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

LEVI’S  MODERN VINTAGE LOGO
718

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

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

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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.

In conversation with Anwar Hadid
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In conversation with Anwar Hadid

Men Who is Anwar Hadid? A model, musician and jewelry label founder. Since he started following in his sisters' footsteps in fashion, he was on the covers of magazines, was the face of Hugo Boss Menswear Hugo line, walked in New York Fashion Week and many more...      Anwar, together with Yoni Laham you launched your own jewelry label ”Martyre” in 2019. What is the story behind founding ”Martyre”?   We wanted to create a space where we could create and collaborate with friends, artists and organizations. We also wanted to find common ground in our beliefs.     Creating a brand isn't an easy task, let alone building its success. What have you learned about yourself through founding a business?   Running a business is a challenge in so many ways, but it is also a huge blessing. We have worked hard building our company, so we are able to focus a lot more on the creative this coming year onward.     What are your and Yoni's goals and plans for the brand in the future?   We are planning to continue to collaborate with artists, organizations and brands that we believe connect with our beliefs in whatever way we can all across the board and all across the world hopefully.     You are also starting your music career, right? How did that passion and idea come to fruition? Have you always wanted to do music of your own?   I made music when i was 14 - 15  with my friends in a little box studio on Cahuenga Blvd in LA, but I just didn't really know myself that well then. Me and some friends wrote raps and sang songs and would record them, but it was just something we did for fun, I never thought I would try and make projects of my own.     Tell us more about what can we expect from your music?    I'm not so sure, I'm finishing up a project now that will be out sometime next year.     A lot of musicians write their own songs. Are you one of those who are writing their own lyrics? If you do, what inspires your writing?   I write my lyrics for songs I make with friends. Sometimes it's personal stuff, sometimes it's conversations or stories about friends or love or life events. Anything could be a song in my opinion if it is a story that you want to remember.     For a young age, you've experienced quite a lot of different industries. Which one is the hardest and which one is the most fulfilling for you?   I honestly love fashion when I can creatively collaborate with brands and with my friends, like what we did with Numero! Thanks Arb and Kuj and Diego. And I think making music has been super fulfilling for my friends and I, it's just another way we all can represent more of our little piece of vibes for the world.     What is in your plans for the future besides music and your work on ”Martyre” after the world gets back into its tracks again?   I hope I just continue to follow my heart and creating with my friends honestly. I feel blessed and very happy.     PHOTO CREDITS: Talent: Anwar Hadid at IMG Models @anwarspc Photography: Diego Andrade @diegobenjaminandrade EIC: Timotej Letonja @timiletonja Styling: Milton Dixon @miltonmania Fashion director: Lisa Jarvis @lisajarvis_stylist Casting: Tasha Tongpreecha @tashatongpreecha  Market editor: Raziel Martinez @itsmerazzie  Make-up: Kuma using MAC Cosmetics Hair: Matt Benns using Bumble & Bumble Styling assistant: Share Koech  Fashion assistant: Celine Azena & Ellis Herz Special thanks to David Ralph  artwork and creative direction: Kuj & Arb @arben @malrborokuj  Who is Anwar Hadid? A model, musician and jewelry label founder. Since he started following in his sisters' footsteps in fashion, he was on the covers of magazines, was the face of Hugo Boss Menswear Hugo line, walked in New York Fashion Week and many more...      Anwar, together with Yoni Laham you launched your own jewelry label ”Martyre” in 2019. What is the story behind founding ”Martyre”?   We wanted to create a space where we could create and collaborate with friends, artists and organizations. We also wanted to find common ground in our beliefs.     Creating a brand isn't an easy task, let alone building its success. What have you learned about yourself through founding a business?   Running a business is a challenge in so many ways, but it is also a huge blessing. We have worked hard building our company, so we are able to focus a lot more on the creative this coming year onward.     What are your and Yoni's goals and plans for the brand in the future?   We are planning to continue to collaborate with artists, organizations and brands that we believe connect with our beliefs in whatever way we can all across the board and all across the world hopefully.     You are also starting your music career, right? How did that passion and idea come to fruition? Have you always wanted to do music of your own?   I made music when i was 14 - 15  with my friends in a little box studio on Cahuenga Blvd in LA, but I just didn't really know myself that well then. Me and some friends wrote raps and sang songs and would record them, but it was just something we did for fun, I never thought I would try and make projects of my own.     Tell us more about what can we expect from your music?    I'm not so sure, I'm finishing up a project now that will be out sometime next year.     A lot of musicians write their own songs. Are you one of those who are writing their own lyrics? If you do, what inspires your writing?   I write my lyrics for songs I make with friends. Sometimes it's personal stuff, sometimes it's conversations or stories about friends or love or life events. Anything could be a song in my opinion if it is a story that you want to remember.     For a young age, you've experienced quite a lot of different industries. Which one is the hardest and which one is the most fulfilling for you?   I honestly love fashion when I can creatively collaborate with brands and with my friends, like what we did with Numero! Thanks Arb and Kuj and Diego. And I think making music has been super fulfilling for my friends and I, it's just another way we all can represent more of our little piece of vibes for the world.     What is in your plans for the future besides music and your work on ”Martyre” after the world gets back into its tracks again?   I hope I just continue to follow my heart and creating with my friends honestly. I feel blessed and very happy.     PHOTO CREDITS: Talent: Anwar Hadid at IMG Models @anwarspc Photography: Diego Andrade @diegobenjaminandrade EIC: Timotej Letonja @timiletonja Styling: Milton Dixon @miltonmania Fashion director: Lisa Jarvis @lisajarvis_stylist Casting: Tasha Tongpreecha @tashatongpreecha  Market editor: Raziel Martinez @itsmerazzie  Make-up: Kuma using MAC Cosmetics Hair: Matt Benns using Bumble & Bumble Styling assistant: Share Koech  Fashion assistant: Celine Azena & Ellis Herz Special thanks to David Ralph  artwork and creative direction: Kuj & Arb @arben @malrborokuj 

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.

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.

BOTTEGA VENETA RELEASES THEIR WARDROBE 01 CAMPAIGN
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BOTTEGA VENETA RELEASES THEIR WARDROBE 01 CAMPAIGN

Fashion With Tobias Dionisi, Cyrielle Lalande, Selena Forrest, Martijn Faaij, Guinevere van Seenus, Malaika Holmén, Fernando Cabral   Photographed by Tyrone Lebon With Tobias Dionisi, Cyrielle Lalande, Selena Forrest, Martijn Faaij, Guinevere van Seenus, Malaika Holmén, Fernando Cabral   Photographed by Tyrone Lebon

Versace opens a new boutique in Amsterdam
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Versace opens a new boutique in Amsterdam

Fashion Versace is excited to announce the opening of a new store in Amsterdam. The two-floor boutique is located on P.C. Hooftstraat street, the city’s premier luxury shopping destination.     Crafted from white Venus marble, the imposing façade reflects the brand’s timeless glamour. Interiors encompass Versace’s pursuit of only the highest quality materials with custom-created eucalyptus wood flooring covered with plush blue and gold carpets. Marble displays are complemented with golden metal construction – acting as an overarching element that connects the various spaces, giving off a clear sense of continuity. The ceiling is enriched with sculptural Medusa accents in a celebration of brand heritage.     Inaugurated on July 17th, 2020, the 170 square meter boutique showcases a curated selection of women’s and men’s ready-to-wear and accessories.     Versace is excited to announce the opening of a new store in Amsterdam. The two-floor boutique is located on P.C. Hooftstraat street, the city’s premier luxury shopping destination.     Crafted from white Venus marble, the imposing façade reflects the brand’s timeless glamour. Interiors encompass Versace’s pursuit of only the highest quality materials with custom-created eucalyptus wood flooring covered with plush blue and gold carpets. Marble displays are complemented with golden metal construction – acting as an overarching element that connects the various spaces, giving off a clear sense of continuity. The ceiling is enriched with sculptural Medusa accents in a celebration of brand heritage.     Inaugurated on July 17th, 2020, the 170 square meter boutique showcases a curated selection of women’s and men’s ready-to-wear and accessories.    

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