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In conversation with Christoph Grainer-Herr, CEO of IWC
721

In conversation with Christoph Grainer-Herr, CEO of IWC

Watches We had a deligt speaking with the CEO of IWC, Christoph Grainer-Herr.       Tell us about your experience in several different departments and divisions at IWC. Where did it all start and how were the transitions like into new departments?   Well, that's an interesting thing. You know, I think I had probably 13 or so jobs, but I've always done the same. So to the present day, it hasn't really changed. I've started in trademarketing on the exhibitionsand boutiques. Back in the day, I’ve really just been hired as a project manager. And then I started to design the stuff from a laptop and drive our creative directorabsolutely crazy, because I started to change things. I did thisa couple of years, and then the trademarketingthings,whichreally is all of that plus visual merchandising, architecture, exhibitions and so on. What I’ve learned from all of that, I'd be seeing different countries, different cultures, what our clients are looking for, the building specifics in all of these different countries, which is super interesting. And also you get to meet all of the global teams. After that, I did a little bit of a stint in marketing. This was basically everything apart from Corp comms, but all of the print marketing, consumer marketing, catalogues, websiteand all that. And from there, I started to work quite heavily on other brands within the group. We did the retail concept, we would agree to BM concept for merch. Then in the end, I returned to retail here in Switzerland, did that for about two months. Then I did the sales director role for about 10 days, four to six weeks or something. And then the announcement came. So it was quite linear in the end and quite fast and quite scary. But, here we are.   And I think really, what have I taken from it? I think, it's when you work transversally, it's very, very, very interesting because you get to learn the entire organization inside out, including different countries. I think that gives you a really good head start to then pick up all sorts of different tasks and challenges. But once you understand what production takes, you know I worked for six years on the manufacturer design here for the new manufacturing building, that really gives you the inside out view of how, what comes together. And after that you see the whole commercial side for the boutiques and the exhibitions and that in the end gives you quite a good understanding of the global picture.   And you learn. I mean, at the end of the day you learned that in luxury brand you're telling an aesthetic story and that story has to be consistent across all the different touch points. And the more you are able to combine the unique different requirements of social media versus physical stores versus production facilities into a consistent story that both your colleagues, as well as your clients and everybody can buy into mentally, the easier job you have to explain what your brand stands for and what is on brand and what is not on brand. And I think one of the most difficult things is if you have brands that are completely inconsistently implemented and then have like a front of house in the back of house, it sometimes becomes confusing to take the right decisions. Whereas I think if you have this consistency, then after that, it's much easier for people to make their own judgmentson what's the right thing to do or not, because we're not in a business that's based on purely data and research. I mean, it is increasingly luckily based on some data inside, but you know, the best creations in the world of luxury are not derived by data analytics or marketing briefing or anything like that. It takes a moment of creativity and then you have to do a call whether this is something that fits your brand or not. And that's the decision between hopefully a hit product and something that ends up in the door.     When you say creativity, how important do you think is innovation in the luxury segment, particularly for watches?   Well, if you think about the fact that we're basically in a moment central business, we don't make something that is based on purely functional need, on just functional characteristics. So that moves it away from the ins and outs of checklists, right or wrong assessment of what you're doing. And you're into an area where it's all about the emotion you evoke, it's about things like scarcity, it's about things like perceived hotness and exclusivity and that you can only do by creating. I wouldn't necessarily always call it purely sort of innovation in terms of technical content, but it is really in the entire brand universe, from products to communication, to retail experience, to the way you talk about the brand,of what it activates.Creativity is absolutely key. And keeping that fascination, that’s not killing off the brand into something too predictable or even too boring, it's always this balancing act between newness and the sort of preserving the icons that we've been familiar with for the last 18 years or longer. And that's at the end of the day heritage and DNA versus newness and supply versus scarcity. That's kind of the leavers, which we have to play in our industry to keep our brands relevant and keep our fans.     When did your first interest for watches arise?   The first time I showed interest for watches was kind of a forced situation. My dad was buying his first Patek Nautilus back in the eighties. It felt to me like it took all day and I was sitting there looking at all these watches and I apparently knew this was a quality of mine when I was younger. I must've lost that, I was incredibly patient and waited there for hours on end. And in the end they bought me a Bernese dog cuddly toy. That was kinda my first contact with watches. Then I think I really picked it up again at the university. In my gap year I had the chance to work not only in fashion stores about men's jewelry and accessories, but also in the heart of London.   I think that's the first time when I really started to look into the beauty of these objects, when the shop kind of becomes an art gallery. And I think this is the thing with hard luxury. It's almost like a sculpture museum space rather than just a shop. It's very different from a fashion store. And I started to like that because the complexity that goes into something very simple, it's all about presentation, lighting, quality, etc., but you have all of the requirements of security materials, automation, all of this stuff behind. I really started to enjoy that sort of work. And I walked past the jewelersnear my university in Bournemouth. And I started to really feel quite interested in IWC back in the day, because I loved the purity of detail.   I love that engineering approach to the design, that understated confidence in the brand quite a lot. And then it will only be a couple of years later when I moved to Switzerland and I started to go privately to shows like Baselworldand become actually interested in IWC and the first watch that really caught me at the end was 2004 generation of the Aquatimer, which was made about the time when I moved to Switzerland. And then a couple of years into my university and professional experience here, there was a phone call whether we wanted to design an IWC museum.I loved that idea and jumped at itand that was it. I walked into the door here and thoughtI like it and that's never changed.     I’ve also read and found quite interesting that you were a former military athlete. How do you manage to stay in shape nowadays, with such a time consuming job?   I think you have to define at some point what do you mean by staying in shape for yourself. Because in the beginning, when you're at university, you have the time to properly train for competitions and so on. And especially when you're in the world of mountain running, trail running, any series of skiing. Whatever it is, it takes a tremendous amount of prep time. And at some point in your professional life you have to realize that can't be objective anymore. I mean, I admire all of the CEOs that do oneIronman after another. Literally, I'm not that angry at myself that I would get up at three o'clock every morning and do triathlon training. I think once you're in this mode in your life, it never goes away, but you have to realize at some point that you're going to be mildly ambitious. These days, I do about one bigger thing a year, be that a competition or a ride or something else. But I do this for the fun of it and not for beating the world record. It's changed quite a bit.    I don't know how I do it. Well, actually when you're traveling outside of the current lockdown,it's easy. Cause I only have myself to look after when I'm traveling. I enjoy running, whether it’s in Central park, Hong Kong, Red Rock Canyon or Vegas. There's plenty of stunning runs in South beach, Miami. I often pick my hotels in a way that they're convenient for exercising. Just recently, on the last trip before lockdown, it was my first time to Dallas. And we really needed to look at hotels so that they're close to the most promising running routes. Here at home, I try and fit it in whenever I can.      What are your thoughts on sustainability in the watch industry? Is there anything particularly that you are doing to do more sustainable and responsible to the environment?   I think itstartsreally with the product itself. When I look today at what we have done as humankind over the last 30, 40 years, we we've gone into quite a questionable cycle of throwaway consumption, times where things are being bought and replaced really frequently. We buy clothes and devices and we replace some of them and throw them away. And I think that mechanicalwatcheshave always made quite a powerful statement about sustainability, because you creating something that a is not in fashion, but that is timeless beauty. You build it in a way that it's designed to last forever and you maintain it for sometimes hundreds and hundreds of years. There’s really trust in where they’re made in, in one place in the heart of Europe that is preserving jobs, preserving craftsmanship and skills.    At the same time, you are not shipping products 16 times around the planet before they get to end consumers. When you come to Schaffhausen, we were set up right here where I'm sitting in my office. Florentine Ariosto Jones came from America and he set up IWC here and we're still here today, taking the same power from the river that Jones took directly via boats. We take it from the hydroponic station, but it's still the same thing.   When you come to Chicago, I can show you everybody from the initial watch designer to every step of the process of construction, to every step of manufacturing and even to the people who write the advertising headline, who create the movies and design the boutiques. I don't think that today there's many industries in many businesses, where you can still go to a single place and see the creation of something from start to finish.And when you buy it, you have something which really is absolutely unique to that process.    And then on top of that, I think my approach to sustainability is always that for us, it's a mindset. And that's a constant striving for trying to do things better than we did before. Nobody is perfect, but if we can improve our sourcing like we did with the gold sourcing, where we came out on top of the WWF study a couple of years ago, if we start launching sustainability reports, if we reduce the packaging that we ship around, eliminate plastic and non-recycled materials, eliminate plastic as much as we can from the supply chain in the brand globally, then bit by bit you're creating a product that people can feel genuinely good about.    One of the key things for us is that I don't run a front of house, back of house operations. So we welcome up to 10.000 people a year here in Schaffhausenand we show them everything and they can meet the people behind the process. And there's no double floors or hidden dark room. That's really important, because I think increasingly consumers demand, rightfully, to know where things are coming from, how things are being made and what the impact is.   It's something that is also coming out of the current situation. If we question a little bit the way we consume and the way we focus on things that really mean something to us and that we enjoy every time we use them. We wear them and we look after them and we repair them and fix them and maintain them. I do think that there is something to be learned from a throwaway consumption culture. When you think about the fact that all humans on the planet can probably fit into one cubic kilometer, if we pack them in tightly, it the end we deplete all of the resources on that very quickly. It's something to reconsider. And I think making things that are designed to be beautiful in hundreds of years and designed to last, can only be a good thing in that context.     Have you ever been to Amsterdam and if so, how would you describe the experience?   Yes, I've been to Amsterdam a few times. It looks like it has abeautiful quality of life and the right balance between urban density, sort of design, art, expression and instill kind of energy, which I like. Our e-com shipping center for Europe actually sits right in the heart of Amsterdam and there are some practical challenges when you are in an old, historic building in the heart of the city and you're trying to adapt that to modern automated warehouse standards. It’s a beautiful city to be in.    But I would change your airport, I think the distance between the runway and the terminal at Schipol is just ridiculous.To get from your gate to the exit ofSchipol youcan probably easily walk for 40minutes. The craziest spread out airportterminals anywhere on the planet. Zurich is literally, and I'm not saying that because we use it here, one of the most efficient airports where you can fly direct to almost anywhere, but you can get from the aircraft door to your car in literally seven minutes, if you don't have checked luggage, so it's ultra efficient in and out.      What do you have planned in the future, not after Corona really but in general?   As you know and as you're experiencing yourself, we just had a crash course in all sorts of video, remote technology. And that's really driven a whole range of innovation projects very quickly. So we're excited about all the possibilities that we've discovered through remote events and streaming and being able to extend sort of everything that we do or have done traditionally physically into the digital space, where we're suddenly creating a much broader reach and a much better experience for people who weren't able to travel halfway around the globe to take part in something previously. I think there's a lot of exciting things to come and the habits that have been formed in the last couple of months will surely stay with us and are really accelerating that process towards a more integrated world of physical and digital. And I'm very excited about that, because at the end of the day, that's just going to make our brands a better experience and we will be able to provide a betterservice.         We had a deligt speaking with the CEO of IWC, Christoph Grainer-Herr.       Tell us about your experience in several different departments and divisions at IWC. Where did it all start and how were the transitions like into new departments?   Well, that's an interesting thing. You know, I think I had probably 13 or so jobs, but I've always done the same. So to the present day, it hasn't really changed. I've started in trademarketing on the exhibitionsand boutiques. Back in the day, I’ve really just been hired as a project manager. And then I started to design the stuff from a laptop and drive our creative directorabsolutely crazy, because I started to change things. I did thisa couple of years, and then the trademarketingthings,whichreally is all of that plus visual merchandising, architecture, exhibitions and so on. What I’ve learned from all of that, I'd be seeing different countries, different cultures, what our clients are looking for, the building specifics in all of these different countries, which is super interesting. And also you get to meet all of the global teams. After that, I did a little bit of a stint in marketing. This was basically everything apart from Corp comms, but all of the print marketing, consumer marketing, catalogues, websiteand all that. And from there, I started to work quite heavily on other brands within the group. We did the retail concept, we would agree to BM concept for merch. Then in the end, I returned to retail here in Switzerland, did that for about two months. Then I did the sales director role for about 10 days, four to six weeks or something. And then the announcement came. So it was quite linear in the end and quite fast and quite scary. But, here we are.   And I think really, what have I taken from it? I think, it's when you work transversally, it's very, very, very interesting because you get to learn the entire organization inside out, including different countries. I think that gives you a really good head start to then pick up all sorts of different tasks and challenges. But once you understand what production takes, you know I worked for six years on the manufacturer design here for the new manufacturing building, that really gives you the inside out view of how, what comes together. And after that you see the whole commercial side for the boutiques and the exhibitions and that in the end gives you quite a good understanding of the global picture.   And you learn. I mean, at the end of the day you learned that in luxury brand you're telling an aesthetic story and that story has to be consistent across all the different touch points. And the more you are able to combine the unique different requirements of social media versus physical stores versus production facilities into a consistent story that both your colleagues, as well as your clients and everybody can buy into mentally, the easier job you have to explain what your brand stands for and what is on brand and what is not on brand. And I think one of the most difficult things is if you have brands that are completely inconsistently implemented and then have like a front of house in the back of house, it sometimes becomes confusing to take the right decisions. Whereas I think if you have this consistency, then after that, it's much easier for people to make their own judgmentson what's the right thing to do or not, because we're not in a business that's based on purely data and research. I mean, it is increasingly luckily based on some data inside, but you know, the best creations in the world of luxury are not derived by data analytics or marketing briefing or anything like that. It takes a moment of creativity and then you have to do a call whether this is something that fits your brand or not. And that's the decision between hopefully a hit product and something that ends up in the door.     When you say creativity, how important do you think is innovation in the luxury segment, particularly for watches?   Well, if you think about the fact that we're basically in a moment central business, we don't make something that is based on purely functional need, on just functional characteristics. So that moves it away from the ins and outs of checklists, right or wrong assessment of what you're doing. And you're into an area where it's all about the emotion you evoke, it's about things like scarcity, it's about things like perceived hotness and exclusivity and that you can only do by creating. I wouldn't necessarily always call it purely sort of innovation in terms of technical content, but it is really in the entire brand universe, from products to communication, to retail experience, to the way you talk about the brand,of what it activates.Creativity is absolutely key. And keeping that fascination, that’s not killing off the brand into something too predictable or even too boring, it's always this balancing act between newness and the sort of preserving the icons that we've been familiar with for the last 18 years or longer. And that's at the end of the day heritage and DNA versus newness and supply versus scarcity. That's kind of the leavers, which we have to play in our industry to keep our brands relevant and keep our fans.     When did your first interest for watches arise?   The first time I showed interest for watches was kind of a forced situation. My dad was buying his first Patek Nautilus back in the eighties. It felt to me like it took all day and I was sitting there looking at all these watches and I apparently knew this was a quality of mine when I was younger. I must've lost that, I was incredibly patient and waited there for hours on end. And in the end they bought me a Bernese dog cuddly toy. That was kinda my first contact with watches. Then I think I really picked it up again at the university. In my gap year I had the chance to work not only in fashion stores about men's jewelry and accessories, but also in the heart of London.   I think that's the first time when I really started to look into the beauty of these objects, when the shop kind of becomes an art gallery. And I think this is the thing with hard luxury. It's almost like a sculpture museum space rather than just a shop. It's very different from a fashion store. And I started to like that because the complexity that goes into something very simple, it's all about presentation, lighting, quality, etc., but you have all of the requirements of security materials, automation, all of this stuff behind. I really started to enjoy that sort of work. And I walked past the jewelersnear my university in Bournemouth. And I started to really feel quite interested in IWC back in the day, because I loved the purity of detail.   I love that engineering approach to the design, that understated confidence in the brand quite a lot. And then it will only be a couple of years later when I moved to Switzerland and I started to go privately to shows like Baselworldand become actually interested in IWC and the first watch that really caught me at the end was 2004 generation of the Aquatimer, which was made about the time when I moved to Switzerland. And then a couple of years into my university and professional experience here, there was a phone call whether we wanted to design an IWC museum.I loved that idea and jumped at itand that was it. I walked into the door here and thoughtI like it and that's never changed.     I’ve also read and found quite interesting that you were a former military athlete. How do you manage to stay in shape nowadays, with such a time consuming job?   I think you have to define at some point what do you mean by staying in shape for yourself. Because in the beginning, when you're at university, you have the time to properly train for competitions and so on. And especially when you're in the world of mountain running, trail running, any series of skiing. Whatever it is, it takes a tremendous amount of prep time. And at some point in your professional life you have to realize that can't be objective anymore. I mean, I admire all of the CEOs that do oneIronman after another. Literally, I'm not that angry at myself that I would get up at three o'clock every morning and do triathlon training. I think once you're in this mode in your life, it never goes away, but you have to realize at some point that you're going to be mildly ambitious. These days, I do about one bigger thing a year, be that a competition or a ride or something else. But I do this for the fun of it and not for beating the world record. It's changed quite a bit.    I don't know how I do it. Well, actually when you're traveling outside of the current lockdown,it's easy. Cause I only have myself to look after when I'm traveling. I enjoy running, whether it’s in Central park, Hong Kong, Red Rock Canyon or Vegas. There's plenty of stunning runs in South beach, Miami. I often pick my hotels in a way that they're convenient for exercising. Just recently, on the last trip before lockdown, it was my first time to Dallas. And we really needed to look at hotels so that they're close to the most promising running routes. Here at home, I try and fit it in whenever I can.      What are your thoughts on sustainability in the watch industry? Is there anything particularly that you are doing to do more sustainable and responsible to the environment?   I think itstartsreally with the product itself. When I look today at what we have done as humankind over the last 30, 40 years, we we've gone into quite a questionable cycle of throwaway consumption, times where things are being bought and replaced really frequently. We buy clothes and devices and we replace some of them and throw them away. And I think that mechanicalwatcheshave always made quite a powerful statement about sustainability, because you creating something that a is not in fashion, but that is timeless beauty. You build it in a way that it's designed to last forever and you maintain it for sometimes hundreds and hundreds of years. There’s really trust in where they’re made in, in one place in the heart of Europe that is preserving jobs, preserving craftsmanship and skills.    At the same time, you are not shipping products 16 times around the planet before they get to end consumers. When you come to Schaffhausen, we were set up right here where I'm sitting in my office. Florentine Ariosto Jones came from America and he set up IWC here and we're still here today, taking the same power from the river that Jones took directly via boats. We take it from the hydroponic station, but it's still the same thing.   When you come to Chicago, I can show you everybody from the initial watch designer to every step of the process of construction, to every step of manufacturing and even to the people who write the advertising headline, who create the movies and design the boutiques. I don't think that today there's many industries in many businesses, where you can still go to a single place and see the creation of something from start to finish.And when you buy it, you have something which really is absolutely unique to that process.    And then on top of that, I think my approach to sustainability is always that for us, it's a mindset. And that's a constant striving for trying to do things better than we did before. Nobody is perfect, but if we can improve our sourcing like we did with the gold sourcing, where we came out on top of the WWF study a couple of years ago, if we start launching sustainability reports, if we reduce the packaging that we ship around, eliminate plastic and non-recycled materials, eliminate plastic as much as we can from the supply chain in the brand globally, then bit by bit you're creating a product that people can feel genuinely good about.    One of the key things for us is that I don't run a front of house, back of house operations. So we welcome up to 10.000 people a year here in Schaffhausenand we show them everything and they can meet the people behind the process. And there's no double floors or hidden dark room. That's really important, because I think increasingly consumers demand, rightfully, to know where things are coming from, how things are being made and what the impact is.   It's something that is also coming out of the current situation. If we question a little bit the way we consume and the way we focus on things that really mean something to us and that we enjoy every time we use them. We wear them and we look after them and we repair them and fix them and maintain them. I do think that there is something to be learned from a throwaway consumption culture. When you think about the fact that all humans on the planet can probably fit into one cubic kilometer, if we pack them in tightly, it the end we deplete all of the resources on that very quickly. It's something to reconsider. And I think making things that are designed to be beautiful in hundreds of years and designed to last, can only be a good thing in that context.     Have you ever been to Amsterdam and if so, how would you describe the experience?   Yes, I've been to Amsterdam a few times. It looks like it has abeautiful quality of life and the right balance between urban density, sort of design, art, expression and instill kind of energy, which I like. Our e-com shipping center for Europe actually sits right in the heart of Amsterdam and there are some practical challenges when you are in an old, historic building in the heart of the city and you're trying to adapt that to modern automated warehouse standards. It’s a beautiful city to be in.    But I would change your airport, I think the distance between the runway and the terminal at Schipol is just ridiculous.To get from your gate to the exit ofSchipol youcan probably easily walk for 40minutes. The craziest spread out airportterminals anywhere on the planet. Zurich is literally, and I'm not saying that because we use it here, one of the most efficient airports where you can fly direct to almost anywhere, but you can get from the aircraft door to your car in literally seven minutes, if you don't have checked luggage, so it's ultra efficient in and out.      What do you have planned in the future, not after Corona really but in general?   As you know and as you're experiencing yourself, we just had a crash course in all sorts of video, remote technology. And that's really driven a whole range of innovation projects very quickly. So we're excited about all the possibilities that we've discovered through remote events and streaming and being able to extend sort of everything that we do or have done traditionally physically into the digital space, where we're suddenly creating a much broader reach and a much better experience for people who weren't able to travel halfway around the globe to take part in something previously. I think there's a lot of exciting things to come and the habits that have been formed in the last couple of months will surely stay with us and are really accelerating that process towards a more integrated world of physical and digital. And I'm very excited about that, because at the end of the day, that's just going to make our brands a better experience and we will be able to provide a betterservice.        

SAINT LAURENT RIVE DROITE LAUNCHES SAINT LAURENT HUNTER
719

SAINT LAURENT RIVE DROITE LAUNCHES SAINT LAURENT HUNTER

Accessories Saint Laurent and Hunter present a new pair of boots that will be exclusively available at the Saint Laurent Rive Droite store. Anthony Vaccarello has created a limited edition design on a Hunter boot made of natural rubber. They combine Hunter’s 160 years of craftsmanship in footwear with the inspiration of Saint Laurent.     Saint Laurent x Hunter boot will be available in black with silver studs and straps.     saintlaurentrivedroite.com     @ysl #saintlaurentrivedroite @anthonyvaccarello Saint Laurent and Hunter present a new pair of boots that will be exclusively available at the Saint Laurent Rive Droite store. Anthony Vaccarello has created a limited edition design on a Hunter boot made of natural rubber. They combine Hunter’s 160 years of craftsmanship in footwear with the inspiration of Saint Laurent.     Saint Laurent x Hunter boot will be available in black with silver studs and straps.     saintlaurentrivedroite.com     @ysl #saintlaurentrivedroite @anthonyvaccarello

LEVI’S  MODERN VINTAGE LOGO
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LEVI’S MODERN VINTAGE LOGO

Fashion A perfect balance of throwback cool and next level now.     Reinterpreting a typeface which is reminiscent of fonts used on ads from Levi’s® early years in the latter part of the 1800’s. Fast forward to 2020, the denim brand gives the logo a modern twist with a more refined and lighter serif.     The design sits front and center across relaxed fit sweaters and tees, but also on beanies and bags made from recycled plastics and bottles. For those seeking a more subtle look, the logo also features on tonal T-shirts and retro fit sweaters as chest hits.     With Winter leaning in, the Modern Vintage logo sweater combines perfectly with the new 551Z or High Loose Taper jeans, a true 90’s street style look.      The Modern Vintage collection is available from December on www.levis.com   @levis_nl #LiveInLevis A perfect balance of throwback cool and next level now.     Reinterpreting a typeface which is reminiscent of fonts used on ads from Levi’s® early years in the latter part of the 1800’s. Fast forward to 2020, the denim brand gives the logo a modern twist with a more refined and lighter serif.     The design sits front and center across relaxed fit sweaters and tees, but also on beanies and bags made from recycled plastics and bottles. For those seeking a more subtle look, the logo also features on tonal T-shirts and retro fit sweaters as chest hits.     With Winter leaning in, the Modern Vintage logo sweater combines perfectly with the new 551Z or High Loose Taper jeans, a true 90’s street style look.      The Modern Vintage collection is available from December on www.levis.com   @levis_nl #LiveInLevis

Advertising
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PRADA LINEA ROSSA FALL/WINTER 2020 CAMPAIGN FEATURING GUS KENWORTHY
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PRADA LINEA ROSSA FALL/WINTER 2020 CAMPAIGN FEATURING GUS KENWORTHY

Fashion Technologically innovative, streamlined, modern. Engineered for heightened function and the pursuit of perfection, Prada Linea Rossa is designed to help the wearer excel. First introduced in 1997, Prada were pioneers in the fashion world to launch the unique Linea Rossa fusion of style and high-performance sports.     The technical innovations inherent in mountain and skiwear has always been at the core of Linea Rossa: textile invention coupled with sleek silhouette, a fusion of body and fabric intended to perform under the most extreme circumstances. Pioneering, Linea Rossa For Fall/Winter 2020, the Prada Linea Rossa campaign features Gus Kenworthy, the champion British-American freestyle skier. Awarded the silver medal in Men’s slopestyle at the 2014 Winter Olympics in Sochi for the US, since 2019 Kenworthy represents his birth nation of Great Britain - winning his rst gold medal in the «Ski World Cup» in February 2020. Alongside his sporting achievements, Kenworthy has a notable career as an actor, appearing in season nine of the award-winning television series American Horror Story in 2019. Kenworthy is also an advocate for LGBT rights: he came out as gay in 2015 on the cover of ESPN Magazine as the rst actions-sports star to do so.     For the Fall/Winter collection, the emblematic Linea Rossa red line becomes a timeline, a visual tool to chart the milestones and achievements of each talent featured - tracing the events that shaped them into the gure they are today. Photographed by Vanina Sorrenti in a series of striking still and motion-image portraits, Kenworthy is simultaneously captured from multiple angles, a re ection of his multifaceted character and career, always underscored - literally - by the red line of Linea Rossa, representing his achievements and experiences.     For Fall/Winter 2020, the protection and performance of winter sports inspired Linea Rossa pieces designed for warmth and resistance against the harshest elements. The new innovative EXTREME-TEX, a triple-layer textile especially developed by Prada, is translated into zipped jackets and trousers, combined with lightweight graphene padding for thermal insulation. Multiple-weights of nylons, jerseys, techno-knit, EXTREME-TEX and EXTREME-TEX LIGHT enable layering - adaptive to different terrains and demands. High-impact sport and metropolitan life alike, Prada Linea Rossa is engineered to achieve.     The second stage of the Prada Linea Rossa F/W20 Campaign, featuring Gus Kenworthy, is unveiled starting November 20 , 2020.     Credits: Photographer: Vanina Sorrenti Creative Direction: Ferdinando Verderi     #PradaLineaRossa Technologically innovative, streamlined, modern. Engineered for heightened function and the pursuit of perfection, Prada Linea Rossa is designed to help the wearer excel. First introduced in 1997, Prada were pioneers in the fashion world to launch the unique Linea Rossa fusion of style and high-performance sports.     The technical innovations inherent in mountain and skiwear has always been at the core of Linea Rossa: textile invention coupled with sleek silhouette, a fusion of body and fabric intended to perform under the most extreme circumstances. Pioneering, Linea Rossa For Fall/Winter 2020, the Prada Linea Rossa campaign features Gus Kenworthy, the champion British-American freestyle skier. Awarded the silver medal in Men’s slopestyle at the 2014 Winter Olympics in Sochi for the US, since 2019 Kenworthy represents his birth nation of Great Britain - winning his rst gold medal in the «Ski World Cup» in February 2020. Alongside his sporting achievements, Kenworthy has a notable career as an actor, appearing in season nine of the award-winning television series American Horror Story in 2019. Kenworthy is also an advocate for LGBT rights: he came out as gay in 2015 on the cover of ESPN Magazine as the rst actions-sports star to do so.     For the Fall/Winter collection, the emblematic Linea Rossa red line becomes a timeline, a visual tool to chart the milestones and achievements of each talent featured - tracing the events that shaped them into the gure they are today. Photographed by Vanina Sorrenti in a series of striking still and motion-image portraits, Kenworthy is simultaneously captured from multiple angles, a re ection of his multifaceted character and career, always underscored - literally - by the red line of Linea Rossa, representing his achievements and experiences.     For Fall/Winter 2020, the protection and performance of winter sports inspired Linea Rossa pieces designed for warmth and resistance against the harshest elements. The new innovative EXTREME-TEX, a triple-layer textile especially developed by Prada, is translated into zipped jackets and trousers, combined with lightweight graphene padding for thermal insulation. Multiple-weights of nylons, jerseys, techno-knit, EXTREME-TEX and EXTREME-TEX LIGHT enable layering - adaptive to different terrains and demands. High-impact sport and metropolitan life alike, Prada Linea Rossa is engineered to achieve.     The second stage of the Prada Linea Rossa F/W20 Campaign, featuring Gus Kenworthy, is unveiled starting November 20 , 2020.     Credits: Photographer: Vanina Sorrenti Creative Direction: Ferdinando Verderi     #PradaLineaRossa

BALENCIAGA LAUNCHES NEW OBJECTS LINE
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BALENCIAGA LAUNCHES NEW OBJECTS LINE

Accessories Launching on November 20th, 2020, Balenciaga presents Objects: a category of items produced outside of the fashion collections. Objects are introduced individually throughout the year, each a special project on its own. They are designed to be timeless, from collectible treasures to items for everyday use, at home or on the move.     The first Balenciaga Object is a metal sculpture in the exact shape of a size 41 Track.2 sneaker. Part of a lineage of objects d’art that recontextualize everydayproducts, the palladium and brass sculpture is a cross between a bronzed baby shoe keepsake and a Dadaist Readymade, transforming the functional Balenciaga sneaker into an inflexible solid.     Referencing the original shoe’s particular place in popular culture and daily life,this metal version, weighing 2,5 kilograms, alludes to the definitive sentimental value and trophy status of designed goods. It is made in Italy with 16 cast brass pieces that are soldered and sealed, then coated with palladium.     The first Balenciaga Object is sold in a limited edition. Only 20 Track.2 sculptures will be available worldwide. Launching on November 20th, 2020, Balenciaga presents Objects: a category of items produced outside of the fashion collections. Objects are introduced individually throughout the year, each a special project on its own. They are designed to be timeless, from collectible treasures to items for everyday use, at home or on the move.     The first Balenciaga Object is a metal sculpture in the exact shape of a size 41 Track.2 sneaker. Part of a lineage of objects d’art that recontextualize everydayproducts, the palladium and brass sculpture is a cross between a bronzed baby shoe keepsake and a Dadaist Readymade, transforming the functional Balenciaga sneaker into an inflexible solid.     Referencing the original shoe’s particular place in popular culture and daily life,this metal version, weighing 2,5 kilograms, alludes to the definitive sentimental value and trophy status of designed goods. It is made in Italy with 16 cast brass pieces that are soldered and sealed, then coated with palladium.     The first Balenciaga Object is sold in a limited edition. Only 20 Track.2 sculptures will be available worldwide.

PRADA RELEASES THE NEW CLEO BAG
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PRADA RELEASES THE NEW CLEO BAG

Accessories An evolution of identity, a reinvention of heritage. Debuted in Prada ‘Multiple Views’ SS21 show and featured in the Spring/Summer 2021 Womenswear collection, the Cleo line of women’s accessories draws influence from archival Prada styles and traditional craft techniques, to create a synthesis of classicism and futurism. Reminders of a past here paradoxically project constantly forwards: their familiarity is a vehicle for proposing the new.     Precise, sleek and streamlined, each of the Cleo styles is formed over custom lasts, their striking modernist shapes created from time-honoured methodologies, underscoring Prada’s expertise in the creation of leather accessories since 1913. Silhouettes are inherently feminine, combining strength of construction with a purity and delicacy of line. A curved base is juxtaposed with softly sloping sides, intimately engineered to hug when worn against the body.     The surfaces of the Cleo are tactile, sensuous, brushed calfskin and lightweight spazzolato calf leather featuring the enamel Prada triangle logo. Offered as flap and top-opening styles, the Cleo is executed in an unexpected palette: timeless black and white, orchidea blush, and a signature Prada acqua.     Echoing the past as a tool to propose a future, the Cleo is emblematic of Prada’s approach, of history as a catalyst for innovation.     The Prada Cleo is available through Prada boutiques and the online flagship of prada.com     Discover more on prada.com An evolution of identity, a reinvention of heritage. Debuted in Prada ‘Multiple Views’ SS21 show and featured in the Spring/Summer 2021 Womenswear collection, the Cleo line of women’s accessories draws influence from archival Prada styles and traditional craft techniques, to create a synthesis of classicism and futurism. Reminders of a past here paradoxically project constantly forwards: their familiarity is a vehicle for proposing the new.     Precise, sleek and streamlined, each of the Cleo styles is formed over custom lasts, their striking modernist shapes created from time-honoured methodologies, underscoring Prada’s expertise in the creation of leather accessories since 1913. Silhouettes are inherently feminine, combining strength of construction with a purity and delicacy of line. A curved base is juxtaposed with softly sloping sides, intimately engineered to hug when worn against the body.     The surfaces of the Cleo are tactile, sensuous, brushed calfskin and lightweight spazzolato calf leather featuring the enamel Prada triangle logo. Offered as flap and top-opening styles, the Cleo is executed in an unexpected palette: timeless black and white, orchidea blush, and a signature Prada acqua.     Echoing the past as a tool to propose a future, the Cleo is emblematic of Prada’s approach, of history as a catalyst for innovation.     The Prada Cleo is available through Prada boutiques and the online flagship of prada.com     Discover more on prada.com

VERSACE LAUNCHED THE TRIGRECA SNEAKER
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VERSACE LAUNCHED THE TRIGRECA SNEAKER

Accessories Drop 1 of the brand’s new Trigreca sneaker was launched on October 1st. First seen on the Fall-Winter 2020 runway, the style steps up the already impressive Versace footwear edit. Encompassing iconic brand codes, the design is unmistakably Versace.      The Trigreca draws inspiration from the brand’s Greca pattern. A celebration of Versace’s Magna Graecia heritage, the symbol was first used in the Fall-Winter 1988 Collection. The Greca is a geometric pattern created from one, uninterrupted line. The motif was historically seen in many ancient Greek temples, representations of labyrinths, buildings and in pottery – especially from the Geometric period. Symbolizing infinity and unity, it reflects a recurring theme in Versace creations. The Greca pattern adorns three points of the Trigreca sneaker: the dimensional sole, the midsole and the decorative upper toe stripe.       The design’s cork "Greca Cushioning System" adds support and comfort, as well as providing chunky elevation. To celebrate the brand’s HQ location, Milan’s geographical coordinates are printed along the upper. There’s also a hidden 3D Medusa located in the sole – another iconic signature of the brand.        Black, white, green, blue and red versions of the sneaker will launch on October 1st, exclusively on Versace.com and in selected Versace boutiques. The brand will partner with e-commerce retail platform ssense.com on a wider launch with added colorways in November. Drop 1 of the brand’s new Trigreca sneaker was launched on October 1st. First seen on the Fall-Winter 2020 runway, the style steps up the already impressive Versace footwear edit. Encompassing iconic brand codes, the design is unmistakably Versace.      The Trigreca draws inspiration from the brand’s Greca pattern. A celebration of Versace’s Magna Graecia heritage, the symbol was first used in the Fall-Winter 1988 Collection. The Greca is a geometric pattern created from one, uninterrupted line. The motif was historically seen in many ancient Greek temples, representations of labyrinths, buildings and in pottery – especially from the Geometric period. Symbolizing infinity and unity, it reflects a recurring theme in Versace creations. The Greca pattern adorns three points of the Trigreca sneaker: the dimensional sole, the midsole and the decorative upper toe stripe.       The design’s cork "Greca Cushioning System" adds support and comfort, as well as providing chunky elevation. To celebrate the brand’s HQ location, Milan’s geographical coordinates are printed along the upper. There’s also a hidden 3D Medusa located in the sole – another iconic signature of the brand.        Black, white, green, blue and red versions of the sneaker will launch on October 1st, exclusively on Versace.com and in selected Versace boutiques. The brand will partner with e-commerce retail platform ssense.com on a wider launch with added colorways in November.

THE ZALANDO GREENHOUSE: THE VIRTUAL HOME OF ‘SMALL STEPS
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THE ZALANDO GREENHOUSE: THE VIRTUAL HOME OF ‘SMALL STEPS

Fashion This week marks the launch of Zalando Greenhouse, a virtual 360 degree experience bringing the recently launched Small Steps. Big Impact. By Zalando to a new, exciting, digital life. It takes the collection right to the consumer, wherever they may be.   The ongoing project will engage and inspire consumers, both to discover the collection and to make more sustainable choices. There will be surprise appearances from selected talent, including model and sustainability advocate Arizona Muse and creative director and sustainability consultant Doina Ciobanu, creating an unforgettable way to shop the collection.     The debut showcased in the house is the second capsule collection of the Small Steps. Big Impact. By Zalando initiative. Eight European brands with sustainable values have each designed a capsule range for Zalando, together forming a 116 piece collection for winter 2020. A common aim unites: by inviting consumers to experience and explore the Zalando Greenhouse and the designers and brands which feature within, they are equipped to shop more responsibly.     The brands are at the heart of the experience via audio, imagery and interiors matched to each creative vision. It will be a digital showroom that anyone can visit, each space encapsulating a designer’s vision. Users will be able to explore the Zalando Greenhouse via desktop, tablet or mobile, and surround themselves in a beautifully created digital space, bringing a new way to explore the clothes, the stories and the designers behind them.     “The Greenhouse is an immersive way to discover not only the collection but key voices, creatives and ideas in the sustainable fashion space. With this dedicated digital space we want to help customers shop more sustainable fashion and learn about the designers joint efforts to bring this collection to life. It's a long-term initiative that will be developed for future collections and could even pop-up physically in the future." - Natalie Wills, Global Director Social Media & Consumer PR, Zalando     Like the capsule collection, the Greenhouse echoes the message and ethos of Zalando’s sustainability strategy, do.MORE, launched in October last year. Acknowledging that the fashion industry is part of the problem, Zalando strives to be a part of the solution by harnessing its scope, connections, scale and technology to influence positive change in the fashion industry. It wants to become a sustainable platform with a net-positive impact for people and the planet.   “It is more important than ever that we start to strike a balance between a love for fashion and protecting people and the planet. It is crucial that we all take responsibility for our futures, and realise that every time we buy something we are casting a vote on the kind of world we want to live in. I am delighted to support these eight amazing designers, who are each disproving the dated notion that ethical and sustainable fashion is bland and scratchy and demonstrating that fashion CAN have a positive impact on nature.” - Arizona Muse, Model, Activist and Sustainability Consultant.     Explore Now: Visit the Zalando Greenhouse by visiting www.zalandogreenhouse.com or explore on Zalando Instagram. This week marks the launch of Zalando Greenhouse, a virtual 360 degree experience bringing the recently launched Small Steps. Big Impact. By Zalando to a new, exciting, digital life. It takes the collection right to the consumer, wherever they may be.   The ongoing project will engage and inspire consumers, both to discover the collection and to make more sustainable choices. There will be surprise appearances from selected talent, including model and sustainability advocate Arizona Muse and creative director and sustainability consultant Doina Ciobanu, creating an unforgettable way to shop the collection.     The debut showcased in the house is the second capsule collection of the Small Steps. Big Impact. By Zalando initiative. Eight European brands with sustainable values have each designed a capsule range for Zalando, together forming a 116 piece collection for winter 2020. A common aim unites: by inviting consumers to experience and explore the Zalando Greenhouse and the designers and brands which feature within, they are equipped to shop more responsibly.     The brands are at the heart of the experience via audio, imagery and interiors matched to each creative vision. It will be a digital showroom that anyone can visit, each space encapsulating a designer’s vision. Users will be able to explore the Zalando Greenhouse via desktop, tablet or mobile, and surround themselves in a beautifully created digital space, bringing a new way to explore the clothes, the stories and the designers behind them.     “The Greenhouse is an immersive way to discover not only the collection but key voices, creatives and ideas in the sustainable fashion space. With this dedicated digital space we want to help customers shop more sustainable fashion and learn about the designers joint efforts to bring this collection to life. It's a long-term initiative that will be developed for future collections and could even pop-up physically in the future." - Natalie Wills, Global Director Social Media & Consumer PR, Zalando     Like the capsule collection, the Greenhouse echoes the message and ethos of Zalando’s sustainability strategy, do.MORE, launched in October last year. Acknowledging that the fashion industry is part of the problem, Zalando strives to be a part of the solution by harnessing its scope, connections, scale and technology to influence positive change in the fashion industry. It wants to become a sustainable platform with a net-positive impact for people and the planet.   “It is more important than ever that we start to strike a balance between a love for fashion and protecting people and the planet. It is crucial that we all take responsibility for our futures, and realise that every time we buy something we are casting a vote on the kind of world we want to live in. I am delighted to support these eight amazing designers, who are each disproving the dated notion that ethical and sustainable fashion is bland and scratchy and demonstrating that fashion CAN have a positive impact on nature.” - Arizona Muse, Model, Activist and Sustainability Consultant.     Explore Now: Visit the Zalando Greenhouse by visiting www.zalandogreenhouse.com or explore on Zalando Instagram.

Comfort, technology, style, performance and sustainability: these are the Colmar key words for the first winter of the new decade
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Comfort, technology, style, performance and sustainability: these are the Colmar key words for the first winter of the new decade

Fashion In presenting the pieces for next winter and officially entering the decade when it will be celebrating its centenary (in 2023), Colmar, in producing the offer in the run-up to its anniversary, has decided to keep some important key words in mind.     Sustainability: thermal insulators 90% made up for recycled fibers are used in the collection; the revolutionary Teflon EcoElite, water-repellent treatment, which comes from renewable sources some years and is applied on the whole collection; empty polyester fiber spheres become an artificial insulation filling, the most similar alternative to down which keeps its heat qualities even when it is wet; Graphene, applied to a fabric for the first time by Colmar, becomes a yarn used in the lining of jackets which, thanks to this innovative nano-tech material, lets the body not only distribute warmth evenly, but disperse static as well. The pieces characterized by recycled materials are marked by a special tag.      Technology and Comfort: are also two important words for this collection: the study of and research into increasingly advanced materials to constantly improve athletic performances and movements are the imperatives in every season. This is why padding becomes stretch, there are five-layer puckered fabrics, some jackets have been designed with water-repellent down and Graphene is applied to an increasing number of pieces.     Style: with special attention to the female world so that women’s skiing is underlined by important details but which make all the difference: the lines and the cuts mostly follow the body and make sporting movements easier for the person wearing the piece; some elements of the jacket, such as the collar, are removable; anti-cold teddy fleece is applied at strategic point and there are more and more stylistic characteristics including the colours which, in the different lines, combined with the basic colours, become hyper-energetic.        Capsule: Dedicated to a woman with more get-up-and-go, the “Moonlight Shadow” capsule collection, where the silver mirror fabric is applied and paired with a high impact techno animal print and where femininity is magnified by side slits in the jackets, belts at the waist, vertical padding and a whole skisuit with leggings. For him, on the other hand, skiing becomes a real journey with “Ski Travel”, the versatility of which means it can be used both in the city and in the mountains, thanks to the study of specific details such as the inside straps which allow hanging the jacket from the shoulders, a pocket which can act as a backpack on the back, the possibility of pulling out a balaclava to beat the cold and multipurpose pockets. This way modern travelers can go easily form the city to the ski slopes wearing the same piece. In presenting the pieces for next winter and officially entering the decade when it will be celebrating its centenary (in 2023), Colmar, in producing the offer in the run-up to its anniversary, has decided to keep some important key words in mind.     Sustainability: thermal insulators 90% made up for recycled fibers are used in the collection; the revolutionary Teflon EcoElite, water-repellent treatment, which comes from renewable sources some years and is applied on the whole collection; empty polyester fiber spheres become an artificial insulation filling, the most similar alternative to down which keeps its heat qualities even when it is wet; Graphene, applied to a fabric for the first time by Colmar, becomes a yarn used in the lining of jackets which, thanks to this innovative nano-tech material, lets the body not only distribute warmth evenly, but disperse static as well. The pieces characterized by recycled materials are marked by a special tag.      Technology and Comfort: are also two important words for this collection: the study of and research into increasingly advanced materials to constantly improve athletic performances and movements are the imperatives in every season. This is why padding becomes stretch, there are five-layer puckered fabrics, some jackets have been designed with water-repellent down and Graphene is applied to an increasing number of pieces.     Style: with special attention to the female world so that women’s skiing is underlined by important details but which make all the difference: the lines and the cuts mostly follow the body and make sporting movements easier for the person wearing the piece; some elements of the jacket, such as the collar, are removable; anti-cold teddy fleece is applied at strategic point and there are more and more stylistic characteristics including the colours which, in the different lines, combined with the basic colours, become hyper-energetic.        Capsule: Dedicated to a woman with more get-up-and-go, the “Moonlight Shadow” capsule collection, where the silver mirror fabric is applied and paired with a high impact techno animal print and where femininity is magnified by side slits in the jackets, belts at the waist, vertical padding and a whole skisuit with leggings. For him, on the other hand, skiing becomes a real journey with “Ski Travel”, the versatility of which means it can be used both in the city and in the mountains, thanks to the study of specific details such as the inside straps which allow hanging the jacket from the shoulders, a pocket which can act as a backpack on the back, the possibility of pulling out a balaclava to beat the cold and multipurpose pockets. This way modern travelers can go easily form the city to the ski slopes wearing the same piece.

FENDI x K-WAY®  RELEASE THEIR NEW CAPSULE COLLECTION
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FENDI x K-WAY® RELEASE THEIR NEW CAPSULE COLLECTION

Fashion FENDI presents a surprising Capsule Collection developed in collaboration with K-Way®, just in time for the chilly and rainy season.     The Roman Maison’s signature luxury yet ironic aesthetic meets the timeless functionality of K-Way® for a range of Women’s, Men’s and Kids pieces injected with a cool and urban appeal.     FENDI’s iconic FF logo pattern steals the spotlight, printed ton-sur-ton on K-Way® legendary reversible nylon windbreakers, which can be folded in a pocket and carried as a pouch. The printed face, coming in mat black, is matched with a solid one, - black and gold for Women, dark blue for Men and black and pink for Kids. In addition to the regular shape available for all categories, the Women’s line presents also a shorter bomber- like version for an extra edgy twist.     For a truly luxurious touch, FENDI and K-Way® also developed a Women’s and Men’s exclusive style, wherenylon is combined with an FF logo printed on mink fur in brown, which is also used for a bib-like accessory to layer under jackets and outwear giving an extra sophisticated touch.     Get ready to run under the rain with FENDI x K-Way®, the best combination of chic and functional for the whole family.     Available in FENDI Boutiques and on fendi.com starting from November 2020. FENDI presents a surprising Capsule Collection developed in collaboration with K-Way®, just in time for the chilly and rainy season.     The Roman Maison’s signature luxury yet ironic aesthetic meets the timeless functionality of K-Way® for a range of Women’s, Men’s and Kids pieces injected with a cool and urban appeal.     FENDI’s iconic FF logo pattern steals the spotlight, printed ton-sur-ton on K-Way® legendary reversible nylon windbreakers, which can be folded in a pocket and carried as a pouch. The printed face, coming in mat black, is matched with a solid one, - black and gold for Women, dark blue for Men and black and pink for Kids. In addition to the regular shape available for all categories, the Women’s line presents also a shorter bomber- like version for an extra edgy twist.     For a truly luxurious touch, FENDI and K-Way® also developed a Women’s and Men’s exclusive style, wherenylon is combined with an FF logo printed on mink fur in brown, which is also used for a bib-like accessory to layer under jackets and outwear giving an extra sophisticated touch.     Get ready to run under the rain with FENDI x K-Way®, the best combination of chic and functional for the whole family.     Available in FENDI Boutiques and on fendi.com starting from November 2020.

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