META ME

Metaverse? Yes? No? Don’t know? Questions that metanatives do not even ask. Those who are growing up with gaming already consider the Metaverse a reality. The fact that we – Gen Z, Y, and X – are now exploring this world for the benefit of our brands may feel a bit like mum turning on really bright lights in a strategically darkened teenager’s room. All the more important to watch, listen, and understand before laying out your plans for the Metaverse. Strategies? Develop them WITH the target group, not merely FOR them.

IS THIS REAL?

PLEASE FOLLOW ME TO THE META-LEVEL

By Stephan Huber

Let me start by admitting that the term Metaverse is getting on my nerves already. Somehow, we have all stumbled into Mark Zuckerberg’s trap. He may not have invented the word itself, but he took ownership of it, and applied it. And then there is the inflationary use of the term. Yes, it is annoying. I am not alone in this sentiment, either.

However, it would be a truly monumental failure to even begin to underestimate this topic, or everything that is directly or indirectly subsumed under the term Metaverse. In doing so, one would be repeating the mistake that large parts of the fashion industry made on the threshold of social media and e-commerce at the time. Both ideas were initially not understood and/or ignored. The consequences are all too evident. Moreover, the subject, namely the ongoing transformation of our perception of reality, is, in fact, breathtakingly exciting. My dear and exceptionally smart friend Vahe Taamazyan, founder of Sizolution and tech enthusiast in the best sense of the term, asked me a remarkable question about two and a half years ago, during a very early discussion about what we now call the Metaverse. Back then, I did not really know what to make of the idea of so-called virtual fashion. He asked: “Stephan, do you think something is not real just because you cannot touch it?” Even then, as I suddenly realised at second glance when ignorance changed into almost childlike curiosity, everything was already in place: rapidly developing technology, virtual worlds as experiential spaces, community meeting places, and emerging marketplaces. Above all, the Metaverse was already populated by hundreds of millions of Gen Z and Gen Alpha users from around the globe, who had discovered this new frontier via gaming (Fortnite & similar) or gamification (TikTok & similar). This was long before the term clogged up my LinkedIn timeline. So, anyone who wishes to understand these generations, the target groups of the future, or interact with them on equal terms, must not merely accept the Metaverse as part of the new multi-level and multi-channel reality, but truly understand it. I am convinced that our dedicated focus on the topic, in which carefully selected experts such as Sallyann Houghton, Yaël Meier, and Marjorie Hernandez guide you into this uncharted territory, will contribute significantly to this understanding.

DRYKORN FOR BEAUTIFUL PEOPLE

META.ME

THE NEW REALITY

The so-called Fear of Missing Out is now appropriate. Anyone who dismisses the Metaverse and its possibilities as juvenile nonsense will ultimately lose out once more. Too late to the internet, too late to e-commerce, too late to social media – how about seizing the opportunities offered by the Metaverse as a pioneer? In September last year, Mark Zuckerberg was one of the first internet moguls to declare that he was going all-in. He announced to an enthused public that his company is changing its name from Facebook to Meta. Nomen est omen – a clear pointer in the direction of the Metaverse as a future vision of digital coexistence. He thus immortalised himself as the founding father of this new, digital world that no one has yet defined, let alone comprehended, in its entirety. Only one thing is certain: the Metaverse will also impact the fashion industry.

The good news up front: Digital Fashion, Web 3.0, and the Metaverse will change our industry fundamentally. However, we have learned from past evolutionary leaps, such as the emergence of e-commerce, that they tend to open up additional channels rather than shut down existing ones. In other words, the future does not hold an either-or scenario, but rather a parallel existence of three central distribution channels: stationary retail, e-commerce, and the Metaverse. The current hype surrounding this topic shows that the direct-to-consumer mode of the Metaverse opens up unimagined possibilities for all players in the consumer goods industry. Conversations with pioneers in this field, however, give rise to a central misunderstanding: The Metaverse is not primarily another distribution channel for consumer goods, it is a platform for a subculture.

The first predetermined breaking point: what exactly does Metaverse actually mean? Opinions are still divided on the exact definition of the buzzword that is the new high five of tech start-ups in Silicon Valley. Trivialised in everyday language, the discussion stands as follows: Metaverse signifies the fluid transition between analogue and virtual worlds, a borderless internet that connects people, things, and places – populated by avatars. It is made possible by technologies such as augmented and virtual reality, but above all by gaming platforms such as Unreal Engine.

LUCRATIVE MARKET

Without wanting to demystify the technological innovations behind it, the Metaverse is still purely a cost-benefit calculation, especially for the fashion industry. A market for virtual avatar outfits in games such as Fortnite that is forecast to yield 40 billion US Dollars in annual sales makes one sit up and take notice – especially as production costs are quite attractive compared to physical fashion. Yet even below this tip of the iceberg, the new reality is that the young target group in particular predominantly meets, exchanges, informs and entertains themselves, and shops on the internet. If you want to remain relevant to this target group, you need to change the shop window.

Text: Isabel Faiss, Martina Müllner-Seybold. Photos: Interviewees

Artisant is Nikita Rotanov’s digital marketplace for virtual avant-garde.

Artisant.io

“Put commercial aspirations aside for a moment and concentrate on the essentials. This channel opens up completely new possibilities,” is Nikita Rotanov’s advice for all those who aim to play in the Metaverse.

„IF YOU DO IT, DO IT RIGHT“

He is the man one wants to ask the most pressing questions about Metaverse: Nikita Rotanov is co-founder of Artisant.io, a platform for avant-garde virtual fashion. Which rules apply when one wishes to gain credibility with digital drops, NFTs, and campaigns in the Metaverse? A conversation about a still barely defined world, governed by new laws.

Text: Isabel Faiss. Photos: Artisant.io

The foundation on which Artisant.io bases its success

rests heavily on the crypto community. Yet this is one of the most demanding target groups. What are the specific rules of the game?

The current go-to-market strategy of Web3.0 platforms like ourselves relies almost exclusively on building a community and growing it steadily. Collaborating with artists, designers, and brands increases our visibility and, consequently, our community. The most effective way to accomplish this is via Twitter and other messenger services, because their algorithms recognise and promote new content from the community. The entire focus should be placed on the community, on interacting, and on the emotional connection. At the same time, it is also important to develop a unique offering. Over the coming years, I expect to see a huge growth in the Metaverse and a detachment from existing gaming platforms – once the technical prerequisites are in place. Decentraland and Sandbox currently still resemble video games from around the turn of the millennium.

What is your concrete advice for all companies that are still looking for an inroad into the Metaverse?

You need a clear goal, and you must know the market rules. All newcomers require a great deal of time and a professional strategy. Brands that manage to get it right have the opportunity of reaching a whole new target group, even offline. This will certainly be the first touchpoint with a brand, especially for younger generations, the success of which will also have an impact on sales figures in offline retail. Effective marketing campaigns are tailor-made for the Metaverse, because this channel is currently receiving more attention than any other communication conduit.

So, is the Metaverse more about image than income?

This channel functions best for image, marketing, and PR campaigns. The market is still too small for commercial ambitions. I would not advise any brand to attempt to sell massive amounts of goods via these channels. Rather, it is about creative interplay, exchange, and stories. The idea is to engage with the community and transcend boundaries – in design, for example. Another important aspect is the technology. You simply have to know how drops work, what people like, what they dislike, what mistakes others have already made, and not repeat those. If you do it, do it right.

Tech pioneer Marjorie Hernandez has made it her mission to be a Web3 gamechanger.

The Demateralised “A REVOLUTIONARY CHANCE”

They were among the first to see and believe in the digital fashion market. The Dematerialised is run by an international, highly specialised team of experts who are already working on the next big challenge: establishing universal standards and enshrining user profiles. Tech pioneer Marjorie Hernandez is currently busy sifting through and structuring everything emerging in Web3.

Interview: Isabel Faiss. Photos: The Dematerialised To which specific problem within the fashion industry

does The Dematerialised offer a solution?

The Dematerialised offers more than a solution to the problems that the fashion industry continually faces. It offers a whole new avenue for the fashion industry to explore and redefine consumer experiences, production processes, ownership, transparency, and introduces a seamless future-proof integration of blockchain technology for brands and designers to leverage the full potential of Web3. The world is rapidly changing as we are faced with a ground-breaking transformational process from the digital renaissance and New Creative Economy. The new intersections of the internet have introduced what we call the Metaverse. The most crucial question now is, how can brands ensure that their value proposition translates into a more digital future within such environments? Traditionally, industries like fashion and gaming have been separated into different silos, but now these industries are converging in a new digital lifestyle arena. This technological shift is a revolutionary chance for industries like fashion to be redefined and brands need to prepare for what this future holds. Simultaneously, this chance presents a huge risk if they do not answer this question with the right tools and standards in mind that ensure a long-term strategic approach to evolve seamlessly with true functionality and mainstream use-cases, enabling access to the full potential of the New Creative Economy where interoperability, identity, transparency, and sustainability will be key factors.

As part of the third Vogue Talents Edition, Cormio released a dress limited to 100 units on The Dematerialised. The dress was designed to be staged in virtual space, as Kuki AI does here.

Collectibles are not only the real deal offline: Chromatik Karl.

In terms of consumption, The Dematerialised can offer an alternative avenue to absorb a portion of the fast-fashion market by providing users the experience of buying something new every now and then with digital assets that have fun and unique utilities, without over-producing physical goods. It is a convenient consumer experience and an alternative to physical fast fashion, especially for young customers who want to explore digital experiences and tend to buy new fashion garments at frequent intervals. Digital fashion can address one of the biggest challenges the fashion industry is facing at the moment, which is the environmental impact on the world.

What differentiates The Dematerialised from other similar platforms?

One of the things that differentiates The Dematerialised from other platforms is that we were very likely the first Web3 digital fashion experiential marketplace selling assets with digital fashion as NFTs. We started in March 2020. The Dematerialised team understands all parts of the puzzle: The gaming community, the fashion business, and the technical aspects.

That sounds like your start-up is the current market leader in this niche?

Yes, 100 percent. I would say that we own the market leadership. But the market is not as niche as it used to be. Back in 2020, when I explained this topic to people it was almost esoteric. The more we move forward in this journey the more we are building the next generation of internet. We are going to have more avenues of seamless experiences, being in the digital environment is going to be a second nature, like we are already living in a symbiotic relationship with our mobiles. The consumption of digital assets will not be something so rare any longer. We already do consume digital assets and services all the time. It is about to become accessible. We know with digital technologies, once something is available, it is going to happen.

When will digital fashion become a scalable business?

The market is already profitable, and I think there is a large group of people who strongly believe in it. Most probably, the mo-

VJ Anard wearing the Quarry Collectible Sneakers by Esquire x Tobyato x Satoshi Studio Drip.

When real and virtual catwalks merge: top model Kristen McMenamy wears accessories by Meta-Fashion Crystal, which were later made available on The Dematerialised. ment we have succeeded is when we do not submit a distinction between traditional products and digital assets. When users of all demographics, all ages, in all different locations are just buying digital fashion and the technology behind it is no longer the centre of the conversation. The moment all of these pieces become almost like de facto, and you just assume it is the way it is, then I think we have made it.

What is the magic of Universal Profiles? Why will this be a gamechanger in the Metaverse?

They are very important. Universal Profiles is crucial for a simplified onboarding process in Web3 and enhances the experience with blockchain technology, empowering brands and users. It is pretty much the same approach as the smart contract standards. With Universal Profiles we can enable our users to issue on-chain profiles. It is like a unique identifier that you fully own and control, but it is platform agnostic. At the moment, we do not have plugged direct stick profiles. If I log in with my Facebook account, I can be sure that at any given application it is still my Facebook account. We are implementing Web3 profiles as a blockchain-based identity. It will not identify you as a citizen of a country, but it will be your identity in all entities of the internet. And then via your universal profile, you will be able to access different applications since they have cross-platform interoperability within the New Creative Economy ecosystem.

Is this also a step towards decentralising IPs and making them applicable to any Metaverse?

The beautiful thing about smart contract-based profiles is that they work in all applications. So basically, when it comes to integration, all you must do as any given platform is to open these arrays of smart contracts as profiles and guarantee access to those users. One of the biggest challenges that we face in this newest version of the web is interoperability and portability. The question is whether I can take my stuff with me. Now I know I can, because it is truly mine. But can I take it anywhere I want? That is the question all the different asset providers have to answer by allowing integration of Universal Profiles. This will definitely be a gamechanger.

StyleXchange “AN UNPRECEDENTED OPPORTUNITY TO REINVENT YOURSELF”

Leo Hilse possesses the in-depth knowhow to get to the heart of the most complex processes and issues surrounding the Metaverse and fashion NFTs. With his start-up styleXchange, an online platform and store for fashion NFTs, he translates the logic of fashion and market into a virtual context.

Text: Isabel Faiss. Photos: styleXchange styleXchange founder Leo Hilse has two important tips for newcomers to the Metaverse: “Never translate the existing into the virtual, reinvent yourself! And create the appropriate utility for your NFT drops.”

What did the announcement by Marc Zuckerberg

that he was betting all his chips on the Metaverse theme by changing the name to Meta trigger?

That was close to the big bang. When we started with virtual fashion NFTs in the Metaverse for styleXchange in July 2021, the topic barely received attention. Zuckerberg’s statement created an enormous splash. NFTs, various Metaverses, and decentralised virtual worlds exploded last year.

What exactly does the term Metaverse mean?

Metaverse means that personalities come together in decentralised worlds and experience things via their avatar, i.e. meet others, go to places, and exchange things. The most important point is the decentralised aspect, namely that Metaverses are basically open to everyone and give the community a voice.

So, there is no such thing as THE Metaverse, but many different ones?

Exactly, and that is the biggest problem that brands will encounter. There is not just one Metaverse like Instagram. Currently we have five to six major ones, and there are 20 to 30 more being built around the globe. It is impossible to predict which of these will be the most relevant. What we can predict is that there will be a few very different ones. Brands need to decide which one to invest in. It will not be enough to be represented in just one. At present, they are not compatible in terms of 3D visualisation and uploading on the various blockchains. Sandbox and Decentraland are currently the two biggest Metaverses.

A problem that styleXchange has addressed. What is your approach?

styleXchange is a platform for virtual fashion NFTs that can be leveraged cross-metaverse. We launch NFTs for different Metaverses, whereby bridging is our core competence. We

styleXchange launches new capsule collections every month at virtual events, which are created in collaboration with international designers. 200 to 300 guests meet via avatars, enjoy live music, talk to designers, and try on the latest NFT drops.

collaborate with brands, designers, and artists to transfer their ideas and products into the virtual world and offer them to the community of virtual 3D worlds in our shop.

When will we reach the point where virtual fashion becomes a viable market?

Virtual fashion will be a serious sales channel for brands in 10 years at the latest. Around 20 to 40 percent of goods will be sold digitally. Realistically, it will probably take another five to 10 years for the market to open up and we are all still very early to the party. This is also a generational issue. I am in my mid-20s, and I see that people my age find it difficult to spend 2,000 Euros on a digital asset. If you talk to 13- to 15-yearolds who spend much time on the internet and play video games, especially during the corona pandemic, this has been reality for a long time. They assign monetary values to virtual goods – as a matter of course.

How important is the brand in the Metaverse?

Brands are important and also function in the Metaverse. Brands are presented an unprecedented opportunity to completely reinvent themselves. The Metaverse even provides brands that have been around for decades with an organic opportunity to artificially split themselves up in a completely new way and create a virtual alter ego.

How does styleXchange as a store address its customers?

We launch a new capsule collection on a theme every month, create our own themed virtual space in the Metaverse, and invite five to 10 international 3D designers and creators to present their NFTs on that topic. These are actually virtual get-togethers where the avatars of 200 to 300 people gather to enjoy live music, meet others, and conduct live interviews with designers. Each month has its own motto. Given that the market and customers are still so young, we can experiment extensively.

When I visit styleXchange in five years, what should I expect?

As a completely free platform, we want to act as the enabler through which brands can launch and make their virtual products accessible to all Metaverses.

SHOP THE METAVERSE

So, what does the Metaverse actually look like now? A question to which first movers in our industry have an answer.

The hybrid campaign of AlphaTauri was created with Unreal Engine by Epic Games.

ALBERTO META CONCEPT

The trouser specialist usually does not compete with his retailers. The one exception is the Alberto Concept Store in the brand’s hometown Mönchengladbach. It serves as an experimentation space that allows direct customer feedback. Alberto approaches the Metaverse with the same mindset: A digital online shop in digital space that offers a completely new shopping experience. One enters the shop, which features three-dimensionally visualised trousers, with an avatar. The main difference to many other Metaverse stores is that one can actually shop and pay with conventional payment methods. Everything that is placed in the shopping basket is delivered to the desired address as a real parcel shortly thereafter. https://play.qs-metaworlds.com/

An inspiring playground for end consumers and yet a real store in which one can buy real pants: the Alberto Metaverse.

ALPHATAURI HYBRID WORLDS

Fashion brand AlphaTauri fuses digital and physical worlds in a variety of disciplines. Hence, it presents its campaign in tandem. Launched in three communication runs, the campaign underlines the brand’s focus on innovation and technology in fashion. Ahmet Mercan, CEO of AlphaTauri: “Our goal is to further strengthen our relevance in the field of innovation and to deliver inspiring content. This campaign represents an innovative hybrid format that conveys the tech aspects of the brand very well and is therefore another important step. The current campaign, in which we fuse real elements with virtual ones, was produced using Unreal Engine by Epic Games. In the context of the Metaverse, this innovative hybrid format also reflects our ‘real world first’ approach: Our aim is to create a seamless transition between physical and digital spheres.” The campaign is rolled out on social media and in AlphaTauri stores, as well as at the brand’s partners. To this end, completely digital, three-dimensional worlds, to be projected onto LED walls, were created in a studio. This virtual background is combined with props from the real world, combining the digital with the analogue plane to create a new visual experience. The technology has so far been primarily utilised by the film and gaming industries.

Art Car & NFT Helmet

At the F1 GP in Miami, AlphaTauri and the Red Bull team, Scuderia Alpha Tauri, introduced the Metaverse to the world of sport. An Art Car was launched in collaboration with renowned artist REMOTE. Two days before the race, Scuderia AlphaTauri drivers Pierre Gasly and Yuki Tsunoda met with REMOTE to catch a first glimpse of the F1 show car. During their visit, both drivers grabbed a spray can and designed helmets, which were digitised as NFTs and auctioned off in aid of the Wings for Life Foundation.

In her capacity as head of business development in regard to fashion at Epic Games, Sallyann Houghton ponders ideas that enhance experiences in virtual spaces.

Epic Games “THE METAVERSE WILL NOT HAVE BILLBOARDS”

How can we actually do business in the Metaverse? Hardly anyone could provide a better assessment than Sallyann Houghton, Head of Business Development Fashion Industry at Epic Games. That is the company behind the popular game Fortnite and the development environment Unreal Engine, which offers all the tools required to build 3D worlds and games. Sallyann Houghton explains what all this has to do with the Metaverse, and which new rules fashion brands have to follow there.

Interview: Stephan Huber. Text: Petrina Engelke, Photos: Unreal Engine courtesy of McQueen, Unreal Future courtesy of Artisant

Sallyann, I think you were the first in my circles to use

the word Metaverse when we did our last interview in November. Now it seems nobody is talking about anything else. What happened?

Sallyann Houghton: I remember I used to feel a bit sheepish saying the word Metaverse because I was not sure if people would understand it, or what it would mean to them. I also did not want to sound as if I was talking some kind of tech lingo. The reality is that no one knows exactly what the Metaverse is or what it will look like, but as you say, in the last six months, it has gone insane. Now I am actually trying not to say the word Metaverse, just because it has become such a loaded word with so many definitions.

Just like sustainability.

Oh my gosh, absolutely! For that reason, we need to be more precise when talking about this concept. The Metaverse has been discussed to some extent for quite a long time, but only in the last few years has it really picked up steam as we are getting closer to building persistent digital spaces. But my answer to how the fashion industry should be thinking about the Metaverse, or virtual spaces where you have ownership of your digital goods, would have been the same six months ago. Fashion companies should invest in it, because persistent virtual worlds allow for them to project their craft in high fidelity, with photorealistic capabilities that have not been possible until recently. This level of quality and detail – with textures, physics, colours, et cetera – finally lives up to designers’ and consumers’ expectations. And, of course, there is also social interactivity, there is community. That has spawned out of the gaming landscape, and games have been around for a very long time. Fundamentally, the Metaverse is just real-time 3D with open standards, digital ownership, and fair economies for creators.

It was funny for me to realise that this is nothing new for the generation of our kids. I recently asked my son to join me when I entered a virtual event for business. He said: And you think that is cool, or what? Because of the poor graphics, he was not interested.

Young people or gamers, who are very savvy in these types of interactive spaces, are expecting more sophisticated virtual experiences. Whereas people who have not spent much time in these digital spaces are more interested in how easy and accessible these virtual worlds can be. They do not want to feel silly in the space. So, they need a beat to become knowledgeable and get comfortable. This is why digital storefronts exist, and this is why you are starting to see more companies embrace 3D, interactive content on their storefronts. Digital storefronts are the dullest, the coldest, most lonely spaces where you can go and look at a product. Moving around a 3D store is the furthest away from something engaging and fun, but they do have a purpose, because they invite an existing shopper into a three-dimensional space. That allows them to see that this space can be more than a two-dimensional feed, or more than a real-life experience. Like the Vogue event recently. I do not know the stats, but I am pretty confident that easily two thirds of the people who attended that event have never been to a virtual space before. So, anything more than moving up, down, left, right would have been too much for them.

Nevertheless, if you want access to future consumer generations, you need to draft a Metaverse strategy right now. What should a business consider when positioning itself in this new environment?

First and foremost, this space is moving very quickly. And I think everyone should feel okay about feeling overwhelmed with all these options and choices. You watch the Balenciagas of the world, and they get a lot of credit for being trailblazers, but they have done a lot of experimenting. Others are dabbling with NFTs or different places. There has been a lot of activity, but I think it is really important to take a beat and think about how your brand can be represented in digital spaces. Try not to get too lost in what the Metaverse will be, but just think about the here and now. What your creations, your intellectual property could look like. How you want to be represented in digital spaces now. And it is crucial to take a moment to think about the why. What are your brand’s priorities? Which of these technologies resonate with your audience? Is this about your existing community or about new communities? What opportunities are afforded to your brand in terms of virtual experiences? Channel all the information into why you should do something and then what the execution should be comes into focus naturally.

What could that look like?

That may be investing in 3D assets, like garments, characters, or accessories. Start to understand what you can then do with these 3D assets. Even if it is just a simple interaction on your website. Then get some feedback from your community. Are they enjoying this? And then start to have a feedback loop of growth.

Do you think it is important for companies to involve young people in this process?

To be honest, I think it is important to include talented young people in everything you do. If you want to be a successful company that is relevant and has longevity, then you should definitely have a diverse team – and that also means a diversity of age. However, we have to be careful when people think that gamers equal young people. Actually, the average gamer’s age now is 35. And having a gamer on your team definitely helps, because they will feel much more confident about the possibilities, benefits, and opportunities in this space without having to read a manual.

I also think it is important to understand that what we call Metaverse is interactive by design. The consumer is not just a consumer, but also a creator. And that makes it difficult for businesses. The principle used to be: someone produces something, the end consumer buys it, end of the story.

Well, you say that, but in fashion, beauty, and luxury there is also curation. Trends and cultural events are incorporated, and what people buy, we make more of. So it has not always been

Epic Games’ Unreal Engine can be used free of charge (until you make more than 1 million US Dollars with your video game; it is free for use in film, television, and advertising). Sallyann Houghton calls this approach democratising the tools that are needed to build the Metaverse. She hopes this will allow for a creative diversity.

a passive experience for the consumer. Although you simply sell a red jumper, I have decided to style this red jumper with a yellow sash, a blue skirt, and a headband. That is a combination that no other person can replicate. This quality can come to the forefront even more in virtual spaces. You could not do that on a website, but in these virtual spaces, you can have agency. You can bring your friends in, and you can have an engaging experience together, create an event, art piece, or outfit together. I actually think that it leapfrogs the internet to a place where we were happier in the real world, where it was much more of a communal space. I really believe that is the Metaverse. You can input on whatever level you are most comfortable with.

How does that work?

There are all kinds of tools you can use, whether it is an augmented beauty tool to allow you to apply makeup in a digital space in a sophisticated way, whether it is dressing, whether it is building or sharing content. And then, of course, there is Unreal Engine, which is limitless. You could use it to make an interactive world of your own. There will also be more and more accessible tools that will flood the marketplace and will connect well together. In order for the Metaverse to really work, these tools and services will need to be open and interoperable.

The discussion right now seems to revolve around opening a new market channel. And honestly, as much as I am in favour of business opportunities, if this was the only aspect of the Metaverse, I would be very disappointed. What can this new space be beyond that?

I think your worry is a common one. And as a result, I really believe that that will not be the case. Certainly, there will be marketplaces and thriving economies in the Metaverse, where you can buy supplies or products, either for your digital avatar or real-world self. Yet we believe the Metaverse will continue to grow, and people will continue to go there to experience, engage, be with friends and family, and enjoy community activities. The Metaverse is not designed to replace in-person interaction – it is about unlocking real-time 3D experiences that are uniquely suited to a digital world. To that end, we will see the Metaverse concept evolve through engagement and social entertainment. This is easier to grasp if you understand gaming. Gamers are used to being in immersive entertaining spaces with their friends, and they see the value in that. I am sure purchases will be part of it, but only as a sidenote.

In the last ten years or more, the digital world has merely seen people as consumers, and everyone was aiming at convenience. But I think convenience makes people stupid and lazy. For example, when I was a boy, I knew 40 to 50 telephone numbers by heart, because there was no other way. Today, I know my own number and my wife’s number. That is it.

Then you know one more than me.

(Laughs) From that perspective, what will it mean if the Metaverse now becomes a space of participation, where you are not simply waiting for others to make it as easy as possible for you?

You know, on the internet, you are a captive audience. And until now, the internet has been very much like push messaging. It just pushes things out onto the platform, hoping something will stick. I do not want to take away from the creativity that lies within the advertising industry. And yes,

“Try not to get too lost in what the Metaverse will be, but just think about how you want to be represented in digital spaces now. And it is crucial to take a moment to think about the why.”

For now, virtual spaces feel unfamiliar to many people in the fashion industry. Including gaming fans in strategic teams can help prepare a company for the Metaverse – after all, gamers will not have to read a manual first, says Sallyann Houghton.

“For brands to be successful in virtual spaces, it has to be about experiences that are authentic – and wanted.”

social media helped in terms of data collection, but the underlying principle has always been: I am going to put some messages out there and see how it goes. That will not fly in the Metaverse, as you can already see in gaming landscapes. The Metaverse does not care if you sell cornflakes, because I do not need cornflakes in the Metaverse. And if you spoil the game that I was playing with my friends in the Metaverse, I am certainly not going to buy your cornflakes in real life. Gamers do not bond well with any kind of advertising. They consider this their space, and they feel incredibly empowered within that space. For someone to intrude on that environment, pushing something on them… they will just turn their avatar around and go somewhere else, you know. You have the power to do that in a virtual space. And if that advertisement follows them, then they will not go to that space anymore, because it spoils their experience.

So what can brands learn from the gaming landscape that will be helpful for business?

The Metaverse will not have billboards in it, and its plan is not to keep people captive to gain more points. For brands to be successful in virtual spaces, it has to be about experiences that are authentic – and wanted. I think that there is a new set of rules for brands. You have to think about how you want to engage, not how you want to shout at people.

How will the business world learn to share an open space with competitors and not try and build their own brand’s Metaverse?

I think that is just education. I hope that consumers will become savvier to the language and, as a result, brands will not get away with simply throwing in the word “Metaverse” in order to sound tech savvy or as if they owned a space that does not exist. I mean, the word “Metaverse” comes from a science fiction novel. And the definition is quite clear: it is the wholeness of all digital spaces, not just one. The Metaverse is the internet, but in a three-dimensional, real-time form. Just like the internet, no one owns it. If one company stood up and said they owned the internet, we would all laugh at them. And I think that is how we will feel in the future when people are using the Metaverse word proprietorially.

And it is not science fiction anymore.

No. That is crazy, is it not? As part of the Unreal Engine 5 release, we made the The Matrix Awakens: An Unreal Engine 5 Experience demo and created a photorealistic world with AI, in which you can walk around and interact. The Matrix was a way out-there sci-fi film not too long ago. And now its elements are an absolute reality, and they are available to everyone. The idea of MetaHumans was science fiction ten years ago. And now we have the MetaHuman Creator, a cloud-based application that anyone can utilise. That is kind of mind-blowing.

There are still a lot of people out there who think it is rather frightening.

We have to keep going back to the fact that these are tools. A frightening picture can be painted with the same paintbrush that was used to paint a rose. It is our responsibility to use these tools appropriately.

“The Metaverse is the internet, but in a three-dimensional, real-time form. Just like the internet, no one owns it.”

With dob Studio, Joshua Oh created virtual alter egos (his digital twin is pictured on the right) and personalities who look, present themselves, and act as the programmer intended. They can do what physical influencers cannot: tap into the Metaverse without limits.

Dob Studio THE RISE OF THE DIGITAL ADAM AND EVE

Farewell, fig leaf. Are virtual influencers, who hardly differ visually from real people, the new godsend in the evolutionary history of Web 3.0? Infinite freedom translated into a digital personality that can be, say, do, and achieve anything? With dob Studio, Joshua Oh creates virtual personalities, prototypes for made-to-measure influencers as a digital marketing and self-exposure tool.

Text: Isabel Faiss. Photos: dob Studio Aquestion one would never ask a human parent:

How and why was your first virtual influencer Rui born?

I wanted to be able to express the various, inherent masks of multi persona by switching them to the face of another person or being. Of course, there are many charms of an influencer other than a face, which we cannot create with any super computers. So, we suggested that we find a person who is willing to work as a shadow actor and become a virtual influencer. We wanted to effectively promote this technology to more people, and to encourage more people to use this technology to become virtual influencers. We were looking for people who can create content that will be loved by many in a short period of time. The

“We are excited to see how AI-powered deep learning technology could transform a person’s face into a completely different look,” says Joshua Oh. dob Studio launched its first virtual influencer, named Rui, on YouTube at the end of October 2020. Today, Rui’s SNS followers count 52.8k on YouTube and 12.7k on Instagram.

person I met is a singer who is now Rui’s shadow actor. She trusted our technology to ensure anonymity, so she can fully enjoy singing and dancing. We mainly produce music content that covers pop and K-pop, and we act as a virtual influencer via the RuiCovery channel on YouTube. In summary, Rui can be described as a digital Adam or Eve, born to show people around the world a digital me that can be recognized as a human by others.

What about the price point of a virtual influencer?

In the case of a virtual influencer, a hyper-realistic virtual human that can quickly create commercial value, considerable costs are incurred at the beginning of production. A virtual influencer can only survive when a shadow actor, computer engineer, marketer, and social media expert work together. But if you can afford the upfront costs, virtual influencers can be very effective in the long run, both for companies and shadow actors. Companies can carry out strategic marketing activities at will through virtual influencers with the desired appearance and attractiveness. They no longer have to worry at about the moral hazard risk of a celebrity hired as an advertising model.

How will virtual influencers change the market?

Virtual influencers are likely to have a significant impact on the consumer market in the future due to their anonymity and topicality. First of all, they could not care less about reputations. They do not have to worry about paparazzi or about the opinions of others. So, Lil Miquela kisses Bella Hadid and FN Meka can post any provocative content on TikTok. A virtual influencer is more likely to be a topic of conversation than a human influencer. In

As a real person, Rui is a regular, hard-working student. As a digital persona, she is an active virtual influencer and ambassador for the South Korean Ministry of Culture, Sports and Tourism.

addition to stimulating words and actions, the state-ofthe-art technology that makes their existence possible also stimulates curiosity. They cannot exist offline, but they will have a big impact online. In 2018, for example, Miquela was ranked in TIME magazine’s Top 25 Most Influential People Online. It should also be noted that their main stage, SNS and Metaverse platforms, are Gen Z playgrounds. Virtual influencers that stand out with their unique charms and provocative words and actions also influence Gen Z’s consumption activities. Of course, such a trend will be more pronounced in the digital space, but it will definitely affect consumption offline.

They have plenty to offer their customers: Zeam founders Yaël Meier and Jo Dietrich.

Zeam GAMING + SOCIAL MEDIA = METAVERSE!

The Metatwins of Zeam as employees in the Metaverse.

If you wish to understand the Metaverse and Gen Z, you need to ask these guys. Not least because they are Gen Z themselves. Yaël Meier and Jo Dietrich founded Zeam in 2020 to advise companies that seek to address the young target group, either as customers or employees. What do they bring to the table? Know-how, intuition, and a fresh entrepreneurial spirit. For style in progress, they sat down for a chat with Stephan Huber and Nicoletta Schaper.

Text: Nicoletta Schaper. Photos: Zeam

Metaverse is the predominant buzzword in

the fashion industry. Yet do most people even know what they are talking about when referring to the Metaverse?

Yaël Meier, co-founder of Zeam: Good question. Currently, there is no clear definition of the Metaverse, just like there is no clear definition of sustainable fashion. We consider the Metaverse to be the moment when digital life becomes as relevant as real life. This cultural shift is happening right now.

Almost everything the fashion industry is currently discussing with great excitement is completely normal for the generation that is growing up with gaming. Do they have a completely different understanding of the virtual and real world than my generation?

Yaël Meier: We conducted a study on Gen Z and on the Metaverse in which more than 4,000 people from different generations were interviewed. Young people are clearly better informed about it than the older population. That certainly has something to do with the fact that we have been moving in digital worlds from an early age. For example, Fortnite, a popular Gen Z game, is already one of the largest fashion brands. They sell billions worth of digital skins every year. Jo Dietrich, co-founder of Zeam: This is where NFTs come into play. We ourselves have been investing in NFTs, which will feature in the Metaverse, for the past year. In the future, the most valuable possessions of young people will be digital.

Is the Metaverse just another marketplace, or will it – buzzword alert – have a purpose?

Yaël Meier: Even today, there are an incredible number of projects in the Metaverse that aim to change the world for the better. On the other hand, especially in the context of marketing, many aspects are extremely commercially motivated. Actually it is quite similar to the real world.

We saw what social media did to us. It promised to make the world more open and democratic. In fact, the opposite has happened.

Yaël Meier: Social media has actually done both. It has democratised by giving many more reach. Our generation has grown up with the loudest mouthpiece ever. At the same time, social media is used to deliberately polarise and manipulate. The Metaverse will also feature both sides. I am particularly critical of the legal aspects, which always lag behind technological developments. How can assaults on the digital self be prevented?

As a company, you help bridge the generation gap, which is more glaring than in previous generations thanks to the internet. What exactly is the idea behind Zeam?

Jo Dietrich: In 2019, I was in my early 20s and Yaël was not even 20 yet. At that time, many products and campaigns that were obviously aimed at us but totally missed the mark caught our eye. When we researched corporations, it became apparent that no one from the target group was represented in teams developing products and campaigns for 14- to 25-year-olds. It became immediately clear to us: we have to close this gap! Today we employ 24 people between the ages of 16 and 26 and collaborate with the largest companies in Germany and Switzerland.

What are the responsibilities of the 16-year-old?

Yaël Meier: Timon is our content creator. He has been running a YouTube channel since he was twelve and is an absolute social media professional. He also manages YouTube, Instagram, and, above all. TikTok channels for us. We use these channels to provide insight into our work and they lead to more applications than we can handle. Soon this will be a completely normal job in every company!

People used to tell young professionals that they still have a lot to learn. Is there a growing realisation that companies can also learn a great deal from young people?

Yaël Meier: Yes, absolutely. 20 years ago, young people discovered the internet for themselves, and nobody took

The 24 employees of Zeam are between 16 and 26 years old.

it seriously. That cost companies dearly. The same thing happened with social media. Today, people are watching us much more closely because our toys could be the next big thing. That is why there is so much interest in the Metaverse – people have learned from their mistakes. Jo Dietrich: We are currently working on a particularly exciting project with Jelmoli, the oldest luxury fashion house in Switzerland, which will be the first Swiss department stores to welcome customers in the Metaverse. In collaboration with Swiss Textile College STF, selected garments are produced and sold in a sales corner at Jelmoli. Simultaneously, we plan to present these pieces in a digitised form as NFTs in a three-dimensional showroom. Everyone can decide whether they want to explore the space wearing VR glasses. The physical and digital presentation starts on the 8th of June and can be experienced for a month at Jelmoli in the department store and online.

Yaël Meier: This presentation is not primarily about the best possible VR experience, but about the role retail could play in the Metaverse and how overproduction can be avoided through digital fashion. We wanted to test what is possible in a virtual environment, and to do so as simply as possible: as a use case for a stationary department store that also offers its products digitally. Do people buy an NFT for which they subsequently receive a physical garment? How does the transaction work? Is payment actually made with the cryptocurrency Ether? The use case will answer these questions.

With whom did you set this up?

Jo Dietrich: We created it ourselves. We own several virtual rooms that we can furnish with three-dimensional NFTs.

“The Metaverse will be the place where young people hang out.”

Cool that you have such a low-threshold approach. Much of the Metaverse is still completely uncharted territory.

Jo Dietrich: I believe the Metaverse is ultimately gaming plus social media. From a cultural point of view, the Metaverse is a place where digital products are as real as physical ones. My aha moment was a TikTok video by RTFKT in which a digital jacket could be worn thanks to AR filters. I thought that was crazy at the time! The second aha moment was Travis Scott’s concert in Fortnite in 2020, where his Nike sneakers were presented larger than life to 12 million concertgoers. Product placement does not get more ingenious than that!

My concern is that the Metaverse could end up being a place for vulgar capitalism. I say this as a convinced market economist. Could it lack intellectual focus and merely be about market share?

Yaël Meier: I would not view it so negatively. When the internet came into being, the young started playing while older people said that they do not need it. People looked for jobs in the newspaper. Who would want to find a job online? Then social media came along and, again, everyone was asleep at the wheel. Why have a friend online or post videos when you can see each other in real life? Yet the longer you wait, the more expensive it becomes to get started. And in the Metaverse, you do not want to be too late once more.

Absolutely right. That is also my appeal: anyone who has anything to do with customer journeys in any way and earns their money with consumer goods must at least contemplate a Metaverse strategy.

Jo Dietrich: Exactly, the Metaverse is simply about experimenting and testing. Fashion brands also have to experiment, in the simplest possible way. There is always a care value. Even if no one is following your campaign, you are still learning. And sooner or later you will come across something exciting.

Product-only is no longer sufficient; and some long-standing mechanisms have been completely reversed. How does one attract millennials and Gen Z, as a brand, influencer, or retail concept? How does one inspire, convince, and retain IT'S ALL them? Here are some inspira tions on how to succeed. Text: Nicoletta Schaper. Illustration: AdobeStock/Dariia. Photos: Interviewees and stores -

ABOUT COMMUNITY!

EXCHANGE

As a digital platform, By Rotation is an authoritative app for fashion rental. What makes you so successful?

Eshita Kabra, CEO of By Rotation: It is the only pure peer-topeer fashion rental platform, which means we are 100 percent circular. In other words, we do not buy the merchandise, we rent it out. To this end, we invested heavily in our technology, which has secured us a unique position in the fashion rental industry.

Is renting fashion the key solution for the younger generation?

I believe that Gen Z is becoming increasingly aware of the negative impact of the fashion industry and that the industry still has plenty of work to do in terms of changing its production methods. For By Rotation, I believe that quality fashion needs to be made accessible to people from all walks of life.

One of your core values is to be consumer focused.

We have built a community of style and eco-conscious people and I love that fashion rental really transcends the transaction itself. The beauty of our social platform is the interaction with other fashion lovers who discuss style, size, and fit. They follow each other. This is how many rotators have socialised through the app. This human interaction is unparalleled, as it provides a sense of camaraderie that goes beyond transactional exchanges, and that is something that is difficult to emulate.

Isla Berlin FROM FRIENDS TO FRIENDS

Charissa, young women in particular love Isla Berlin. How did you turn your store into a retail destination?

Charissa Chioccarelli, founder of Isla Berlin: By applying a highly community-driven approach to the concept. Prior to the launch in 2017, I discussed with friends what we thought was missing in the retail environment. That was the foundation of a store intended for a community that shares interests. Here, you can have your nails done, try on fashion by independent labels, and listen to music. Occasionally, we host workshops for ring making, or tattoo events. Anything that suits our community is conceivable.

One can also discover and book female DJs.

Yes, that is an important aspect. Already well-known DJs perform at our venue, and beginners can practise their sets and get booked through us. That lends the store its special atmosphere. Beyond that, I just love empowering young women.

How do you communicate with your target group?

We post what they are looking for on Instagram, preferably even before they are looking for it. I introduce trends as early as possible and take my cue from influencers who are also part of our community. When we post something, we do so as if we were writing to friends. This gives customers the feeling of being part of the whole, of meeting friends in the store. This is how the young people of today wish to consume, offline as well as online! Online communication is changing rapidly, and we are adapting quickly. Right now it is all about videos, memes, and fun content. Memes are an excellent way to show that you are part of the culture. They are little messages that only those who belong understand. And they show: Hey, I am like you.

Ikea TRADITION GOES NEXT GENERATION

Instead of a huge blue and yellow container on the outskirts of the city, this Ikea in western Vienna presents itself as a residential building with a green façade – an urban ideal of the future. It neither features the usual circuit nor the typical self-service hall. Rather, it presents products in an appealing manner. The underground stops right outside and whatever is too bulky can be transported by cargo bike or e-truck. The premises offers lively meeting places, such as the roof terrace, which is accessible to guests of the hostel above Ikea until midnight. By embracing risk, Ikea provides an answer to what the retail company could resemble in the future, when an increasing number of people live in large cities and drive less. A big image gain for Ikea, and a smart move towards the next generation.

So Real/Which PLM “VIRTUAL FASHION IS SUSTAINABLE”

Is virtual fashion the future?

Mark Harrop, Advisory Board of SO REAL and CEO of Which PLM: Yes. Young consumers in particular are already embracing virtual reality and understand that many products on the internet are computer-generated images. Given this understanding, they also desire instant gratification in terms of fashion.

What opportunities does this present for market participants?

Virtual fashion is already more sustainable, a key demand of the younger generation. Going forward, the industry can significantly reduce its carbon footprint by drastically reducing physical samples, which also means fewer flights. It increases efficiency and reduces costs. The see-and-buy aspect of readily available fashion is another advantage.

How does a fashion company become relevant to young people?

They wish to work for companies that are committed to the environment, equality, and social responsibility. Today, consumers vote on the social performance of companies with their credit card. It is high time for a truly sustainable future.

Pangaia FUTURE-MINDED

Pangaia fulfils several requirements of a young, sustainability-oriented community. Fronted by a successful direct-to-consumer concept featuring fashionable casualwear, the London and New York-based company also offers a B2B science platform; for 100 textile innovations developed in research centres in Italy and Portugal to help brands and suppliers alike move towards a more sustainable fashion industry. The latest coup? Pangaia Health superfoods, with the ambitious goal of harmonising human and planetary health. Thus, Pangaia operates in a highly innovative and future-oriented manner on many levels, which excites young consumers for whom a fashion brand is much more than merely casual fashion.

RELEVANCE AND REACH

More than 1,500,000 followers on YouTube and more than 900,000 followers on instagram speak for themselves: Justin Fuchs is one of the most authoritative influencers in Germany and beyond. What started with design videos was expanded with gaming videos and, in 2016, with self-designed streetwear. Peso Clothing tends to be sold out shortly after each new drop. To democratise the brand for fans, Peso Raws, featuring basics at fair prices that are always available, was introduced. This does not detract from desirability: well-known fashion brands are vying for collaborations with the YouTube star. Fuchs is the best example of how to follow one’s own passions, thereby maintaining credibility for the generation of the same age – and thus gaining relevance and reach.

Style3D FASHION GOES VIRTUAL

Will future generations exclusively hang out in the Metaverse?

Amal Jomaa, Business Development Director at Style3D: There is strong evidence to support that. Gen Alpha are virtually native in navigating and living their lives on Metaverse platforms like Roblox. It was exactly the same when millennials and Gen Z became digital natives as they grew up with social media and allowed it to interweave with every aspect of their lives.

What does this mean for those hoping to address Gen Z?

The opportunities for virtual fashion are enormous. Social media ushered in entirely new business models, like direct-to-consumer and influencer marketing. Similarly, a completely new ecosystem will flourish around the opportunities the Metaverse offers. The biggest catalyst would be the release of Apple’s AR glasses, rumoured to be realised later this year.

Which impact does virtual fashion have on “real fashion”?

My guess is that reality will surpass our wildest dreams. The part that I am most excited about is the entirely new aesthetic and creative freedom offered by virtual mediums! People will be emboldened to wear virtual designs they would not wear in real life.

Today, reach and relevance are essential. How does one reach Gen Z?

With authenticity and originality. Gen Z is an incredibly engaged generation. To appeal to them, brands need to be clear about their values. They need to embody these values in their product, operations, and communication.

EXPERIENCE, FEELING, AND MOMENT

Will we all rent clothes in the future?

Carmen Jenny, co-founder of Clothes Friends: Renting clothes will play an extremely important role in the way we consume clothing. Our vision is that people will keep high-quality basics in their wardrobe while renting special pieces to match. We aim to prove that sustainable consumption can be as varied as normal shopping. Perhaps even more diverse, as sustainable trends can be enjoyed alongside sustainable labels, too.

Is fashion no longer a status symbol for Gen Z?

We observe that owning fashion and its initial value are no longer the top priority; instead, it is all about experience, feeling, and the moment.

You have established hubs in Berlin and Munich; places where people can meet and try on fashion together. Is this a concession that young people cannot be reached without stationary retail?

We are currently testing these hubs, especially considering that exchange among the community and encounters have come up short in the last two years. But our focus remains our app, which already has 7,000 users in Germany and Austria. It will soon be launched in Switzerland, too.

THE GROUND “IT’S ABOUT COMMUNITY AND CULTURE”

How do brands and retail concepts gain relevance for Gen Z? Kai Zollhöfer, Show Director at The Ground, provides answers. He and his team have developed The Ground, a platform that primarily addresses a younger target group, for Berlin-based Premium Group. The platform is, however, expected to shine beyond its target audience.

Interview: Nicoletta Schaper. Photos: The Ground

Kai, is there a single, ultimate solution to reach

the younger generation?

It’s all about community and culture. As a brand or retailer, it’s about reaching communities and building your own. The best way to accomplish this is to focus on themes. The Lululemon store, for example, offers yoga workshops from time to time. This opens up a number of expansion opportunities through topics such as wellbeing, mental health, nutrition, and meditation. Sports brands can gain traction through their lifestyle aspect, their values, and specific sports. This allows them to identify micro-communities they can serve perfectly.

How does one achieve growth, gain reach?

Gen Z is very well connected via social media channels. Everything on the internet and beyond happens incredibly fast and blows over just as quickly, as meme culture proves. A prominent example is Bernie Sanders at the inauguration of Joe Biden. Sanders became a meme and pop culture event by wearing knitted mittens. If a brand responds promptly to events and seizes the moment to engage in dialogue with its followers, it can increase its relevance – better than any lookbook in the world.

Everybody wants to win over the young. But what does Gen Z want?

Authenticity. They expect brands to fit into their environment, beyond the product itself. Even more so than two years ago, the young target group is looking for purpose. What does the brand advocate? What values does it have? Is it socially committed? What impact does it have on the environment, and how does it communicate that aspect? Young people immediately recognise greenwashing or pinkwashing. They won’t tolerate bullshit. However, it’s not about getting everything 100 percent right from the outset. A brand simply needs to be transparent in disclosing its development plans and goals.

The Ground is essentially a platform aimed at Generation Z. How do you achieve the desired authenticity?

By inviting the target group into my team. Our employees are part of the community and therefore understand much better how the space becomes interesting to young people than I, in my mid-40s, ever could. It makes no sense to impose things on them. The best option is to give them sufficient space to develop their own ideas.

What can visitors expect?

The emphasis is on having fun. Our audience is eager to finally meet up again in real life and connect with their favourite influencers, artists, and brands. The pandemic has prompted young people to discover creative hobbies such as pottery; digital is not the only world they are interested in. This offers brands plenty of opportunities to connect with fans and gain new admirers. We offer interactive brand pop-ups, beauty tutorials, and upcycling workshops, as well as excellent music and, of course, exceptional food. Each of our core topics is co-hosted by influencers, which generates additional reach. We strive to create moments worth sharing.

The main pillars of Premium Group have so far been brands from the conventional fashion world. How attractive is The Ground, where many D2C brands are present, for them?

Very attractive, in fact. I don’t believe that simply displaying a product is in keeping with the times for any brand, because today’s trade fairs are different beasts. Communication is already deeply engrained in the core of B2C and D2C brands. As a brand, one needs to communicate firmly beyond the product. One needs to communicate directly with customers, gain one’s own followers, and activate them repeatedly. The Ground offers exactly this opportunity and – in the context of the trade fair – is also a performance show to demonstrate marketing strength and customer proximity to retail partners. This extreme focus on the customer was, by the way, my most valuable learning experience at Zalando.

You basically grew up in your mother’s boutique and also know the retailer’s perspective from your time at P&C and Breuninger. How relevant is the stationary multi-label trade, especially for young people around the age of 25?

They remain relevant, even for brands, as multi-label retailing creates completely different possibilities for establishing connections between brands and consumers. Over the last two years, many skilled retailers have learned to profit from the crisis by means of individualism and a curated assortment. They have immersed themselves in the realities of their customers. My mother has, too, focused 100 percent on her customers, which is the guiding principle of The Ground. Know your target group and accept that focus leads to certain things falling by the wayside. This increases relevance within the core target group, as a trade show, brand, or retailer.

Kai Zollhöfer developed The Ground platform for Berlin-based Premium Group. His background includes positions at P&C, Breuninger, and nine years at Zalando.

TIKTOK “WE ARE A PLATFORM FOR EVERYONE”

TikTok is undoubtedly the leading social media platform for 14 to 15-year-olds. What is the most effective approach for fashion brands to attract new fans on TikTok? In an interview with Stephan Huber and Nicoletta Schaper, Sahra Al-Dujaili, Brand Partnerships Lead Retail & QSR at TikTok, shares her firm opinion on the matter.

Text: Nicoletta Schaper. Photo: TikTok

How does TikTok succeed in being relevant

for fashion brands?

TikTok is first and foremost an entertainment platform. Users flock to the platform with an inquisitive and open mindset; they want to be entertained and explore new things. This makes the platform the perfect playground for fashion! Here, brands meet an open, very fashion-savvy community that also enjoys actively participating in and helping to create trends on TikTok. The special aspect is diversity. Fashion is combined very individually, and body positivity also plays a significant role. What is unique about TikTok is precisely this wide range of topics that are embraced and brought to life. And it is a place for brands to enter into dialogue with the community.

What is the best advertising format for which brands?

That depends on the objectives. Our TikTok for Business tool allows brands to identify the creative stories they want to tell and establish how they can authentically connect with communities or reach new audiences. We have developed solutions that function across every touchpoint and enable storytelling. Ray Ban, for instance, called to action with a hashtag challenge, the launch of which was supported by popular creators. The brand followed it up with product tiles, for example with a collection ad, where users are redirected via an external link.

“Our mission is to foster the creativity of our users and create a place where they can express it,” says Sahra Al-Dujaili, Brand Partnerships Lead Retail & QSR TikTok.

How do brands maintain authenticity on the platform when their core target group is not Gen Z?

While we offer access to new target groups that are difficult to reach on more traditional channels, our community is diverse – both in terms of age and content. Even brands that do not cater to Gen Z as their main target group can authentically leverage their DNA by entering into a dialogue with the community through their campaign. This opens doors for those who show humour and do not take themselves too seriously.

Does direct-to-consumer marketing also work for small companies that run a local business?

Yes, absolutely. A huge variety of small brands and start-ups are on TikTok, and we offer tailor-made solutions for SMEs. TikTok is a platform for everyone, for all businesses and industries. Unlike others, our platform works on the basis of a content graph, meaning anyone can gain wide reach immediately, regardless of how many followers they have. What matters is the content around which exchange takes place. The content is delivered based on relevance, which, in turn, is determined by the users. This is a highly individualised process.

Head Designer Stefanie Weissacher is the driving force behind the relaunch of Austrian brand Erdbär. Her objective: to be real.

ERDBÄR BE REAL

Less frills, more commodity, and sportier: Erdbär has benefited stylistically from its D2C reorientation.

Sustainable fashion label Erdbär has undergone a post-pandemic relaunch. Sportier, more basic – more real, as Stefanie Weissacher, the architect of the brand’s renewed success, describes it. What is particularly remarkable: She is only 25 years old.

Interview: Martina Müllner-Seybold. Photos: Erdbär

Stefanie, you used the pandemic to leave no

stone unturned at Erdbär. What exactly has changed?

In the four years leading up to the pandemic, we doubled our B2B sales every year and established a customer base across Europe. Growth is a constant test of endurance for the team, manufacturers, and the financing model. Consequently, the pandemic wind-down actually came at exactly the right time for us. We were forced to take stock of the last few years and ask ourselves what we intended to embody in the future. With a clear D2C approach, we returned to putting our consumers first, defined our online store as our primary channel, and not only redefined our style, but also completely restructured our communication. We are now in a position to convey significantly more emotion.

That is a statement that very clearly indicates that you are from a different generation. Most of your B2B customers would presumably insist that this emotion is conveyed primarily at the point of sale, but you claim that Instagram, TikTok, and your own website are more effective.

Please do not misunderstand, I am a huge fan of retail and practically grew up in our retail space in Europark. Yet the unfortunate truth is that brands often have no control over how enthusiastically their message is conveyed at the point of sale. Online, we can conceptualise and plan the message more effectively, and steer it in a direction that reflects our community.

Community is a key factor in this context. How do you identify and develop it?

It is a dialogue, a genuine interest in the people who follow Erdbär. We exchange ideas very proactively, we are tangible. The brand is real, we have a common vision that is created by the team and through constant exchange. In addition, we collaborate with individuals and brands whose communities match ours. These collaborations are particularly important, because communities already exist out there – but we have become much more selective when it comes to choosing our partners.

To what extent does the exchange influence your style?

I would say we have evolved in a more sporty and less complicated direction. I have spent a great deal of time thinking about the difference between a t-shirt you like and a t-shirt you buy and actually want to wear again the moment it comes out of the laundry. The goal must be to design clothes that you want and can wear every day!

Specialist in fine fibres and knitwear for 55 years: Kangra. Fully integrated production and decades of experience ensure the quality of Kangra.

KANGRA

UNA STORIA ITALIANA

Italian cashmere brand Kangra harnesses 55 years of experience. Hailing directly from the very heart of the knitting nucleus in Reggio Emilia, the brand excels in the processing of particularly high-quality yarns.

Text: Martina Müllner-Seybold. Photos: Kangra “I am relating the story of Kangra, a ‘Made in Italy’ success story shaped by people, their respective style, and the unrelenting quest to craft the finest knitwear,” is how charismatic Kangra founder Paolo Montermini tends to start his narrative. He has always outstripped others in terms of curiosity. In the 1980s, he was lured out into the world. Returning from a trip to Scotland with a complete set of 64 different coloured Shetland wool melange yarns revealed a whole new world to him. The vast majority of Italian producers in those days barely tapped into ten different colours. His enthusiasm was kindled, and he wished to learn how to produce such variety in Italy as well. With this kind of motivation, it is hardly surprising that Montermini was also among the first to discover angora, and later cashmere and other exquisite fibres, and professionalise himself in this field. Until 2002, mind you, he operated purely as a private-label producer.

BECOMING A BRAND

The introduction of an autonomous brand marked a turning point in the company’s history. The launch of Kangra not only signified a distinction from cheap production in low-wage countries, but also the beginning of a completely new journey. The road to the top was clearly charted, not least because conditions could not have been better. The arrival of Gionata Reverberi as partner and CEO allowed Kangra to secure access to the best cashmere sources. The brand was ready for growth. With several own stores in Italy, as well as 500 and 100 points of sale in the domestic market and export markets respectively, Kangra is a diamond in the rough that now aspires to transform into a crown jewel. Reverberi explains: “We are investing heavily in the brand and distribution network to further strengthen the Kangra name. D-tails is our sales partner in the DACH region.” The USP is the brand’s unique expertise: Kangra manufactures fully integrated, not just cashmere but also wool and cotton yarns and silk in gauges ranging from 3 to 18. The superior 18-gauge cashmere quality is a real rarity, does not peel, and still remains reasonably priced. Kangra is also known for its structured knit and reliability. “We are committed to an efficient corporate culture that emphasises the human factor. Our relationships are solid, long-term, and loyal,” says Reverberi.

“When we launched Penn & Ink N.Y, it was already my dream to own a store at this magical location, a former church in Arnhem,” says Mark de Lorme. “The fact that we are launching it at the end of June brings it full circle.”

PENN & INK N.Y “WE ARE READY”

Within twelve years, Felice and Mark de Lorme have led the Dutch brand to significant success. That they are now opening another store, located in a former church in Arnhem, almost holds symbolic value. After all, the fact that Penn & Ink N.Y is run by individuals who are retailers at heart is perhaps the brand’s greatest asset.

Text: Martina Müllner-Seybold. Photos: Penn & Ink N.Y

Standstill is a word that does not feature in his vocabulary. “We relocate our showroom every few years, always recreating the Penn & Ink N.Y world, because we strive to inspire. From coffee cups to fashion, the emotion conveyed by our brand has to be tangible throughout. We need to be clear about what we see in Penn & Ink N.Y,” says Mark de Lorme. In Holland and Belgium, Penn & Ink N.Y. not only delivers such coherent B2B experiences, but the brand also operates several stores – none of which, however, is run as a classic mono-brand concept. Since the de Lormes are retailers at heart, other brands complement and flank Penn & Ink N.Y in the stores in Breda, Den Bosch, Rotterdam, Antwerp, and, most recently, Arnhem. “Only a few labels, never more than five,” the entrepreneur emphasises. “If you buy very little of a brand, you might as well not do it at all. We buy in a volume that lends weight to our order and establishes a real business relationship for both sides. You do not need 20 different lookalikes of everything.”

Felice and Mark de Lorme are the dynamic duo responsible for Penn & Ink N.Y’s success.

DESIGN ICONS

Every Penn & Ink N.Y collection strikes a balance between icons and innovation. “We design based on our own personal taste and have a good sense of what icons define our brand, what pieces women will want to buy from us repeatedly – albeit with small updates in colour or fit, of course,” explains Mark de Lorme. “Today’s customer demands practicality and comfort, even when dressing up for an occasion. We aim to create icons, to design pieces that you want to wear right away and, at the same time, are certain you can combine them wonderfully for many years to come.” In view of current price increases, this is a sensible course of action. “We are facing a cost increase of up to 20 percent in terms of raw materials and production, which inevitably results in higher prices for the end consumer. I hope that this development leads to clothing regaining a greater value. It would be great to return to buying something with the idea that your children might steal it out of your wardrobe in a few years’ time because they want to wear it. This is how it is supposed to be, is it not? Maybe this environment will force us to finally commit to the much-needed shift towards more sustainability, less seasonality, and fewer pieces – we are so ready for that.”

Renato Curzi, founder of Vic Matié, has been the soul of the brand for 40 years.

VIC MATIÉ

CONTINUITY AND ZEITGEIST

Vic Matié embodies contemporary shoe fashion.

Vic Matié has been among Italy’s most influential shoe and accessory manufacturers since the late 1980s. The company is committed to producing exclusively “Made in Italy” along the entire supply chain. Coinciding with the arrival of the next generation, various adjustments have been made. In partnership with his daughters, founder Renato Curzi is building on previous accomplishments. The DACH region also benefits from the brand’s resurgence.

Interview: Janaina Engelmann-Brothánek. Photos: Vic Matié

Mr Curzi, Vic Matié is performing tremendously in German-speaking territories. Shall we talk numbers? Renato Curzi, founder of Vic Matié: The DACH region has always been a very significant market for us. At present, we are, in fact, recording the best sales figures in years. The sell-out figures are unbelievable. We are registering around 50 percent growth compared to 2021. We currently supply 160 stores and aim to increase this number to 250 in a sustainable and strategic manner, in cooperation with the right partners such as high-end, multi-brand, and department stores. The fact that we started delivering the autumn collection in June is, of course, conducive to this approach.

Can this success be attributed to your rebranding and repositioning strategy? How much impact has the arrival of a new generation had on the process?

I would not call it a rebranding, because the core of the brand, its values and mission, have always remained the same. Naturally, the products and collections have evolved. We implemented our repositioning with utmost respect for the partners who helped establish Vic Matié in the DACH region. The task of the next generation, as I understand it, is to combine a contemporary vision with the know-how of our “Made in Italy” structures. I also admire the digital tools that connect us more directly with customers, be it B2B or B2C. Yet these are not the only areas in which we have attracted young talent. What makes me especially proud is that we are also an attractive option for the next generation in terms of production. This is enormously important for advancing Italian shoe craftsmanship into the future.

What are your expectations for the season?

We expect the sell-in in the DACH region to increase further. We are forming new strategic partnerships and strive to gain visibility for the brand in retail. In terms of B2B presence, we plan to attend events such as Premium Berlin and Shoes Düsseldorf. In our showrooms in Milan, we welcome customers from all over the world and are delighted that the pandemic-related restrictions are behind us for now. The collection shows how agile we have become. Alongside continuity, being fashionable and innovative remains essential.

War, inflation, shortages - as the children of prosperity and peace, we have never really experienced this scenario. The principle of permanent growth is reaching its limits. The clock is ticking. We urgently require new answers to the most fundamental questions today, not tomorrow. What helps? Transformation in all areas, the courage to be radical, and to break free from old patterns.

FLAVOUR

Influencers, creators, YouTubers, TikTokers – they have come to stay. ENHANCER They are, however, changing roles more and more frequently. They are no longer mere consumers and recipients, but rather the actual masterminds behind particularly high-impact campaigns.

Text: Martina Müllner-Seybold. Illustration: iStock/Igor Levin

Be it Brianboy’s brilliant move to blend Fendi and Versace into Fendace, Kim Kardashian’s symbiosis with Balenciaga, or even a simple local micro-influencer promoting the store around the corner. Our public sphere is shaped by a wave of co-creativity. This ultimately results in a breakdown of old power structures. Brand here, press there, consumers everywhere – this particular approach is now merely one of many ways to generate awareness and desirability. We live in a time when everyone has a voice and the potential to be heard. In this era, the art of managing a brand has taken on entirely new dimensions. The journey from awareness to purchase is a long one that needs to be accompanied by subtle strategies. The creator economy plays a pivotal role in the process. The first gold rush is over, the wheat has separated from the chaff, and professionalisation is progressing fast. So, in the end, the same old questions arise again: Who wants to advertise what and how much money are they willing to pay? When 37 percent of Germans between ages 18 and 26 state that they readily follow buying recommendations from influencers who test and review products, this confers enormous power on the approximated 50 million creators worldwide. An estimated 90 million US Dollars in revenue is generated by the global creator economy’s ability to turn mentions into measurable leads and sales. The fact that many KPIs in collaboration with digital influencers are measurable has made them the darling of a new generation of marketing executives. This does not bypass even those who are primarily designated as consumers: 35 percent of young people, according to a study conducted by Bitkom Research, would love to be an influencer themselves. More than half of the survey participants, specifically 56 percent, are sure that being an influencer is a bona fide profession. This means the new generation has a much more realistic perception of the commitment required behind the job description. Hence, they are well ahead of those who still make the mistake of labelling the work of creators as superficial, insignificant, or of lesser value.

Seasonless, made of deadstock fabrics, and in limited drops: Viky Rader Studio, the fashion label of Viky Rader (3rd from left).

“WE BEAR RESPONSIBILITY”

Viky Rader, aka vikyandthekid, is among the top talents on Instagram. In an interview with Stephan Huber, she discusses emotion, responsibility, and creativity, as well as the rollout of her brand Viky Rader Studio and why stationary retail plays a key role in the

process. Interview: Stephan Huber. Photos: Viky Rader Studio, vikyandthekid

Many people, even in the fashion industry, find

it difficult to comprehend what someone like Viky Rader actually does - and, crucially, do not appreciate that it is entrepreneurship at its purest. How would you describe yourself?

The term entrepreneur sums me up perfectly. Not acknowledging the work of a content creator is a very central European problem; people in other countries are more progressive in this respect. I only moved to Germany twelve years ago. I was born in Ukraine. I have worked as an international model, a freelance stylist, and a personal stylist. However, it was important to gain a solid foundation, so I studied marketing. But that did not excite me as much as fashion and haute couture. This world – with its great creations and values – conveys so much emotion. I have always been fascinated by it. I used to draw sketches and designs for myself all the time. When I was 25, I enrolled at St. Martin’s School in London and even then, it became clear to me that, if you want to be successful in the future, you need to reach your customers on the screens of their mobile phones.

You already gave that thought back then?

Yes. Crazy, is it not? Germany was not ready for that kind of approach yet. In 2011, I debuted my own fashion label for the first time: 10 pieces, all made of leather. The agency did a great job marketing it, but I was too young and wanted too much too fast. Instead of remaining small, I suddenly focussed on super-exclusive couture. Unfortunately, that step was not strategically sound enough at that particular moment, but it was a mistake that taught me many lessons. I then started getting involved with Instagram. From 2014 onwards, it slowly became apparent that this platform could be developed into a business model. Like many others, I started with a classic blog, an Instagram account, and some YouTube content. In 2015, when my son turned one, I said to myself: I could scale this up a little and be more professional. The name Vikyandthekid was pure coincidence.

When did you realise that this could turn into something big?

I became more involved with every passing month; it really drew me in. And at some point, it clicked: I suddenly knew I really wanted to give this a go. I was fully aware that I had to enter the international arena, that I had to get out and about, and that I wanted everything to be super professional. Anything you take too lightly never amounts to much, not even in a creative environment. I always think big. Yet I am creative, which also means chaotic at times. I have thousands of ideas, and someone has to structure them a little. It is fortunate that I have such a great team.

Because very few people – even today – have understood that this is a completely new type or era of communication.

Yes, and it took time to achieve success. I invested an incredible amount of time and energy for three years, and I also ran another company, Glamometer, on top of that. My husband always said that he hopes my hard work pays off. Today, it does: all the time I invested in networking at visiting fashion events. It was always important to me that I deliver professionally and continually improve on that.

Does the reach you have today also entail responsibility?

Definitely! The term influencer, as harsh as it may sound, entails influencing others. It is not like we just hold some random bottle of juice into the camera and collect loads of money for doing so. An entire team is involved in developing the strategy, shoots, campaigns, budgets, hashtags, and a precise launch plan. It is enormously powerful, but obviously difficult to explain to those who only see the finished product. You are the brand that you carry with you all the time. I am very careful about what I show, how I “influence”, and even I have things I refuse to show.

Is choosing cooperation partners so crucial because of the close relationship you have with your followers?

Yes, credibility is the most important currency. The game has some fundamental rules. We highlight the latest trends, so I always have to be up-to-date. And we choose brands that suit me – authentic integration is extremely important to me. Of course, we make sure to do justice to the brand essence and values, and to communicate them emotionally in our storytelling.

For you personally, being authentic also meant speaking out politically for the first time in March, talking about your roots, and using your reach for aid projects...

Opening up like that was a very difficult decision, but I think it has given me a whole new meaning as a public figure. I was able to use my visibility to help Ukraine. Precisely because fashion can also be superficial, it was always difficult to assess who Viky really is as a person. Now people definitely know more about me. I am so deeply affected by the war that I cannot simply sit back and watch. That is why we immediately organised help, set up charity projects, and arranged accommodation for Ukrainian refugees in Munich. I also set up my own foundation called VR-together. Helping in this situation is genuinely close to my heart.

Is it important to display emotion?

Many decisions are based on my gut. At the beginning of the corona pandemic, I quickly realised that I no longer wanted to wear so many logos. I wanted a different, timeless style – not so showy. Fashion had really become too inflated before that, it was all very crazy, loud, and colourful. It had very little to do with what women really wished to wear. These instinctive decisions, as well as showing emotions, are important. After all, my followers identify with me as a person and share a part of my life.

This is an issue that you no longer simply address as an ambassador or co-designer for other brands, but also with your own label: Viky Rader Studio. What you have built up over the last few years is a perfect vehicle to position yourself in the market in a contemporary way.

You need to get back up and build something anew after every crisis. Sure, the time in the cosy hoodies and sweats was nice, and I enjoyed it. It was a nice change from the crazy pace and all the travelling. We were always on the road: events here, Fashion Week there - and I was so terrible at saying no. But then during the pandemic, a lot of women lost their sense of what it means to be beautiful, to dress up, or to apply make-up. I thought about everything for a while, went to my wardrobe, and suddenly it hit me: I have hundreds of blazers and I love them. I adore suits, but no brand really

specialises in them. My appetite for risk was back when I, in the midst of the pandemic, declared that we were launching Viky Rader Studio with blazers and trouser suits. People called me crazy. But I was sure the glitz and glamour would return to fashion and against all odds – the launch happened during the time of corona restrictions, and I had just given birth to my daughter – we did it. We meticulously planned what we wanted to communicate, as it was important to us to explain the idea behind it. We filmed in Portugal and showed the people who create Viky Rader Studio. We explained that everything is limited, that we work with deadstock garments and vintage fabrics, that we pay attention to water consumption and transport routes... However, I wanted to avoid using the word sustainability, because I think it is about more than that. It is about how we want to structure our economy in the future.

The pandemic has brought about a major change in attitude – and it had to, because the conditions we had before were no longer acceptable.

Figuratively speaking too, yes. Fashion often overwhelmed me. It was too much, too crazy, and too much love: pre, main, and resort, with special drops on top of all that. Viky Rader Studio has a clear focus on purpose. We do not do discount sales, as we offer timeless pieces. I studied my entire archive and reinterpreted a lot of iconic styles from the 1980s and 1990s. I thought about that era in detail and even though it was crazy, there was none of the trash that exists today. We content creators and brands have a responsibility to return to this kind of appreciation of clothing, because consumers listen to us. I myself know all too well that something I wear will be in demand in stores tomorrow. So, it is essential that I think about what I present and show – and now produce.

Viky Rader Studio is essentially a total look...

Yes, but I refuse to create certain garments such as skirts or dresses, for example. That is not my thing. What is important are styles that I love and wear myself. That is why basics like coats, blazers, trousers, and t-shirts, as well as blue socks, were so dear to me.

Are there seasons?

No, only two drops. No one looks at their wardrobe anymore and chooses an item of clothing because it is spring. I firmly believe that our brand needs to deliver what it promises, which is why we manufacture in Europe.

Is the brand promoted exclusively through your own channels?

No, naturally we market our fashion on all channels: online and in cooperation with stores like Lodenfrey am Dom, a dear, long-standing partner of ours. I feel it is crucial that Viky Rader Studio is not only seen on me. We have created fantastic campaigns and seed the pieces among my fellow influencers all over the world, including in the US and Australia. Our approach has been global from the offset.

In other words, it is not an online-only business?

Right from the start, it was a priority of mine to find exclusive partners, as in real stores. Because I too, no matter how much I order online, am always thrilled by in-store experiences. They correspond to our human psychology. It makes us happy to be welcomed or recognised, to feel the quality of the fabrics, to try on clothing, or to combine pieces.

Much more of a co-creator than “just” an influencer: Viky Rader has found a mouthpiece for her creativity in her Instagram account vikyandthekid.

Magari International manages and advises international personalities such as Anna and Robert Lewandowski, Masha Efrosinina, Viky Rader, and Jennifer Knäble. At Magari Mediahouse, Magari bundles cross-media brand consulting and the development of strategic and creative concepts.

“INFLUENCERS ARE THE NEW VOGUE”

Through Magari International, Daniela Giller not only specialises in the management of celebrities, but she also heads a team of experts who develop 360° concepts and high-quality collaborations between creators and brands. She mediates, networks, and tells why her fashion and publishing experience are so

crucial. Text: Nora Hahneder. Photos: Magari International

If one were to define your greatest skill, it would be to generate content that blends natively into the storytelling of your talents and brands.

Influencers have become the new Vogue for good reason. If a woman wants to know what she should wear, she turns to Instagram and looks at people like Viky Rader, Nina Suess, or other international examples with whom followers often identify on a very personal level. It is correct that absolutely nothing is left to chance, as all these creators are extremely professional. Partnerships, shootings, and campaigns are planned at least as elaborately as they used to be for glossy magazines – with aesthetic and high-quality image material, of course. There is a reason why these individuals are sitting in the front row of international designer shows.

Why is a strategic approach advisable?

Because you first need to identify what you want: reach, image, or concrete action, i.e. sales? To this end, it is important to understand the influencers and their target group, and to involve them in the process. They know exactly what resonates with their followers. Imagery and environment should also complement the product. There is a perfect influencer for every strategy; simply picking anyone does not necessarily yield the desired result. We generally recommend against that approach in order to protect our talents. Their authenticity is our top priority. This includes being selective and collaborating with many brands on a long-term basis, establishing a relationship of trust.

Can you elaborate by means of a concrete example?

We developed a Cambio capsule collection in collaboration with Viky Rader. Cambio is traditionally a hidden champion within the product ranges of many high-end retailers. With Viky Rader as designer, we succeeded in imbuing the product with the corresponding high-end appeal. Viky’s collection is based on values that they both share: authenticity and a sense of responsibility for the environment. The capsule is underscored with a suitable storytelling strategy: a premium product whose entire process from design to launch is depicted in high-quality photo and video sequences.

And?

Needless to say, it works. The Viky Rader x Cambio trousers have generated high demand online and increased customer frequency in stores. This is partly due to the charisma of Viky Rader, and partly the sum of all the little levers that you tweak in the run-up to the launch, which in the end results in a comprehensive cooperation across all channels: attracting the right retail partners for the launch, as well as the seeding and visibility of the brand, especially in terms of other high-end influencers. We focused on high-quality packaging and the right selection of the Viky x Cambio squad. When the product is shown on social media at the same time, it has a powerful effect that increases awareness and image. Especially when, as in the case of Cambio, trade press, advertisements, and retail activities flank the campaign.

ARIANNA ALESSI “A COMPANY IS JUDGED BY ITS VALUES”

Committed to social responsibility and sustainability: Arianna Alessi is Vice President of the OTB Foundation, CEO of Diesel Farms, and CEO of Red Circle Investments.

Arianna Alessi, a power woman par excellence, is committed to a more sustainable future in several capacities, including the OTB Group’s charitable OTB Foundation and Red Circle Investments. To her and her husband Renzo Rosso, doing good is not a hobby, but an indispensable aspect of business. In this interview, the manager and philanthropist speaks with Nicoletta Schaper and Stephan Huber about the change in values that companies should represent today.

Text: Nicoletta Schaper. Photos: OTB Foundation, Red Circle Investments

More than ever, brands and companies

are required to communicate with their target group at eye level and remain authentic. How exactly does one do that?

Renzo Rosso’s vision is at the core of all the fields in which I engage. We are dealing with a person who is thoroughly honest and authentic, and for whom it is important to communicate truthfully. This is reflected in all our investments. They reflect the values that are dear to Renzo.

Renzo once told me in an interview that someday the time will come to give back to society. Is that the underlying idea behind all your investments, to back business ideas that can improve on things?

Renzo has always supported young talent. He is no newcomer to investing in emerging businesses and giving back comes naturally to him. Every project undertaken by OTB Group and every charity initiative we organise aims to make people’s lives better. We believe that a profitable company and a non-profit company are the same, and the employees of the OTB Foundation are funded by OTB Group. The foundation is run like a business unit of our company, with the vision of bringing about a better future. There is no difference between business and charity. It is the same for Renzo.

Looking at your investments, one notices that they are interdisciplinary. You invest in start-ups from the food, agriculture, and healthcare sectors. What they all have in common is that they serve a purpose and are highly future-oriented. How do you go about selecting targets?

Everything initially hinges on the company displaying the correct values. We identify start-ups that ultimately aim to help people in all manner of areas, be it surgical methods that minimise the impact on the body, or the Italian healthcare system, which is massively overstretched by the pandemic. With Red Care Home Health Assistance, for example, we champion the idea of treating people at home.

The fashion industry remains one of the most polluting industries. Is that one of the reasons why you invest heavily in start-ups developing environmentally friendly solutions, which, in turn, contribute to the sustainability of your own fashion brands?

Absolutely. I know that OTB Group is working on multiple projects to improve environmental sustainability and social working conditions, even at our suppliers. Diesel presented its sustainability manifesto at the Milan Fashion Week in January 2020 and then sent its top managers to attend a training course at Bocconi University to learn what sustainability truly means. This is one aspect of OTB Group’s sustainability programme. As for Red Circle, Renzo’s private investment company, one of our most recent investments is in Planet Farms, a company which enables vertical, sustainable farming. This is precisely the kind of thing we need to invest in moving forward! There is an immediate need for innovations that enable farming land without chemicals.

Generally speaking, the trend in recent years was to invest in start-ups that had the potential to become the next unicorn. The focus was not on how responsibly the company acts with regard to the future. Is this a new concept of ethical investment?

Actually, Red Circle Investments invested in two Italian companies that later became real unicorns: Yoox and Depop. Yet we are not a classic private equity fund; we follow a completely different logic. We commit to long-term investments in projects and remain involved to build a better future together.

If an investment actually develops into a unicorn, fair enough. But the motivation and core values are completely different and should generally form the guiding principle for all future investments.

The OTB Foundation was, in fact, the first Italian fashion organisation to help the people in Ukraine with donations. The UN Refugee Agency called us four days after the war began, asking how one could best support the refugees. Other Italian fashion brands followed our lead shortly thereafter. This is how we define authenticity. Everything one does should be authentic and transparent. It is better to act quickly than to deliberate too long.

Which brings us to the topic of female empowerment, which is also a matter close to your heart.

This is indeed a topic close to my heart. I grew up as the daughter of a businessman with four brothers and a sister. My grandfather was a patriarch and refused to accept women in management, including me. After graduating, I started working for Interbanca, a commercial bank, in several branches stretching from

Planet Farms’ vertical farming system facilitates the sustainable cultivation of vegetables. The vertical farm in Cavenago is one of the largest in the world and produces leaf lettuce and herbs using 95 percent less water – without the use of chemicals.

The Only the Brave Chiama Alice project, developed in collaboration between OTB Group and the Alice Onlus Association, aims to address the significant increase in anxiety and depression among young people.

Milan to London. Later, I launched my own consultancy firm advising family businesses. Today, I am thankful to my family that their decision helped me get to where I am now! Given that I am responsible for scouting and strategic investments at Red Circle Investments, my cousins now call me when they require advice. Women are multitasking talents. They have the ability to organise themselves and others well while remaining empathic. These qualities benefit any company. This year, we are launching a project to provide MBA scholarships for women in partnership with Bocconi University, with the goal of helping them occupy senior positions in public administration and large companies. A modern woman should be able to work and have childcare nearby, so that she can visit her child during lunch break. That is what I understand as intelligent working.

Is it a matter of creating a female environment in a work environment dominated by men?

I believe that both belong together as equals. We want to afford men and women equal opportunities, not least in the application process. We are not interested in the nerds who are the best in the world at what they do, but in those who really want to make a difference, which are often women. That is why we have introduced mentoring programmes as part of our Bocconi scholarships. Women account for the majority of employees in the fashion industry, but they still rarely attain management positions. OTB Group maintains an above-average percentage of women in middle and senior management. That is something we are very proud of.

What can we expect from Arianna Alessi in the near future?

I want to make a difference in everything I undertake. We will continue to invest in the future, in a wide variety of fields. I firmly believe that the future holds success for those companies that act responsibly and strive to have a positive impact on the world. That is our motivation, as there is no plan B for our planet.

OTB Group comprises, among others, fashion brands such as Diesel, Jil Sander, Maison Margiela, Marni, and Viktor&Rolf. The OTB Foundation is a non-profit organisation within the group. Red Circle Investments serves as Renzo Rosso’s private interdisciplinary investment firm for sustainable future technologies and start-ups such as Bending Spoons, Noosa, Cortilia, Planet Farms, and Red Care Home Health Assistance.

CHAIN REACTION

To some extent, one had the impression that Italians perceived the protection of their homeland as Europe’s number one production country as somewhat of a marketing task. Yet the picture that was painted does not always reflect reality. Yes, Italy swarms with artigiani, but that is only one side of the coin. Illegal workers, sweatshops, and ports dominated by mafia structures - which are often no longer in Italian ownership - harbour ships that haul containers of cheap goods and counterfeit products to Europe. When Italy now prepares to become a pioneer for sustainability, equality, and circularity within the framework of the European Green Deal, it is doing so in order to save itself. For it is clear that Italy can no longer win the battle for the best price. But it can still win the battle for the best product.

Text: Janaina Engelmann-Brothánek. Illustration: AdobeStock/fran_kie. Photos: Interviewees T he EU is one of the major consumers of textiles and therefore also one of the major polluters: 5.8 million tonnes of textile waste are thrown away every year, which amounts to 11kg per person. This places the EU fourth in the world in terms of negative impact on the environment and climate change. To counteract this ecological disaster, the EU Commission has presented a new document, the “EU Strategy for Sustainable and Circular Textiles”, as part of the European Green Deal. In addition to binding requirements such as transparency regarding origin, production methods, and materials, the main aim is to put a stop to greenwashing. Brands can only claim to offer so-called green products if they can scientifically prove their sustainability, and they must also detail how long their clothing lasts. Beyond that, sustainability must also entail social justice. Products manufactured under conditions that violate human rights are not admissible on the EU market. So, where does Italy stand? The Ministry for Ecological Change was created in 2021. The national stimulus package (Piano Nazionale di Ripresa e Resilienza) envisages an ambitious reform agenda totalling around 230 billion Euros, of which about 70 billion Euros are earmarked for the green revolution. Yet Made in Italy is already far more environmentally conscious than it used to be. Over the last five years, more than 440,000 Italian companies, or about one in three, have invested in environmentally friendly products and technologies, particularly in energy efficiency, renewable energy, the reduction of water consumption, and the prevention of waste and pollutant output. The attention to productivity and resource management is also reflected in recycling capacities: Italy boasts the highest waste recycling rate in Europe and is at the forefront of promoting a circular economy.

Duno “WE NEED INCENTIVES AND FUNDS FOR RESEARCH AND INNOVATION”

By using ecological materials in its capsule collections, Duno has started to go green under CEO Chris Wang.

Chris, Duno is an Italian company, yet it manufactures in China. Why?

Chris Wang, CEO Duno: Yes, Duno is an Italian label that has chosen to manufacture in China because we own a family business there. Our production facility has been in operation for 30 years and consequently possesses incredible outerwear know-how. We pair high quality with original Italian design and the best fabrics. Our collections are the result of this powerful blend.

Does the European Commission’s move towards an even greener economy scare you or does it spur you on?

No, it does not scare me. We have been gradually becoming greener for a few years now, launching capsules with environmentally friendly materials. This, in turn, makes our main collection more sustainable. We understand the importance of this transition and are investing in accelerating these processes.

What do you think Italian politics can do to support this transition?

Politics in general should support companies that follow an environmentally friendly path by providing them with incentives and funds for research and innovation.

GENUINE “MADE IN ITALY” EQUALS LUXURY

Alessandro Hong, owner of Distretto 12

“First of all, I believe it is important to define real ‘Made in Italy’. Nowadays it is often used as a phrase that does not reflect what I understand by ‘Made in Italy’. A product should not solely be defined by its origin, but also by how and by whom it is manufactured. To me, ‘Made in Italy’ means that the whole supply chain is Italian, that the material is sourced here and is processed equitably. Know-how also plays an important role, as extensive experience has its price. This leads us, however, to the crucial question: How is all this – and what the EU Commission is considering – supposed to be possible at competitive prices? Currently, this amounts to pure idealism and has little bearing on reality. What we need, therefore, is relevant tax relief for the companies that comply with the above-mentioned processes. Only then is genuine ‘Made in Italy’ no longer only possible in the luxury segment.”

AGAINST THE TIDE

Fiorella Ghignone, CEO at Liapull/Avant Toi

“We are a company that has always attached great importance to artigianalità (craftsmanship), and these values are firmly anchored in our DNA. For us, the term ‘Made in Italy’ has never been a question of marketing. We swam against the tide years ago. We did not relocate our production, but we used local labour and invested in training and technology. This is the only way to provide a luxury product that aims for quality, as well as fair and respectful treatment of people and nature. Our philosophy has always been to invest in what is real and tangible, and today, with the advent of new generations, we hope even more that the ecological change we are experiencing will restore the 'Made in Itay' seal as a real guarantor of these values.”

“THE GLOBAL COMPETITIVENESS OF ITALY IS IN DANGER”

What impact do the new EU Commission requirements have on the Italian market and on products “Made in Italy”? Are they an opportunity to revitalise national supply chains or rather a new obstacle? How is Candiani Denim experiencing this moment of major transformation?

Alberto Candiani, Global Manager of Candiani Denim: It presents a great opportunity for Italy. Many textile companies have specialised in real sustainable innovations and anticipate the needs of circular fashion, which is talked about so much today and is now finally being legislated. The real problem is that some links, or even entire supply chains, have disappeared. So, we have an Italy where there are excellent companies capable of delivering innovative and even revolutionary textiles, but also supply chains that, due to unsustainable costs in our country, have focused almost exclusively on luxury and thus lost global competitiveness.

How would you describe your role in the shift towards more circularity in fashion?

In 2018, Candiani partnered with the UNECE as an expert advisor to define the guidelines for transparency and traceability in the apparel and footwear industry. We decided early, and of our own accord, to invest in environmentally friendly products and technologies, and to revolutionise the denim process. The prime example is certainly our patented COREVA technology, a denim stretch fabric with an additive of natural origin that is completely biodegradable and compostable. This is the exact opposite of fabrics stretched with perobased materials that take dozens, if not hundreds, of years to degrade.

What is your benchmark for sustainable products today?

The aim is to develop products that do not cause ecological problems at the end of their life cycle. COREVA materials are highly recyclable, and their waste can easily be converted into organic fertiliser. This can be reused to grow cotton, for example, in a regenerative circular economy model.

Alberto Candiani, Global Manager of Candiani Denim, is convinced that the aim needs to be to develop products that do not cause ecological problems at the end of their life cycle.

The shawls by Pin 1876 are exclusively manufactured sustainably in Italy.

Alberto Zia, Managing Director of Pin 1876.

Pin 1876 “BOUNDARIES INVIGORATE CREATIVITY”

Ever since its foundation, Pin 1876’s shawl collections have been produced 100 percent in Italy and in a sustainable manner. Here, “Made in Italy” is not a marketing strategy but a fundamental value, rendering the company a flagship of European technological and green innovation.

Alberto, is it time to develop a genuine lobby for Made in Italy and thus also a counter-lobby to Fast Fashion? Could this help to comply with the new requirements of the EU Commission and at the same time accelerate the shift to a greener and fairer economy, both as a country and as an economy?

Alberto Zia, Managing Director of Pin 1876: I believe that we should not push for a counter-lobby, but for a pro-lobby, i.e. the promotion (and therefore control) of a supply chain that keeps manufacturing in Italy as far as possible, following the strict rules of 'Made in Itay' imposed by the European Union. Those who succeed in offering a sound quality product automatically position themselves outside the logic of mass production and of those for whom sustainability only serves as greenwashing for marketing purposes.

How difficult is it to produce a truly sustainable product 'Made in Itay'?

For a company like ours, which has always created and manufactured in Italy, it is not at all difficult. Botto Giuseppe di Valdilana and recently acquired Cascami Seta di Tarcento have been closely linked to its surroundings, i.e. the social fabric and the environment, since their foundation. This indissoluble bond makes it difficult to do anything else, i.e. to relocate production or even think of carelessly polluting one’s own soil. Similarly, self-supply of electricity through one’s own hydropower plants is not a marketing measure, but a natural response to the energy needs of a local business.

How can one be green and fair without losing the flair and creativity that characterise Italian design?

Due to their history and nature, Italians have always made a virtue out of necessity. A country deeply impoverished by two world wars fought on its own territory has found ways to use the scarce resources at its disposal to create unique excellence, from cuisine to design. The boundaries are what invigorate creativity by means of knowledge and imagination.

Pitti Immagine “CIRCULAR FASHION IS A NEW BEGINNING”

What are the implications of these new European approaches for the Italian market and for products “Made in Italy”?

Raffaello Napoleone, CEO of Pitti Immagine: It definitely constitutes an opportunity for the Italian market. Whether it is tanning, weaving, spinning, or textile manufacturing, we have seen incredible development in all businesses over the last few years. There is still a lot to do, but a lot has already been achieved. The green and fair approach to manufacturing has become a priority – not only for marketing purposes, but also because younger consumers are willing to pay more for sustainably manufactured products. Transparency and counterfeit protection are a huge issue. We are working hard to create and promote the so-called product passport. This is intended to benefit exports and end consumers alike, giving the latter the ability to buy excellent products that can be resold at a later date. Resale and second-hand are gaining in importance, with global trade volumes having already risen to over 80 billion. Every modern brand needs to address this issue, because it is no longer just the first movers who are moving into these markets. So, if we invest in the authentication of products, the secondary market becomes controllable as well. But that is only one aspect of circular fashion. I feel it is a great opportunity to grow and start anew. It is one of the most accessible facets of today’s market and already underway.

“SENSITISING THE CUSTOMER”

Simona Clemenza, CEO of Aspesi

“When it comes to creating a strong counterweight against the polluters in fashion, I do not think lobbying helps. I believe terms like system or community fare better in this context. We at Aspesi have been actively involved in this dialogue in recent years, for example in the Camera Nazionale della Moda, within the framework of the Women’s Empowerment Principles, and the United Nations Global Compact. These talks, analyses, and resolutions have resulted in the new legislative framework. I believe it is important that our customers are aware of how active we are in shaping the future, because fairness and the environment are important to modern consumers. So, we need to sensitise the customer.”

Future for Fashion debuted in 2022 as a conference format bringing together the major players of the Italian fashion industry.

Confindustria Firenze “MADE IN ITALY GUARANTEES A SECURE FUTURE”

Niccolò Moschini has been vice-president of Confindustria Firenze since 2020 and is, among other duties, the “Made in Italy” representative. At the end of March 2022, the association, together with the City of Florence and the Centro Firenze per la Moda Italiana, organised the first Future For Fashion conference, bringing together all the big names in Italian fashion. A conversation about the future and cohesion.

Mr Moschini, how important is it to form a strong network with events like Future for Fashion?

Dialogue is essential for breaking new ground together. In 2021, fashion companies in Florence exported products worth over 9 billion Euros, which is more than 50 percent of the total added value of our metropolitan region. We have succeeded in increasing sales by 7 percent compared to pre-pandemic levels. The secret lies in our entrepreneurial heritage, in the 7,000 production sites that make Florence one of the most important luxury industry hubs in Europe. This supply chain unites big brands and SMEs and covers all stages of production. And it is precisely these people who exchange ideas at Future for Fashion, be it on design or on key figures. A tradition that we want to continue annually from now on.

Is true 'Made in Itay' only feasible in the luxury segment?

I would not draw the conclusion that 'Made in Itay' is always luxury, in the sense of expensive. For me, 'Made in Itay' stands for quality and eccellenza, for characteristics that express a certain value. Perhaps the equation 'Made in Itay'equals value would be more accurate. Valuable things have their price. High-quality 'Made in Itay' guarantees a secure future, and that is what the figures confirm. Therefore, we must avoid allowing 'Made in Itay' to become depleted.

Speaking of which, will there be enough young people who want to work in fashion in the future?

I am not worried about that in our region. After all, human capital and the resulting know-how is the secret of this Silicon Valley of Fashion. The 39,000 workers in this sector combine craftsmanship, skill, and innovation. Our schools and training centres are internationally acclaimed, just think of Polimoda, for example. That is why 'Made in Itay' will never die out.

Yes, the brand started with belts, but Orciani’s current product range offers so much more: bags and small leather goods at a premium price point, 100 percent “Made in Italy”.

Claudia Orciani is convinced that it is possible to produce bags, belts, and accessories in Italy while still maintaining a healthy price-performance ratio.

ORCIANI

“PRICE AND PERFORMANCE MUST REMAIN IN BALANCE”

More than 40 years of family tradition – what started with belts has grown into a premium supplier of bags, accessories, and small leather goods. Orciani, a family-run brand from Italy, now intends to focus on strengthening the German-speaking market. A conversation with Chairwoman Claudia Orciani about excellence and quality.

Text: Martina Müllner-Seybold. Photos: Orciani

Claudia, Orciani has always been synonymous with genuine “Made in Italy”. Your leather goods and accessories are handcrafted, with a great deal of passion and masterful skill. How much effort does it take to maintain these short, fair production chains while preventing prices from spiralling out of control?

That is indeed a permanent challenge. We have acquired know-how over four decades and are known for delivering excellence in our price range and segment. We primarily invest in the efficiency of our production – that is the one screw you can turn without having to compromise on quality. At the end of the day, quality is sacred to us.

What distinguishes you from other “Made in Italy” brands?

Two things: on the one hand, we do not believe that all-Italian production is an excuse to market our products at fantasy prices. We believe it is crucial that price and performance remain in balance. We appeal to exactly these customers – elegant, refined women with character who love fashion and style but are still grounded. They enjoy treating themselves to a new bag, but they know that it should not cost the price of a small car. The second aspect is that we manufacture where the specialists reside. Our production is located in the Marche region, where you can find the best craftsmen in our profession.

Which export markets does Orciani currently focus on?

The German-speaking market is very important to us, as we still harbour great potential there. For many, we are still firmly entrenched in the “great belts” drawer. The current geopolitical situation requires considerable flexibility from our export teams, but the Middle East, for example, holds great potential. It is important to us that we always approach our internationalisation in collaboration with our local retail partners. I cannot imagine any better ambassadors for our brand.

Otto d'Ame has its headquarters in Signa near Florence.

The “Made in Italy” collections by Otto D’Ame are no longer an insider tip in Germany.

OTTO D’AME

“IT IS A CULTURAL ASSET”

Niccolò Frosini is one of three managing directors of H.Eich srl, the parent company of the Otto D’Ame brand. style in progress visited the company in Signa near Florence. A field trip that once again illustrates how important concise and regional structures are for Italian creativity.

Interview: Janaina Engelmann-Brothánek. Photos: Otto D’Ame

Niccolò, your label turns 20 years old next year. How much has your supply chain changed over the years?

When we started in 2003, a short and fair supply chain was our credo and that has never changed. We manufacture almost 90 percent of our collections in the immediate vicinity and exclusively in Tuscany. However, it is becoming increasingly difficult to implement this principle. Many textile companies in the Prato district relocated their production abroad in the late 1990s and early 2000s. The decline in demand resulted in the remaining production facilities becoming increasingly expensive. Identifying and retaining competent terzisti and production partners is the challenge of our time, especially after the last two years.

How intense is the pressure to relocate production yourself – or at least parts of it?

Sure, that would be easier and more profitable, but certainly not better. That is not who we are. We strive to sell excellent quality from a healthy supply chain – genuine 'Made in Itay' is simply something else altogether. One recognises quality, as it has soul. The end consumers, I am sure, appreciate that. Even if we Italians certainly need to improve in communicating the beauty that we often take for granted. We take this extraordinary quality as a given, but it has long since ceased to be just that. It has gained much more importance precisely because it is so difficult to manufacture and guarantee consistently. Especially in Germany, where we supply 120 retailers, I have the impression that this effort and honesty is very much appreciated.

What does it take to support and promote supply chains like yours?

Preserving this asset needs to be in the national interest of all institutions. Fashion from Italy enjoys the highest recognition worldwide. We need to ensure that the knowledge is passed on by investing in education and training, thus making the “saper fare” interesting for future generations. In addition, tax relief for companies that utilise local supply chains and adapt their production in the spirit of sustainability would be an excellent incentive. The foundations to return “Made in Italy” to its former glory and glamour are there. We simply need to nurture the beauty and knowledge we are surrounded by.

Leo Padulo is a strategist. He addresses challenges along the supply chain analytically and proactively.

In its 2023 spring/ summer collection, Freedomday relies on hyper-feminine patterns for women – featuring plenty of colour and prints reminiscent of Sicily.

MAXMODA

“INVESTMENT AND COMMUNICATION ARE THE KEYS TO SUCCESS”

Max Moda is the parent company of the two Italian outerwear brands Freedomday and Outhere, which enjoyed great success in the domestic and international markets in recent seasons despite the pandemic, war, and problems within the supply chain. A conversation with Leo Padulo, Commercial Director of both brands, about future strategies and new challenges.

Interview: Janaina Engelmann-Brothánek. Photos: Max Moda

Leo, much has happened since we last spoke.

Yes, that is true. The loss of the Russian and Ukrainian markets, the general unpredictability of markets, and challenges along the supply chain have caused us additional headaches. Yet we are and remain a company driven by a distinct philosophy: we strive to contribute to positive change in the fashion industry and give the end consumer a sense of belonging by making our customers’ shopping experience truly exceptional. The figures prove that we are succeeding. Both brands, Freedomday and Outhere, managed to increase their sales by around 40 percent.

How did you overcome the supply chain challenges?

Rising raw material prices, the disproportionate increase in transport costs, and the difficulties surrounding quality control in the production process are genuine challenges, we cannot deny that. We at Max Moda analysed all scenarios, simulated solutions, and arrived at the following conclusion: we need to explore production opportunities in other countries that allow us to shorten the supply chain. We must also become more accurate in the calculation of sales forecasts, which is only possible through specialised systems, i.e. advanced algorithms and probability calculations. This requires investment, which we are prepared to do. Investment and communication are the keys to success.

What do you expect from the Germanspeaking market?

We are excellently positioned in the German market with two outstanding sales partners. Freedomday has been represented by Munich-based Michaelis Fashion Agency since January 2022, and Outhere cooperates with Niklas Rill in Düsseldorf. We intend to improve brand awareness in the DACH area and will continue to support wholesalers and, in particular, stationary retailers.

FUNKY STAFF is switching from readyto-market mode to a classical pre-ordering model. This is not only intended to increase product quality, but above all to achieve sustainability.

FUNKY STAFF

SUSTAINABILITY REQUIRES TIME

“We lose speed to win time” is the new motto of Frankfurt-based fashion brand FUNKY STAFF. A credo that makes you sit up and take note. After all, founder Uwe Bernecker is known as the Mr. Duracell of the industry. A conversation about learning, slowness, and love.

Uwe, your FUNKY_CAP caps and hats have been a surprise success at retailers like Reischmann, Anna Hoffs, Dodenhof, Ranck, and Zinser. Desirable retail partners that you have had on your FUNKY STAFF hunting list for a long time. How did it work so quickly with FUNKY_CAP?

Uwe Bernecker, founder of FUNKY STAFF and FUNKY_CAP: FUNKY_CAP is our blueprint for the kind of “Made in Italy” and sustainability that we are striving for at FUNKY STAFF in general. From the spinning of the yarn to the label and packaging, everything is sourced from certified slow fashion manufacturers in Italy. Since we decided on a pre-order strategy, there is no overproduction. Yet, if needed, we can re-produce or customise at short notice. All this comes together in a strong, appealing product that perfectly fulfils its price/performance promise. I was amazed at how many retailers were interested in FUNKY_CAP on their own initiative and who our new Head of Sale Anika was able to enthuse about it – and above all: how uncomplicated it all was.

But FUNKY STAFF has never been a complicated product. Delivery three months after the order deadline, a commercial price structure coupled with “Made in Italy” – surely the enthusiasm among retailers must be high?

It is, but nevertheless the experience with FUNKY_ CAP has given us the final nudge to switch to the classic pre-order rhythm with FUNKY STAFF as well.

Excuse me for asking so frankly, but is that not a huge step backwards? After all, everyone is talking about “on demand”.

The fashion industry loves to formulate utopias, only to ultimately remain in its old patterns. Until a few weeks ago, people believed that in future the whole fashion world would look to Frankfurt, only to conjure Berlin out of the hat again (laughs). But let’s leave this political issue aside. What matters is that we now face completely different factors that make pre-order the right path for us.

Can you be more specific?

There are three reasons. We do not anticipate any relaxation in terms of sourcing and prices. Although we maintain closest ties with our Italian producers, we are not immune to the fact that our deliveries could be delayed at some point. All it takes is for one small cog to malfunction – such as the haulage contractor only driving to Germany once a week instead of three times due to high fuel prices, or the dye factory only working three days a week due to 12-fold energy prices – and our so precisely timed system immediately comes under pressure. Then there is value. We will be able to make more complex products with this new rhythm – perhaps a highly elaborate blazer with a full range of details or a pair of jeans with a completely sustainable wash. We lack the time for that at the moment. And the most important aspect is sustainability. With a longer lead time, we can tweak many more parameters that guarantee an even more sustainable product.

Will FUNKY STAFF remain the brand that retailers love you for now?

Yes, as five delivery dates are booked at the two pre-order dates. We will always be the brand that knows how to translate fashion themes commercially with a special touch. The last two years have been a declaration of love to the stationary specialised retail trade, where brands like ours come into their own. Be it our specially developed local online partner technology Swipe & Find, the big Wir machen auf_merksam, or the many other initiatives in which we have invested a lot of time, money, and energy – we have proven on all levels that our heart beats for retail. Yet I love my wife Kerstin and her creativity even more than our retail partners. I am really looking forward to showing our existing and new customers how much more she and her team are capable of. Up to now, our speed has often limited her. Now, for the first time, Kerstin and her team can implement all the things we still envision.

A final wrap-up: FUNKY ELEMENTS, your essentials available with bestseller service, will continue to exist, the recently patented You 2 trousers will be expanded, and FUNKY_CAP will remain independent. And Uwe Bernecker’s day fits into normal 24 hours once more. Summarised correctly?

Summarised perfectly. (laughs)

NEW ENTREPRENEURSHIP

A start-up is a microenterprise launched by young nerds hoping for a million-dollar exit with a self-programmed app. It is high time to redefine the term start-up, because there is so much more to it: entrepreneurship in the best sense of the word, enterprising courage, faith in the future, and fresh innovation. What characterises today’s generation of founders? Where does it upend traditional principles and seize the opportunity to rethink radically?

Text: Janaina Engelmann-Brothánek, Nicoletta Schaper. Illustration: AdobeStock/hakinmhan. Photos: Interviewees and brands

The collection that was co-designed by Dior and D-Air Lab.

Alberto Piovesan, the young creative director of Dainese’s D-Air Lab start-up.

D-Air Lab “ENERGY AND METHOD”

With its start-up D-Air Lab, Dainese has launched a brand that manufactures protective clothing of a different kind, cool and stylish. The creations have been featured on the catwalks of Dior in Paris and the biker jacket by D-Air Lab even featured prominently in one of Rihanna’s highly acclaimed maternity looks – photographed by star photographer Annie Leibovitz for US Vogue.

Interview: Janaina Engelmann-Brothánek. Photos: D-Air Lab

Alberto, you obtained your bachelor’s de-

gree in industrial design and multimedia from the IUAV in Venice in 2017. Five years later, you are the creative director of D-Air Lab and receiving acclaim at all levels. How did you manage to do that in such a short time and at such a young age?

Alberto Piovesan, Creative Director of D-Air Lab: When our collections are worn by Rihanna in Vogue, by Valentino Rossi (nine MotoGP world championship titles) on the racetrack, by me during a test at -70 degrees Celsius, or even at the Dior Fashion Show in Paris, our entire team is extremely proud. In my case, I would say that such successes require a great deal of energy and a certain willingness to recognise and seize opportunities that arise in such a dynamic world.

How crucial is the backing from such a renowned company as Dainese and a courageous entrepreneur like Lino Dainese?

Working in a company with such heritage is certainly a unique opportunity and an asset in redefining creative processes. Much of what D-Air Lab creates is the result of meticulous and radical creative work, but it is based on a long history of innovation. Here, people have been innovating continuously for 50 years and have never stood still for a day. Working with Lino is a unique experience every day.

The D-Air Lab team is very young. What does a typical day at D-Air-Lab involve?

There is no such thing as a “typical” day at D-Air Lab. Every day, we confront ourselves with futuristic visions, new contexts, and non-traditional solutions. This motivates us time and again to seek out new approaches. Led by very experienced individuals, working in this young team helps us face the daily challenges with energy and method.

Enfin Levé NO COMPROMISES

Michal, you founded your label in 2011. What was your deliberately distinct approach?

Michal Hadas, founder enfin levé: From the very beginning, we adopted the highest quality product to the highest standards as our core DNA. We manufacture in Europe, featuring the best possible materials from Japan, USA, Italy, and Switzerland. Although we allow for a sound price-performance ratio, our retail prices are still quite high for a small, rather unknown label. Intuitively, we decided to sell direct to the consumer because we know there is a demand for our product.

Back then, you were an early adopter with your direct-to-consumer approach, but now the offering has multiplied. Is this proof that you are on the right track?

For us at least, this business model makes the most sense, especially in times of uncertainty and fragile supply chains. A single global event can completely upend the entire industry and place extreme pressure on wholesaling and production.

After eleven years, what in your company still feels like a start-up?

Perhaps the fact that we constantly adapt and evolve. Fortunately, we have a strong foundation, growing ambitions, and a great team that enables us to keep moving forward. The key is to stay true to oneself. Sure, there are some things we could have done differently, but if something does not feel 100 percent right, we let it go. Avoiding mistakes is downright impossible, or so I have realised. I prefer to trust my gut feeling and take risks without too much fear of failure – because there is no way around it anyway.

Unconditionally high-quality, unconditionally sophisticated: enfin levé.

They were all under 25 years of age when the company was founded: Lorenzo Colucci, Carolina Du Chene, Giovanni Friggi, and Vittorio Tatangelo of Ad Hoc Atelier, a marketplace for handcrafted Italian products.

Ad Hoc Atelier is a virtual studio for selected “Made in Italy” collections.

Ad Hoc Atelier MARKETPLACE FOR THE NICHE

Four young Italians, all under the age of 25, came up with the idea for a marketplace dedicated to selected Italian brands in the spring of 2021. For Lorenzo Colucci, Carolina Du Chene, Giovanni Friggi, and Vittorio Tatangelo, it was high time to give small, fine “Made in Italy” products, most of which are handmade and manufactured fairly throughout, a digital showcase. After all, the pandemic has shown that an online store is crucial for many of these brands, but few have the knowhow, resources, and capital to build an internationally competitive e-commerce platform. This is where Ad Hoc Atelier comes into play. The Milan-based start-up has created a place where one can indulge in curated, high-quality clothing, jewellery, and accessories for men and women from all over Italy. From Venice to the Amalfi Coast, from Milan to Sicily – Ad Hoc Atelier represents a journey of discovery through Italy and its still unknown brands that reflect all the beauty and artisan tradition of this country. Each product tells a story of passion, creativity, and craftsmanship. Lorenzo Colucci explains: “It is important to us that Italy’s best ‘artigiani’ can connect with customers from all over the world who are looking for unique, ethical, high-quality products – even if only digitally.” Today Ad Hoc Atelier features more than 100 brands including My Style Bags, sophisticated and bespoke bags, duffle bags, and travel accessories. Ripa Ripa, a beachwear label for men inspired by the Mediterranean atmosphere of the 1960s, and Caterina Bertini, bags and hats handmade in Florence since 1925, are also among the presented labels. In autumn 2021, the start-up set its sights on new export markets: USA, Germany, France, and Scandinavia. www.adhocatelier.com, www.instagram.com/adhoc.atelier

Actress Paloma Garcia Lee wears a dress by Patrick McDowell that was created as part of the Red Carpet Green Dress competition. Photocredit: Courtesy of RCGD Global

Patrick McDowell “YOU NEED TO KNOW THE RULES BEFORE YOU CAN BREAK THEM”

He studied classical fashion at Central Saint Martins in London, only to do everything very differently. Patrick McDowell is perhaps considered one of the most exciting design talents for that very reason.

Interview: Janaina Engelmann-Brothánek. Photos: Patrick McDowell

People say that you are redefining the role of the

designer. What are you doing differently from other young fashion designers?

Patrick McDowell, founder of Patrick McDowell and Sustainable Design Director of Pinko: It is my responsibility as a designer not only to design clothes, but also to reshape the systems in which they are embedded. Central Saint Martins taught me so much, enabling me to reflect on the fashion industry and explore it holistically. Researching sustainable solutions with big brands and seeing how you can create new and enticing products from old fabrics and stock is incredible. But it is equally important to work together on international scholarship and internship programmes, or to develop new retail strategies such as rentals or customisation. With these elements, you can tell authentic stories that appeal to today’s customers. And in this interaction, you create an impact that can be of global dimension.

To what extent do you use existing knowledge to create something completely new?

It sparkles green on Oscar night: Patrick McDowell’s design is completely sustainable.

You need to know the rules before you can break them, right? I really spent a lot of time understanding clothing – how to sew it and sell it. I have a weakness for fabrics and an almost encyclopaedic knowledge of them, simply because I love them. My time at Central Saint Martins allowed me to think differently and challenge norms. Gaining experience in houses like Burberry helped me understand the business and, because I worked in retail during university, I know quite a bit about how to communicate with customers. I am proud to be a working-class kid from northern England, so I was not restricted by any expectations as to which path I should take. I had a natural flair for creativity and could channel it properly – that is how I found my way into fashion.

Do you consider sustainability to be the key to a reorganisation of the fashion industry?

In order for sustainability to work, we need to approach the issue holistically. As a company, it is about developing a plan that permeates the entire model and working with all stakeholders to achieve long-term, positive change. When we work together to create something that is better than what we could have achieved alone, we will always come out on top. You cannot be afraid to take risks, that is the only way to create the companies of tomorrow that our children will be proud of down the line.

P.E.A.S. WHEN CLOTHING COMMUNICATES

P.E.A.S. Imagine being able to connect to your t-shirt via a smartphone app to track how often you have worn it and how significant your contribution to the environment is through repeated wear. This may sound utopian, but it has become reality since the development of P.E.A.S (Product Environmental Accountability System). The innovative system calculates all production steps of a garment, from raw material to final product, and its impact on the environment. P.E.A.S combines data with a gaming aspect – the app communicates and motivates without pointing fingers. This pioneering project was born from the collaboration of Matteo Ward’s eco start-up WRÅD and such renowned companies as MOOD, 1TrueID, and WWG. The development was supported by the Lombardy Region and Politecnico Milano.

Re-nt FLEXIBILITY AS A CONSTANT

In 2018, you launched a peer-to-peer platform where consumers could rent clothes to each other. That alone was a revolutionary idea, but you then flipped it around completely.

Robina von Stein, founder of Re-nt: Yes, we quickly realised that there was more demand than supply. We decided to develop a platform where brands could rent out their surplus production to consumers on a subscription basis. From 2019 onwards, we were approached by an increasing number of brands who wanted to launch their own resell online shop. So, we licensed our software to allow brands to offer circular economy models independently. Although we enjoyed considerable growth in the B2C segment, we decided in 2020 to focus exclusively on B2B in order to integrate retailers and brands such as About You of Otto Group and Adidas into the circular economy. We start with consulting and workshops explaining what circular economy means and how far along it is in terms of circular design, and also supply the software and backend. In addition, we bring in partners for fulfilment, giving the brands the opportunity to track their own sustainability levels.

Where exactly have you leveraged tried-and-tested business models and mechanisms?

You could say that we have completely re-imagined the existing linear business model of fashion: away from fashion as ownership, especially since ownership is no longer an objective for the younger generation, towards clothing-as-a-service. As recently as 2018, it was very difficult to convince brands, especially as they feared cannibalising their own business model. Today, brands are much more willing to actively shape a process that is inevitable.

How do you, as a company, manage to remain so flexible?

By being a small team of never more than 15 people. This allows us to experiment and change what does not work well. We exchange ideas constantly, which always helps us move forward. In addition, our leadership is not hierarchical. Instead, everyone assumes responsibility and expertise for a certain field. Employees can grow most effectively in such a structure.

Robina von Stein founded Re-nt and turned it into a success.

For Days DIALOGUE

Working in an office used to be commonplace. How do you, as a start-up company, work today?

Kristy Caylor, founder of For Days: We do not have a shared office; our team works very well together virtually. However, occasional face-to-face meetings are essential for creative businesses. Especially as the team grows, we will probably require an office as a meeting place again.

Sustainability is the foundation of For Days. What influence does that have on communication with customers?

We attach great importance to transparency and authentic reporting on our sustainability efforts and progress. Education is an important aspect of our communication, as we want to change people’s attitudes towards circular economy. Finally, we engage in dialogue with our customers. We listen, ask questions, and value their feedback.

What are the advantages of your direct-to-consumer concept?

A direct-to-consumer approach gives us more control over the user experience. We use our community for design feedback, mainly through our ambassador group and social channels.

Like For Days co-founder Mary Saunders, you worked for Gap and have a great deal of experience in the fashion business. Can that hinder – or rather inspire – the rethinking process?

Starting from a foundation is a great advantage when trying to change the system. We have a deep understanding of complexity, economics, and the current state of affairs and are therefore well informed about what we are changing!

The goal is to be fully circular. Is this already possible?

Yes, it is possible. We collect all used For Days clothes and put them through a fibre-to-fibre recycling process.

Kristy Caylor’s ultimate goal for For Days is full circularity.

Mario Stucki relies on innovation within a team.

Dimpora DIVERSITY IS OUR STRENGTH”

dimpora is a new generation of fluorine-free, microporous membranes for outdoor clothing that are breathable and waterproof. How did this important innovation come about?

Mario Stucki, founder of dimpora: The urgent need to develop functional membranes without fluorinated chemicals was made public by the Greenpeace Detox campaign. The major brands were challenged for the first time to ban all toxic, persistent, and hormone-disrupting chemicals from their production processes. This also raised consumer awareness of these dangerous practices. So, during my doctoral studies at ETH Zurich, I worked on a more environmentally friendly membrane technology and broadened the stencil removal method established for functional materials to include functional membranes for outdoor clothing.

Does creativity best emerge alone or in an exchange within a team?

Our diversity in terms of background, culture, and gender is an incredible strength and source of ideas! We all come from different sectors, from chemical engineering, business, or textiles and fashion. This allows us to work together to create solutions within the complex textile supply chain. We strive to apply our process and innovative thinking to projects with partners to create much-needed positive change. The outdoor industry in particular is genuinely interested in taking the next step.

How important are mistakes in creating something new?

Making mistakes is the basis for pushing boundaries. If we do not make mistakes along the way, we know we did not try hard enough. That is why it is part of our company’s DNA to analyse and tell the team why it did not work this time in order to learn from it.

DEVIN GILMARTIN, THE CANVAS “DECENTRALISATION IS THE ANSWER”

The United Nation’s 17 sustainable development goals (SDG), presented as colourful pictograms, inspired Devin Gilmartin to start the fashion brand Querencia Studio with fellow high school student Tegan Maxey. Moving on to college in New York, their business grew into a nomadic store concept strongly linked to SDG, down to those pictograms. The Canvas only accepts small brands who can demonstrate the way they meet particular SDG, and then the store provides customers with meaningful information about the products. Now 24 years old, Devin discusses the power of decentralisation and physical stores, his alternative to trying to retain Gen Z’s attention, and what it is like to become your own professor’s boss.

Interview: Petrina Engelke, Photos: The Canvas / Dr Cameron Smith

Devin, why do you believe that if small

brands do something together, they can achieve more than a large corporation?

Well, for a start, large corporations are not achieving very much. In fact, they achieve more destruction than good, and they have created a system that makes it hard to fault individuals for. Corporate greed is structural, and incentives are not aligned with the incentives of a healthy planet and healthy people. So we need to change what success looks like. And I think that happens when you have independent creators with a clear path to monetary stability. I also think physical retail access is one way to do that. Secondly, the large brands have created supply chains and systems that are hard to change. Even going into companies like Zara and H&M as an executive,

The Canvas co-founder Devin Gilmartin (24) has a vision of decentralising fashion and providing a path to monetary stability for independent creators.

you will have a very difficult time trying to implement changes across the board. I think it is a lot easier to build from the ground up and start fresh. And that is what all these small brands are doing: They have new ideas, they have a local supply chain. If we have many, many different cases of that kind of system in place and use it to dress people and feed the fashion economy, then that is much better than this built-in supply chain that is outdated and unsustainable, both from an environmental and a longevity perspective. We are hitting resource limitations, so something has to give. And I think decentralisation is the answer to that problem.

How are you acting on that idea?

When a brand applies to join The Canvas, they have to talk about how they address at least one of the UN sustainable development goals. And they have to describe that in as much detail as they possibly can, with photos and certificates, so that we can share that narrative when we have customers in the store. There, our tags have the SDGs on them, with little boxes next to each SDG, checked off pertaining to the goal that the brand addresses. In our latest store, we are implementing QR codes on each tag, working with a company called Rootip. By scanning the QR code you will be able to see the entire supply chain of the brand and the individuals involved in that supply chain. You will actually be able to tip these people directly. The money goes to that person, not the company, not us. You do not even have to buy the garment to do that. I think that goes beyond transparency, that goes to actually connecting the world in a new way.

How did The Canvas change when you look back at what you first wanted to achieve?

The Canvas has remained passionate about sustainable development goals, but how we address them has slightly changed. We are living in a new retail environment, a new business environment. We started the company intuitively thinking that a change was coming. The calculus was, there are many, many small brands in the world and there are many, many vacant spaces in the world. And I think the small brands sort of represent a decentralisation of power.

What does decentralisation mean in practise?

When you sell a product, no matter what it is, and you control the entire supply chain of that product, you know the individuals involved in making that product, you have power over your own life. You have independence and sovereignty. I think fashion is just one example of where that is growing. Other examples of that sort of decentralisation are the financial sector and what is happening with NFTs, cryptocurrency and so on. I think overall, this is going to be a moment of great change and opportunity for society. And we want to make sure that the independent creators of the world can capitalise off that and continue to empower themselves. We are a vehicle for doing that.

Your first NFT was not a classic fashion design as one might have expected, but it was a space suit, drawn by an archaeologist with a passion for space travel. How did that come about?

When we talk about independent creators, we are not just talking about fashion brands, we are talking about people who have shown what you can really do when you create independently and provide a roadmap for how to do that. And Cameron Smith, the archaeologist you mentioned, an anthropologist as well, has dedicated his whole life to researching and making space suits by hand that actually function. Now, a common comment on NFTs is the lack of utility that they provide. You can show people that you have this JPG in your wallet. What else do we do with it? Cameron has this amazing talent to build space suits by hand, and he has access to space flight. So we created an NFT so that if you buy that image, you receive a custom space suit and a flight.

What was in it for you?

This project garnered some interesting reactions, and it brought us into the crypto community, which is a very strong community – as is the ethical fashion one. These are two communities that I think should meet and get to know each other. The dogmatism that people have around cryptocurrency, how excited they get: that is the same thing in ethical fashion. So, if these two communities unite and empower each other, the environmental side of things will take care of itself. People will find solutions to those kinds of problems. And this will enable a new kind of fashion system and a new kind of financial system, intertwining and growing together.

Now that you have observed both of those communities, what, would you say, do they have in common that they might not even know?

I would say they certainly know they have passion in common. What they perhaps do not understand is that they both have access to the largest groups in the world. Everyone wears clothing, and everyone spends money in some form. They are both in a great position of cultural authority. I think that is what both of these communities need to recognise. So, I think responsibility, opportunity, and power is what they both have.

Talking about power: earlier this year, you hired your former professor. What is it like to become your own teacher’s boss?

Well, Harold Brooks was a professor of mine at NYU. He taught an amazing class on fashion business, and he shortly after joined as an advisor to the company. We ultimately offered him the CEO of Retail position, and he accepted it. Harold has made some huge changes very quickly. I mean, he is at

“We need to change what success looks like.”

“We want to make opening a physical store as easy as opening an online one”, says The Canvas co-founder Devin Gilmartin. The store has been moving around from Manhattan, Brooklyn, Antwerp, and back to Manhattan – on purpose.

“The dogmatism that people have around cryptocurrency, how excited they get: that is the same thing in ethical fashion.”

the highest level when it comes to retail and fashion, he understands things that take many decades to understand. And he does that almost in his sleep.

On the other hand, on your end, what is the advantage of lacking exactly this experience?

That is the conversation we have every day. How do we figure out what is right and what is potentially worth questioning in an industry like retail? An industry which has set in place certain standards and processes that I think are there for a reason, but some of those things should be reconsidered. And so Harold and I are always reviewing every single one of those things.

Can you give an example of a retail standard that you might discuss?

There are certain ways of presenting stores and having customers interact with those stores that we are now reassessing. Harold comes from Fossil watches and duty-free shops in airports, so he brings his experience in what works in that situation. And we bring what we think could actually change that for the better. The QR codes, for example. Arranging a rack, a store area, or presentation in a way that has some familiarity to the customer, but also introduces new elements of discovery, curiosity, and design. And soon we will open at the Oculus, a mall at the World Trade Center. I think that is a really good example of the old and the new coming together, because it will bring a unique retail concept to a rather not so new way of laying out multiple stores in a mall. All these things bring a chance for us to really think hard about what makes us different.

You are part of Gen Z, and from your experience, both as a businessman and as a consumer, what would you say is crucial to attract and also retain the attention of your peers?

I do not even know if the goal is to retain their attention anymore. I think it is to get their attention, to deliver something unique that they can then take away from the period they spent with you – in the store, or with the experience that you have created. And no matter how short that period was, to have that experience be so profound that it results in a change of behaviour. For example, you come into The Canvas store, and you are met with a tag that allows you to look at how a brand is doing certain things in their supply chain, the names of the people behind that brand, and where they are from. Then the next time you walk into H&M, Zara, Top

This sketch by Pacific Space Flight founder Cameron Smith is the base of The Canvas’ first NFT, launched in Milan this February. In addition to the typical JPEG, their NFT came with a custom space suit made by Smith plus an opportunity to experience a high-altitude flight.

Shop, or Forever 21, you may not consciously have this thought, but intuitively you are going to feel differently about their tag that says seven dollars for a t-shirt and gives none of that background. Then you have a subtle change in philosophy as to how a product should be presented to you. And if that happens over and over again a global scale, people will start asking more questions. Who made my clothes? Where was it made? How was it made? These are the questions that we really want to inspire in people.

You do not only question the goal of retaining customer attention, you seem to embrace ephemerality also in regard to your retail locations. Is your nomadic presence born out of necessity or is that part of your business plan?

Well, it is actually both. Shopify allowed any brand in the world to open an online store. An online store is constantly changing. You can change your homepage, you can change the design, and you change the colours. We want to make opening a physical store as easy as opening an online one. We want brands to be able to join other brands in being a part of a store. That allows flexibility between us and the brands, but also the ability to jump around to different spaces through the revenue share agreements that we create with landlords. We can sell there for some time, but we can also very quickly exit it and enter a new space. And I think that is very attractive for a brand that has an online presence. They can capture different audiences. If we can do our job as The Canvas in presenting these brands in a way that sticks with the audience that joins us in any particular location, they will likely follow us to the next location where even more people will find out about what they are doing. That is what we have seen going from the Upper East Side of Manhattan to Williamsburg in Brooklyn, back to Manhattan’s Bowery and briefly over to Antwerp in Belgium, now to the World Trade Center. It was an experiment at first, but now I think we are quite confident in its longevity as a business model.

FEMINIST FAIR FASHION “WE ASPIRE TO BE ROLE MODELS”

Designer fashion does not have to come at the expense of others, argue Lara Heiss and her mother Sibel Yildiz, who hope to build a bridge from Istanbul to Europe with fashion. A conversation about what is closest to both their hearts.

Text: Nicoletta Schaper. Photos: FeminIst Fair Fashion

Lara Heiss and her mother Sibel Yildiz founded FeminIst Fair Fashion in November 2021.

Would you describe your company and

its mission?

Lara Heiss, Managing Director of FeminIst Fair Fashion: We aim to pull Turkish designers out of the destructive spiral of fast fashion and offer fashion-conscious Europeans genuine, wearable sustainability. Sustainability is our USP, but there are so many sustainable brands that do not reach beyond basic fashion. So we scouted more than 30 prominent designers at the Istanbul Fashion Week, and we decided to pursue this journey with three of them. They now produce their designs completely sustainably under our brand. Sibel Yildiz, Managing Director of FeminIst Fair Fashion: The design practically does not change, but the materials do. We do not use plastic, but rather organic and GOTS-certified cotton and linen sourced from Turkey, with the exception of Tencel from Austria. The garments are produced in family-run ateliers in the fashion metropolis of Istanbul. We believe in ethically produced designer fashion, where the social aspect must also factor in, throughout the entire supply chain. Lara Heiss: We want to ensure that the women and men working in the ateliers do so under the same conditions and receive fair wages. In Bangladesh and Vietnam, where most fast fashion is produced, women work in terrible conditions. In Arab countries, it mostly affects men, as women are often not allowed to work. We value honest feminism that does not discriminate against any side: hence the name FeminIst Fair Fashion. Our website provides transparent information on who produced a certain piece under which conditions and how much the employees earn. We monitor this information very thoroughly. Sibel Yildiz: We benefit from the fact that I am from Istanbul and have many contacts there. Turkey produces beautiful fashion, and it is a textile country! We wish to draw attention to this, because the country is home to so many creative minds and gifted hands.

How do you handle distribution?

Sibel Yildiz: Entirely on our own. On the one hand, we sell via our online shop and maintain a warehouse in our hometown Innsbruck. Beyond that, we would like to feature at specialised fashion retailers and department stores. We are currently available online at Zalando and Avocadostore, as well as offline at Kastner & Öhler in Graz and Innsbruck, where our designer fashion is presented in a pop-up space. More stores will hopefully follow soon. It’s so important to touch and try on fashion; the quality and feel come across differently.

Tuba Ergin is one of three designers at FeminIst Fair Fashion.

Moving Minds

Jeff Bezos was one of the first to articulate the idea: “Start with the customer and work backwards.” His maxim simplifies a highly complex process that we are also experiencing in fashion retail. It represents the paradigm shift that is currently unfolding throughout the product development process up to the point of sale. The consumer is no longer merely a participant, he is the zero meridian from which the matrix unfolds. This is fuelled by an intense dynamic that, beginning with demand, enables the transformation of existing mindsets and constructs. This is most evident at active touchpoints with the consumer: in retail. New store concepts are removing existing boundaries between offline and online, implementing a

second hand-based circular consumer economy – even in a luxury-driven mass market like China. The store serves as a physical bypass of the social media presence of successful star influencers, or as a cosy retreat in the form of brand stores that underpin their assortment with other brands. The consumer is always the driving force. It is always a transformation that gives

What will stationary retail resemble after the pandemic? Will it shift even further to digital? What does hybrid actually mean? And, what determines the architecture of a digital space? Aarushi Kalra dedicated the master’s thesis of her architecture studies at the RCA in London to answering such questions. It explores how the versatility of a website can be translated into the analogue in order to push existing boundaries.

The walk-in online store. Aarushi Kalra designed a stationary store for the online retailer Border & Fall: constructed like a website, infinitely and diversely adaptable like a blank canvas. Border & Fall symbolises the reinterpretation of the Indian sari and its detachment from existing clichés – a 7-yard fabric surface that can be designed in multiple ways.

Theatre X/London Transplanting the Digital Into the Physical

For her master’s thesis, Aarushi Kalra set herself the challenge of creating an experimental, maximally flexible store experience that combines the best aspects of analogue and digital spaces. In the process, the Indian-born designer conceived an analogue alter ego as a physical space for Border & Fall, a webstore that reinterprets traditional saris. If a website were a physical space, the key attributes that could be transferred to the real world would be adaptability, flexibility, and transformation. The architect translated this aspiration into an intricate system of invisible fixtures, brackets, and rolls that ensure that the space can be reconfigured dynamically. In addition, the store features themed rooms reminiscent of the scroll-down menu on the website: Meet the Maker, Experience the Making, Contact Us, Shop, Events, and Design Philosophy.

“At its core, Theatre X balances the digital and physical elements of a space by creating a strong and clear dialogue between the two, offering itself as a blank canvas that effortlessly takes on the identity of the content it is currently displaying. Space acts like an architectural, ever-changing display with a fascinating experiential character.”

B+Tube/Changsha AI-Driven Experience Cathedral

The young, progressive cosmetics brand B+ interacts with its teenage core target group via digital, interactive spaces, AI-driven technologies, and multimedia screens. Shanghai-based Dutch design agency Storeage conceived its first physical flagship store for B+Tube as a gargantuan multimedia hotspot featuring a direct interface to social media forums. Interactive mirrors and screens provide on-demand instructions and training while videos show tutorials and recommend complementary products from the international multi-brand range. Digital touchpoints allow customers to share their virtually generated makeup creations even before they have purchased the products.

Shopping cathedral for Gen Z customers. Chinese multi-brand cosmetics store B+Tube reaches its target group where they feel most comfortable: in the overlap of digital and physical reality.

The analogue image of a successful career woman. Vasquiat was launched by Blanca Miró Scrimieri as a creative platform for fresh, independent labels. Today, the store is a representation of her social media expertise and draws on her celebrity status.

Vasquiat/Barcelona The Store as an Instagram Feed

It almost feels like a private living room. The small, elegant concept store in Barcelona’s city centre functions as a very personalised go-to-market platform for young labels and designers. Founded in 2018 by Spanish stylist and fashion blogger Blanca Miró Scrimieri, the store thrives on close links with the social media accounts of one of the most famous influencers in the Spanish fashion community. She has also consulted on social media strategies for brands such as Carolina Herrera, Chanel, Dior, and Jimmy Choo.

Mes Amis/Heidelberg The Potential of Diversity

Understanding transformation as an opportunity to complement content and further develop the product range is a big step for a traditional business like Mey, which already set the tone with the acquisition of Uhlig am Dom in Mainz and Grazia in Salzburg in 2019. With Mes Amis, the brand has now opened its first own multi-brand store. Sensibly complemented by swimwear, stockings, cosmetics and lingerie, Mes Amis offers a well-rounded brand world that Mey presents naturally in a perfectly curated environment. A concept for brands that are not afraid of comparison – but seek it.

Partnership with potential: open store concepts like Mes Amis illustrate how meaningful partnerships can be and prove that even total look providers should question mono-label retail concepts.

The flow of extremes: SND Boutique is synonymous with selected avant-garde labels and unconventional store concepts. The showroom under one of Chongqing’s largest motorway interchanges combines the element of surprise with efficient use of valuable inner-city space.

SND Boutique/Chongqing Occupying the Urban Niche

A spot under the bridge takes on a completely new meaning: the constant search for unconventional ideas is definitely part of the DNA of Chinese multi-brand store SND Boutique. For the megacity of Chongqing, the company chose an extraordinary location in the World Financial Center, the economic epicentre of the city, which boasts an extraordinary number of motorway bridges due to its location across several hills. The complex transport system and topography lend the city its unique charm, while at the same time the bridges play an important role in the ecosystem of the entire city – and in the efficient use of its very limited inner-city space. A predicament which architecture and design firm Various Associates turned into a virtue.

Retail chain Fat Tiger Technology operates exclusive luxury stores throughout China under the Ponhu brand. The first second-hand store opened in Beijing at the end of 2021, paying homage to resale as the consumer ideology of a new generation.

Ponhu Luxury Lifestyle Store/Peking Second-Hand Station

The first stationary store of Ponhu Luxury, an online platform known for its exquisite range of high-quality second-hand collectibles, opened in Beijing in late 2021, structured like a gigantic transit station for luxury goods. Here, design studio Unfoldesign staged the dynamics of the circular ecosystem. The objective was to engage with the collector’s instinct of a grateful core target group consisting of digital natives seeking truly unique items. The second-hand sector is booming in China and attracting young people in particular. As early as 2020, the China Center for Internet Economy Research recorded an increase to over USD 143 billion in sales in this segment. In addition to resale, the store also provides services such as repair, rental, and auctions.

The future looks bright. Lotte Department Store created a feelgood oasis for discerning millennial families in South Korea based on this message and an eclectic mix of natural elements, high-quality products, art, and culture.

Lotte Departmentstore/Busan In the Paradise of Millennial Families

A mammoth project that the Betwinspace design studio in Busan, South Korea, successfully completed in December 2021: the redesign of the entire first floor of the Lotte department store. The thematic orientation is especially intriguing, as the focus is on the aesthetics and lifestyle of millennial families (people born around the turn of the millennium who now have children of their own). Under the motto Futureland, the idea was to create a psycho-hygienic sanctuary where one can immerse oneself in an oasis of art and culture, nature and garden, fashion, and interior – completely protected from external influences. A time-out for all customers stressed by everyday life and bad news – a rounded universe of style as an oasis of well-being.

Spotlite by Jelmoli/Zürich A Hybrid Concept for Gen Z

Following renovations, renowned premium department store Jelmoli reopened its streetwear space Spotlite at the end of 2021 – enlarged threefold. A clear sign of how important CEO Nina Müller believes the young target group and its potential as a driver for fashion is. “We are the oldest traditional department store in Switzerland. We have been around for almost 190 years. Our goal has always been to reinvent the department store concept, and to actively promote and help shape conscious consumption of the future. The concept of consumption is being rethought and challenged. An important catalyst for this change includes younger target groups such as Gen Z. They consider consumption to be about more than products and brands. It comes down to meaningfulness, stories, and experiences. With new space concepts such as Spotlite, we strive to give these aspects more exposure, space, and dimension, in order to reach future customers in their new living environment. We firmly believe in stationary retail if it succeeds in dovetailing with the digital world in a meaningful way. We humans have always had a need for haptic and real experiences, and we always will – arguably more so than ever before. However, online offers convenience, benefits, and innovations that allow us to reach our customers in a completely new way. In spring, we as Jelmoli plan to gain first experiences in the metaverse. The agility offered by new channels allows us to create even more proximity to our customers – be it online or offline.” (Nina Müller)

Playing in the premier league of tier zero accounts, Spotlite by Jelmoli knows what excites its core target group: exclusive brands, interactive spaces, and purposeful collaborations in an appropriate general context.

For people like fashion journalist Ana Varava, the world has been off its hinges since February 2022. style in progress invited the fashion expert, who fled to Germany, to portray the fashion scene in her home country. Be it design talents or tech incubators, Ana Varava gives a very personal insight into the cumulative creativity of Ukraine.

Text: Ana Varava. Photos: Interviewees and brands

The 24th of February 2022 changed the normal way of life for millions of people in Ukraine, in Europe, in the whole world. Personally, I was in Kyiv that day, in the capital of Ukraine, in the very centre. From the first air-raid warning, everything changed its colours. After that, everything is a blur. The lives and businesses of millions of people were overturned. Over the last 15 years of working in the fashion and media industry worldwide, living in eight countries, gaining three international MAs, and being passionate about fashion and its psychological and business side, I have always initiated activities to promote Ukraine by means of presenting its fashion creative talents to the world.

As of 2014, after signing the economic section of the Ukraine-EU Association agreement followed by signing the DCFTA in 2016, the parties mutually agreed to open their markets for goods and services. This is when Ukraine stepped into the path of euro integration. Textile and clothing industries, especially in developing countries, are important in economic and social fields. Clothing is a key manufacturing export here.

According to the latest recorded statistics, the global fashion market increased from 780.61 billion US Dollars in 2020 to 825.70 billion US Dollars in 2021. New companies enter the 3 billion textile and ready-to-wear market every day. The Ukrainian fashion industry embarked on its journey with the first Ukrainian fashion week event in 1997, and more than 20 years later there are more than 16,602 industry enterprises and 11,701 apparel enterprises, among which 1.96% are medium-sized enterprises, 6.46% small, and 91.58% micro-enterprises (according to Ukrstat data). In 2019, the Ukrainian fashion segment posted revenue of 348 million Euros, with an expectation to grow at 9.0% in 2023.

At the end of 2018, with the purpose of identifying the current state of the light, textile and fashion industries, their role in terms of the country’s GDP in recent years, I, in my capacity as a senior fellow in sectoral policy and communication at MFA of Ukraine for the EU, conducted the first academic fashion industry research in Ukraine. It was supported by the Ministry of Culture of Ukraine and the Ukrainian Cultural Fund, and curated by German supervisors, namely professors of Hochschule Furtwangen, Germany. The paper contributed notably to defining the added value of design/fashion items of the womenswear sector in Ukraine, and the impact of brands on the country’s economy.

Added value is a key indicator to the country’s GDP. Talking about the creative part of the Ukrainian fashion industry, in the course of research, I realised that the total contribution of design women’s clothing to GDP is between 0.06% and 0.1%, which is a huge indicator. All that empirical evidence proved the huge creative potential of Ukrainian designers and brands. The key factors are creative and quality aspects of the business, while marketing, business organisation, integration of new technologies, and logistics might be described as weak points.

Regardless of the uncertainties that the war is now causing, Ukrainian designers and brands were facing major challenges. The issues included topics such as dependence on raw material imports and simplification of customs regulations, as well as the development of new sales methods and management of distribution chains. It was evident that investments in infrastructure and technological modernisation were still required. All this coupled with transparency for potential investors and clients and modern e-commerce structures remained on the country’s to do list. We still hope that we will soon have the opportunity to address these matters with determination.

FROLOV COUTURE-TOWEAR

“Frolov is a couture-to-wear brand that combines flawlessness and comfort, intelligence and provocation, social responsibility, and serenity. No wonder that people pronounce Frolov as “for love”, which is not a mistake as we place an anatomical heart on each of our pieces,” says designer Ivan Frolov. “Through clothes, we explore and communicate messages that are very important for us to convey. It is about transgender culture, BDSM ethics and aesthetics, fetishism, the LGBTQ+ movement, and female objectification. Frolov is also about artistic collaborations. We love to create joint projects with emergent Ukrainian artists: Masha Reva, Taras Sereda, Vlada Ralko, etc. The aesthetics of Frolov pieces include corsetry, only lux fabrics, and detailed embellishments. Our statement pieces include cult corsets, bra-bags, and dresses featuring handmade crystal embroidery.”

Where in the world are you represented?

The brand is sold in 17 countries, including Ukraine, USA, France, Great Britain, Germany, Kuwait, Qatar, Saudi Arabia, United Arab Emirates, and Hong Kong.

Which customers are you targeting?

Frolov is for people who love to express themselves in their own unique way, who love to experiment, who empower their sexuality, and do not treat their look as mere pieces of clothing, but as a powerful statement. Our pieces are worn by Dua Lipa, Doja Cat, Gwen Stefani, Coco Rocha, Rita Ora, Nadia Lee Cohen, and Ashley Benson.

Which fashion industry trends do you integrate into your brand?

We produce couture-to-wear designs as a main line within seasonless collections. We are focused on creating timeless items. That is why pieces from our past collections can still be perfectly paired with new ones. Other key features of the brand include customising clothes for the unique measurements of each client and a lifetime warranty for each piece. By harnessing technical innovations, we create the best working conditions for our employees. Frolov, Kyiv/Ukraine, info@frolov.ua, www.frolov.fr

AMG BRAND “SHOW THE POWER OF UKRAINE”

Founded in 2009 by designer Alyona Bettiar, who believes that garments should be created by women for women, AMG Brand specialises in clothing that will never go out of fashion and always be the star of any wardrobe. The label also offers high-end cuts and production.

What can you tell us about your sales geography?

We are sold online throughout the world and are also represented in some boutiques in Europe and Arabian countries.

Who is your typical customer?

A self-sufficient woman who is developing constantly and knows what she wants from life. She chooses us because of our high quality in cut and production, as well as our individual approach. One of our most famous customers is Olena Zelenska, the First Lady of Ukraine.

Which modern trends are integrated into the brand?

AMG Brand has a line called IMAGINE, which exclusively uses sustainable and recycled fabrics in its production. As a designer, I always personally attend to First Lady Olena Zelenska’s looks. Everything, from the sketch to fabric choice, is made by me and confirmed by the First Lady. All looks are very individual, based on event, protocol, and required mood. The collaboration started around a year ago in a very positive and smooth manner and continues to remain so.

Which international fashion events do you attend?

For many consecutive years, we have taken part in events at showrooms in Paris and Milan, as well as at the Ukrainian Fashion Week. We now plan to expand to more international fashion weeks. This also allows us to show the world the power and competitiveness of Ukraine. AMG Brand, Kyiv/Ukraine, office@amgbrand.com, www.amgbrand.com

TTSWTRS COLLECTIONS FOR THE METAVERSE

The vision of TTSWTRS hovers somewhere on the edge of fashion and technology, highly integrated into the digital universe. The brand also operates stationary stores in the major Ukrainian cities of Kyiv, Odessa, and Kharkiv. Founded in 2013 by Anna Osmekhina, the brand became popular due to clothes featuring tattoo prints on the body, the usage of beige in its palette, and its concept of understanding clothing as a second skin. The main focus was and is always on the search for self-expression and artistic collaboration. It pursues current fashion trends and recently started paying more attention to technologies, symbolism, and futurism. Every new image is created in collaboration with tattoo artists around the world.

What are your distribution points?

The brand is sold in 12 shops around the world and is also listed on the FARFETCH platform. It is represented in Japan, China, Singapore, the US, the Netherlands, the UK, Bulgaria, and Estonia.

Who are your typical customers?

Brave, freedom loving, and straightforward people. They are conscious people who are aware of nature and personal expression. Our customers include Nina Kraviz, Kourtney Kardashian, Sita Abellan, Julia Fox, Nicki Minaj, Liza Owen, Maye Musk, and others.

Which fashion industry trends do you integrate into the brand?

TTSWTRS, together with the biggest international digital retailer DressX, created a joint collection for the Metaverse. This means we were the first Ukrainian brand that created an AR capsule with DressX.

KSENIASCHNAIDER “PERFECT FOR A BUSY LIFESTYLE”

Founded by Ksenia and Anton Schnaider in 2011, the brand offers women’s and men’s ready-to-wear, reworked, upcycled, patchwork, denim, and accessories collections, featuring signature cuts, techniques, and attention to detail, with an emphasis on tailoring and sustainable use of materials.

Which are your most outstanding pieces?

The brand’s commitment to sustainability has been evident throughout all the countless versatile garments, which are perfect for a busy lifestyle, and it is renowned for the use of its famous design Demi-Denims, reworked from vintage jeans. The two main embodiments are design and sustainability. We developed a way to turn textile waste into denim fur, and most recently into patchwork items.

Did you enter any collaborations?

We collaborated with bettter, another Ukrainian-based sustainable brand, to create a limited edition of upcycled denim pieces. We also designed eco-friendly suitcases in collaboration with Have a Rest. Each one was made of recycled plastic. The brand partnered with DevoHome to work with alternative fur made of hemp fibres. In partnership with Belgium-based brand Morobe, we produced a line of shoes made of left-over denim sourced from our Kyiv studio. For years now, we have been working with ISKO, the only denim mill in the world awarded the prestigious Nordic SWAN Ecolabel and the EU Ecolabel, to develop several pieces for the ISKO Earth Fit collection.

Which initiatives are you most proud of?

The brand actively supports charity initiatives. We donated money from every Black Friday order. In 2021, Kseniaschnaider teamed up with the Marine Conservation Society to donate 5 percent of every order to protect the ocean and marine life. KS also received the award for “Best Jeans Style” for its reworked diagonal patchwork wide jeans from PETA Germany after proving that it is 100 percent vegan. Kseniaschnaider, Kyiv/Ukraine (relocated to Uzhhorod/Ukraine), info@kseniaschnaider.com, https://www.kseniaschnaider.com/

What were your most famous collaborations?

The brand created an NFT video to save the shores of Patagonia, a movie called “Mission” dedicated to the earth. The team presented it at an auction on the eco-friendly platform Truesy. All the money raised from the sale will go to Parley for the Oceans, an ecological organisation dedicated to the protection of the oceans.

TTSWTRS, Kyiv/Ukraine (relocated to Europe), info@ttswtrs.com, www.ua.ttswtrs.com

WANT IT

A very personal, womenswear-focused selection from hundreds of Ukrainian fashion brands. Style and philosophy are very different in each case. The common denominator: all style in progress picks are already known beyond the borders of Ukraine.

CONTEMPORARY & FUN

Blood & Honey. Founded in 2015 by Lidiya Pfayfer, the brand is known for colourful fur, both contemporary and fun. The label’s pieces resemble artworks that cheer up the wearer and reveal a fine sense of style. The fur undergoes a complicated hand-dying process and is then subjected to appliqué work and perforation. The manufacturing process takes between two to four weeks. The brand upcycles vintage fur and the production process utilises stock leftovers. Blood & Honey has points of sale in the US, Spain, Latvia, Kazakhstan, the UAE, and Italy. The list of its famous customers includes Beyonce, Leandra Medin, Winnie Harlow, Gisele Oliviera, Nikki Taylor, Deandra Forest, and Caroline Vreeland.

Blood & Honey, Kyiv/Ukraine, blood.honey.fur@gmail.com, www.blood-honey.com

COMFORTABLE AND AFFORDABLE

CONCEPTUAL

Dzhus. Founded by Irina Dzhus in 2010, the brand specialises in innovative, multipurpose wardrobe items made of cruelty-free materials in zero-waste, wearable packaging. By offering unprecedentedly transformable designs, including clothing that transforms into accessories, Dzhus fulfils its vision of sustainable consumption: significant limitation of physical shopping through versatile use of transformable outfits, offering endless style potential. The brand is sold in Japan, China, the US, Portugal, the UAE, Kuwait, Saudi Arabia, and Australia. The typical Dzhus customer is a nonconformist intellectual in search of the perfect shell for their unique inner worlds, such as Onuka, Jamala, Alina Pash, Irena Karpa, Abraham Brody, and Zola Jesus. Fashion by Dzhus were worn in movies such as The Hunger Games and Star Trek Discovery.

Dzhus, Kyiv/Ukraine, irinadzhus@gmail.com, www.irinadzhus.com

Marchi. Founded by Valeria Marchi and Tasha Kuhar in 2012, the uniqueness of the brand lies in its universality. It is intended for both young girls and women. The price range is more than acceptable given the high quality level of the collection. Marchi is proud to be a Ukrainian brand, but is also sold in Australia, the US, Germany, and Kazakhstan. The pieces are worn by Ukrainian celebrities Olga Sumska, Katya Osadcha, and Yulia Sanina, as well as international stars Jiyoung Kim, Amy Bell, Alicia Banilivy, Estelle Chemouny, Abby Silverman, and Kat Von D. The brand manufactures in Ukraine, ensuring extended lifespan due to the use of quality fabrics. The brand’s philosophy also entails sustainability and recycling.

Marchi, Kyiv/Ukraine, marketing.marchi@gmail.com, https://store.marchi.com.ua/

STYLISH OUTERWEAR

Nebesite. Founded by Tatiana Mogilain in 2018, the mono-brand exclusively specialises in outerwear. It promotes sustainability and innovations, which are integrated into their pieces, while also collaborating with Ukrainian artists to create bright designs. Their typical customer is a 27 to 45-year-old woman who desires to look stylish and feel comfortable. Famous clients include Ukrainian celebrities and artists such as Tina Karol, Anna Andres, Dasha Astafyeva, and Jamala.

Nebesite, Kyiv/Ukraine, nebesite.clothes@gmail.com, www.nebesite.com

LIMITED UPCYCLING

Oversized. Located in Kyiv, the brand stores part of its collection in STUDIO183’s showroom in Berlin. Founded in 2018 by Olga Boncheva, it is mostly known as an upcycling brand. Every collection is limited because it does not use new fabrics for production. All pieces are made of vintage suits, trousers, and shirts, which are sourced from outlets, resale platforms, and second-hand suppliers around the world. The brand’s customers are aware of conscious consumption and prefer it to fast fashion.

Oversized, Kyiv/Ukraine, the.oversized@gmaill.com, www.theoversized.com

INSPIRED BY ARCHITECTURE

Paskal. Founded by Julie and Olga Paskal in 2013, the brand is known for its gentle silhouettes and minimalistic forms, which resemble innovative architecture and nature. Beauty stems from main components and clothing structure, as laser cutting lies in the DNA of the brand. This results in sensual design with strong individuality. In 2016, Paskal was showcased at Colette Paris and participated in the Paris Fashion Week. The brand has been listed by more than 50 retailers around the world since then. Famous clients include Sarah Andelman, Bjork, Monica Bellucci, Katy Perry, and Paris Hilton. Paskal exclusively uses certified fabrics. The design approach and quality standards ensure stock optimisation. The brand’s sustainability and modernity are also reflected in Paskal’s digital clothes sales on DressX.

Paskal, Odessa & Lviv/Ukraine, Halle/ Germany, press@paskalclothes.com, www.paskalclothes.com

TIMELESS IN ALL SETTINGS

Bobkova. Founded by Kristina Bobkova in 2000, the brand is loved and sold in Hong Kong, Kuwait, the US, Ukraine, and Germany. Its key features include sustainability. Recycling trends are integrated into the brand’s production philosophy, as every piece is made of recycled garments from previous collections and old fabrics. The idea of providing timeless fashion for all occasions is deeply engrained in its DNA. The brand is very popular among Ukrainian models and TV personalities such as Alla Kostromicheva, Tina Karol, and Onuka, and is also worn by Maye Musk.

Bobkova, Kyiv/Ukraine (relocated to Germany), sales@bobkova.com.ua, www.bobkova.com.ua

BRIGHT BASICS

Sayya. Founded by Luba Makarenko in 2012, the brand presents a concept of bright basics. Inspired by looks of the past, it revamps a basic wardrobe by adding ironic prints or eccentric details. Buyers represent SAYYA in London/UK, Los Angeles/US, and in showrooms in Georgia and Azerbaijan. The brand has also signed a contract with a European marketplace. The brand does not use natural fur and leather, and it applies patchwork technology in design and production. Among its famous clients are Jamala, Young Emperors, Blair Eadie, Nino Basilaya, Victoria Lamala, Aori Nishimura, and Sophi Reynolds.

Sayya, Kyiv/Ukraine (relocated to Georgia), sayya.sales@gmail.com, www.sayya.ua

DELIBERATELY FEMININE

Gudu. Founded in 2015 by Julia Kostetska, Lasha Mdinaradze, GUDU creates exclusive high-quality clothing for women who are not afraid to attract attention with unusual clothes featuring complex, strictly cut, and bright details. The brand is an advocate of sustainable design and does not use natural leather. For the SS22 and AW22/23 collections, GUDU used old jeans and other reusable elements to create new styles, over and over again. The uniqueness of GUDU lies in its vision of the woman that wears the apparel it creates. The brand is represented in Tsum Kyiv, GUM Select Kharkiv (both Ukraine), Ammos Mykonos (Greece), Gallery Gazette Tokyo (Japan), WEI STUFF SPACE Taiyuan, V+ Shanghai, and Pin Xu (all China). Among its famous clients are David Vazquez Louzao (Spain), Karine Vanasse (Canada), and Law Roach (US).

Gudu, Kyiv/Ukraine, info@gudu.ua, www.gudu.ua

GENDER FLUID

Katerina Kvit. Founded in 2012 by Katerina Kvit, the brand offers women’s suits in men’s styles alongside high-quality leather goods. It is represented in an LA-based store, listed on online platforms Farfetch, Sezzona, Clothia, and Stilius, and stocked by American angelforfashion.com. Its clothing is intended for the self-confident woman who likes to hide her femininity behind men’s jackets and showcase her sexuality by wearing leather tops. The concept of sustainability is supported by manufacturing clothing that lasts for many seasons.

Katerina Kvit, Kyiv/Ukraine (relocated to Western Ukraine, Paris/France, Vienna/Austria), e-mail@katerinakvit.com, www.katerinakvit.com

SOPHISTICATED ACCESSORIES

Vikele Studio. Founded in 2017 by Victoria Klimenko and Olena Polkovska, the Ukrainian fashion brand delivers exquisite accessories in classic colours, expressive textures, and concise design. The mood board features archival photos of Jane Birkin and Catherine Deneuve, as well as footage from Jean-Luc Godard and Bernardo Bertolucci movies alongside modern art. The brand’s range includes bags for casual days, as well as small handbags and clutches for parties. Spacious models titled Gràcia and Affair can easily fit a laptop and other important items for living in a large city. Each Vikele Studio bag is unique, as it is created by hand by the brand’s in-house craft masters; they take 10 to 30 working hours to complete.

Vikele Studio, Kyiv/Ukraine (relocated to EU), studio@vikele.com, www.vikele.com

SUSTAINABLE HEMP

DevoHome. Founded by Oksana Devoe in 2003, the family-owned company, a producer of hemp textiles, exclusively manufacturers garments made of natural textiles. It is the first in the world to produce hemp fur. The focus lies on modern conscious customers who value ecology and their own health. The brand is sold in Europe, the US, and Japan.

DevoHome, Kyiv/Ukraine (relocated to the Netherlands), Oksana_devoe@omke.com, www.devohome.com

THE COAT BY KATYA SILCHENKO PERFECT FIT

In 2014, Katya Silchenko started to create bright collections focusing on femininity. Thanks to the unique cut, honed over many years, The Coat pieces fit perfectly, emphasising the silhouette flatteringly. Katya skilfully combines bright details, using bold accents of feathers, eco-leather, combinations of different textures, ruffles, and prints. She personally selects fabrics and decorative elements herself. The collections always feature already recognisable coats, corsets, bustier dresses, and high-waisted items.

Where is your brand sold around the globe?

Previously, the brand cooperated with an international distributor and was represented in countries of Europe and the Middle East, including Kazakhstan, Kuwait, Czech Republic, and Italy. At the moment, The Coat is a self-selling fashion brand. Clothes are sold directly to customers around the world through a unique form of communication style loved by all our clients. However, since the war in Ukraine began, we have received lots of business proposals and now you can buy The Coat at Fiacchini in Forte dei Marmi. The brand is on the list of favourites of Ukrainian First Lady Elena Zelenska. Global celebrities also order The Coat: Maye Musk, Rita Ora, Amanda Steele, Kelly Rutherford, Viky Rader, and other international bloggers.

What trends within the fashion industry – such as sustainable production, environmental aspects, or processing – do you integrate into your brand?

The Coat by Katya Silchenko covers several angles. By combining a mindful client-oriented approach, sustainability, and recognisable design, the brand has struck a chord with people who subscribe to the concept of clothes as companions. The customers prefer quality and originality over quantity. The Coat has used eco-leather for its last seasons, as well as digitally printed natural fabrics. Less consumption and the absence of overproduction are philosophies The Coat values. All collections pursue a Mix&Match concept. The quantity of items is controlled and manufactured according to demand based on a pre-order system, which was launched at the beginning of 2014.

Did you enter any collaborations? Which of them is the most famous?

The Coat is well-known for its collaborations. The latest one is “Stand with Ukraine” with NOOVA. This collaboration is a collection of unisex shoes in the shade of Ukrainian symbols. The Coat is a Ukrainian brand for women. By purchasing a pair, people will not only wear the most comfortable shoes of their lives, but they also lend a helping hand to Ukrainian women during wartime. The proceeds will be forwarded directly to Ukrainian women who find themselves in a difficult financial situation.

The Coat by Katya Silchenko, Kyiv & Lviv/Ukraine, thecoat.office@gmail.com, https://thecoat.com.ua

SHUR SHUR KNITTED STOCKINGS

Designer Anna Savchuk founded the brand in 2018 and was the first in the world to invent knitted stockings, made in Italy from the finest yarn, namely certified eco-cotton ZERO, that mirrors its sustainability approach.

What current industry trends do you follow?

The Limited 2021 collection of Shur was made out of recycled yarn. We also created the first fragrance for stockings called Hug Me, which we apply before packing the pieces. Shur supports the sustainability trend by producing at a factory in Italy that has been working with international brands for 70 years. They utilise eco-yarn ZERO with an international quality certification (Oeko-Tex, Cotton for Life) and some of the garments are made of recycled yarn.

What are your geographical sales areas?

The brand is represented in 15 countries around the world. Shur, Kyiv/Ukraine (relocated to Western Ukraine, designer in Paris), hello@shurshur.com, https://shurshur.com/uk/

DIGITAL UKRAINE

Not only a manufacturing and fashion nation: Ukrainian players are also among the international avant-garde in the young market segment of digital fashion.

3D LOOK CROSSING BOUNDARIES

3D Look offers the first and only virtual fitting room that bridges the gap between physical and digital shopping, and fully recreates the dressing room experience online. 3D Look had an R&D team of 70 in Ukraine before setting up an office in Warsaw, while the rest of the team is spread out over the US, the UK, and other European countries. Launched in 2016 by Vadim Rogovskiy, co-founder and Chief Executive Officer, Whitney Cathcart, co-founder and Chief Strategy Officer, and Ivan Makeev, co-founder and Chief Scientific Officer, the solution, developed based on feedback from hundreds of businesses and thousands of customers, helps fight high return rates in e-commerce.

How does the technology work?

Vadim Rogovskiy, CEO 3D Look: With YourFit, shoppers simply choose a clothing item on a brand’s website, take two snaps, and from there the solution instantly generates feedback on what size would fit best and allows the shopper to try it on virtually. It offers a unique personalised product recommendation carousel with AI-picked items based on the shopper’s body shape and measurements, fit preference, inventory, and best-sellers, basically replicating the sales associate – something that was previously not possible online. Finally, it allows shoppers to share what they tried on via socials with a single click. Combined, it is the only solution to fully recreate – or even exceed – the fitting room experience. 3D Look works with more than 100 brands across the world, and the client portfolio includes high-profile fashion giants as well as young and trendy digital-first brands. Over the years, some of the biggest names in retail, including Tailored Brands and Dickies, have tapped into 3D Look’s solutions.

Who are your clients?

Innovative and forward-thinking fashion brands and retailers who are on a mission of creating a more sustainable world like Bettter, a Ukrainian brand founded by Julie Pelipas, and Date of Birth, a multi brand sustainability and inclusivity focused marketplace founded by Levi’s, Restoration Hardware, Sephora and Farfetch alumni Wes McCaw, and Noah Treshnell. Another customer is Careste, a sustainable on-demand luxury fashion brand founded by Celeste Markey and Elizabeth Rickard Shah, two fashion luxury veterans with backgrounds at iconic brands such as Giorgio Armani, Sonia Rykiel, and Bulgari. YourFit by 3D Look solves the problems mentioned above and helps brands and retailers reduce product returns, subsequent emissions from reverse logistics, and textile waste. 3D Look, Nadya.movchan.3dlook.me, https://3dlook.me

NEO PARADIGM 3D SHOWROOM

Founded by Elena Semenenko in 2020, the last collection Drifting Diatoms was created exclusively for DressX, as well as the NFT look META PUNK for NFT platform Artisant.io. Every collection addresses society, highlighting important ecological and political problems. All projects involving virtual clothing have carbon emissions formula indicators, specially developed by the designer. Public figures order digital garments for their social profiles to raise awareness for ecological problems. The pieces are represented on the platforms DressX, Replicant, and Artisant.

NEO Paradigm, Kharkiv/Ukraine (relocated to Vienna/Austria), neoparadigm.digital@gmail.com, www.neoparadigm.digital

BACK FOR G OO D

Community hub, meeting place, and refuge – in the truest sense of the word. Retail is celebrating an incredible comeback. Crowded streets and hordes of people are, however, no longer considered the bestcase scenario. Smart retailers stopped basing their business model on customers who happen to drop in at the door a long time ago anyway.

Text: Isabel Faiss, Janaina EngelmannBrothánek, Martina MüllnerSeybold, Kay Alexander Plonka, Veronika Zangl

Sabine Schwarz and her daughter Laura Schwarz love providing personal advice.

Timeless yet special: there is much to discover at Schwarz The Fashion Concept.

SCHWARZ THE FASHION CONCEPT/KASSEL

Immediate Impact

“S pontaneous ideas are always best,” says Laura Schwarz. She had just completed her fashion and design management degree at AMD Düsseldorf when her mother, Sabine Schwarz, and she were offered a vacant space in Kassel’s prestigious Vorderer Westen district. “Given that self-employment runs in the family, we jumped at the chance,” the 27-year-old explains. The mother-daughter team launched their concept store in August 2018 and made an immediate impact on the Kassel audience. Fashion, especially for women, plays the leading role. “Our style is timeless and casual, but is made special by fabric and prints,” says Schwarz. An additional twist is provided by modern silhouettes, which is why Citizen of Humanity jeans are anything but skinny. Silk dresses and blouses by Ulla Johnson or Forte Forte add femininity and distinction, complemented by brands like Arma and Vince. The collection manages to surprise with innovations every season, not least with sneakers by Golden Goose. Anything beyond fashion can also be regarded as the owners’ personal pick: extraordinary costume jewellery by Feidt Paris and Marie Laure Chamorel alongside the German-made beauty series by Dr Barbara Sturm. In terms of food, the store offers treats such as various flavours of roasted sesame by Rheingold or cocktails by Ely of Paris. Just add some ice cubes! The mother-daughter duo has proven emphatically that sales via Instagram and pre-selected sample packages are viable alternatives in the lockdown era. Nevertheless, both enjoy face-to-face interaction in the store most. “We are known for authentic, honest guidance. When we advise as a team, we each bring our individual perspective,” smiles Schwarz. “Our customers really appreciate that.”

Schwarz The Fashion Concept

Lassallestrasse 11, Kassel/Germany www.schwarzthefashionconcept.com Opening: August 2018 Owner: Laura Schwarz Sales area: 160sqm Brands for women: among others Arma, Citizens of Humanity, Forte Forte, Golden Goose, Harris Wharf, Lisa Yang, Maiami, Nili Lotan, nine:inthe:morning, Roberto Collina, Seductive, Sminfinity, Stouls, Ulla Johnson, Vince, Windsor Brands for men: among others Arma, C.P. Company, Duno, Harris Wharf, Kiefermann, nine:inthe:morning, Roberto Collina, The Nim, Thom Krom, Scaglione Non-fashion brands: among others Dr Barbara Sturm, Ely, Feidt Paris, Jonathan Adler, Lakrids by Bülow, Maria la Rosa, Marie Laure Chamorel, Officine Creative, Pur Schoen, Serax, Studio Original

Mechtild Hoffs shares the management duties of the store with her daughter-in-law Kim Hoffs. “Her strength lies in providing structure, while my strength is ensuring cohesion within the team,” the store owner explains.

A statement in favour of change by Anna - Das bin ich: a large area was given a contemporary makeover with a special synthetic resin floor.

ANNA - DAS BIN ICH/BOCHOLT Family Business

Mechtild Hoffs and her team combine the seemingly incompatible: an animal hotel and a fashion store. The combination lends the fashion concept its solid grounding.

Rubber boots or high heels? As Mechtild Hoffs has decided to embrace two very different worlds, her answer is: “Sneakers!” She and her family run the Binnenheide animal hotel on her parents’ farm where she grew up, and the Anna - Das bin ich fashion store. The latter is a reference to Hoffs’ middle name. The fashion store is therefore a personal statement. “We are sporty-casual, yet also willingly unconventional,” she muses. “We attempt to maximise the individuality of our looks and are brave enough to combine outfits others may never have imagined.” Hoffs is happiest when the 700-square-metre store is bustling with life. At weekends, she can be found at the store’s café bar, enjoying a chat with customers while their children hang out in the supervised children’s corner. Change is essential, making regular redecorations necessary. A large area underwent a refresh just last autumn. The carpet made way for a specially cast floor, replacing fine elegance with contemporary coolness. All the work was carried out by local craftsmen because the shopkeeper is keen on strengthening her community, which is why, as chairwoman of Bocholt’s advertising association, she also cooperates closely with the city administration. She is equally committed to the store originally founded by her parents-inlaw, the team of which Hoffs describes as one big family in its own right. “We care about fashion, but ultimately it is the people who count,” Hoffs emphasises, referring to suppliers, customers, friends, and the three apprentices who complete the Anna family. The fact that the store also stocks magnetic field blankets for horses and dogs by Nicole Löw is typical for Anna. The same holds true for the frequent redesign of all areas. At one time, the store sold the best bread in town. On other days, the team cooked for the customers or integrated a dedicated cosmetics section. The latest projects involve an online shop and the expansion of menswear. Boots by Blundstone marked the beginning, now Better Rich is following suit.

Anna – Das bin ich

Nordstrasse 24-30, Bocholt/Germany www.anna-hoffs.de Opening: 1948 Owner: Mechtild Hoffs Sales area: 700sqm Redesign: Instant Retail, Julia Betting Brands for women: American Vintage, 7 for all Mankind, Cambio, Closed, Dawn, Dorothee Schumacher, Drykorn, FFC, Giorgio Brato, G-Lab, JNBY, Lareida, Montereggi, Parajumpers, Philli, Replime, The Mercer N.Y., True Religion Brands for men: Alto Milano, Better Rich, Blundstone, Xpooos Accessories brands: Anokhi, Autry Action Shoes, Baobab, Copenhagen, Friendly Hunting, GH Bass, Gluckigluck, Green factory, item m6, mey, Purschoen, Premiata, Upbeads, Valsport

SOCIÉTÉ ANONYME/FLORENCE

Fashion Meets Dada

Those who want to enter here need to ring the bell first: Société Anonyme in Florence boasts worldwide insider status. A retail insider tip out of a picture book.

The name of this store in Florence’s bohemian Sant’Ambrogio district pays homage to Marcel Duchamp and Peggy Guggenheim’s New York avant-garde art gallery Société Anonyme. Dadaism, as well as art in general, can be both seen and sensed in every single detail in Massimiliano Giannelli’s business. Upon entering, via a door hidden beneath historic arches, one immediately notices that this place is different. Visitors are required to ring the bell to gain access; the door is not opened by salespeople, but by charming trend experts. This ultimately proves that a visit to Société Anonyme is not about quick spending, but rather about an experience. The deliberately raw and reduced store design is inspired by the underground communities of neighbourhoods such as Shoreditch, Prenzlauerberg, and Williamsburgh. White, bare walls highlight the merchandise and allow it to speak for itself – like pieces of art, in fact. “I spent a lot of time in Berlin in the late 1990s and was so impressed by the city. That mix of the old and worn-out with new and fresh elements, that sexiness from back then, is what inspired me when I set up the store,” says Giannelli. The fact that some time has passed since the opening in 1999 is not reflected in the store’s appearance. This may be attributable to the exciting assortment. Here, international brands like Margiela, Marni, and Dries van Noten coexist harmoniously with niche brands like in-house brand Société Anonyme. The latter offers both men’s and women’s collections, but also unisex pieces. The looks echo the mood of the store: young, unconventional, and easy to wear. The entire collection, exclusively “Made in Florence”, is sold in the store, online, and via Farfetch.

Société Anonyme

Via Giovan Battista Niccolini 3/F, Florence/Italy, www.societeanonyme.it Opening: 1999 Owner: Massimiliano Giannelli Sales area: 300sqm Brands: Adidas Original, Ami Paris, Andersson Bell, Closed, Comme de Garçon, Cote et Ciel, Dries Van Noten, Erl, Henrik Vibsokov, High Sky Farm, Junya Watanabe, Kenzo, Levi’s Made & Crafted, Maison Kitsuné, Maison Margiela, Marni, New Balance, Paccbet/Rassvet, Patagonia, Société Anonyme, Stussy, Universal Work, Vans Vault

The 300-square-metre store feels almost too cool for school. Located in the heart of Florence, it offers a perfect mix of carefully selected high-end collections and underground niche brands.

Top Chic marks this year’s 50th anniversary by presenting itself fresh and renewed after a makeover.

TOP CHIC/TRAUNSTEIN

Everything Here Is So New!

Fashion expert Alexandra Schütz’s personality is deeply ingrained in her store concept.

Top Chic

Gapstr. 4, Traunstein/Germany, Instagram: @Topchic.fashion Opening: 1972 Owner: Alexandra Schütz Sales area: 80sqm Brands for women: Allude, American Vintage, Aniven, Susanne Bommer, 360 Cashmere, Caliban, Dawn, Me369, Nine in the Morning, Odeeh, Ottod’Ame, Shaft, Save the Duck, Soeur, Second Female, The White Shirt, WarmMe

It represents a fresh appearance, featuring plenty more daylight. Alexandra Schütz saw the renovation of her boutique as akin to a new beginning. The changes were rather minor, but with all the more effect. “The lighting system was updated. We also re-wallpapered a corner in the store and added a rack system for long dresses,” says the shop owner. “I did a lot of the work myself, which felt really great! Working in the store has a completely different feel to it now.” What about the product range? It follows its own individual path, especially as it is becoming increasingly important for the fashion expert from Traunstein to reject limits imposed by brands. The looks represent her personal look that the Top Chic customers adore: casual with a twist. Schütz is inspired by fresh prints by Odeeh, blouses and dresses by Soeur and Second Female, timeless fashion by Susanne Bommer, and knitwear by 360 Cashmere, to name but a few examples. “I attach great importance to a mix of different price ranges so that every customer can find something suitable,” emphasises Schütz. Besides, she strives for Top Chic to symbolise fit competence, which is proven by the diverse range of trousers, featuring brands such as Nine in the Morning alongside jeans by Dawn and Shaft. “This guarantees I always have the right pair of trousers for every customer in stock, even in sizes 42 and 44.” Schütz does not consider herself a typical fashion influencer, yet she started presenting herself on Instagram in ever-changing outfits to inspire her customers in 2020. “I really enjoy it now, and it is part of the overall concept,” Schütz smiles. Posting a photo on Instagram attracts customers to the store on the very same day. That is the definition of customer loyalty. Those further afield from Traunstein simply order via Instagram directly. “This aspect still harbours enormous potential for me, so I intend to expand my reach even further,” Schütz explains.

GLÜXMOMENT /WELS

Straight to the Heart

Happiness can be defined by many things, not least a charming concept store in the centre of Wels. The location of Glüxmoment is truly in the heart of the city. “It was important to me to choose a name that has a positive connotation and makes customers smile,” explains owner Ingrid Piber. After 30 years in textile procurement, she has fulfilled a long-held dream by opening her own store. The assortment is extensive, ranging from accessories to fashion that appeals to both young and more senior customers. Piber focuses primarily on Scandi fashion. “The strong influence of Italian brands on the industry has persisted for a long time. I intend to emphasise a different trend and show something new featuring clear, purist lines.” Slow fashion and sustainability are priorities. In this respect, Piber can rely on the support of her daughter, who occasionally accompanies her on buying trips and provides a younger input. The original city wall from the 12th century, on the other hand, is the source of the store’s special flair. It runs right through the second salesroom. The first comprises a vault that was adapted with the help of interior design expert Eveline Sperl and now features reusable wallpaper, also known as a room dress.

After raising a child and spending 30 years in textile procurement, Ingrid Piber bravely embarked on a new adventure when she launched her own concept store in 2018.

Bright interior, purist vault, and an original city wall in the second salesroom: Glüxmoment in Wels strikes right to the heart.

Glüxmoment

Pfarrgasse 15, 4600 Wels/Austria, www.gluexmoment.at Opening: 6th of September 2018 Owner: Ingrid Piber Sales area: 120sqm Brands: Jane Lushka, Kooduu Lautsprecher, LeJu London, Looops Kerzen, PD Paola, Pernille Corydon, Raffaello Rossi, Rosemunde Copenhagen, Someday, Sompex Outdoor Leuchte, Suncoo Paris

Holistic space and refuge merge with retail space and popup salons.

LIVE LAB STUDIOS/DÜSSELDORF

Experiencing Luxury Anew

Fashion designer Stephanie Hahn has opened a green luxury concept store and open space in a picturesque backyard in Düsseldorf’s Loretto district, where the combination of design, fashion, art, culture, and cosmetics celebrates a new kind of value and sustainability.

“L ive Lab Studios is meant to be a place that encourages discourse about the world of tomorrow, where luxury and retail are redefined. This is where special interest collides with the socially relevant issue of sustainability,” explains Stephanie Hahn. And so, with a conscious commitment to design, art, high-end fashion, interior, and beauty, the Düsseldorf-born designer has dedicated herself to promoting a new approach to shopping. On around 200 square metres, visitors encounter products and ideas by visionaries of our time, designed and manufactured in outstanding quality with subtlety and respect for humankind and the environment. Given that Live Lab Studios regards itself as a platform and meeting place, it also hosts innovative workshops, readings, dinners, or art projects and events such as live meditation or pop-up salons. The carefully and mindfully compiled portfolio features both national and international brands. The massive Melting Pot Table made of artfully recycled plastic by Dutch top designer Dirk Vander Kooij, for example, is juxtaposed with mouthblown Textured Glass objects by Jochen Holz. Organically shaped ceramics by Berlin artist Kirsten Landwehr rub shoulders with hand-knotted carpets made of designer fabrics from major French fashion houses by Calla Paris. The store also stocks knitwear from South Africa, high-end tailoring pieces by in-house label 22/4_Hommes_ Femmes, and precious upcycled unique pieces by Japanese brand Children of the Discordance. Sustainable sneakers made of paper, leather, or glass by Nat-2 coexist with luxurious handbags by German brand Lutz Morris. High-quality natural cosmetics and handmade candles by Düsseldorf-based artist Malte van der Meyden complete the range.

Live Lab Studios redefines personal luxury.

Live Lab Studios

Fürstenwall 66, Düsseldorf/ Germany, www.livelabstudios.com Opening: August 2020 Owner: Stephanie Hahn Brands: among others Amen Candles, Calla Paris, Evermore London, E With Love, HAP Ceramics, KL Keramik, Maxhosa Africa, New Tendency, Ormaie Paris, Pepe Heykoop, Studio Alch

Gucci has found a new home in Bolzano: the Franz Kraler luxury multi-brand store on Via Leonardo da Vinci.

Franz and Daniela Kraler are delighted to finally own an urban shop window in Bolzano.

FRANZ KRALER/BOLZANO

Urban & Rural

The Kraler family from Dobbiaco, who have rewritten the fashion history of the Dolomites over the last 30 years, are considered fashion royalty in Italy. Their five luxury boutiques in Cortina D’Ampezzo and Dobbiaco have been among the most important destination shops in the world since they opened in 1986.

At Franz Kraler, the term crème de la crème applies equally to product range and customer base. The Kraler Schloss even features a helipad for those who travel from afar to seek advice on the latest trends from the most renowned fashion houses. In 2021, in the midst of Italy’s second major lockdown, husband and wife Daniela and Franz, alongside their son Alexander, decided to open their first urban – and thus their fifth – multi-brand store. A venture into new territory, as the Kralers stepped out of their well-known luxu-

Straight lines and bright design – this is where the collections by luxury brands such as Gucci, Prada, or Fendi really come into their own.

ry nucleus in the Dolomites for the first time. The new store is located in South Tyrol’s capital, Bolzano. “Our ambition in opening the first shop in the mountains was to bring the flair of urban cities like Miami to Cortina. The launch in Bolzano allowed us to expand the urban concept even further. It was important to us to send a message. We wanted to take a step towards the people of Bolzano, to offer them an opportunity to buy luxury products in their environment,” says Franz Kraler. Conceived as a contemporary gallery where the collections by the most influential international luxury brands are the art, customers can view curated product ranges in the typical Kraler style. Daniela Kraler, who is responsible for procurement, even allows her customers to partake in the glamour of the brands via social media during her order trips. Architecturally, the new Franz Kraler store is yet another spectacle. While subtle and dominated by lighting and clean lines, one immediately senses its exceptional nature. The fact that the furnishings fade into the background is owed to a new passion of the Kralers: the family has started producing artistically sophisticated fashion short films – another coup for the South Tyrolean fashion dynasty.

Franz Kraler

Via Leonardo Da Vinci 4, Bolzano/Italy, www.franzkraler.com, IG: @franzkraler Opening: December 2021 Owner: Kraler family Sales area: 250sqm Brands: Balenciaga, Bottega Veneta, Brunello Cucinelli, Fendi, Gucci, Louboutin, Prada, Valentino

KLEIDER MACHEN LEUTE & IN THE BOX/LINZ

First Movers

The advantage of being an early adopter is that you emerge as a local hero. The two stores Kleider Machen Leute and In the Box have managed exactly that: to be the undisputed number one in sustainable fashion.

They are true pioneers: Anita Katzengruber and Christian Huber have been paving the way for slow fashion and sustainable clothing in the Upper Austrian capital since 2008. The corner shop, with its striking façade, was a personal dream location for the Kleider Machen Leute founders, and when it became available in 2008, they jumped at the chance without thinking twice. The delicate beginnings have blossomed into a permanent fixture within Linz’s retail landscape, and in 2018 they opened In the Box, their own sneakers and bag store, just a few doors down. The couple’s enthusiasm for sustainability is contagious: a genuine labour of love and passion. Well-known slow fashion icons such as Veja or Ecoalf are consequently only one pillar of their business: young, undiscovered labels also find their place in the two stationary stores and the affiliated online shop. “Building a brand is hard work, as we know all too well from personal experience, because we also run a small label in line with sustainable criteria,” says Anita Katzengruber. Her partner Christian Huber adds: “We do not consider sustainable and fair fashion to be a trend, but a philosophy of life.” All the more important that there is sufficient time for real interaction in both premises. “Our stores are located in a very lively street. There is a lot going on here. People meet, and we organise street festivals with the other shops, cafés, and restaurants,” says Anita Katzengruber. Informal exchange works wonders. As a result, the Kleider Machen Leute duo were among the first to learn that another retail space had become available on Herrenstrasse – an ideal location for In the Box. “Because footwear requires much more in-depth advice,” says Christian Huber, and Anita Katzengruber adds with a laugh: “And you need to find time to lace up the Veja shoes, which are all unlaced in the boxes.” When Kleider Machen Leute recently underwent a facelift, it was not closed for a single day owing to a pop-up outlet. This is proof of the team’s perfect organisational skills. Anita Katzengruber: “We used the lockdowns not only to advance our digital strategy, but also to professionalise as managers. We now both have clearly defined areas of responsibility, which positively inspires teamwork.”

Two stores in Linz’s Herrenstrasse and an online shop dedicated to sustainable fashion: Anita Katzengruber and Christian Huber are Upper Austria’s sustainable fashion pioneers.

Kleider Machen Leute

Herrenstrasse 14, Linz/Austria, shop@kleidermachenleute.at, www.kleidermachenleute.at In the Box, Herrenstrasse 2, Linz/ Austria, store@inthebox.at Owners: Anita Katzengruber, Christian Huber Opening: 2008 (Kleider Machen Leute), 2018 (In the Box) Brands: ArmedAngels, Blutsgeschwister, Colorful Standard, Derbe, Dillysocks, Freitag, Got Bag, LangerChen, My Marini, Nudie Jeans, Organic Basic, Saye, Veja

Kleider Machen Leute opened in 2008 and recently underwent a facelift. Just a few doors down, In the Box specialises in shoes and bags.

RUN COLORS/WARSAW

“Our Product Range Is Custom-Made”

With its very first store in Warsaw’s city centre, the Run Colors team added its name to the list of top international destinations for selective sneaker drops and tier zero accounts in 2009. Another at an historic address was launched last summer.

Their credo has always been to do things differently. “We always try to customise the range to the specific needs of our customers, like a custom-made product,” explains owner Monika Pietrucha. In the heart of the disused Elektrownia Powiśle power plant – a redevelopment project that won the MIPIM Award 2021 – the team opened another store last summer. The high standard of the product range is their hallmark. “We aim to appeal to very different customer profiles. On the one hand, there is Gen Z, which entails fast-moving, social media-driven, and highly demanding customers. On the other hand, there are old-school sneaker fans of Generation X. They grew up in the 90s and love originals.” Reflecting on the rapidly consolidating sneaker market in Poland, the entrepreneur reveals her vision: “We are closely monitoring Gen Alfa, currently the youngest of its kind, as we are aware that no generation will have such an impact on our society as this one. The world is truly becoming ‘phygital’ for Gen Alpha: online and offline are intertwined – this needs to be understood and embraced. We are already researching solutions for leveraging Metaverse platforms to engage with our youngest customers and provide Metaverse retail solutions. Yes, we are working on something special.”

Run Colors

Dobra 42, Warsaw/Poland www.runcolors.pl Opening: August 2021 Owner: Monika Pietrucha Sales area: 150sqm Brands: among others Champion, Colmar, Hoka One, Lacoste, Merell, Mizuno, New Balance, On Running, Puma, Saucony, Sofix, Toms

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They are already planning something special for Gen Alpha: Monika Pietrucha and Mateusz Pacocha of Run Colors in Warsaw

The Future Is STILL Wide Open!

On the 28th of December 1989, I travelled to Prague with a dear friend. It was a spontaneous trip in the freezing cold. Both of us had the feeling of witnessing a perhaps unique turning point in history first-hand. We ultimately both experienced an unprecedented global transformation that triggered an almost palpable optimism, especially among young people in East and West alike. Democracy and market economy had prevailed over totalitarian repression, and freedom was indisputably enshrined as the highest universal value. The future was wide open! And Tiananmen very far away. “Dall’ altre parte della luna,” as Lucio Dalla would have put it.

Today, a few decades later, we find ourselves in the midst of an even more radical transformation. On a global scale – on so many different levels – humanity and the social systems it has created are not merely confronted with challenges, but with truly epochal and disruptive directional decisions. Ultimately, the question is whether freedom, in fact, remains undisputed as a universally supreme value.

In retrospect, the fall of the Iron Curtain also marked the unofficial starting point for the transformation of the market economy into a kind of vulgar capitalism, which ultimately, as the accelerant of a globalisation that is not without borders but without boundaries, forced us into precisely those dependencies that make all the obvious challenges seem so immensely complex. The supply chain law, which is based on a fundamentally correct principle that is in no way left-wing, namely the polluter pays principle, is but one example. The attempt to contain the toxic power of social media without resorting to totalitarian means, or without sabotaging the inherent potential of digitalisation and social media as a whole, is another. To avoid being misunderstood at this point in particular: I am writing this opinion piece from the perspective of a deeply committed believer in a free market economy, as well as from the perspective of a staunch believer in democracy. And yes… these two convictions are inseparable. Democracy and market economy are the foundations of individual freedom. Both demand active participation to avoid becoming matted and stale.

From the current perspective, the corona pandemic, which dominated everything, including our spirit, for two years, seems to have diminished in nature. It was, however, undoubtedly a litmus test and proof of a human quality that should encourage us in current circumstances. Many of us grow with a challenge as it progresses. Personal and entrepreneurial courage, a foundation of non-negotiable values, and creativity and innovation as superior resources will sustain us as we actively manage the current transformation. The future is STILL wide open! However, it depends on people who are willing to shape it.

Best regards, Stephan Huber stephan@style-in-progress.com

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