden wir berühmt, die Nachfrage war riesig. 2004 verdoppelten wir unsere Kapazitäten, investierten eine Menge Geld. In der gleichen Zeitspanne, in der wir vor zehn Jahren 40 Einheiten produzierten, produzieren wir heute 300. Unsere Erfolgsstrategie ist es, immer zu versuchen, so innovativ wie möglich zu bleiben. Und das führe ich so weiter.

78 Prozent der Candiani-Ware ist StretchDenim. Gab es je die Befürchtung, Stretch könnte bloß ein Trend sein?

Viele dachten das und gingen davon aus, dass das Material wieder verschwinden wird. Wir aber glaubten dran und heute produzieren wir jede mögliche Form von Stretch. Als wir Ende der 90er damit anfingen, war der Bereich eine gigantische Marktlücke: Stretch, der gut aussieht und bequem ist, gab es einfach nicht. Gleichzeitig änderten sich die Ansprüche der Frauen: Jeans wurden zu einem Fashion-Item, das spielte uns gut zu.

Sie haben TRC Candiani mal als überdimensionierten Handwerksbetrieb bezeichnet. Wenn wir uns bei Ihnen so umschauen, stehen hier aber doch eine ganze Menge Maschinen.

Es heißt immer, der Handwerksbetrieb sei der Feind der Industrie und andersherum. Ich glaube, das stimmt nicht mehr. Wir sind ein gutes Beispiel dafür, wie man Industrie und Handwerk verbinden kann. Bei uns arbeiten 650 Leute, knapp 40 Prozent von ihnen kenne ich persönlich, die meisten stammen aus der Gegend hier. Ich führe das Unternehmen in der vierten Genera-

tion, alles ist familiär und vertraut. Natürlich haben wir große Maschinen und Roboter und all das, gleichzeitig ist der menschliche Aspekt sehr präsent. Handwerk und Industrie sind keine Gegensätze mehr, und wir repräsentieren das meines Erachtens ziemlich gut.

Auf einer Denim-Konferenz sagten Sie kürzlich: „Die Lücke zwischen Innovation und Nachhaltigkeit wurde endlich geschlossen.“ Was meinen Sie damit?

Wir leben heute in einer Zeit, in der es um bewusste Herstellungsverfahren geht, ich nenne das „Conscious Making“. Vor zehn Jahren konnten wir noch keine Produkte herstellen, die nachhaltig und beispielsweise aus recycelter Baumwolle waren und gleichzeitig genauso gut aussahen wie alle anderen Jeans. Heute geht das. Die Lücke, über die wir sprechen, wird auch kleiner, weil die neuen Technologien nachhaltiger sind. Im Färbeprozess kommt man beispielsweise mit sehr viel weniger Wasser und weniger Chemikalien aus.

probiert. Dennoch sind das für mich keine Neuigkeiten. Seit langer, langer Zeit weiß ich, wie viel Schmutz die Mode produzieren kann. Aber in Europa, Amerika, auch in der Türkei, Tunesien, Marokko und Ägypten arbeitet niemand mehr mit den veralteten Techniken, die in diesen Filmen gezeigt werden.

Niemand? Da habe ich aber von anderen Beispielen gehört. Natürlich gibt es Ausnahmen und überall findet man irgendwelche Idioten, die die Regeln nicht verstanden haben. Denim wurde sehr schnell sehr populär, als man mit den Waschungen anfing. Viele wussten anfangs nicht, wie sie die Prozesse am besten handhaben, was wiederum zu einer enormen Wasserverschwendung und dem Missbrauch von Chemikalien führte. Aber heute ist die Situation in vielen Ländern eine andere. „Die Medien sollten nicht nur auf die Bad Boys der Branche zeigen, sondern auch klarstellen, wie gut es laufen kann.“

Aber sehr wenige Fabriken machen Gebrauch davon. Der Wandel geschieht langsam und er ist nur in wenigen Ländern zu beobachten, das stimmt. Besonders in Italien müssen wir mehr auf unsere Umwelt achten. Und damit meine ich nicht nur die Natur, sondern auch die Arbeiter, deren Arbeitsverhältnisse und deren Sicherheit.

Unsere Kunden wissen, dass sie uns vollkommen vertrauen und sich auf uns verlassen können.

Trotz des allmählichen Wandels gilt das Jeansgeschäft noch immer als eine der schmutzigsten Industrien der Welt. Immer wieder sieht man im Fernsehen Dokumentationen über chinesische Produktionsfabriken. Die Bilder vermitteln das Gefühl, man dürfte eigentlich nie wieder eine Jeans kaufen. Hatten Sie jemals grundlegende Zweifel, in der falschen Branche gelandet zu sein?

Nein, das hatte ich nie. Natürlich schockieren solche Filme die westliche Welt und natürlich verändern sie das Bewusstsein, wenn man das nächste Mal in einem Geschäft eine Jeans an-

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Der 1938 gegründete Familienbetrieb „Tessitura di Robecchetto Candiani S.p.A.“, kurz „TRC“ oder einfach „Candiani“, wird heute in vierter Generation von Alberto Candiani geleitet. Zwar spricht man bei TRC nicht über seine Kunden, so will es die Philosophie des Hauses, dennoch ist bekannt, dass die meisten großen Premium-Labels ihre Denim-Ware aus den Hallen in Robecchetto in der Region Lombardei beziehen. Heute entstehen hier jährlich etwa 30 Millionen Meter Jeansstoff, 78 Prozent davon ist Stretch-Denim.

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Denim

und die Umwelt

S

eine Oberflächen werden gefärbt, ausgewaschen, bedruckt, zerrissen — die größte Spielwiese der Stoffindustrie ist der Denim. Finishing ist mehr denn je gefragt.

Auch für den Winter 2014 prognostiziert der WGSN Trends, die richtig Lust auf neues Styling machen: gewachste Leder-Beschichtungen, Camouflage-Drucke, Velvet Touch oder auch ein kräftiges Sports Blue, kombiniert mit vielen Patches aus dem digitalen Heute, der „Rendering Reality“ — künstlerisch bearbeitete Fotos, wie das Thema sagt. Doch der umweltzerstörende Einsatz beim Kampf um die coolste Oberfläche ist hoch. Keine „Rendering Reality“, sondern Realität: 1,8 Kilogramm Chemie auf 800 Gramm Denim* — vom Anbau bis zum fertigen Kleidungsstück. Pestizide auf den Baumwollfeldern, Weichgriffmittel, die ungeborenes Leben schädigen, erdölbasierende Beschichtungen und Färbemittel oder auch NPE (Nonylphenolethoxylate), die noch im Mai von Öko-Test in Kinderjeans der größten europäischen TextilEinzelhandelskette nachgewiesen wurden. Ein halber Teelöffel NPE im Wasservolumen eines Olympiabeckens wandelt weibliche Fische in männliche um. Was am Ende nicht in die Luft geht, bleibt in der Jeans und im Abwasser der Produktionsstätten zurück. Dort stehen zudem die Kanister mit den gefährlichen Substanzen ohne Sicherheitsdatenblätter in 89 Prozent der Firmen auf dem Gelände frei herum, so eine Greenpeace-Studie. Das führt jährlich zu mehr als 14.000 Chemieunfällen, weit weg von Deutschland (PAN Pestizid Aktions-Netzwerk).

Dabei könnte in kaum einer anderen Sparte so schnell und so viel zur Reduzierung von Energieund Wasserverbrauch, Chemie, Rohstoff und Ausbeutung getan werden wie bei der Herstellung von Denim.

Umweltschonende Technik steht bereit Einige Unternehmen, wie Freshtex aus Deutschland, Marktführer für ökologische (Jeans-)Ausrüstungen, oder auch die spanische Firma Jeanologia, Pioniere der Lasertechnik, gehen

proaktiv mit immer neuen Entwicklungen auf den Weltmarkt.

Lasertechnik, Nanobubbles und mehr Jeanologia-Laser warten weltweit in den Produktionshallen der Denimhersteller darauf, auch von führenden Jeanslabels benutzt zu werden. Selbst in Bangladesch unterhält die Firma ein Trainingszentrum für seine G2-WaterlessWaschmaschinen und Lasertechnik. Lasertechnik ersetzt Sandblasting und chemisches Bleichen. Sie birgt endlose Designmöglichkeiten, von dezenten Allover-Mustern bis hin zu Vintage-Jeansoptiken. Die E-Soft-Technik, eine Nano-Luftblasen-Technik, ersetzt den extrem umweltschädlichen Softening-Prozess. Eine einfache wie geniale Erfindung: Ein feuchter Luftstrom mit winzigen Luftbläschen bearbeitet in der Waschtrommel die Stoffoberfläche, bis sie einen weichen Fall hat. Die G2-EcoWaschmaschine ist eine spezielle Ausrüstungsmaschine, die dem Denim eine verblichene Sunwashed-Optik gibt. Die Technik arbeitet sogar schneller als herkömmliche Verfahren und ist zertifiziert durch „Made in Green“.

E-Dyeing, E-Washing und fair Mit eigenen GOTS-zertifizierten Färbereien und Ausrüstungsbetrieben ist die Firma Freshtex, zugehörig zur Alt Group, in den wichtigsten Produktionsländern wie der Türkei, Polen oder den Philippinen vor Ort. In ihren großen Maschinenparks sorgen Drei-LiterWaschungen und Färbungen, Zero-ChemicalsAusrüstungen durch Ozon- und Lasertechnik dafür, dass viele Denimtrends weltweit fast ohne Chemie und sogar nach GOTS-Richtlinien umgesetzt werden können — könnten.

E-Washing und E-Dyeing bewirken geringeren Wasserverbrauch der Maschinen und Reduzierung des Energie- und Rohstoffverbrauchs. Die biologischen Kläranlagen der Freshtex-Betriebe brauchen keinen Chemikalienzusatz, Sonnenkollektoren ersetzen Heizöl und lokale Materialien werden zur Dampferzeugung benutzt, sodass keine unnötigen Transportwege anfallen. Über die GOTS-Richtlinien hinaus hat Freshtex eigene Sozialfonds für die Mitarbeiter eingerichtet. Das gilt nicht nur für den Planet Future, den Eco-Bereich der Firma, sondern für alle Sparten von Freshtex, von Nightshift mit trendigen Vintage-Streetwear-Ausrüstungen bis

hin zu Function goes Fashion, mit Finishings für Funktionsbekleidung. Produktionsfirmen, wie der weltweit größte Denim-Produzent ISKO aus der Türkei (Sanko Group), profitieren von diesen Vordenkern. Über 200 Millionen Markenjeans stellt ISKO pro Jahr her und damit pro Tag 550 Kilometer Denim. Durch neue Waschmaschinen und Filteranlagen werden in seinen Betrieben nun 60 Prozent des CO2-Ausstoßes eingespart.

Co-Branding — ein Gewinn für alle Die „ISKO Earth Fit“-Kollektion wurde für „Grim Tim“ entwickelt — die erste Recycling-Jeans des schwedischen Eco-Labels Nudie. Langjähriger Zusammenarbeit der beiden Firmen steht nun ein geschlossener Recyclingkreislauf für

Eco und cool haben sich gefunden.

Organic Denim gegenüber. Dadurch könnten 40 Prozent Wasser, 30 Prozent Energie und Chemikalien gespart werden. Zusammen mit den großen Ökoanbietern arbeitet das visionäre Designteam von Freshtex ständig an neuen Eco Finishings, die auch für kleine Stückzahlen bis hin zur fairen und GOTS-zertifizierten Jeans im Vollkaufgeschäft angeboten werden. In dieser Saison wird das Thema Recyclingfasern als Ergänzung zu Organic Cotton startklar gemacht.

Jeanologia, die ihr Team „mad scientists of denim“ nennen, erarbeiten in einem „CoBranding“mit führenden Designern (wie Marithé & François Girbaud) und einigen Jeansproduzenten schon im Vorfeld Denimtrends. So können sie frühzeitig passende Umweltgeräte entwickeln. Durch solche Synergien wandeln sich Eco-Jeanslabels zurzeit von Fashion-Followern zu Trendsettern. Natürlich haben HightechTechniken, neue Maschinen, klassisches Stone Washing oder handgebürstete Oberflächen vorerst einen höheren Preis. Auch Naturindigo ist teurer als chemisches Indigo.

Aber… die junge Branche übernimmt ökologische Verantwortung und boomt. Die beliebtesten Eco-

Jeanslabels Nudie und Kuyichi machen den höheren Preis für ökologische und sozial verträgliche Herstellung durch neue Verkaufsideen wieder wett: Transparente Herstellungswege, Reparatur oder Rücknahme von abgetragenen Jeans schaffen Kundenbindung und Markenvertrauen. Welche anderen Marken können heute von 70 Prozent Umsatzsteigerung sprechen? Recycling von getragenen Jeans ist Rohstoff-Rückgewinnung. Mud Jeans aus den Niederlanden geht noch weiter und bietet seine Eco-Jeans als Leasingartikel an, um durch Recycling-fasern never-out-of-stock zu sein.

Gleichzeitig schaffen es diese Eco-Labels, sich auf dem Markt ein eigenes trendiges Profil zu schaffen, was den großen Jeanslabels zunehmend schwerfällt. * Imo-Vortrag MFS 2013; Swerea IVF, Report 2009) ** Öko-Test 05/13

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An opinion piece by Stephan Huber, editor-in-chief style in progress

I

t is no coincidence that Willy Oergel, the chief executive of Breuninger, focused his speech at the opening of his company’s spectacular new flagship department store in Düsseldorf’s Kö-Bögen on his employees.

The recruitment of the store’s more than 300 employees was a process that resembled a campaign planned with almost military precision. The reason for this immense effort, that also affected nearly all direct competitors, is quite obvious: the staff is the decisive factor regarding the future of the specialised retail industry. This may sound a little dramatic at first glance, but it is actually a simple conclusion of fact. I have already discussed the reasoning behind this perception many times, but I’m more than happy to sum it up once more. When a customer buys something he or she does not really need, he or she does not merely want the product itself. This is certainly not a groundbreaking new realisation. The term “experience shopping” is older than me — and I myself have been around for a few decades. The main question is what experience a customer is looking for and who can supply that experience at which quality standard. We human beings are communicative by nature, meaning that we love hearing or telling a good story, we love being addressed personally and as equals to experience — in short — the real “human touch”. This offers the specialised retail industry a tangible advantage that can justify and secure its position in a competition situation that has led to questions regarding the entire industry’s sustainability. This advantage stems from truly excellent sales staff. So that’s the theoretical angle covered. The reality clearly shows that not only are many retailers not aware of the importance of this particular resource, but also that society as a whole belittles this trade with a lack of respect and a string of conceited prejudices. Just to make one thing perfectly clear at this point, the retail industry itself must take a lot of the blame for this development. The strategy of increasing yields by cutting labour costs was not only pursued by large department stores and price-aggressive suppliers. Qualified staff with adequately remunerated full-time jobs were seen as a luxury. After all, it’s just as easy to fold pullovers on a part-time basis.An education policy debate that has persuaded our youth for decades that employment and education biographies beyond academic honours — or at least Alevels — are a direct route into a professional dead-end also contributed significantly to cementing a certain public perception of people working in retail: “Sales assistants are… well… umm … a little limited.” However, every person who earns his or her keep by selling something

to others knows that this profession does not only require inherent talent, but also — more importantly — a high level of intelligence. Good sales assistants are not merely required to like people, they have to be able to read them; they need to be psychologists, self-confident, and also capable of serving at the same time. They have to be willing to learn constantly, show sincere interest in others at all times, love to communicate, and — finally — have the ability to meet disappointments with a friendly smile. This proves that excellent salespeople need to be highly qualified, which also means they need to be encouraged within these necessary qualification parameters and also be remunerated accordingly. They are worth their money; only bad sales assistants are truly expensive. Many who share my sentiment in principle may now ask where one can find such qualified sales personnel without stealing it from others. It takes an enormous amount of effort to persuade young people who are both ambitious and intelligent that a decision to pursue an education in the fashion retail industry is not a stop-gap, but a real career opportunity with many exciting options, even including self-employment. Targeted lobbying by the trade representative association is essential to improve the public perception of this career. We also need adapted key education elements and modules, as well as structured qualification and self-improvement programmes. The specialised retail industry needs to be in a position to fight for the brightest minds available. Additionally, the industry should instantly start to support and value the evident talent of many of its existing employees.

They will be vital when it comes to competing for customers in the future.

Read this story and many more in our brand new magazine issue!

ICH BIN English

—by Stephan Huber

Editor-in-Chief

Get your Free Copy at the B&B Magazine Lounge

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Only Bad Sales people Are Expensive!

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pr ess & NEWS

Breadandbutter winter 2014

How Our Passion for Raw Denim Can Help You Reach Your Target Audience You need a unique selling proposition. Everybody knows that. The question is: how do you speak — and sell — directly to your customers?

Connects People To many observers, the denimhunter is an enigmatic phenomenon. He will go to great lengths to obtain the object of his desire. He will do almost anything to cause the artful deterioration of his much loved garment. And he will spend hours online, seeking exchange with like-minded hunters from every corner of the world.

— Thomas Stege Bojer,

Frank B. Halfar, Andy Stone

Authors — Matt Wilson, Greg Houser,

Kasper B. Meinertz

Editors — Andrea Baburske

Photographer

T

o many the answer is Denimhunters.

Our passion for raw denim helps you reach your target audience. How? The secret lies in the core strength of Denimhunters: our integrity.

Denimhunters wasn’t created as a business. It was a hobby — a way for one Danish denim enthusiast to share his passion; raw denim. Since then it has grown into an extensive online platform fed by a body of like-minded “lost souls.”

We have built our site on honesty and our readers trust us. Our passion will make readers love you because we love what you do. If we give you our thumbs up, readers will likely follow our lead.

And we don’t focus exclusively on raw denim — our readers also expect us to guide them towards products that complement their raw denim lifestyles. But why do we love raw denim so much— and how can our passion become a benefit for your business?

How The Online World of Denim

In our global village of social networking, jeans have proven that they also can carry an enormous power to connect people. Denimhunters’ growing number of avid readers demonstrates that jeans go beyond lifestyle; they reach the realm of serious content in our readers’ lives.

To the outsider, the motives of a denimhunter probably remain incomprehensible. But on the occasion of a trade show like Bread & Butter, hordes of his kind flock through the halls, admiring what is exhibited — and very often also what is worn by their peers. They understand the soul of a denimhunter by instinct. A few might even say that their most loved, hard worn jeans have developed a soul of their own.

Hunting the Essence of Raw Denim Raw denim is what makes us get up earlier in the morning. We wear it every day and it becomes our second skin. To us, it has no match — except for maybe a pair of good leather boots. Essentially we hunt for the perfect patina; “fade” we call it. By scrutinising each and every aspect of denim production, we have developed strong preferences that will come to your benefit— our readers value our stamp of approval. We prefer jeans made of shuttle-loomed selvedge denim. The weave defines the texture, hand and character of the denim— which eventually defines the fade. Selvedge denim is a high quality product with detail we obsess over. We can apply this approach to your product and share our passion with our readers.

Become “Denimhunters-Approved” and Get Love Okay, you get the point, we are crazy about raw denim. But how do we turn this passion into a service that will make your stories reach thousands of denim fans every day — and more

pr ess & NEWS

Breadandbutter winter 2014

Preview

ICH BIN English

Read the full version of this story at DENIMHUNTERS.com

than that; sell your product? Again, our integrity is the answer. Our stamp of approval will make it much easier for you to convince customers that your product is top-notch. Our readers know that we set each product we feature against our high quality and production standards — otherwise we simply wouldn’t tell the story. But our service doesn’t end here. It is our mission to help our readers find the perfect pair of jeans in the jungle of denim; a pair of jeans that will give him confidence.

“I Found It On Denimhunters” Jeans are the most versatile piece of clothing you can own. But finding the perfect pair takes more than finding the right size; that’s only a job half done. Finding the perfect fit is equally important, and the market is filled with various fits to choose from. So how do you know what to choose? Many start by visiting Denimhunters.

One of our core objectives is to help denim lovers find that perfect pair of jeans. But we also help you take good care of them.

Should I Wear My Jeans 6 Months Before Washing?

You have probably heard this general rule of thumb: wear your jeans for as long as possible before the first wash. The more you wear them, the better the fade. We won’t argue about that.

But your jeans are bound to get dirty sooner or later, and once they do, there’s no way around the water — and possibly a little soap. On top of that, raw denim that is worn for months without wash is more prone to rip. This is why we recommend our readers to soak their raw denim jeans before wearing them. One of the cornerstones of our site is our Denim Care section where you find washing tips and guidance about how to get the most out of your jeans.

The Future of the Denim Market Ask a trend forecaster where the inspiration for creativity and design for the near future will come from — chances are the answer will be Japan.

The Japanese have been into denim since James Dean, and they have been pushing the market ever since. In Europe and the US we are witnessing a resurgence of the interest in higher quality.

Clearly the menswear scene is changing, and we expect the denim market, especially the men’s part of it, to be one of the continuingly fastest growing segments of the clothing market. The explanation? Men seem to feel freer to express themselves through their wardrobes today — and denim is one of the most universal means of expressing your freedom.

So what should you expect of the future of the menswear business? More denim and more indigo. And where will you be reading the latest news about this? One thing is for sure, Denimhunters will be covering it.

Website: denimhunters.com Company information: Denimhunters Ægirsgade 49, 3. tv.

2200 Copenhagen Denmark +45 22 41 74 43 contact@denimhunters.com

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