“It doesn’t really matter where I’m based – I have the internet!” says Clara Colette Miramon from her studio in Berlin’s Neukölln. While she makes a good point, that doesn’t detract from the fact that the city’s fashion scene is more lively and diverse than ever, thanks to a new wave of designers like Clara, who, over the past few years, have chosen Berlin as the home for their unique brands.
Drawn by the city’s reputation as a font of raw creativity and improvisation – particularly when compared to other larger fashion capitals – they’re part of a new generation of fashion creatives that are re-establishing Berlin as a city to be reckoned with in the industry’s global arena.
And indeed, although designers like Gerrit Jacob, Sia Arnika, Lou de Bètoly and Clara Colette Miramon work from the German capital, they see themselves as international brands – a conviction affirmed by their international sales figures. Though that may sound like a peculiar situation to navigate, it’s one they’ve all turned to their advantage. After all, in an age – and more specifically an industry – governed by social media, the physical location of a designer’s studio is less and less important. With the tools we all have at our disposal, impactful fashion will inevitably find fans, wherever in the world they are.
Back in Berlin, though, we stopped by these four designers’ studios to discuss their endeavours in establishing their own labels, how they deal with the fashion industry’s constant appetite for growth, and the parameters by which they measure success.
Clara Colette Miramon
How would describe your brand’s aesthetic?
For me, fashion’s purpose is to represent diverse perspectives on beauty. I’m especially interested in various expressions of femininity, and my primary intention is to emphasise the physicality of the body. As for the aesthetic DNA of my brand, I’d say it lies somewhere between our current extremely-online age and the Middle Ages. I’m naturally interested in pop culture, red carpet looks and things that are subject to hype today, but I’m just as obsessed with historical corsets that model the body in a flattering, non-constrictive way.
Is Berlin an important place for your brand?
There’s so much going on here at the moment, and I’m glad to be a part of that, but I’ve never really seen myself as a ‘Berlin brand’. I’ve always seen what I do as internationally relevant from the start. It doesn’t really matter where I’m based – I have the internet! Still, compared to other large cities, you definitely have so much freedom here – that said, Berlin does lag a bit when it comes to accessing the support you need to build a business.
How exactly did your brand come about?
During my studies, I worked at established Berlin-based labels like Ottolinger and Namilia, and saw firsthand how much struggle and sacrifice running your own label entails — I actually found it pretty off-putting. For my graduate collection, though, I received so much positive feedback, so I posted my work on Instagram and put pieces up for sale. That worked out really well, so I decided to carry on by designing Butterfly Season One, a passion project that ended up going pretty viral.
What do you mean by that?
My Butterfly Puffer Jacket was suddenly everywhere on TikTok, Twitter and Instagram – and then later on other e-retailers, who were selling knock-offs of my jacket. But what are you supposed to do about that as a small label in Neukölln? Still, although I had no money at all, and hardly any idea how to run a business, social media gave me the chance to be noticed from the very start. That’s what, ultimately, motivated me to start my own brand.
What does success look like for you?
I find it hard to feel successful, as I’m very ambitious and I always want to achieve more. The thing I love most, though, is being able to creatively express myself, and making my visions a reality with my team. That makes every day a success.
Gerrit Jacob
How would describe your brand’s aesthetic?
I love questioning classic beauty ideals, and using references that are far removed from established notions of ‘good taste’. My dad is a lorry driver in Hamburg, and I can still recall the dark pubs filled with slots machines that you find there. These shimmering games arcades, betting shops and casino halls have since become the aesthetic inspiration for my colour palettes, as have funfairs.
With its expressive and garish prints, your work is, in the very best sense, unique. Would you say that you set out to challenge the eye?
Totally! I also love animal prints – though you’ll never see me do a typical orange tiger; I love transposing familiar motifs into new contexts.
When did you decide to start your own label?
I didn’t actually think about it at all until about halfway through my masters at Central Saint Martins, solely on the grounds that I didn’t think my work was good enough. But then at some point, I thought: “Maybe I could actually do it?!” After uni, I worked for Gucci for two years and managed to put some money aside — and moreover, make some pretty lucrative stock investments. I managed to lay down the financial basis for my independent practice, and founded my own label in 2021.
You’ve previously said in interviews that you’re still in debt from your studies at CSM, despite having received grants.
I’m from a working class background, and have always had to fight my way through. During my studies, I worked for Balenciaga, but after I’d paid my rent, I only had about €100 a month to get by on. I basically lived off meal tickets, and was always in the red. ‘Brutal’ is a word that I’ve often used to describe what that period was like from a financial perspective. And yes, it’s true that despite having received all the possible bursaries during my masters studies, I’m still quite a way off from paying off my student debt.
Your work has already been worn by Dua Lipa and Rosalía. How important have endorsements like that been for your label?
Pretty important! After Rosalía wore my clothes, I saw a sudden increase in requests from reggaeton and Latin pop artists. They became aware of what I was doing because of her. I was basically able to cover my rent for months from her wearing my work once.
It must be cool to see your designs on some of the world’s biggest stages?
Yes! Maluma wore my clothes on stage after his stylist discovered the pieces in a shop in Tokyo. And then Burna Boy recently wore something of mine. In moments like this, having your own brand is a lot of fun. On the flipside, though, the day-to-day running of things is often really frustrating.
Is Germany an important place for your brand?
From the beginning, I knew that my work was too loud, too extreme and too expensive for Germany. I sell hardly anything here – my main markets are America, Korea and Japan; or stores in Paris, London and Milan, which are all international shopping destinations. I’m convinced that the only luxury products that Germans will gladly spend money on are cars. Culturally speaking, far too little value is placed on fashion here.
Finally, what does success look like for you?
Seeing my collections become stronger and more complex. It’s also great when you see something that you create from the heart win people over.
Sia Arnika
How would describe your brand’s aesthetic?
My practice is an investigation into current cultural developments and old tales, transposed into a new narrative where both minimalism and maximalism are present. There’s a constant play between the notion of anonymity, and loudly broadcasting oneself. It is rooted in the idea of having two opposing forces existing in the same universe. I call it experimental normality.
Can you recall your first fashion memory?
I don’t know if it is a real memory, or if it is has been enhanced by me looking at a photo of it, but it was my 6th birthday and I got this black baby doll dress with a little white lace collar. In the moment the picture was taken, I’m standing on a little stool in front of the bathroom sink, combing my wet hair back so it’s all slick. I thought I was the ILLEST!
You’re originally from Denmark. What made you move to Berlin?
Denmark is cute, but I wanted to explore who I was outside of the Scandinavian bubble, and there is no place like Berlin that gives you the freedom to do just that.
At what point did you feel prepared to start your own label?
After working for other brands, gaining both good and bad experiences, I had my come-to-Jesus moment during the pandemic. I realised I wasn’t happy with the current status quo, so it was time to take the next step.
To many, Berlin is more of a cultural city than a fashion city. How does the city impact your creativity? Do you think Berlin is a good place to run a fashion label from?
Creatively speaking, it’s the perfect place to be; being an observer by nature, I love to just roam around and people-watch, observing contemporary culture at its finest. I wish that there was more of a fashion industry here in terms of craft and local production, but maybe it will return at some point.
What does success mean to you?
Happiness, independence, and leading a life that contributes positively to the wellbeing of others.
Lou de Bètoly
How would you describe your brand aesthetic?
I’d say it’s about heavy handcraft, humour and a mix of nostalgic and disturbing elements. I find inspiration in anything illogical and surreal.
What are the main preoccupations of your work?
The main one is to break certain entrenched codes. For example, I find myself drawn to a classic French bourgeois aesthetic – I love the combination of cashmere sweaters, pearl necklaces and miniskirts. But I want my looks to challenge the eye, and to be unique in the best sense – it’s always combining things in a particular way; turning style and garments into things that really express a sense of personality.
No matter how talented you are, it’s basically impossible for a designer to build a brand with fashion alone. How important is social media for you?
It’s fascinating that you’re able to reach a worldwide audience at your fingertips, but when you ponder it a bit deeper, it can all get a bit overwhelming. I look after the brand’s Instagram account myself, and mostly like to post images from our shoots. They always involve a number of people that I consistently work with on developing the visual identity of the brand. In general, I’m trying not to make a headache out of it.
Extravagant crochet and elaborate handwork have become your brand signatures. All of your designs are hand-finished in your studio, right?
Yes, that’s right, all of my designs are anchored in handwork – and I want that to remain the case even years down the line from now. It’s the core of my brand, and my counterpoint to fast fashion. Of course, my approach is one that you could question from a commercial standpoint, but I want to stay true to the values of my label, so I’m going to stick with it.
You come from France. How would you say fashion is valued there compared to in Germany?
In France, fashion is a matter of national pride. In Germany, you see a new group of interesting designers emerge, but of those, so many quickly disappear again. In Berlin, things are either super underground or super commercial. Recently, though, we’ve seen a lot of exciting things emerge, and I’m excited to see how the city develops from a fashion perspective.
Credits
Photography Spyros Rennt