J'N'C Magazine 1/2020 by J'N'C Magazine

JEANSWEAR & CONTEMPORARY FASHION

N° 79 / 1–2020

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THE CHANGING FACE OF WORK IN FASHION’S B2B SECTOR

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EDITORIAL Every day I pop over to Bruno’s, a cute little café less than a five-minute walk away from my office, for a caramel cappuccino. After I while, I began to notice that the barista there was always working on his laptop, which was perched on the little counter. And when he wasn’t doing that, he was drawing. I asked myself what it was that he actually did for a living. One day he told me: he is a qualified architect, used to own a cocktail bar and is now, among other things, a self-employed graphic designer. And his café? It also serves as his office. What? Yes, that’s right. His office! With his earnings from caffeine addicts like me, he pays the rent for his unique workspace. That blew my mind. The way we work today shows just how our society ticks. Everyone seems to be harassed, passive-aggressive, noncommittal, overwhelmed and fatigued. Why? Perhaps because the demands placed on us are constantly increasing, but our own energy, in our attempt to get ahead, or simply not go under, is draining away. There seems to be a serious lack of creativity and courage to develop unconventional ideas (like Bruno’s café). But we are more than just closeted workaholics. Amidst all the progress and developments, most of us are still searching for traditional values and striving for a kind of happiness that has nothing to do with promotions or pay rises. So, on that note, welcome to issue #79! This time we are taking a closer look at the business behind the scenes. How do we work and what impact is that having on the way we interact with each other and ultimately with the entire industry? In our cover feature from page 40, author Vanessa Pecherski explains what ‘New Work’ actually means and how we can tackle the worklife challenge. Plus: from page 58, key industry players, including PR agencies, designers, editors, influencers and retailers, are revealing how they work and what motivates them. But don’t worry, we’re not neglecting the business that goes on in front of the scenes: on page 70, designer Nigel Cabourn is telling us how his collaboration with Closed came about, while Karhu’s Remko Nouws explains what Kanye West has to do with the ‘Fusion 2.0’ (page 74). We also had an insightful conversation about the denim industry with K.O.I’s Tony Tonnaer (page 78), Isko’s Ogul Kivanc Arseven (page 72) and Alexander Graah from Dr. Denim (page 76). And Florian Wortmann from Club of Gents (page 80) is also telling us where things are headed, both in terms of fashion and the future. Speaking of which: let the AW20/21 season commence! Check out our Bits & Pieces, Brands and Trend Preview for a lowdown on the latest and most exciting fashion trends. Happy New Year! We hope you enjoy reading this issue. Cheryll Mühlen & team

CONTRIBUTORS

Renée Diehl FASHION EDITOR The proud local of Offenbach near Frankfurt has been working in the industry for just over four years. Inspired by the latest trends and pop culture, she loves to combine her two passions — German rap and fashion. When she’s not working, she can usually be found at the kebab place around the corner.

Heiko Laschitzki PHOTOGRAPHER The job description ‘photographer’ doesn’t really cut it when talking about Heiko Laschitzki as the Berliner by choice is usually also responsible for the styling and production of the photo editorials he works on. He’s definitely what you’d call a man of many talents! Heiko is also more than happy to travel far and wide for his shoots – for this issue of J’N’C, he jetted off to the sunnier climes of Tenerife.

Paula Hedley TRANSLATOR Even tight deadlines don’t make our trusty translator from the northeast of England lose her cool. If only she could say the same about Brexit … One day Paula dreams of living in a house with sea views and a balcony where she can translate at a more leisurely pace. And after being part of the J’N’C team for more than 13 years now, during which she has either translated or proofread every single word printed in this magazine, we think she deserves it.

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CONTENTS 14

BITS & PIECES

18 BRANDS Dang Sthlm, Dead White Men’s Clothes, Joseph, Coach, Cotton Candy 24 ON OUR RADAR — ASIAN BRANDS Fumito Ganryu, Pssbl, Rokh 30

MOST WANTED

40 C OVER FEATURE

GETTING INTO THE NEW WORKFLOW

44 COVER SHOOT

FROM 9 TO 5

58 WORKSPACES & WORKFLOW INTERVIEWS Press Factory, Fashiioncarpet/Banú, Hussein Chalayan, Working Title, Maria Hunstig/Vogue, Jimmy + Jo 70 BRAND INTERVIEWS Nigel Cabourn, Isko, Karhu, Dr. Denim, Kings of Indigo, Club of Gents 82

FASHION SHOOT

TRENDS 2020

OPINION PIECE

OUT OF OFFICE COVER PHOTOGRAPHY: VALENTIN MÜHL OUTFIT: CALVIN KLEIN, ZARA, ROSEFIELD

PUBLISHER EPP Professional Publishing Group GmbH

PUBLISHING MANAGEMENT Nikola Köster, Kathrin Wimber

Liesegangstraße 17 40215 Düsseldorf Germany

ASSOCIATE PUBLISHER Pierre D’Aveta

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

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

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

EDITORS Janine Aggen, Cynthia Blasberg, Renée Diehl, Annika Duda, Vanessa Pecherski, Aylin Yavuz COPY EDITOR Paula Hedley PHOTOGRAPHY Heiko Laschitzki, Valentin Mühl TRANSLATION Galina Green, Paula Hedley Trend Translations

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

EXPLORE THE NEW LIFESTYLE COLLECTION AUTUMN / WINTER 2020 CONTACT: Bueltel Worldwide Fashion GmbH Marko Schroeer Head of Sales DACH Rheiner Str. 28, 48499 Salzbergen Phone: +49 160 963 65 782 E-Mail: m.schroeer@bueltel.com

BITS & PIECES

GREEN CITY LIFESTYLE RECOLUTION For the upcoming season, the vegan brand is combining all-day wear in timeless, sharp cuts with uncomplicated, casual essentials, offering something for everyone. With the themes ‘Urban Explorer’, ‘Urban Creator’ and ‘Urban Minimalist’, the AW20 collection reflects the typical vibe of Recolution’s green city lifestyle. And in all three capsule collections, comfort is key. All Recolution fleece fabrics have a peached finish and are brushed on the inside for a soft and fluffy effect. The colour palette includes different autumnal green tones, rusty reds and accent colours like mustard-yellow and warm orange. RECOLUTION.DE

EASY LIKE SUNDAY MORNING MARC O’POLO Casual with the right portion of coolness. Marc O’Polo is showing us how it’s done and bringing the signature Marc O’Polo look back from the archives: blazers, a maxi coat with a belt, culottes, frilly blouses, cords, midi-length puffer jackets and traditional check patterns in brown and autumnal tones. In a nutshell: cool styles, warm colours and loose-fit silhouettes define the overall look of the collection. The contrast of denim and sweats adds a modern twist for a casual contemporary look. But all in all, the look is typical Marc O’Polo: cool, laidback and easy-going. MARC-O-POLO.COM

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INSPIRED BY NATURE FTC CASHMERE Classic key pieces for every wardrobe. Nature plays a dominant role in the upcoming autumn/ winter 2020 collection by FTC Cashmere. This time they are serving up mostly natural white tones and clear colours that remind us of the elements of nature. Since it was established, the brand has represented high-quality, sustainable clothing, upholding its human and moral values, hence the inspiration from nature! FTC-CASHMERE.COM

MORE SUSTAINABILITY, STEP BY STEP BARTA JEANS If you haven’t had Barta on your radar, where have you been? Barta Tekstil is synonymous with sustainable fashion and currently well on track to becoming Germany’s best in the segment. The brand, which was established in 2014, will also be offering menswear this year and is set to launch its first online shop in April. And for the first time, the AW20 collection will also include accessories like hats and scarves. Founders Barbaros Durmaz and Tamer Akdoğan attach great importance to the workmanship of each of their pieces. In the coming season we can expect new prints and detailed embroidery and an even bigger choice of washes. BARTAJEANS.COM

A WAVE OF SUCCESS GANNI 2019 was a great year for the label from Copenhagen. It saw Ganni open two new stores in London and Stockholm, as well as two flagship stores in New York. And in August 2019, founders and creative directors Ditte and Nikolaj Reffstrup also celebrated their ten-year brand anniversary. Their pre-fall collection for 2020 seems to be a celebration of all this success: colours, polka dots and striking stripes appear feminine, but are broken up by edgy, masculine tailoring, resulting in the signature Ganni look that its loyal fan base loves so much. GANNI.COM

A MATTER OF EXPERIENCE JOHNSTONS OF ELGIN Established in 1797, Johnstons of Elgin is one of the last vertical mills in the UK that still carries out all its production processes itself. The label can look back on 220 years of tradition and Scottish innovation and celebrates skills from different continents and the highest quality natural raw materials. And the same goes for the autumn/ winter 2020 collection. Two whole centuries of experience are certainly standing them in good stead: their premium-quality knitwear and cosy accessories are synonymous not only with soft luxurious cashmere and the finest wool, but also with their impeccable sense for timeless designs.

MADE FOR THE ELEMENTS ECCO Whether on urban city streets or a long way from civilisation: Ecco has shoes for both outdoor enthusiasts and city nomads. From sneakers and boots to hiking shoes, you will be spoilt for choice. For the autumn/winter 2020 collection, the Danish shoe manufacturer is getting back to nature: especially with the two outdoor models ‘Exohike’ and ‘Exostrike’. With the ‘DriTan’ method, which was used to make them, they have created a way of drastically reducing water consumption during the leather tanning process. This new method won the Technology Award for setting new benchmarks in the water consumption of tanning at the 2019 Scandinavian Outdoor Awards. Now that’s how you set sustainable standards in the shoe business!

JOHNSTONSOFELGIN.COM

ECCO.COM

QUARTZ CO. This label from Canada has been renowned for its premium outerwear ever since it was founded in 1997. In 2015, the Canadians restructured the brand and adapted their collections to the requirements of a new generation: style, function and sustainability have defined the styles of Quartz Co. ever since. For 2020 the brand has set itself some important goals, especially with regard to sustainability: 70 percent of the fabrics are made from recycled fibres, the Shell Fabric Dyes are 100 percent Bluesign-approved and the synthetic fill are also made from 100 percent recycled materials. The design is oriented on classics like the parka and puffer jacket. With lots of colour and sophisticated details, Quartz Co. is bringing a global perspective, inspired by a modern look.

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STYLE & FUNCTION

QUARTZ-CO.COM

BITS & PIECES

BACK TO THE ROOTS BARBOUR In 1894, when Barbour opened its first store in the coastal town of South Shields in northeast England, the range included mainly waterproof clothing for seafarers, harbour workers and fishermen. The AW20 collection is going back to the roots of the British Isles and bringing robust looks, maritime styles, warm knitwear and modern countrywear influences back to the fore. Barbour’s signature tartan patterns can be found on linings and the insides of collars and cuffs – another reference to the brand’s British roots and family legacy. This season’s colour palette ranges from earthy to navy tones, paired with a vibrant red, a subtle reference to the red lighthouse in South Shields. BARBOUR.COM

DUALITY OF LIFE CAMEL ACTIVE ‘Duality of Life’ is the theme of the AW20 collection by Camel Active and refers to the dichotomy of social trends that we are seeing as a global society. The brand is using contrary elements and ideas to create a fashionable mirror image reflected in the collection through the use of colour blocks and tone-in-tone material mixes. Camel Active is also forming a crossover between sporty style elements, workwear details and outdoor references.

Above: Pierpaolo Piccioli’s Moncler Genius collection for Fall / Winter 2018 translated Valentino’s regal sensibilities into elegant sportswear. Opposite: Piccioli’s follow-up for Moncler Genius Fall / Winter 2019, incorporating Ethiopian patterns from Liya Kebede.

Moncler Genius

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LESS IS A BORE NO MORE THE NEW LUXURY There’s no denying that the concept of luxury is changing, but the direction that this change will take is currently under discussion and up for redefinition. And one thing is becoming increasingly clear: that the days of luxury goods being objects of prestige defined by their price are numbered. The team behind Berlin streetwear blog Highsnobiety has brought out the book ‘The New Luxury’, published by Gestalten Verlag. Their message is that luxury is no longer merely about owning luxury products and that status is achieved through access to education and culture instead – all highlighted with a beautifully showcased selection of luxury goods. In some ways, a new form of 90s hedonism is being propagated, substantiated by articles from industry insiders and designers like Brian Trunzo and Hiroshi Fujiwara. GESTALTEN.COM

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LOWER EAST SIDE LES DEUX The new autumn/winter 2020 collection is dedicated to the LES, the Lower East Side of Manhattan and references the brand’s history. The 90s were the main source of inspiration for Les Deux. Minimalist fashion, embodied by a loose fit, tapered trousers and a simple combination of muted colours were the look ‘du jour’ back then. Other elements were inspired by previous decades: as well as the 90s, the fashionable elegance of the 40s is also represented, not to mention the alternative styles and bright colours of the 60s and the innovative, unconventional flair of the 80s. LESDEUX.DE

C.P. COMPANY In their new AW20 collection, the Italian apparel brand is experimenting with colours and transparency. Puffer jackets and lightweight windbreakers, that reveal the inside of the jacket, are creating fascinating effects this season. But most of all, the collection impresses with the use of exclusive fabrics D.D. Shell and Outline. For this, C.P Company is using techniques that avoid the excess loss of feathers. And instead of down, synthetic insulation Primaloft is used, which has the added advantage that it stays dry in wet conditions. The transparency of the crystal ciré finish made of nylon ripstop, the black seam bindings and pocket linings emphasise the construction.

BITS & PIECES

INNOVATIVE TECHNIQUES

CPCOMPANY.COM

GOOD JEANS, GOOD KARMA DAWN DENIM Embracing the challenges of our time and understanding them as an opportunity for improvement. That is Dawn Denim’s ethos for the autumn/winter 2020 collection. After all, their jeans not only look good, but also do good. The goal is to transform the fashion industry from within – on more than just one level. And that starts with Dawn’s head designer Ines Rust, who took over the management of the company in July 2019. Over three quarters of the Dawn team are women: in all roles, including everything from the design, marketing and controlling to sourcing and production. The label is therefore playing an exemplary role both socially and ecologically. Recycling and upcycling are the focus of the pieces from the ‘Low Impact Collection’ for 2020, which are also completely free of synthetic materials. DAWNDENIM.COM

COLLABS AS A RECIPE FOR SUCCESS G-LAB There is a real collaboration boom happening right now. This season, G-Lab is following the trend and bringing out not just one, but two joint projects. Especially for G-Lab, German artist Johannes Wohnseifer, who is renowned for his ‘Password Paintings’, has converted an image into coding, which was then used as an all-over print for the collection pieces. Inspiration from art and architecture can also be found in the AW20 collection. And in G-Lab’s collaboration with designer Dawid Tomaszewski, Bauhaus-style patterns play an important role and can be found on waterproof G-Lab material ‘Cushy Nylon’ in the colourway ‘Aqua Blue’ (see our Most Wanted item from page 30).

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BRANDS N° 79

A PROJECT OF THE HEART DANG STHLM This newest kid on the block, founded by Swedish Instagram personality and YouTuber Julia Dang, only just launched on 25 November 2019. Although it’s still early days for this passion project, it’s definitely worth keeping the brand-new Swedish label on your radar. Cool minimalism is cleverly combined with casual silhouettes and everything from the collection to the packaging is sustainable. Minimising the negative effects of climate change is of paramount importance for the label. They have been looking for viable solutions in every step of the supply chain, from the fabric sourcing to the packaging and production methods. Dang joined forces with artist Micky Ho and set off in search of fabrics and manufacturers in Vietnam in March 2019. The result: limited, long-lasting wardrobe staples made entirely from deadstock materials (i. e. from the waste and cut-offs of big textile factories that are usually sold on at small markets or incinerated). The collection pieces are delivered in recycled paper bags or recycled cardboard boxes. And the concept is proving popular. Just a few days after the launch, the collection seems to be more or less sold out. We can’t wait to see what the future holds for Dang Sthlm. /ad DANGSTHLM.COM

BRANDS

DEAD WHITE MEN’S CLOTHES Discarded, forgotten, unloved. Every year more than 1.5 billion items of clothing are cleared out of people’s wardrobes – in Germany alone. The artist Jojo Gronostay buys such second-hand clothes at a market in Accra, the capital of Ghana, and creates collections from them in the style of a young fashion label – highlighting the ludicrous nature of our throwaway society. But Dead White Men’s Clothes, or DWMC for short, is more than just a fashion label. It provokes a critical discourse and makes us reflect on modern-day issues like capitalism, postcolonialism, identity and fashion. Incidentally, the Kantamanto market in Accra, Ghana is one of the largest collection points for used clothes worldwide and serves as the perfect setting for the label’s plans. T-shirts, trousers, belts, a whole host of other textiles and shoes and sandals are sold here on the cheap. New donations arrive from rich Western countries several times a week. The label’s name comes from the Ghanaian term ‘obroni wawu’, which translates roughly as ‘dead white men’s clothes’. When the first wave of second-hand clothing made its way to Ghana from the West in the 1970s, its inhabitants found it hard to believe that such high-quality clothing would be given away, assuming that the previous owners must have simply died. DWMC highlights the untenable situation of our current throwaway culture – something that we are painfully aware of in the current climate. /ad

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ART, FASHION AND PROTEST

DEADWHITEMENSCLOTHES.COM

BRANDS N° 79

PLAYING WITH OPPOSITES JOSEPH Masculine and feminine elements, French chic and British tradition, flowing silk and smooth leather, soft cashmere wool and chunky knitwear; Joseph’s creative director Susana Clayton is obviously a huge fan of contrasts – and the autumn/winter 2020 collection is no exception. Contrasting elements are effortlessly expressed in modern cuts, luxurious fabrics and vibrant colours. The collection pieces are inspired both by the idea of the idealised Parisian and traditional British flair. Translated into the signature Joseph style, that means: silk shirts, pleated skirts and dresses in cool cream tones meet checked suits and woollen tweeds, as well as voluminous coats and capes. The earthy tones are inspired by the English countryside. Duality at its best, but always with a nonchalant sophisticated edge. /ad JOSEPH-FASHION.COM

BRANDS

COACH Creative director Stuart Vevers makes no secret of his preference for the American look – in all its facets. With his designs for New York high-end label Coach, the 46-year-old regularly presents his nostalgic take on Americana. For the autumn/winter 2020 season he is getting back to nature and reminiscing about hours spent by a campfire. His bags, for example, are versatile and incorporate recognisable references to retro sport and functional camping equipment. And to match the cool urban adventurer look, Coach is offering thick socks and trail sandals that can be teamed with ponchos and windbreakers and go perfectly with the quintessential Coach chambray. A playful approach to popular retro looks, without losing sight of the contemporary twist. /ad

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CAMPING, NYC-STYLE

COACH.COM

BRANDS N° 79

ROCK’N’ROLL SWEETNESS COTTON CANDY The Düsseldorf label is once again providing us with plenty of eye candy – in the high-quality fabrics we have become accustomed to. This autumn/winter 2020 they are making clever use of contrasts: in addition to the usual cotton basics, the womenswear brand has added rock-style elements in the form of band tees and animal prints, as well as feminine components like ruffles and rhinestones. We can expect leather jackets, a logo tape blazer, oversized cardigans, chunky knit jumpers – also of the cropped variety with or without balloon sleeves – slip dresses and flounced skirts, a military parka as well as various sweatshirts with lovely little details. As always at Cotton Candy, in 2020 high-quality sweat and jersey fabrics will be coming into play in the most diverse ways. To match autumn and wintertime, the colour palette consists of muted colours like Smoked Grey, Cream, Olive and Vintage Rose, underlined by classic black and white. Cotton Candy also ensure that all the pieces are easy to mix and match, creating exciting looks when rock-chic meets feminine ruffles, for example. With an early drop in June 2020, the brand is also reacting to the latest market developments, ensuring more flexibility for their customers with regards to merchandise management. /rd COTTONCANDY-FASHION.DE

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MAKE FRIENDS DO BUSINESS GET INSPIRED HIGHLIGHT BRANDS 10DAYS / 360CASHMERE / AMERICAN VINTAGE / ARKK COPENHAGEN / ARMEDANGELS / BETTER RICH / BOYISH / CANADIAN CLASSICS / CECILIE COPENHAGEN / COLMAR ORIGINALS / COSTER COPENHAGEN / DANTE6 / DRYKORN / ECOALF / ESSENTIEL ANTWERP / FABIENNE CHAPOT / FLORIS VAN BOMMEL / FREEBIRD / GANT / GEOSPIRIT / GOODSOCIETY / HUNTER / INUIKII / INWEAR / JOOP! / KARL LAGERFELD / LIU JO / LOTTUSSE / LOVE MOSCHINO / MAJESTIC FILATURES / MARELLA/ MBYM / MINIMUM / MOS MOSH / MSCH COPENHAGEN / NATIONAL GEOGRAPHIC / NORDEN / NORTH SAILS / OFFICINE CREATIVE / PENNYBLACK / PEUTEREY / PYRENEX / REFRIGIWEAR / SCOTCH&SODA FOOTWEAR / SECOND FEMALE / STEVE MADDEN / TRANSIT / UGG / VELVET BY GRAHAM&SPENCER / WOMSH / AND MANY MORE

ON OUR RADAR — ASIAN BRANDS

TECH MEETS NATURE

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TEXTS RENÉE DIEHL

Fumito Ganryu is a well-known name on the Japanese fashion scene. Between 2004 and 2018 the designer worked for industry greats Junya Watanabe and Comme des Garçons – and for the latter he even brought out his own line entitled Ganryu. In 2018 he finally took the next step and, with the presentation of the spring/summer 2019 collection at Pitti Uomo, also launched his own independent label Fumito Ganryu and will be presenting his third independent collection for the SS20 season. Starting out as a menswear label, he is now shifting his focus to unisex clothing: like in the previous season, the garments are presented on two female models. He drew his inspiration from our increasingly tech-driven society, for whom slowing down and relaxing only seems possible when in nature. Visuals like stars, grasses and raindrops meet high-tech fabrics like coated paper and polyester. Comfort and freedom of movement play a key role when it comes to the silhouettes. And the label also has our feet covered: in cooperation with outdoor footwear brand Salomon, they created a sneaker with an ultra-light sole, suitable for jogging and hiking, not to mention a pair of comfortable slides in cooperation with Japanese brand Suicoke. The collection is rounded off by a collaboration with Japanese hatmaker Akio Hirata, consisting of straw bucket hats with brightly coloured sun visors. fumitoganryu.jp

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HIGHLIGHT BRANDS AT SEEK Alpha Industries / Ben Sherman / Blundstone / Champion Reverse Weave Cus / Dedicated / Eastpak / Edwin / Ellesse / Farah / Felisi / Fila / Gibson London Gramicci / Herschel Supply Co. / Hummel Hive / Indigofera / Kangol / Kings of Indigo / Kowtow / Lee / Lyle & Scott / Merz b. Schwanen / Napapijri / Oliver Spencer / PorterYoshida & Co. / Portuguese Flannel / Puma / Red Wing Shoes / RM Williams / Sandqvist / Schott NYC / Teva / Tretorn / Universal Works RES PO Veja / Wrangler / FUT NSIBLE URE and many more

ON OUR RADAR — ASIAN BRANDS N° 79

SUSTAINABLE BAGS FOR AN URBAN ENVIRONMENT Established somewhere between Hong Kong and Europe, the brand Pssbl (which is short for ‘possible’) has been offering sustainably produced, functional bags for everyday use since 2018. Most members of the Pssbl team lived in Asia for a long time so they know exactly what urban dwellers are looking for in a bag – and also that environmental pollution is one of the biggest challenges of our time. That’s why it was particularly important to them to produce durable accessories that are suitable for city living and also happen to be minimalistic and stylish at the same time. The first product on the market was the Pssbl x Tonlé Sap Hip Bag made entirely from recycled materials: six recycled PET bottles, to be precise. One third of all sales of the bag will be donated to the Plastic Catch Project in Cambodia, which Pssbl also supports as part of its cooperation with the NGO2 and local communities. The range also includes one tote and one duffle bag, two bum bag models and a rucksack. Responsible for the production of the bags is traditional German company Deuter: their production facility in Vietnam offers the highest possible production and working standards, maintained in cooperation with the Fair Wear Foundation. pssbl.life

ON OUR RADAR — ASIAN BRANDS N° 79

DECONSTRUCTING CLASSICS

When Hedi Slimane took over the creative reins from his predecessor Phoebe Philo at Céline, there was a huge public outcry – further exacerbated when he promptly got rid of the accent, turning ‘Céline’ into ‘Celine’. But that’s not all the fans missed in the new collections; more than anything they were pining for Philo’s design aesthetic. So it’s a good job that Rok Hwang, a founding member of Phoebe Philo’s design team from 2010, launched his own womenswear label Rokh in 2016, keeping the ‘Old Céline’ alive and well with his creations. Born in Seoul, the Korean grew up in Austin, Texas before moving to London. He has been showing his collections at Paris Fashion Week since 2019 so his spring/summer 2020 collection is the second one he is presenting there. The aesthetic is based on a mix of masculine and avantgarde-inspired feminine elements. Key pieces of the collection include classic, but also deconstructed variations of the trench coat, checked or leather dresses and extra-long bootcut trousers and wide skirts. Hwang manages to combine a 90s grunge look with a corporate aesthetic, giving a modern twist with a dark feel to it – reminiscent of Philo’s work with its layered looks and very clear lines, yet still speaking its very own design language. r-o-k-h.com

14-16/01/2020 Tempelhof Hangar 4

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PHOTOGRAPHY VALENTIN MÜHL PRODUCTION CHERYLL MÜHLEN

MOST WANTED

Wide-leg trousers are an all-round talent. Whether paired with sneakers, heels, boots or sandals – the list of suitable shoes is almost endless and the culotte is a welcome change from predictable trouser styles – which is why it’s earned its place on our Most Wanted list. The ‘Sacha’ model from the Premium Vintage SS20 collection by Citizens of Humanity particularly impressed us with its braided details on the side and the ‘White Willow’ wash, making us dream of warm spring days.

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CITIZENSOFHUMANITY.COM

MOST WANTED â&#x20AC;&#x201A; NÂ° 79

Who would have thought that fishing vests might one day take the streetwear scene by storm and be worn by fashion aficionados the world over? Certainly not us! But Italian outerwear specialist C.P. Company is showing that even this fashion item has earned its place on the catwalk. The navy-blue utility vest boasts a total of five pockets, which also serve a (fashionable) purpose when empty. Of course, the characteristic C.P. goggle also makes an appearance, giving this piece added appeal. CPCOMPANY.COM

MOST WANTED

Aren’t we all urban travellers who want to be prepared for every eventuality? Sandqvist’s ‘Charlie’ offers the perfect mix of style and function. The hiking trend is showing its sustainable side in this modern interpretation of a classic drawstring backpack: made from 100 percent recycled nylon. And because we don’t like heading out for adventures unequipped, our Most Wanted piece also has an inner pocket for a 15” laptop. The outer pockets also provide plenty of storage space for all those important little odds and ends.

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SANDQVIST.COM

MOST WANTED

The fishtail parka is a timeless fashion classic and therefore difficult to reinvent. But Fred Perry has managed to make this classic coat even more interesting and desirable for spring. The clean white is obviously a stylish homage to Fred Perry’s tennis roots and harmonises perfectly with equally brilliant white sneakers. For sporty styles with a touch of sophistication. What more could you ask for?

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FREDPERRY.COM

MOST WANTED

SHUCLOTHES.COM

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If there’s one jacket that should be hanging in every wellstocked winter wardrobe this season, it’s the down jacket. Inspired by the harsh weather conditions of Saint Petersburg, this Most Wanted is a really comfortable and practical winter warmer with a modern and minimalist design. The deep hood, high collar, insulated pockets, thick cuffs and high-tech insulation make it completely frost-proof. And thanks to the modern cut, you won’t look anything like the Michelin Man!

MOST WANTED

The pleat-front style is a real icon among trousers, yet often overlooked. ‘Wyda’, our next Most Wanted and Alberto’s pleated model with discreet pinstripes is the best example of why every man should have at least one pair of these in his wardrobe. Here, classic tailoring meets modern design, meaning that ‘Wyda’ can be dressed down or up as the occasion demands. And versatility is what counts these days, right?

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ALBERTO-PANTS.DE

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Düsseldorf outerwear company G-Lab is the perfect partner when it comes to protecting you from the elements and keeping you in the fashion game at the same time. The label is proving that functional jackets with unusual silhouettes, brilliant colour choices and contemporary aesthetics can do more than just keep you dry. Our Most Wanted in fresh ‘Aqua Blue’ is the product of a collaboration between fashion designer Dawid Tomaszewski and G-Lab. And attention to detail meets Bauhaus aesthetics in the ‘Blossom’ model. Our favourite detail is the graphic interior lining.

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G-LAB.COM

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The hashtag is his trademark and so this Most Wanted piece is easy to identify as the product of Berlin designer Shih-Shun Huang, aka #Damur. He combines classical fashion design with contemporary methods, often creating collagelike designs that also happen to have a socially critical message. Just like this denim and cord jacket. The removable ‘washtag’ on the back bears the slogan “This is trans wear”, encouraging us to “to become part of the era of expression”.

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DAMUR.FASHION

COVER FEATURE

GETTING INTO THE NEW WORK FLOW The days of working to live and living to work are over. With communication and time structures more turbulent than ever before, our working culture is currently undergoing an epochal structural shift with concepts like ‘new work’, millennials, digitalisation, work-life balance and the much-cited sense of purpose. And these developments are also making themselves felt in the fashion industry. But what’s the ultimate goal? TEXT VANESSA PECHERSKI PHOTO VALENTIN MÜHL

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We are currently experiencing a rather noncommittal time: appointments are spontaneously negotiable, boundaries between work and leisure time are disappearing and, between slow food and speed dating, everyone seems to be trying to find the right pace and place to suit their own lives. Meanwhile, everything else is negotiable, everything is changeable, everything is a matter of opinion. If we add the unpredictable influence of digitalisation to the mix, the chaos becomes a perfect storm – digitalisation, the central driver of change, has changed our working reality so radically and quickly, with a creative economy taking over from our rational per formance society. Flexibility instead of clear hierarchies. Self-realisation instead of predictable career paths. And when traditional jobs start to disappear, employees have to adapt and change in unexpected ways: there are certain jobs that machines can do better today and in the future, which leads us inevitably to think about the meaning of work. After all, if work no longer needs us, what do we need work for? The neologism ‘new work’ describes a paradigm shift that transcends generations and begins with questions of meaning that fundamentally transform the world of work today and tomorrow: what does new work actually mean? How is it changing? And, above all: how are we responding to it? Unsurprisingly, these are questions to which we don’t yet have all the answers ...

NEW WORK ORDER “Digital work is decentralised and fundamentally different from work in the industrial age,” confirms Lasse Kroll, co-founder of Cuckoo eG, which advises and networks freelancers and companies working remotely with the aim of creating a new work culture. “Times and places of work no longer follow prescribed rules, but individual needs. That is having a major impact on the hierarchy and work culture in companies. Digital nomads, remote working and the growing interest in self-employment are symptoms of this development.” And one thing is clear: we no longer work to live, and we no longer live to work. With this new understanding of the values of work, achieving a good work-life balance is paramount, especially for the millennial generation born between 1980 and 2000, who, according to PricewaterhouseCoopers, will make up the bulk of the global workforce next year.

THESE DAYS, VALUES LIKE A SENSE OF PURPOSE, A GOOD WORKING ATMOSPHERE AND FLEXIBILITY ARE REGARDED AS DESIRABLE. Whereas in the past the focus was on classic symbols of success such as high salaries, impressive titles or a flashy company cars, these days desirable values include a sense of purpose, a good working atmosphere and flexibility, as a large number of studies have shown. Generation Y and its latecomers

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Are traditional workplaces an outdated concept? Flexibility in terms of working hours and geography is becoming increasingly important for employees.

PHOTO IMAXTREE

Moving with the times: Traditional structures are even being challenged in the fashion sector – and not just the dresscode.

are about to fundamentally rewrite the rules of the game – from recruiting and career planning to the way companies are established and run.

MILLENNIALS ARE EN VOGUE IN FASHION TOO “I want to evoke this kind of youthful determination in my work. The idea of a globally integrated community is very relevant for millennials right now,” said fashion designer Daniel Lee when he announced his new position at traditional Italian fashion house Bottega Veneta. His contemporary interpretation of timelessness makes the brand one of the hottest of the hour. Of course, the ‘new work order’ doesn’t just stop at the fashion industry, where the democratisation process (see Burberry’s live stream in 2010) has been progressing effectively for more than a decade. The fragmentation and digitalisation of all established structures, as well as the deconstruction of the dictates of style and seasons, has resulted in a new kind of autonomy for all those involved, which sometimes has massive knock-on effects on established professions and, above all, on the consumers and their involvement with fashion.

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COMPANIES ARE FACED WITH THE CHALLENGE OF FUNDAMENTALLY CHANGING THEIR STRUCTURES, PROCESSES AND CORPORATE CULTURE.

Concept stores in which lifestyle, interior and fashion design merge, creative directors who interlink different disciplines, style-defining collectives such as GmbH, French über-label Vetements or digital community pioneers such as online store Revolve, which last year recorded sales of around 700 million dollars with its perfectly coordinated ‘we’ mentality and skilful influencer marketing, pay tribute to

this development and are gradually replacing conventional notions of how fashion creates, communicates and sells. Innovators like Daniel Lee are, of course, not alone. He belongs to a group of designers in their mid-30s who are currently shaking up the look and feel of established fashion houses or their own labels and defying or following the aesthetic unsteadiness of our times – with their impressively relaxed self-image. It’s not necessarily about designing different clothes, but about a different way of communicating. The result: collection drops, collaborations, guerrilla shows, experimental designs and social criticism embedded in the very fabrics that carry a clear message: new, need-driven and different has never been as en vogue as now!

COMMUNITY MATTERS Genderless, seasonless, labelless – this less-ness creates space far beyond the fashion industry for individuals who take themselves and their own fulfilment uncompromisingly seriously. Today, more than ever, fashion is the result of collaboration, creatively crossing boundaries and cultural and artistic diversity. In the midst of all this chaos, this generation is pursuing a goal that is as unmistakable as it is consistent, and which unites us all globally: having the choice. Creative minds undoubtedly need freedom and to be able to express ideas and develop them independently. They need to have the opportunity to take time out, whether to regenerate or to devote themselves to their private lives. After all, the rest of life takes place intuitively and unrestricted by place or time – so why should work be any different? Berlin shoe label Aeydé is a positive example of how this community mentality, paired with a contemporary understanding of business and sales structures, can function in the digital age. Founded in 2015 by Luisa Dames and Constantin Langholz-Baikousis in Berlin, as a digital-first, direct-to-consumer brand, the brains behind it have now expanded their sales strategy and are working with almost 80 selected retail partners across the globe. From online to community to retail – this is how it can be done in the new world order. “We always think everything through digitally, because that makes us more agile and faster. The great

THE BOSS WHO IS NO LONGER A BOSS “Young People Are Going to Save Us All From Office Life” was the title of a recent article in the New York Times, which deals with the changing priorities of millennials. Long crit icised for being lazy, out of touch with reality and having ridiculously high expectations, they are now demanding new ways of working and redefining success for themselves. Could they be the first generation to truly internalise an appropriate relationship between work and life? American-Austrian philosopher Frithjof H. Bergmann introduced the ‘new work’ concept in the 1980s as a response to automation in the automobile factories in the USA. Today, some 40 years later, his visions of a better world of work, more oriented to the wishes and ideas of the individual, and his approaches to navigating the challenges of digital transformation could hardly be more pertinent. Because it’s not only a question of making wage labour more bearable but, above all, of enabling a new way of life for people.

PHOTO IMAXTREE

As the mood takes you: Individual needs and preferences are increasingly calling the tune in the working world.

COVER FEATURE

Some establish a hip open-plan office, others offer in-office massages, while some think that all it takes is the introduction of casual Fridays and a bowl of organic fruit. “Companies are faced with the challenge of fundamentally changing their structures, processes and corporate culture,” explains Lasse Kroll. “Decentralised structures require much more transparency, personal responsibility and openness, both internally and externally,” he continues. This poses immense challenges not only for employees, but above all for employers who have to learn to deal with an increasingly demanding and, at the same time, less loyal workforce. “It’s important to maintain a flexible mindset and to think innovatively. This has less to do with age than with basic attitude and motivation. Transformation is exhausting and it requires people who enjoy change and additional effort,” says Luisa Dames, whose shoe company serves as a prime example of how brands that are contemporary, sustainable and trend-setting, can successfully rise to the challenge in the midst of change.

NEW WORK, AND THEN WHAT? It’s certainly a complex and generation-spanning change that doesn’t require temporary updates but demands an extraordinary confrontation with old ways of thinking, beliefs and points of view – on work, on oneself and on society. It poses challenges, opportunities and also risks that have to be overcome between generational conflicts and established structures, between enormous forces such as globalisation and comprehensive digitisation, and between deluges of communication and political upheavals, because, yes, all of this inevitably affects our new perception of work. “The 40-hour week is on the way out, classic career paths are no longer suitable in times of ‘lifelong learning’,” predicts Lasse Kroll, who accompanies these processes of change from several perspectives in his work. “Companies that are serious and believe in the cultural aspect of ‘new work’ will be more successful in terms of employee retention and innovation. Whereas those who look at the term purely from the productivity perspective will not see any changes – because they haven’t changed the underlying structures and concept of ‘work’. This is where the risks lie: ‘new work’ often arouses false expectations among employees and companies, which then do not come to fruition and could lead to increased dissatisfaction. After all, freedom means personal responsibility: passion and the fulfilment of your own goals cannot completely replace issues like competence or reliability. And when it comes down to it, we get to decide whether the change will lead to a lasting and powerful revolution in the workplace or whether it will be remembered as a confusing utopia. How? Luisa Dames sums it up perfectly: “Always take things step by step – if you try to do everything at once, it can quickly go wrong.”

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thing about it is the direct exchange with our customers, whose needs and wishes we can understand and implement quickly and without long lead times,” says Luisa Dames of her successful concept. This is about nothing less than a fundamental shift in values in favour of people; in which, in addition to a strong desire for individual fulfilment, virtues that have surprisingly fallen into disrepute, such as fair and balanced cooperation and teamwork, are becoming guiding principles: communities, networks and an optimistic attitude that you can do it ‘differently’ and, above all, together.

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PHOTOGRAPHY VALENTIN MÜHL PRODUCTION CHERYLL MÜHLEN STYLING ARIANE LINDHORST

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HAIR & MAKE-UP EVA MARIA PILARTZ @ 21 AGENCY

MODEL LISA ONYSKO @ LOUISA MODELS

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COAT COS SOCKS FALKE BOOTS DR. MARTENS BAG CALVIN KLEIN

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BLOUSE ASOS TROUSERS COS GLASSES CHAIN VIU GLASSES BARTON PERREIRA

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MEN’S SUIT CALVIN KLEIN BOOTS ZARA WATCH ROSEFIELD

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TOP ZARA BLAZER CLOSED KNITTED CYCLING SHORTS CIVIDINI SOCKS NIKE HEELS KURT GEIGER LONDON

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BLOUSE FILIPPA K SKIRT & OTHER STORIES BOOTS DR. MARTENS GLASSES BARTON PERREIRA WATCH ROSEFIELD

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MEN’S BLAZER CALVIN KLEIN CARDIGAN GESTUZ JEANS LEVI’S SLINGBACKS CIVIDINI

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T-SHIRT ARKET MEN MEN’S BLAZER MARCIANO GUESS SKIRT ASOS

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BLOUSE FILIPPA K JACKET CHAMPION TROUSERS MR. PORTER HEELS KURT GEIGER LONDON

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SUIT IVY & OAK GLASSES VIU

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WORKSPACES & WORKFLOW — PRESS FACTORY N° 79

PHOTO BULLAHUTH FOTOGRAFIE & GESTALTUNG

THE FUTURE IS NOW: THE NEW 360˚ COMMUNICATION

‘Communication that matters’ is your new claim – what does that mean in the year 2020? As long as I can remember, my partner and I – both professionally and privately – have always walked the walk and talked the talk. Social and individual responsibility are part of our DNA. That applies to our employees, partners and clients but also to small details that might sound trivial – like using paper sticky tape instead of plastic. Using resources efficiently is also part of our mindset, as well as sometimes saying: “No, that’s not the right way”. Eight years ago, when we aligned the agency to the complex issue of sustainability, it still had the ‘eco’ stamp and wasn’t really taken seriously. That meant we had to redefine internal processes, but more than anything we had to change the mindset of the entire agency. Thanks to our luxury, fashion and lifestyle know-how we were able to advise and support ‘eco’ brands like Ecoalf, Manufactum, Julia Leifert and Norwegian Rain on how to position themselves in the right context. We were able to develop from pioneers into experts. These days,

In 2001, Mandie Bienek and Luiza Philipp established PR agency Press Factory in Berlin. Today they manage a team of 24 salaried employees: PR, digital and marketing experts who provide support to German and international consumer brands from the fashion, beauty and lifestyle industry. What started out with classic PR work has since developed into a full-service communications agency. An interview with co-founder Luiza Philipp about the new 360-degree style of communication. INTERVIEW CHERYLL MÜHLEN

brands like Dr. Hauschka, UndGretel, Red Wing, Stetson, Audio Technica, Liebeskind Berlin and Neubau Eyewear entrust us with their PR. And now we’re taking the next step: we believe that in the future, brands will only achieve long-term success if they can develop their own attitude and fulfil a social purpose. So we advise brands, both large and small, on how to become a ‘brand that matters’ – and that is achieved by ‘communication that matters’. Press Factory has been around since 2001. To what extent has PR work changed since then and what does that mean for you as an agency? The question you should be asking is: what about it hasn’t changed? We are currently in the midst of a radical transformation. The ‘radical’ aspect is the driving force behind what makes things dynamic and the speed with which things change: parameters of success, communication channels, and even our own processes are often no longer the same after a matter of

WORKSPACES & WORKFLOW — PRESS FACTORY

PHOTO BULLAHUTH FOTOGRAFIE & GESTALTUNG

In your opinion, what has changed in your work environment, in terms of journalists, brands etc.? Perhaps it’s easier to describe what hasn’t changed. First and foremost, PR is a people business. Regardless of how digital our world is, people enjoy communicating with people. A witty exchange on the phone or a personal e-mail are still essential today. And storytelling in combination with content creation is becoming more important than ever. What has changed is the pressure of work, combined with the wide range of capabilities expected of employees. What was previously sold big as a strategy is now often overlooked; thinking about goals, the networking of disciplines or mid-term planning. The new generations are more willing to change jobs, which means that companies are losing expertise and know-how and constantly having to deal with new people.

months. That means, for example, we advise and support companies with their digital transformation, give workshops on social media or help them with their optimisation. These days it’s no longer about packing parcels and generating product placements. We look at a brand from all angles, 360 degrees, and develop the core messages for the media – whether digital Everything was better in the past: is that something you or online. Our job is becoming more similar to that of a company agree with? consultant. That means our agency has also had become faster Definitely not. Stagnation leads us into our comfort zone. in terms of our willingness to change. Here’s an example: three Both I and the agency team try to see change as an opportunity. years ago we established a digital department that offered Sure, it might be true that people worked less in the past and full-service social media and influearned more money, but is that the encer marketing. One year later the definition of ‘better’? And as I realPR IS A PEOPLE BUSINESS. ly enjoy working, I am very much market was demanding a separate ‘influencer agency’, and today this team Confucius: “Choose a job you REGARDLESS OF HOW is already transforming into a digital love, and you will never have to work DIGITAL OUR WORLD IS, personal brand consulting agency. a day in your life.”

PEOPLE ENJOY COMMU-

What repercussions have the changes had on your own way of working, your concentration and your availability? As we are pretty much continuously changing, I had to learn on the job about what would be long-term, what was a passing phase, what really helped, what was just a distraction. I think the most important thing is to trust your team, to give them responsibility and to encourage them, foster their skills and help them focus. That means that instead of all 24 employees ringing me every time there is an issue, they will discuss matters with their team leader first, even though my door is always open. We are also continuously testing systems for and with our clients, in order to keep our focus on the important things.

PRESS FACTORY was founded in 2001 by Mandie Bienek and Luiza Philipp (in photo). A lot has changed since then and the PR team has proven itself to be extremely adaptable and forward-looking.

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When did you realise that Press What’s your tip for a futureNICATING WITH PEOPLE. Factory also had to adapt? oriented company structure? We were continuously adapting to We can learn a lot about how to the new challenges. But they were often client, channel or make changes from the whole start-up culture. Make people market-driven. Eight years ago, perhaps two years after the enthusiastic about your ideas and live and breathe your values. 2008 crisis, we realised that PR had to change – from the Give your team responsibility and let them get involved. Take backseat to the driver’s seat. PR had become a panacea. In an interest in anything new, try a lot of new things and involve reality, the brands and markets had reassigned a lot of other your staff in any changes. And don’t be afraid of failure: see it tasks to PR agencies: branding, marketing, full-service comas a learning opportunity. munication. And through the digital transformation, which, for example, resulted in communities, social media, influencer PRESS-FACTORY.DE marketing and e-commerce, PR was the only discipline with ‘direct access’ to these people. That’s when we realised that we had to actively steer the change in our own interest and started offering our clients solutions to these challenges.

WORKSPACES & WORKFLOW — FASHIIONCARPET/BANÚ

FASHIIONCARPET Wardrobe must-haves: Influencer Nina Schwichtenberg wants to create timeless pieces for the style-conscious woman with her own label Banú.

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INTERVIEW CHERYLL MÜHLEN PHOTO BANÚ

She lives the kind of life that many young people dream of: Nina Schwichtenberg, alias Fashiioncarpet, is a successful influencer with over 300,000 Instagram followers. Together with her partner Patrick Kahlo, she runs an equally successful blog and even launched her own fashion label in mid-2019: Banú. But this supposedly effortless career path demands a lot of hard work and high standards – at all times of the day and night.

What exactly are your tasks within Banú and what do you like most about them? Just like with Fashiioncarpet, Patrick, my boyfriend and business partner, and I share the responsibilities between us. At Banú, I’m mainly responsible for the creative part, like collection designs, including cuts, patterns and fabrics, the entire conceptual development and creation of content, as well as outwardly relevant topics such as social media support for all channels, community management, marketing ideas and everything else. That is a lot... Yes, and Patrick takes over all the administrative tasks like coordinating with producers, making calls, coordinating appointments, travel planning and much more. He makes sure that everything runs smoothly at the practical end of things and that my creative chaos works. Patrick is also responsible for the complete production of photo and video material, just like with Fashiioncarpet. He’s the perfect partner for me, because without him none of this would work!

Do you think that the influencer profession is evolving? To be honest, I’m not a big fan of the job description ‘influencer’ because it’s not something you can learn. In fact, there have always been influencers. So I prefer to call myself a blogger and content creator – influencing is a nice side effect, but never my prime intention.

WORKSPACES & WORKFLOW — FASHIIONCARPET/BANÚ

Congratulations on setting up your own label. Could you briefly describe Banú to us? The Banú brand is 100 percent me. It’s an incredible opportunity for us to give something back to our readers. The label is aimed at fashion-savvy women who enjoy beautiful, everyday clothing with attention to detail. So the items we offer are pretty much everything that every woman should have in her wardrobe. In general, we work with limited quantities to avoid creating excess waste and place an emphasis on timeless and wearable designs that last longer than just one season.

What do you mean by that? When I started working like this, more than seven years ago, everything was a hobby that I did alongside my studies, but never a serious career path. The industry has changed a lot, especially in the last four years. Our profession has become much more professional and commercial. The market is totally saturated now, and you have to know exactly who you are and what you stand for. I’m really lucky to have a very loyal and great readership that has grown up with me over the past seven years. The connection you build with people is really important. For me, an influencer today is someone – regardless of followers or their number of likes – who inspires, enlightens, entertains or animates people with their actions or personality – and in the most diverse aspects of life.

THERE WERE TIMES WHEN WE WORKED SEVEN DAYS AND AT LEAST 60 TO 70 HOURS A WEEK.

Speaking of aspects of life: permanent availability, always online, FOMO (fear of missing out) all counteract the worklife balance. Nine to five isn’t really a thing in your profession anyway. Is that good or bad? If you decide to do this job, you have to be aware that the internet never shuts down. I love my job and I am grateful for every day that we are allowed to live life as we currently do. But there have also been times when we had to work seven days a week for at least 60 to 70 hours. At some point that was just normal. It is both awe-inspiring and scary to discover what the body is able to cope with. But every one of us needs rest at some point, something that I haven’t had for a long time. Our health is our most precious possession, even if it sounds like a cliché, and especially for someone like me, whose entire livelihood depends on myself as a person, a functioning body and an intact soul, it is essential to listen to what your body is telling you. What are the five character traits that you need to have to survive in today’s professional world of fashion? Passion, discipline, creativity, stamina and self-confidence. What do you enjoy most about your job? The fact that I’m lucky enough to be my own boss. Almost every day looks different for us (including some boring desk days doing our taxes of course), but it’s the variety that I really appreciate. I can be myself and make my dreams come true. That’s a great privilege for which I am eternally grateful. BANU-LABEL.COM FASHIIONCARPET.COM

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These days, the power of influencers and their ‘influence’ is huge because they have redefined other professions. Is there anything, especially as a newcomer to the label business, that you have to adapt to? Definitely, because in some areas you are starting from scratch. The many years of professional experience with Fashiioncarpet can only help us to a certain extent, if at all, in some places. The biggest challenge is still finding good and reliable partners in all the different areas. Quality standards, mentality, reliability and order quantities all play a decisive role. In addition to all that, there are administrative issues like setting up a limited company, making calculations, payment systems and so much more. There is also a real change of perspective: with the blog, the focus so far had always been on content production, editorial work and personal branding. With Banú, we are now on the other side and have to think about marketing and sales. But I think it’s incredibly important to leave your comfort zone every now and again and challenge yourself.

WORKSPACES & WORKFLOW — HUSSEIN CHALAYAN

INTERVIEW CHERYLL MÜHLEN PHOTO ALEXANDER RENTSCH

CREATING OUR OWN RULES

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What are you most looking forward in your work with the students? Fashion is only one aspect of many other topics, so I’m already looking forward to seeing what happens when we mix this aspect with other disciplines. This isn’t my first time as a lecturer as I spent around five years teaching in Vienna at the University of Applied Arts. But this is a new challenge because my work at the HTW Berlin is very likely to be quite different. The plan is to share my 25 years of experience as a designer with the students and connect with them as best I can.

The career trajectory from designer to professor is nothing new and, in many respects, quite logical. This is a path that British fashion designer Hussein Chalayan has also taken. For the winter 2019/2020 semester he has taken up a professorship at the University of Applied Sciences in Berlin (HTW Berlin), where he is teaching Fundamentals of Design and Design Processes. An ideal opportunity to talk to him about the future of fashion and what it actually means to be a designer these days.

world of education. But it’s not just us. There are lots of Japanese and French designers who have all helped to inspire and I know that a lot of my work has been new, in a fashion genetic sense. As I said, the Hussein Chalayan brand has been used as reference for fashion education, but I’m not the only one. We have inspired many people and helped other designers, so I’d say yes, they have followed suit. It’s the nature of the work and it’s been exciting. I’m very grateful for that.

What does it mean to be a designer nowadays? It means being very active on social media, being a good comYoung designers these days are confronted with an anti-cyclical municator, and also a good networker; if you’ve created a voice fashion system that is creating short-lived trends at an increasthat is sustainable then you have created a voice that will help ingly faster pace. That was certainly different when you were a you make it as a business. So in terms of success, connectivity young designer. What do you think needs to change and what is the most important word for me. You can be a very talented can you teach your students to help them deal with the designer, but if you don’t have a network, if you don’t know hard realities of the fashion world? people, if you’re not connecting digitally, Speed is inevitably the less exciting part of no one will know about you. At the end of YOU CAN BE A fashion. Personally, I rely a lot on working the day, it all comes down to connectivity, periodically, i.e. a few collections that are which can, in many cases, be more importVERY TALENTED interconnected and follow the idea of slow ant than talent. I’d love to see it being more DESIGNER, BUT fashion. I develop and improve them within balanced because there are a lot of talented this process, so to speak, while always havpeople out there who no one knows about. IF YOU DON’T ing the option of adding something new. Even with the big brands: you hear about HAVE A NETWORK, the creative directors but never about the Fashion these days is lacking in quality, relying instead on quantity. We already have designers who are actually doing the work. NO ONE WILL enough merchandise on this planet. I don’t There’s a lot of smoke and mirrors in fashKNOW ABOUT YOU. ion and it’s about time that changed so think designers should be bringing hundreds of new pieces onto the market every that we really know who the talent is and season. There should be more focus: only really good and respect them and show them appreciation. appealing clothing should be produced – not an easy task, because it would also require resolute policies and less greed Would you consider yourself and similar designers as part of from us. Slow fashion and clear ideas, instead of overproducthe classic fashion system? tion, are what we should be focusing for the future, especially No. We function within the fashion system, but definitely have the next generation. our own way of working. We try to create our own rules so we can actually work in a way that suits us. So although we might You are setting a good example – but are others following suit? be seen as being part of the system, we do things our own way. Me and other designers, who work in similar ways, have certainly been inspiring for a lot of people – in the industry and the CHALAYAN.COM

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WORKSPACES & WORKFLOW — WORKING TITLE

SUSTAINABLE LUXURY, MADE TO ORDER INTERVIEW CYNTHIA BLASBERG

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In 2018, fashion designer Antonia Goy and architect Björn Kubeja founded their label Working Title after discontinuing the Antonia Goy label they had both worked on previously. The standard of design in the collections remained just as high, but this time the duo chose to completely forgo the use of synthetic materials. The collection pieces are manufactured and distributed on demand, with private clients invited to exclusive showroom events. We spoke to Björn Kubeja about the working processes and challenges of a label that is not only ecological and fair, but also high fashion.

Working Title’s collections are high fashion, which continues to be quite an exception in the eco and fair segment. What does it mean to create a sustainable path for a high fashion label? At Antonia Goy we always tried to work sustainably, but never really highlighted it. We wanted to take a different approach with Working Title from the start. We used sustainable materials like organic cotton and mulesing-free wool. Of course if we could, we would work exclusively with GOTS certified fabrics. But we need to be pragmatic, because at the same time we want a certain freedom in terms of aesthetics. We also try to work with smaller amounts of materials to avoid surplus waste in the raw materials. Our main criterion, however, continues to be the elimination of synthetics. So we are focusing on that, but it also poses inherent problems. For example, we have to do without plastic buttons or adhesive lining. And we overlock-sew our garments, but have to ensure it’s done with our non-synthetic yarns. This additional cost and effort needs to be explained and presents new challenges for our producers. How does this affect your work processes, including the choice of materials and design? We make sure we create collections that work well with sustainable materials and without the use of synthetics. A lot of the creative inspiration comes from Antonia, because she is the fashion designer and has the technical know-how. I take on the role of developing and improving ideas. But we are often lacking specifically sustainable role models. As a result, we have to

deconstruct a shoulder pad or a collar insert, for example, in order to find alternatives. It’s also often about reviving old techniques and figuring out how we can translate them into our collections. Research is at the core of our work. And you have to be creative to find a solution for a non-synthetic shoulder pad, for example. Sometimes we have to come up with really secret techniques and materials that we don’t reveal. But there are also parts like a collar inlay that you can easily make with horsehair. But we also have to ensure affordability throughout; that’s an important aspect.

It’s not only your creations that are very unusual but also your sales and distribution channels. You’ve already presented your collections in a kind of pop-up showroom in the Wild Palms gallery in Düsseldorf on two occasions. You invited mainly end customers, who could then order on demand. How did you come up with the idea? Yes, we organised that kind of format twice in Düsseldorf and once in Berlin. Alexandra Meffert, the owner of Wild Palms, had modelled for us and invited us to her gallery in Düsseldorf. At the time, we were looking for alternative distribution channels anyway. So Alexandra’s suggestion came at just the right time. We could see if people were interested in Working Title and get to know the customers personally and find out whether the fabrics, collection and prices corresponded to customer expectations. The order principle was well received, although you only see the samples. But people still placed orders and got involved. Overall, we were very, very successful.

WORKSPACES & WORKFLOW — WORKING TITLE

runs of certain knitwear items ourselves because we are hampered by the minimum orders of the manufacturers that aren’t realistic for us yet.

WORKING TITLE This knitted sweater by Working Title symbolises the creative work in progress.

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Can you describe your studio and working processes? We have a fully equipped studio which includes several highspeed sewing machines, one piping machine, two knitting machines, one finer and one for WE WERE LOOKING thicker materials, and of course basics such as cutting tables. We are, so to speak, fully In today’s fast-paced world, customers FOR ALTERNATIVE equipped and can produce very small are usually very impatient and want to DISTRIBUTION batches – but that’s not our goal in the long buy what they see immediately. How do term, of course. It’s important to us to dereact when they order an CHANNELS ANYWAY. customers velop the individual parts of the collections item and have to wait two months for it? ourselves and to allow them to develop. It’s interesting to hear you say that beSome ideas or solutions only emerge when we make them, you cause the reactions are really diverse. Some customers have can’t foresee or plan that. We don’t just sketch our designs, absolutely no problem with waiting for the item. Others want to pass them on to a pattern cutter, check them and then sell take it home straight away and can’t wait. That’s the dilemma them. It’s important to us to have the entire working process in we’re in right now. But the majority don’t have a problem with our own hands. I mean that in a literal sense, by holding the our order strategy. pieces in our own hands. Because that’s the only way we can Will you be expanding your showroom principle with onbe sure that our ideas and creations work. demand ordering? Is that how you came up with the idea of integrating the ‘loose We are toying with the idea of expanding the concept and are ends’ into the knitwear of the AW19 collection? planning something near Hamburg, but it’s not been finalised yet. Yes, exactly. That was a classic work-in-progress, because we WORKINGTITLESTUDIOS.COM make the samples in our studio anyway. We do produce smaller

PHOTO TEREZA MUNDILOVÁ

WORKSPACES & WORKFLOW — MARIA HUNSTIG/VOGUE N° 79

THE GLOBAL INTERFACE In 2018, Maria Hunstig was appointed the first German Network Editor of Vogue Germany, which means she represents a new form of global networking in the digital realm. But what exactly are her tasks? And at the fashion magazine of all fashion magazines, what does her role as the German point of contact mean for her workflow and her personal life? INTERVIEW CHERYLL MÜHLEN

WORKSPACES & WORKFLOW — MARIA HUNSTIG/VOGUE

PHOTO CONDÉ NAST

VOGUE The ultimate fashion bible. Maria Hunstig is Vogue Germany’s very first Network Editor.

You previously worked as a print journalist for many years. What, in your opinion, are the biggest differences between In your opinion, what do people have to bring to the table the two jobs? in order to survive in the world of work — in particular in the I also worked digitally in my last job, but for a different target fashion industry? group and with different distribution channels at the focus. I think it’s similar to the qualities that also help you to advance At Vogue we have a wider range of topics than I used to focus in other fields: always thinking one step ahead, being curious on; it’s not ‘just’ about the fashion industry and its key players, and absorbing everything that is happening around you and in but also about fashions (plural), i.e. relevant topics about socithe rest of the world, finding what makes you stand out from ety, beauty and culture. This also means we reach a much wider others, keeping on top of things, not allowing readership, not just a specialist audience. yourself to become discouraged, setting And it is impressive to see how wellI LOVE TELLING A priorities and being good with people. informed ‘non-specialist’ fashion consumers are these days! STORY THAT MOVES Would you like to hazard a prediction SOMEBODY, THAT about the future of the editor profession From an editor perspective, which areas (whether freelance or in-house)? of work have changed the most? SETS SOMETHING I sincerely hope that good, fact-based and I think it’s the values that have changed. IN MOTION OR assertive journalism will endure. In times in And values that have always been of parawhich the reporting around us (especially mount importance have finally come to PERHAPS EVEN in terms of fashion and particularly on the attention of the broader masses. LEADS TO CHANGE. social media) is increasingly being paid for, Diversity, feminism, the breaking down of a critical, independent classification of gender stereotypes, multifaceted beauty brands, key players and events is more important than ever. ideals, sustainability — all of those are topics to which, fortuAnd that’s what we are committed to in our work — somenately, no one in the industry can turn a blind eye anymore. times I wonder why it no longer seems to be self-evident for To put it bluntly: these days, if you’re marketing a fashionable everyone. But I remain optimistic and have faith in people’s throwaway product in a sexist way, pandering to traditional intrinsic interest in the truth. Western beauty standards, the public is going to call you out on it. And that has a knock-on effect on the work of designers, What do you enjoy most about your job? brands, marketing, advertising, PR, journalists … basically I love my team and being able to create relevant content with everyone. them. Telling a story, preferably a multimedia one (i.e. with text, images, sound), that moves somebody, that sets something What kind of an effect does your job have on your personal in motion or perhaps even leads to change. And working at life? Are there any habits that you have developed or changed Vogue/Condé Nast, of course we have incredible access to because of your chosen profession? the biggest, highest profile names. All of the fantastic people Wanting to be constantly informed about everything that is that I’ve had the honour of meeting, working with and learning happening in our bubble is both a blessing and a curse. It’s fun from in my professional life and all the places I have visited and it’s also essential for the jobs we are in, but at the same make my job so enjoyable and it’s a huge privilege, for which I time it eats up an incredible amount of (screen) time and, after am very grateful. scrolling through Instagram for 20 minutes, sometimes I wish I had fed my brain with something more substantial instead. VOGUE.DE I only really manage to switch that off when I’m on holiday.

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The position of Network Editor was only created by Vogue two years ago and you are the first to fill it in Germany. Can you briefly explain what your tasks are and why a Network Editor is necessary these days? As Network Editor, I am the interface between the Vogue Germany team and the Vogue Global Network, which consists of the international Vogues from Paris to Mumbai. On the one hand, digital content is produced within the network, which we can choose to use for our specific markets (for example, a big designer interview, which is then translated into different languages), while on the other hand we discuss our local editorial schedule, or any obstacles and successes, and try to create synergies – ranging from technical support down to ideas for articles. A lot of stories and personalities would work for Vogue Japan, Vogue Mexico and Vogue Germany for example, but there are also many country-specific interests and differences in tonality, imagery and so on. And in order to understand and reflect that, we need Network Editors.

WORKSPACES & WORKFLOW — JIMMY + JO

SENSE AND SENSIBILITY Franco Bonofiglio, the owner of Jimmy + Jo, spent many years working for Identità Italiana in Düsseldorf before taking the self-employment route. He started off in 2008 with a tiny boutique that soon became too small. And after almost ten years in a large store in a rear courtyard, in December 2019 he relocated to the area around the city’s main train station, in the same premises where he previously ran a branch of his boutique called ‘Don’t call it outlet’. We met up with him for an interview. INTERVIEW CYNTHIA BLASBERG

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You’ve just moved your main boutique Jimmy + Jo right next to the train station in the centre of Düsseldorf. What’s the reason behind the relocation? Since 2017, we already had the store ‘Don’t call it outlet’ at the premises where our boutique is now, where we sold cutprice collection items. But the main store was in a completely different area of town. We wanted to try out a new concept and have both stores as close to one another as possible. Because we always referred to one as ‘the store’ and the other as ‘the other store’, our regular store is now called ‘Jimmy + Jo — The Store’ and diagonally opposite from it is ‘The Other Store’ selling the reduced items.

How is the concept of selling reduced price collection items right next to the main store working out for you? It’s doing pretty well. There is no overlap of the collections. The fashionable, trendy collections are only available in ‘The Store’. Only the surplus ends up in ‘The Other Store’. And the basic ranges we stock in ‘The Store’ are never reduced anyway. My customers don’t have to worry about finding the same item in both stores. But they will find beautiful things with the same flair in both.

WORKSPACES & WORKFLOW — JIMMY + JO

A move involves the risk of losing regular customers. Did that worry you? Yes, we did worry a bit. But most of our customers were already familiar with the new location because of ‘Don’t call it outlet’ and we got really positive feedback for the location. A lot is happening around the main station in the centre of town right now. You could even say that a new quarter is developing, which I am very happy to be a part of. The area around the railway station isn’t exactly the preferred location for the fashion industry. For many people it’s a bit too rough and ready. What made you want to open your stores here? Fashion has so many different facets and you won’t find a lot of those on the Königsallee shopping boulevard. They are here, around the station. You see all walks of life and very different kinds of people: students and artists, homeless people and alcoholics — and now also my customers, who come to the store with their Kelly bags. I think that kind of diversity is great. It’s a good kind of togetherness that blurs boundaries and breaks down social divisions. Fashion is so multifaceted. I’d like my store to reflect this. I CHOOSE That’s my take on fashion.

Franco Bonofiglio has been running his Jimmy + Jo store concept for over ten years — with ongoing success.

That means that your team also needs to feel comfortable. Team building, staff training and methods like flexible working hours are big topics. What is your take on that? I’ve never really seen my team as a sales team, rather consultants at the service of our clients. It’s not about just blind selling. We – and myself included – are a part of the whole, that’s what defines the team. I also take my staff very seriously. I am open to feedback and we have a friendly relationship. I meet with everyone MY OWN when something new is coming up, but also for orders and collections. Being and HIGHLIGHTS OF A staying in touch is fundamental. That reSEASON AND THEN sults in lots of inspiration, suggestions and wonderful ideas, which we then imLOOK FOR CORREplement together.

Jimmy + Jo has been around for twelve years and you’ve been very successful. When you look around or read the trade SPONDING BRANDS press, you’d be forgiven for thinking that the death knell had been sounded for AND COLLECTIONS. The way you run Jimmy + Jo seems almost effortless – without feeling the owner-managed, stationary retail stores. IT’S A PURELY EMO- need to follow trends or adhere to rigid How do you explain the continued success of your business in this context? TIONAL APPROACH. retail concepts. How would you describe your working methods? I stick to what I’ve always enjoyed. In other I HAVE TO FEEL IT. It’s difficult to say. I listen to my gut, which words, I stock labels that I really like and isn’t necessarily the easiest way to run a that you can’t get everywhere. My team fashion store. But when I’m at an ordering event, for example, and I give our customers honest advice. That they should be and I’m shown key looks and highlights that aren’t my cup of themselves and feel comfortable. We don’t dress anyone up. tea, then I simply don’t order anything. I choose my own highFashion is a feeling that we convey. In addition to clothing and lights of a season and then look for corresponding brands and accessories, it includes the right music or a pleasant convercollections. It’s a purely emotional approach. I have to feel it. sation. We listen to our customers because we really want to If it’s not mainstream, then that’s just the way it is. I love my understand what moves them and what they want. Communijob. I’m in the store every day and I’m the one who advises cation is key. But it has to come from the heart. customers with my team so I have to enjoy it. That’s very important. I’m not interested in ordering anything just because it might be successful — I have to be able to believe in what I am selling. I don’t think I could work any other way.

JIMMY + JO It’s all in the mix: from key pieces and basics to accessories. Jimmy + Jo now also stocks brands like Liviana Conti and Alessia Santi.

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JIMMYPLUSJO.COM

BRAND INTERVIEWS — NIGEL CABOURN

BEAUTIFUL PRODUCTS TO BE PROUD OF

PHOTO BEN BENOLIEL

German casualness meets its match in the authentic heritage vision of British fashion designer Nigel Cabourn. For AW20 he has teamed up with Closed and is presenting 40 naval-inspired pieces: loose-fitting garments with a desirable Cabourn-cool attitude. Time for a quick chat with one of the most likeable people in the fashion business. INTERVIEW CHERYLL MÜHLEN

What does a typical working day in the life of Nigel Cabourn look like? It starts with exercise. Whether that’s in the park, gym or on the tennis court, I always get up early and do some exercise before I go into work as it sets me up for the day. If I’m in my Newcastle studio then I always catch up with my design team first and set priorities for the day ahead. Depending on where we are in the season, we could be looking at concepts and vintage, choosing fabrics, working up design specs, etc. I might end the day with a table tennis match with either Kyle or Lewis from my design team — I have a beautiful custom-made Butterfly table in my studio, so I like to make use of it!

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Your collection with Closed will be launched at Pitti Uomo in January. How did you and Closed come together? We were introduced in the Far East by a mutual friend who thought we were a good match, as we share a similar ethos in the way we work and design.

What will that shared ethos and design look like? I really wanted this collaboration to sit well with my other AW20 collections, so the designs take inspiration from the styles and details of the clothes worn during the Atlantic Convoys of WW2.

There are 40 pieces in the collection — 20 for men and 20 for women. The fabrics and colour palette all work together so you can layer them to create a complete look. Of course the pieces look great on their own too, but I really love it when clothes are worn in layers. It’s a well-known fact that you love to collaborate — what do you enjoy most about working with another brand and what are the prerequisites for you to work with someone? Being able to merge ideas and create something really special is what I enjoy most. I also learn a lot from every company I collaborate with — as everyone works in a slightly different way. For me, a shared ethos is important and producing a quality product that maintains some Cabourn DNA is important in any collaboration I do. For someone with such a strong design DNA, what is currently catching your eye in the world of fashion? I have a particular interest in great sports shoes because for me they really complete a look. What has changed the most in fashion since you started your own business? The fashion world is very sophisticated

compared to when I started out in the late 60s. It’s very competitive and certainly more complicated to run a business now. Like most things in life there are pros and cons. I just try to keep doing what I’ve always done — designing and making as authentically as I can whilst embracing change in a positive way. I’d also like to know what your opinion on sustainability is. Especially as someone who is known for such a vintage approach to fashion. For me, it is about producing the best garments I can in a carefully considered way. I’ve always used and championed British heritage fabrics like Harris Tweed and Ventile and also supported British manufacturing where possible. My aim has always been to make the best quality garment that will survive through the decades and be passed down the generations. Being in this business for so long: what do you love most about your job? I just love designing and when I see the product at the end it’s like Christmas for me! I’ve always been product-driven rather than money-driven. Seeing beautiful products that I’m proud of — that’s what I love the most. CABOURN.COM

Denim for every season

10 - 13 February 2020 the fairyland for fashion Paris le Bourget, France www.texworld-paris.com

BRAND INTERVIEWS — ISKO

RESPONSIBLE INNOVATION IS MANDATORY “Multitasking is key when it comes to my work,” says Ogul Kivanc Arseven, Innovation Value Manager at Isko. “A day could start by looking into the financials of a new programme or product, reviewing a chemical analysis by our team of scientists, or having a meeting about prototypes with designers before lunch.” So who better to tell us all about the Turkish denim manufacturer’s latest developments? INTERVIEW CHERYLL MÜHLEN

Isko is one of the leading companies forging a new path to a better and more responsible (as well as more comfortable and functional) future. What are its greatest strengths? Isko’s greatest strengths are creativity, competence and citizenship, the three cornerstones of our ‘Responsible Innovation’. This is a completely holistic way of looking at things, which allows us to approach innovation from multiple angles while working on new and better industry standards. We strongly believe that innovation and responsibility go hand in hand. Located at our headquarters, our R&D centre is the beating heart of Isko’s developments. Here, we have several teams of experts – physicists, chemists, biologists, mathematicians and textile engineers – working together to solve actual consumer problems and needs. We can also

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WE COLLECT THE DISCARDED COTTON AND PUT IT BACK INTO THE SPINNING PROCESS.

rely on two highly specialised think tanks dedicated to service innovation, which further shape our strategy: Iskoteca, our specialist resource for treatments, washing and finishing. This is a complete denim library, housing over 25,000 denims and the ‘recipes’ to recreate them. And then there’s the Creative Room, a special hub

focusing its research activities on style and design, supporting both brands and designers looking for new inspiration. This has a separate space focused on retail trends, wash treatments and accessories that includes a global archive of samples. Sustainability and transparency are very much omnipresent and, in a way, inevitable but there are other segments that are important as well. Can you name a few that Isko might also be working on? Our autumn/winter 2020/2021 collection saw the launch of Isko Mantra, the result of a revolutionary approach in fabric technology that combines a figure-loving fit with the feel of advanced denim. This textile concept is infused with microcapsules that support the skin and body in different ways, making the wearer look and feel great. The initial concept contained aloe vera, which soothes the skin, as well as Q10 and caffeine, both recognised for their energising, revitalising and rejuvenating qualities. In spring/ summer 2021 we added ginseng to the collection as it stimulates blood circulation and boosts energy. What are you most excited about sharing with the industry this year? We can hardly contain our excitement about our R-Two programme. It contains a blend of reused cotton and recycled

polyester. When processing raw cotton into yarn, for every 100 kilos of cotton approximately 10% of the cotton is lost in the process. We collect the discarded cotton and add it back into the spinning process. The reused cotton is fully traced, documented and audited. This verification process was pioneered by Isko in partnership with our yarn supplier Sanko, offering full clarity into the traceability of reused cotton from field to fabric. It’s also certified with the Content Claim Standard – or CCS – from the Textile Exchange. What is really exciting about this process is its focus on reduction and supply chain efficiency. The percentage of reused cotton in a fabric has a direct impact on the amount of virgin cotton that is used. The reused cotton has a far lower carbon footprint than virgin cotton. Recycled polyester also has a lower carbon footprint, as the energy resources required to make virgin polyester are higher than the total amount of energy required to produce recycled polyester. Depending on the percentage of recycled polyester in the fabric, we can provide either the Recycled Claim Standard (RCS) or Global Recycled Standard (GSR) certifications for the polyester. We can convert nearly all our bestselling fabrics into R-Two, with minimal impact on the look and feel. ISKODENIM.COM

APRIL 22â&#x20AC;&#x201C;23rd 2020 MUNICH WHERE FUNCTION MEETS FASHION

www.performancedays.com

BRAND INTERVIEWS — KARHU

REDISCOVERING AN OLD FAVOURITE

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How can a small sportswear brand with a history that goes back more than a hundred years reclaim its place in the sneaker hall of fame? Well, it certainly helps if Kanye West wears a pair, putting it back on the map for all the hypebeasts out there. In an interview, Remko Nouws, Lifestyle Manager at Karhu explained to us how all the other aspects that contribute to their success fit in – from product development to distribution plans.

INTERVIEW RENÉE DIEHL

Sneakers are as democratic as ever – by now everyone from toddlers to the elderly owns at least one pair. What does this mean for you as a brand? Our brand has been around for more than 100 years. Especially in Finland, Spain and the Netherlands, there are people who are around 40 years old who grew up with Karhu. They get a nostalgic feeling when they rediscover us, now that we are more visible again. At the same time, we are of interest to a new group of younger people and we’ll be launching our first kids’ collection soon, which means a new generation of children will grow up wearing Karhu sneakers – just like back in the day.

Karhu was already established in 1916. How do you maintain the balance between tradition and modernity? We are a sportswear brand with a lifestyle category. On the sports side, performance running is our focus, which means in order to stay relevant, we need to keep on developing new products. That’s where our modernity comes in. There are actually some cool designs in the performance line, which we may well launch as part of the ‘Legend’ collection, starting with a test project. Karhu was founded in Finland. How popular is the brand in Scandinavia and what are its core markets? The ‘Legend’ collection is especially popular, and the Karhu ‘Albatross 82’ is a Finnish favourite. In Scandinavia it’s a known brand, but not in the way it is in Finland where it’s really established. Finland, Japan, the US, the Netherlands and Italy are our core markets. In Finland and Japan, the ‘Albatross 82’ is a bestseller and in Europe and the USA the ’90s runners are very popular. Are there any special brand technologies that make Karhu’s sneaker models stand out from the crowd? Karhu is known for the ‘Fulcrum’ technology, which was developed in 1986 in order to help runners run more efficiently. Unlike other technologies in the field of running, it’s not about bounce, but about being propelled forward. Previous to that technology, Karhu was also using the ‘Air Cushion’ system, but in Finland they found out that the actual movement of the runners’ feet needed something

BRAND INTERVIEWS — KARHU

A NEW GENER ATION OF CHILDREN WILL GROW UP WEARING KARHU SNEAKERS — JUST LIKE BACK IN THE DAY. different in order to get the best out of their potential. The simplicity of the function and the design of the ‘Fulcrum’ element helped Karhu to establish itself by having a unique selling point in the industry. The Fulcrum technology is still Karhu’s main technology, and it is featured in all of our running shoes. In cooperation with Fleet Feet, we also offer the ‘Fit ID’ technology. The Fleet Feet 3D platform just reached over a million 3D scans and Karhu is using this data to create its performance shoes. The shoes are based on the data of the feet of actual runners, which became central in the development of our shoes. In the future, we are also going to introduce shoes with different volumes for different types of feet to provide the consumers with more options. As you can see, Karhu has always been strong in developing new technologies. Alongside

Remko Nouws, Lifestyle Manager at Karhu

the ‘Fulcrum’ technology, we also have the ‘Synchron’ lacing system, ‘Air Cushion’, ‘Ortix’ and ‘Module Control’, just to name the most important ones. What are your future plans – both in terms of design as well as expansion? For the ‘Legend’ category, we are developing another 1980s runner from the archives, which we will hopefully launch in 2021. Outdoor is an important category for Karhu as well, so we have a rich archive of outdoor and walking shoes. One outdoor silhouette is already in development. But the first one to launch in 2020 will be the Karhu ‘Trampas’, a training shoe from the late 1960s. In addition, we just launched our first collaborative project with Dutch contemporary skate brand Pop Trading Company.

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What are Karhu’s most hype-appropriate products? Which ones sell the best or attract the most hype? That has to be the ‘Karhu Fusion 2.0’, which was given a huge push when Kanye West wore them in 2017.

PHOTO SHOESMASTER

Hypes come and go these days, how do you keep up with the fast pace and stay original on the mass market? As a smaller brand, you need to have a clear strategy. First of all, I would say you need to stick to your distribution plan. It would be a mistake to try and force more sales by choosing a distribution direction too early and finding out along the way that the customers are not buying your brand in one particular location. Product-wise, we are focusing on a healthy inline collection. This means, smaller collections with steady quality and colourways that people seem to recognise as signature Karhu colours. Of course, we keep on developing new things, but we can’t deliver at the same pace as the bigger brands.

KARHU.COM

BRAND INTERVIEWS — DR. DENIM

BECOMING GREENER IN 2020 In times of athleisurewear and the influx of fast fashion, niche and heritage denim brands are feeling the pressure: the demand for innovation is huge. Alexander Graah, the co-founder and CEO of Dr. Denim, told us how the brand is managing to stay relevant and exciting after 15 years in the business.

INTERVIEW AYLIN YAVUZ

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Let’s start off by talking about the new season: what can we expect from the AW20 collection and what trends will Dr. Denim be adapting? Well, there are no points for guessing that we’re serving up some great jeans for AW20! We are offering an even bigger family of great jeans in washes with the exceptional look and feel of authentic retro jeans. We have everything from super-skinny to super-wide with a streetwear flavour, as we have been coming up with since 2004. This season though, there’s also a good portion of utilitystyle elements entering the collection, and we’re working with a subtle but fresh colour scale with lots of khaki shades that go really well with our range of indigo blues.

In our last interview you said that sustainability was a huge topic within the company but that you weren’t top of the class just yet. Have you made any headway since then? If so, how? We’ll soon be switching over one of our best-selling jeans to organic cotton – that will happen in 2020 and it’s a great thing. We are focusing more on improving sustainability in our highest volume products instead of taking the easy route and greenwashing the collection. This is

more challenging, but it makes a bigger difference and that’s what it all comes down to. So, making better products that last longer is the path that we’ll continue taking. Are there any measures – other than primarily using sustainable fibres by 2020 – that you plan to implement? We’re constantly challenging ourselves in how we use resources and how we can do better. Sometimes it happens in dialogue with our consumers. For exam-

IT’S NO SECRET THAT THE WHOLE INDUSTRY IS UNDERGOING LOTS OF CHANGES. ple, one of them reached out to us and asked why we use two strings to attach the labels to the jeans – something that we, in all honesty, hadn’t even thought about. But now, thanks to the feedback, we’re making an effort to reduce that to one string. The little things matter too. A big part of sustainability is being transparent. But as a brand, can you actually show the consumer everything? What does transparency mean to you?

Transparency, in the sense of publicly sharing details about the supply chain and its wage standards, working conditions etc., can be a very good thing but I think the usefulness depends on the brand’s context. Because we primarily work with retailers around the world and depend on them for the communication of our products, we don’t have the ideal set-up for a transparent business model. Instead, our focus is to keep our promise of delivering great jeans, which includes aspects of production and the supply chain. 2020 is here, it’s the beginning of a new decade. You mentioned switching over one of your best-selling jeans models to organic cotton this year. What else does the new year hold for Dr. Denim? We’re really looking forward to 2020! It’s no secret that the whole industry is undergoing lots of changes, and we’re tackling them all head on by making a stronger range – very much going back to the roots. It’s so much fun to work with denim and fashion but the drawback is that you have to wait for your stuff to be produced and made available, and right now the wait is killing me! DRDENIM.COM

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BRAND INTERVIEWS — KINGS OF INDIGO

KINGS OF COOL After buying back their shares from investor Varova in April 2018, Kings of Indigo has embarked on a new and innovative stage of its development. Vegan denim collections, even more resource-efficient dyeing and washing techniques and biodegradable stretch denim are just a fraction of what we can expect from K.O.I. in 2020. In an interview, Tony Tonnaer, founder and CEO of the label, filled us in on their denim library and a whole lot more.

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INTERVIEW CYNTHIA BLASBERG

‘Quality Wear for the Next Era’ is your claim for 2020 and you hope to soon receive the PETA-Approved Vegan certification. So sustainability is still a work in progress for Kings of Indigo. What else are you planning, to become more sustainable in 2020? Hey, we’ve already been PETA-Approved since AW19! But for SS20 we’ve replaced the leather patch on all our denims with

a vegan patch. We are constantly working on washing and dyeing techniques to use less water, chemicals and energy – that is one of our focal points. Plus, we are working with the Fair Wear Foundation to advance from a good rating to Leader status in 2021. I am convinced that we are doing the best we can, but technology is improving every year so there is always something else to be done.

Kings of Indigo launched a capsule collection in SS20 called Re/Gen. Following its success, you are bringing it back for AW20. Re/Gen is made from recycled fibres like Refibra by Lenzing and a new dyeing process, right? Could you explain the Kitotex technology to us? I love this capsule as these are our most sustainable jeans yet. The mix of Refibra and recycled cotton means we don’t use

There are so many innovative techniques out there. How do you make sure you’re always up to date with the latest sustainable innovations? We are always one step ahead. Together with my team we’ve been working on sustainable innovations for 17 years – first with Kuyichi, then with Kings of Indigo. So the suppliers have known us all that time and they come to us with their new developments. We were asking them for sustainable innovations for a long time, even before a sustainable way of working was on their agenda. But now it is. They like to launch new techniques with Kings of Indigo because they see us as pioneers and know we’re a cool brand. And we are also constantly visiting factories, shows and seminars to keep ourselves informed and make sure that we are the first in the know. You founded Kings of Indigo in 2011 and your investor Varova came on board shortly after. In 2018 you bought back the shares. What did that mean for KOI? Or in other words, what has changed for you since then? It had a huge impact, as our complete back office and systems were integrated into the Varova structure. After we bought back the shares, we had to implement a new ordering system, finance, warehouse and online shop systems and the team had to be trained up in these new ways of working. We moved to a new office and it took a lot of work to make the transition back to being an independent denim brand. All strategic decisions are now made for the benefit of Kings of In-

digo only – not for an entire brand group. Now that things are set up and working, we can broaden our horizons instead of navel-gazing like we have been for the last two years. We can develop new marketing and sales campaigns, while remaining a frontrunner in innovation. So you are seeing the big picture now and feel free to be creative and start projects like a sustainable denim library, which is such a great idea by the way! Could you tell us a little about it? For such a long time we have been sourcing sustainable fabrics made from organic cotton, recycled cotton, Tencel, hemp, linen, recycled PET, recycled trims and so on and as a result of that we have a great selection of fabrics at our headquarters. As we are fully transparent about each product, we are happy to share all the information with other brands, such as where the fabrics are made and where the garments are washed. We are in the process of organising the library in such a way that we can invite other brands to go through everything and motivate them to use more

WE ARE ALWAYS ONE STEP AHEAD. TOGETHER WITH MY TEAM WE’VE BEEN WORKING ON SUSTAINABLE INNOVATIONS FOR 17 YEARS.

BRAND INTERVIEWS — KINGS OF INDIGO

Tony Tonnaer, CEO & founder of Kings of Indigo

sustainable fabrics. Most brands want to produce more sustainably but don’t know how to start or communicate it all, which slows down the transition from conventional to cleaner products. So why not help and show them how to take real steps, rather than just playing around the edges of sustainability, which leads to greenwashing. One last question: a lot of people I know are really making a conscious effort to buy more sustainable fashion brands like Kings of Indigo. Where is K.O.I. available in Germany? We are still building our business in Germany, which, along with the Netherlands, is our biggest market. We sell in about 100 stores across Germany, often in dedicated eco concept stores like Glore, Greenality, Grüne Wiese, Zündstoff, Green Guerillas and Loveco. But besides that, Kings of Indigo is also stocked by a number of fashion lifestyle stores like Craemer & Co, Thomas Ipunkt, Dreist, VMC Zurich and Turek. Of course we would love to add more of these to our list, as well as some high-level department stores. We have the feeling that more regular jeans and fashion stores really want to buy more sustainable denim and fashion, but things are moving quite slowly. Right now, we have three agents in Germany helping us create a broader distribution network and there is certainly a wider consumer base now interested in sustainable fashion – as long as it’s affordable and cool. And that’s exactly what we are!

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any virgin cotton at all. We offer it unwashed, so it saves a lot of resources like water and chemicals. To save even more water, the fabric is dyed with Kitotex technology, which needs Chitosan, a non-toxic and biodegradable thickener usually extracted from the shells of crustaceans – which is a waste by-product of the food industry. Chitosan replaces PVA and acrylic resin. Now that there’s a vegan solution, which is based on mushrooms, we’re glad to be using the Kitotex technology as a way of saving even more resources.

KINGSOFINDIGO.COM

BRAND INTERVIEWS — CLUB OF GENTS

TAILORING THAT WITHSTANDS THE TEST OF TIME After the huge streetwear craze, and the vast numbers of casual sweatshirts and sneakers that came out of it, it’s time to return to custom-made craftsmanship and elegance once more — from standing out from the crowd in striking looks to a new formality and self-assuredness. We spoke to Florian Wortmann, Division Head of CG — Club of Gents, about what has changed in traditional tailoring and what brands have to do to keep up.

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INTERVIEW ANNIKA DUDA

Let’s start by talking about the change in fits in the menswear segment. What has changed most significantly and what does it mean for Club of Gents? When it comes to jackets, the torso fits don’t change. Nevertheless, slim fit is still the most popular shape. But the fronts are being modernised. Lapels are getting wider, the side vents deeper and the jackets longer. Basically, the suit is becoming more masculine again. The silhouette of the trousers, on the other hand, are getting wider and more flowing, which changes the entire look.

ing too much. We’ve had an extremely successful four years, despite the whole streetwear and urban style boom. We are very busy with urbanwear and have long discussions in our team about what is important for us in this area and what influences we allow in. We welcome work

Does that mean that the target groups are also being redefined? Yes, we are talking about the type of man for whom suits were previously too small and narrow. The suit itself is being made wearable again for a broader target group.

wear aspects or looser silhouettes, but don’t want our customers to feel as if they are in costume. After all, labels like Reebok and Off-White wouldn’t switch to real tailoring just because it’s more in tune with the times either.

Athleisure and sporty streetstyle collections have been setting the tone, especially for younger generations. How does a tailoring brand withstand the test of time and even win over new customers? By staying true to itself and not chang-

What are the most important tailoring trends for AW20? The designs are generally becoming calmer and more minimalist again. Checks and striped patterns are not only more understated, but also the colour combi-

WE ARE PLANNING AN EXCLUSIVE CAMPAIGN WHERE WE WILL TAKE A CLEAR STAND AGAINST RACISM.

nations. Everything is becoming more monochrome and blending into one. In which markets do you see growth potential? I see potential everywhere and all the time. Nevertheless, you have to be realistic and admit that we are already extremely well represented in our core markets. Western Europe and export countries in general are our targets. What’s on the CG-Club of Gents to-do list for 2020? We’ll be relaunching our online shop next year. And we are planning an exclusive campaign with Breuninger and Business Punk magazine in spring, where we will take a clear stand against racism. In addition, we’ll be launching a new campaign aimed at school students attending their leaving balls and we’ll also be launching an advertising offensive aimed at customers to further boost our brand awareness, which we have already doubled over the past four years. CG.FASHION.COM

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DRESS BONA BUNI JEWELLERY STYLIST’S OWN

OUT OF OFFICE

HAIR & MAKE-UP JO PASCHALIS @ BIGOUDI MODEL JULIA V @ DOMINIQUE-MODELS

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PHOTOGRAPHY & STYLING HEIKO LASCHITZKI

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KNITWEAR STINE GOYA TROUSERS LUI JO BAG BASH SUNGLASSES NEUBAU EYEWEAR

OUT OF OFFICE

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DRESS IVKO KNITWEAR JULIA SEEMANN SANDALS UNISA EARRINGS PILGRIM

OUT OF OFFICE

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KNITWEAR MAIAMI OVERALL LEE JEANS

OUT OF OFFICE

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CARDIGAN PRINGLE OF SCOTLAND SKIRT 7 FOR ALL MANKIND NECKLACE MAXIMOVA

OUT OF OFFICE

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T-SHIRT STIEGLITZ CARDIGAN BRUNELLO CUCINELLI SKIRT SESSÙN

OUT OF OFFICE

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HOODIE MOTHER SKIRT ESSENTIEL ANTWERP

OUT OF OFFICE

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TOP VILA BLOUSE STIEGLITZ TROUSERS BRUNELLO CUCINELLI BOOTS ASH NECKLACE MAXIMOVA

OUT OF OFFICE

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TOP LULEMON PANTS TASSEL TALES BAG LEVI’S EARRINGS STYLIST’S OWN NECKLACE PILGRIM

OUT OF OFFICE

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BODYSUIT YUMIKO KIMONO LEMANJÁ EARRINGS PILGRIM

OUT OF OFFICE

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DRESS BRUNELLO CUCINELLI CAPE TASSEL TALES SHOES LEVI’S EARRINGS CLASSY AND FABULOUS

OUT OF OFFICE

PHOTOS IMAXTREE

TRENDS 2020

BALENCIAGA

ANGUS CHIANG

VALENTINO

CELINE

SANKUANZ

GMBH

CLASSIC (DENIM) BLUE

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LOEWE

Every twelve months, around December, Pantone announces its Colour of the Year. And we couldn’t be happier with this year’s choice. According to the authority on colour, ‘Classic Blue’, as the trend tone for 2020 is called, instils calm, confidence and connection and is suggestive of the sky at dusk. As passionate denim lovers, we see ‘Classic Blue’ as an ode to blue jeans, which is why we’ll definitely be embracing the trend for this “solid and dependable blue hue”.

TRENDS 2020

BACK TO NATURE After the sensory overload of neon, crazy material mixes and vibrantly coloured patterns dominating the catwalks last season, the shift to more subdued natural shades is something of a fashion revolution. Even today, the colour beige is still associated with naturalness and an understated elegance in fashion. Whether in monochrome all-over looks or as an accentuated highlight — nothing suits us better than a colour tone that simplifies our everyday lives and exudes a (visual) tranquillity.

MARK TAN

PHOTOS IMAXTREE

UMA WANG

DIOR

DUNHILL

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OAMC

LOUIS VUITTON

TRENDS 2020

PHOTOS IMAXTREE

GUY LAROCHE

EACH & OTHER

HERMÈS

FENDI

CHLOÉ

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SHARP DEFINITION

Minimalist looks go way beyond the simple black and white trend. It’s a common misconception that the ‘less is more’ principle only refers to colour and embellishments. In fact, it’s more about creating a simple and sleek style. Now that the times of standing out are over, the rule of thumb is very simple: simplicity, clear lines and simple nuances determine the minimalist fashion trend. Clearly constructed shapes have the advantage that they are always timeless and can be combined with almost anything. With a clean-cut simple look, yet good quality materials and accessories to add an exquisite twist, you’ll be bang on trend for autumn/winter 2020.

LACOSTE

TRENDS 2020

VERY BRITISH Glen plaid, gingham, tartan — no other pattern has as many variations as the check. And this versatility is being rewarded with a huge fashion comeback. Checked trousers, skirts, dresses and coats are a key look for the AW20 season. The prints are a new take on the original Scottish tartan pattern, which is being reinterpreted this year. However, the colours have remained true to the original: red, white, black, yellow and dark green are dominating the collections. But instead of old-fashioned cuts, the traditional pattern is now paired with cool oversized coats, masculine-style cigarette trousers and sharp-looking A-line skirts. SANKUANZ

CHARLES JEFFREY

HENRIK VIBSKOV

BAUM & PFERDGARTEN

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PAUL SMITH

PHOTOS IMAXTREE

JACQUEMUS

OAMC

OPINION PIECE

TIME TO CHILL: WHY WE SHOULD ALL TAKE THINGS DOWN A NOTCH TEXT CHERYLL MÜHLEN

FOMO — Fear of missing out But what is it that drives us to push ourselves so hard? A decent salary? Social standing? Acknowledgement from our peers? Blind ambition? A hardheaded sense of duty? The herd mentality? If you ask me, we don’t even know anymore. The romanticisation, or rather glorification of ‘busyness’ has, without us even realising it, turned us into working machines. Overworked, overwhelmed robots who snidely turn up our noses whenever we hear that someone is jetting off on holiday (again!), or sceptically raise our eyebrows when our colleague has (oh so conveniently!) fallen ill during the busiest time in the office. Even though we are longing for a relaxing holiday and digital detox ourselves. And even though a guilty conscience plagues us more than the fever that always seems to come at the most inopportune time. But why don’t we just put in a holiday request or ask the doctor for a sick note?

It may well be a symptom of the modern-day malaise known as #fomo, or fear of missing out. The demands placed on us – whether as an intern, team leader or manager – are increasing all the time. Over the years, and in times of roundthe-clock digital connectivity, work-life balance has transformed from a mantra into an empty promise that might have been real at some point but, in the year 2020, still seems to be a utopian dream, much like the next pay rise. Calling it a day at 5:00 pm? That might be what it says in our contract but, in reality, all that remains is a shadowy line between work and private life. ‘Efficiency’ is the buzzword being thrown at us. And if you’re not giving at least 110 percent, you live in fear of not being enough in the long term. In short: the saying ‘time is money’ is clearly alive and well. But what was it that I actually wanted to say to you? Self-fulfilment through self-care I thought long and hard about what message I wanted to share with you at the end of this issue and at the beginning, not only of a new year, but also of a new decade. In the end, I decided on a simple ‘memo to self’: just because you can do something, doesn’t mean you have to do it. (New Year’s resolution, check!) It’s time to leave the frazzled lone fighter in us behind and to stop feeling abandoned when others don’t make the same sacrifices as us. We need to get back to being well-rested and relaxed human beings who reclaim the weekend and leave work where it belongs — at work. Impossible, you say? Think again! After all, we also taught ourselves how to juggle everything immediately and simultaneously. So why don’t we now collectively slow things right down, even if it’s just for one day a week? Let’s not forget that our drained batteries need a lot more than just two hours of charging to reach peak performance. We are biological life forms who also have a biorhythm – sleep included. And even though it sometimes feels like our brain is a fully functioning computer, there’s one thing we’re definitely not: machines.

ILLUSTRATION NOUN PROJECT – SIDE PROJECT

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The cursor has frozen; the rainbow-coloured pinwheel won’t stop spinning, nothing is moving; and then the dreaded pop-up appears: Memory full! No, I’m not talking about an overworked computer processor, but my brain, whose system keeps crashing because far too many tabs are open and who finds itself needing virus scans at more regular intervals than it should. Here’s the crux of the matter: as someone in her early 30s, I’m supposed to be mentally fit and have plenty of physical stamina, excellent multitasking skills and endless motivation. I might have a burning passion for my job, but my passion for my job is burning me out. Because I have exhausted all of the above to the point of no return, meaning that I can no longer regenerate and recover (time off, what’s that?). I am realising that I have clear limits but I’m still not respecting them. And looking around me at the other people in my (working) life, the sobering realisation is that I’m not the exception here, but the rule.

January 25 – 27, 2020 Showroom Concept January 24 – 28, 2020

March 8 – 10, 2020

AREAL BÖHLER

AREAL BÖHLER DÜSSELDORF

GALLERY-DUESSELDORF.COM

GALLERY-SHOES.COM

International, order-oriented trade shows for fashion, shoes and accessories with a mix of young and established brands based in Dusseldorf!