Fashion – Numéro Berlin

DOLCE&GABANNA SS26 – PYJAMAS

Anna Klusmeier — Fri, 13 Feb 2026 17:19:32 +0000

Forget pyjamas in the bedroom. Dolce & Gabbana takes the classic pyjama out of its private niche and catapults it directly into the spotlight of street styles and dinner parties. The result? A collection that provocatively dissolves the boundary between comfort and high end elegance.

It is no secret that the Italian duo Domenico Dolce and Stefano Gabbana has a knack for staging intimacy. But this season they redefine the concept of loungewear entirely. The classic pyjama two piece forms the heart of their vision, yet what walks across the runway shares only the silhouette with original nightwear.

Despite the classic cuts the designs exude an extravagant sophistication. Dolce & Gabbana prove how versatile the pyjama concept can be. We see models covered in Swarovski crystals or captivating through delicate floral embroideries.

The epitome of the traditional cotton pyjama remains. Striped looks in baby blue, soft pink and timeless black form the basis but appear anything but ordinary through the combinations and the perfect drape.

The play with proportions is essential for this look. While the trend clearly moves towards oversized cuts that radiate a casual nonchalance, the house skillfully breaks these volumes. Matching, tiny bustiers paired with flowing pyjama trousers create an aesthetic that is simultaneously cozy and sexy.

Dolce & Gabbana show us that the pyjama is a fashion chameleon. Combined with trench coats, structured blazers or leather, the look appears in a completely new urban light.

Especially exciting in connection with an opulent fur coat or a sharp blazer, the two piece transforms into an elegant dinner look that can skillfully keep up with any evening gown. Looks with black lace provide a feeling of lingerie while still looking dressed. Who would have thought that pyjamas could be so sexy and elegant?

Dolce & Gabbana has allowed the pyjama to show how bright it can actually shine.

IN CONVERSATION WITH SABER AHMED

Anna Klusmeier — Thu, 12 Feb 2026 15:34:19 +0000

Juliette Leoncini Roux – @juliette.leoncini

At Ogata, Glass Cypress held its first fashion show in Paris with its Fall Winter 2026 collection titled “A Quiet Frontier.” Founded in 2016 by brothers Saber Ahmed and Samee Ahmed, the Texas-based menswear label has evolved outside the traditional fashion capitals. Raised by Bangladeshi parents, the brothers grew up with a sensitivity to craft and material that continues to inform the brand’s contemporary language in quiet, deliberate ways.

The rooms were spare yet quietly striking, light settling gently across wood and stone. There was a sense of stillness before anything began. On every chair lay an envelope containing a letter and a pen, waiting.

The note opened simply: “Dear friends, thank you for being here. My name, Saber, means patience, a value I did not naturally possess and one I have learned through time and work.” What followed reflected on discipline and reduction, on removing excess so that form could surface through repetition. The garments, it explained, were constructed without added effect, designed to sit with the body and reveal themselves gradually through wear.

When the show ended, the invitation remained. Guests were asked to respond, leaving behind a word of their own.

Glass Cypress continues to work closely with artisans, employing techniques such as dyeing, quilting, gathering, bridging, and washing. In Paris, the space, the letter, and the work itself seemed to move at the same tempo, unhurried and deliberate, leaving an impression that lingered long after the room had emptied.

Juliette Leoncini Roux – @juliette.leoncini

Elena Kaempfe: This season marked your first presentation in Paris. What did that moment represent for you, both personally and professionally?

Saber Ahmed: Everything I do is a continuation of a body of work. Showing in Paris felt less like an arrival and more like
a moment of alignment, when the clarity of the brand and the reason for making the work felt fully formed
and ready to be shared. Personally, it confirmed that the intuition guiding the process could hold up under
scrutiny.

What was the starting point for this collection? Was there a specific reference, idea, or period you kept returning to?

I try to avoid working from fixed references. The collection began with a feeling I experienced while
walking in Jackson Hole, watching my niece move freely through an open landscape. That sense of scale,
movement, and quiet tension became the foundation.

Juliette Leoncini Roux – @juliette.leoncini

That sense of scale and tension is very present in the silhouettes. How did that feeling translate into construction and material on the runway?

It translated through construction rather than imagery. I was interested in the beauty that emerges from tension, in how landscapes are worn in and shaped over time. Techniques such as gathering, bridging, and washing were used to test gravity and use, allowing garments to collaborate with time rather than resist it.

What proved most challenging during the process?

Restraint. It is easy to over-design, and learning when to stop, to trust repetition and editing, was the most demanding part of the process.

Juliette Leoncini Roux – @juliette.leoncini

The casting felt very intentional and understated. What was your vision for the models?

I wanted models who could carry tension and human presence without projecting personality or attitude.
The intention was for the garments to speak first, without any performance or narrative attached.

You are based in Texas, which is not typically associated with contemporary menswear. How does that distance shape your work?

Texas is not a fashion reference point, and that distance is important. It allows me to work without
constant visual noise or immediate comparison, which keeps the process grounded and personal.

How would you say living in Texas nourishes you as an artist?

It provides distance from trends, urgency, and general overexposure. That separation gives ideas time to
mature and cultivate internally and quietly before they are shared.

Do you see your work as connected to a specific place, or do you try to keep it geographically open?

The work is informed by context but not tied to one place. I am more interested in conditions such as time,
movement, pressure, and of course texture, than geography.

Juliette Leoncini Roux – @juliette.leoncini

How do you see the current state of menswear, and where do you position Glass Cypress within it?

Menswear today moves very quickly. Glass Cypress exists intentionally outside that pace. I am less
interested in novelty and more focused on continuity, building a language that can be returned to and
refined over time.

How would you describe your vision of modern menswear?

Classic pieces are forms that have already proven their longevity. Working within familiar structures forces
discipline and leaves little room to hide behind novelty.

You continue to work with classic pieces like shirts and tailoring. What draws you back to these forms today?

Classic pieces are forms that have already proven their longevity. Working within familiar structures forces
discipline and leaves little room to hide behind novelty.

In a fashion climate that often prioritizes novelty, what does classic mean to you now?

I don’t think classic is a refusal of change. Fashion exists because of the impulse to leave what is familiar
and move toward something new. At the same time, moving too far from the idea or too quickly risks
isolation. For me, classic lives in the tension between novelty and sameness. It is a balance, introducing
subtle difference without abandoning the idea, allowing garments to evolve while still remaining legible
and usable over time.

The name Glass Cypress suggests a contrast between fragility and strength. How did the name come about, and how does it relate to the brand’s identity?

The name reflects the same tension that runs through the work. Glass Cypress is about balancing
opposing forces i.e. fragility and strength, novelty and sameness. The clothes are meant to introduce
subtle differences without removing familiarity, allowing forms to adapt and erode without losing their
structure. That balance gives the work durability, both physically and conceptually.

The Paris venue was very considered visually. How involved were you in choosing the space, and what role did it play in presenting the collection?

The space was integral. Ogata is quiet, precise, and built around attention rather than spectacle. It
allowed the collection to exist without distraction, which was important to me.

Juliette Leoncini Roux – @juliette.leoncini

When you think about the wearer, are you designing for a specific person or a broader idea of masculinity?

I am designing for someone who understands balance. Someone who values familiarity but is not
confined by it, and who is open to change without chasing novelty for its own sake. It is less about
masculinity and more about conviction and presence, where the clothes adapt to the wearer and
confidence remains intact, even as the garments change.

After this Paris presentation, what feels most important for you moving forward as a designer?

Continuity and balance. I am focused on refining the language rather than expanding it. I’ll try to make
sure the work holds up quietly, over time, without needing constant explanation.

Juliette Leoncini Roux – @juliette.leoncini

VALENTINES DAY AT NUGNES 1920

Anna Klusmeier — Tue, 10 Feb 2026 12:04:51 +0000

In the 1920s, Giuseppe Nugnes laid the foundation for a vision in the heart of Puglia that, four generations later, stands as the essential expression of Southern Italian elegance. What began as a bespoke tailoring atelier in Trani has evolved under the family’s stewardship into a global benchmark for curated luxury.

The house’s identity is rooted in quiet confidence, an aesthetic that doesn’t need to shout to be heard. This very sense of understatement is what draws icons like The Row, Saint Laurent, Miu Miu, and Jil Sander together within the world of Nugnes. It’s a perfect symbiosis of artisanal heritage and contemporary avant-garde.

Quiet presence, grand gestures.

For Valentine’s Day, this philosophy manifests in the art of intentional choice. At Nugnes 1920, gifting is more than a mere gesture. It’s a purposeful selection. This year’s curation bridges emotional depth with sartorial precision.

For her, sculptural accents come to life in heart-shaped earrings by Bottega Veneta or iconic Alaïa slingbacks that lend a razor-sharp edge to modern romanticism. For him, artisanal perfection takes center stage: polished Tom Ford loafers and Brunello Cucinelli leather accessories embody a masculine sovereignty that transcends fleeting trends.

These are pieces that tell their own story, an invitation to timeless elegance.

Explore the curated Valentine’s Day selection now online at nugnes1920.com and in our flagship boutiques in Trani and Bari.

IN CONVERSATION WITH LUKE RAINEY

Anna Klusmeier — Fri, 06 Feb 2026 14:36:47 +0000

The Berlin-based label DAGGER was founded in 2020 by Luke Rainey. It is a success story that proves that endings often mark new beginnings. After years of working in retail, Luke lost his job. His termination letter concluded with the words: ‘We wish you all the best.’ Luke took this phrase as inspiration. He began printing T-shirts with that very slogan, laying the foundation for his own vision.

Today, six years after those first printed shirts, his label DAGGER has made the leap onto the official Berlin Fashion Week calendar, where he is presenting his debut runway show. It is a deeply emotional moment for the designer, who has successfully translated his skater roots into the world of high fashion. Shortly after the finale, elated and surrounded by well-wishers, I had the opportunity to speak with Luke about this major milestone.

SOPHIA NOWAK: Luke, your Label DAGGER just had its Debut on the runway. How do you feel after your first official fashion show?

LUKE RAINEY: I feel like I’ve been shot out of a cannon, like literally shot out of a canon. It’s a weird feeling of relief and total joy and also something in between that I can’t describe.

SN: I’m so excited for you! You started your label when you got fired, and they sent you an email wishing you “all the best”. How does it feel to see people wearing your label with the exact phrase that was in your firing email and to see it become so successful?

LR: It feels fucking amazing. You know, shit things happen in life all the time to everyone. I hope when people hear that story and see where I took that statement, that it inspires them to do the same whenever they’re in a shit situation. There’s something to be taken from everything no matter how bad it is and you don’t have to start a fashion brand with it, but if it inspires you to just take one step forward in a in a better direction, great.

SN: What gave you the strength, while being unemployed, to start a fashion brand and has it always been fashion that you wanted to do?

LR: Yeah, it was always fashion. I was a retail girl my whole life, you know I worked the shop floor as a sales assistant for a big majority of my life. So I’ve seen clothes come and go all day long, and I’ve seen brands start from one t-shirt and sort of build up and I guess I kind of picked up the mathematics of it a little bit and I always wanted to do it myself. And when I lost my job I got 300 Euro benefits from the government and I spent that on some t-shirts and I printed them in my little kitchen in Neukölln with that statement on the back of it and literally from that t-shirt we’ve just built it up and built it and built up. It’s crazy. We now have many international retailers for the collection that’s coming out for Spring/Summer. We have 20 international retailers, including Dover Street Market, GR8 and many others and then for winter 26, it’s almost 40 retailers internationally. In only tier one stores. It’s feeling like we’re literally about to break through and after the show I really hope that’s what happens.

SN: I saw so many pieces during the show that I liked. Which garment from your current collection is your absolute personal favorite and why?

LR: Oh god, there’s many. But actually it’s these pink jeans that are rubbered and they have silver studs all down the sides and a silver atb on the ass. And I made those thinking they were just for the show and I took them to my showroom in Paris and they were the best selling item, almost every store bought them. So those pants have inspired me to design even further and not to silence or damn darn myself. Because I think things are changing and people are not willing to pay a lot of money for standard boring items anymore. They want to pay money for something special so that’s going to direct me in the future. So I think that’s my favorite item because it kicked me up the ass a bit, those pants. I should call them that, ass kicking pants.

SN: Maybe that’s the next slogan, for your next collection.

LR: Yes! Yes!

SN: My favorite item from the collection was the headband with the slogan “play hard”.

LR: Yes, that’s the name of the show and of the collection, so we have it on the hairbands and on some hoodies as well. I love the hairband too.

SN: With the show being a success today, where do you see the brand in five years?

LR: I definitely plan on it being a global brand and already have wheels in motion to make sure that that happens. I’m really certain that, that will happen in the next five years, if not sooner, which feels bizarre to say. I never thought I’d be standing here saying that, but like I said, you believe it, you can achieve it and just fucking run at it. We are like a grungy, scaty, queer brand, but we make very high quality clothing. I will say that, dagger pieces, you get them looking a bit pre-loved. We like to make them look like they’ve had a life well lived before you had them. And with the hope that our customers will learn not to just buy clothes over and over and again, but to keep the ones that they buy and wear them for a long time so that they look better the older they get. I think it’s an important thing for sustainability. That is the easiest and most effective and most honest way that you can be sustainable. Buy less clothes, but buy well and wear them for a long time and love them.

SN: True. I have one more question. I’m curious about the angel in your fashion show. What was the idea behind it and what role does it play in the show?

LR: Yeah, the angel, he’s a fallen angel. And originally I imagined the models to be on skateboards. I love the idea of having these skaters appear as these sort of ethereal creatures from the heavens, because whenever I grew up in this little skate town in the north of Ireland, they weren’t, right? Skaters were treated as rats, basically, you know? And so I wanted to elevate them and show them with these wings and as these beautiful creatures that are fluid and are skilled and deserve to be celebrated. So it was really about me spotlighting that.

SN: Very cool. Thank you so much for your time and enjoy the rest of your day! Congratulations!

LR: Thank you! Thank you so much!

BERLIN FASHION WEEK FAVOURITES AW26/27

Anna Klusmeier — Wed, 04 Feb 2026 17:30:51 +0000

From variety theater to the underground: Berlin Fashion Week AW 26/27 delivered moments that stick. While brands like MARKE and Kasia Kucharska explored the season’s intellectual and emotional depths, newcomers like DAGGER brought a necessary dose of street attitude back into focus. These are the labels and shows we need to talk about right now. The ones that demonstrate just how diverse the identity of the Berlin fashion scene has become.

At M60, Kasia Kucharska presented a collection born from a state of emotional extremes. It is a deeply personal exploration of motherhood and its inherent contradictions. Kucharska makes visible the emotional and physical labor of the domestic sphere, a space defined by both overwhelming love and profound frustration. The designs are intended for women who navigate multiple roles and are constantly on the move. The collection thrives on sharp breaks and innovative tailoring. Full-latex looks reinterpret childhood memories and cinematic heroes, serving as symbols of protection and guidance. Classic shirts were transformed into modular, quick-to-don pieces; tie elements dominate over buttons. The harsh contrasts, created by black latex and pink plush, or structured pinstripes paired with fluid fabrics, mirror an internal turmoil. Joy and rage coexist here as an expression of female power.

From the private, often invisible effort of motherhood, the journey leads to a battle played out in digital spaces and our own minds. While one collection centers on female strength and emotional labor, MARKE focuses on the preservation of our critical judgment.

The collection by MARKE, titled „The Owl,“ critically examines our contemporary relationship with information, truth, and critical thinking. In an era of digital overstimulation and the tension between knowledge and disinformation, fashion here functions as a kind of anchor. The collection draws parallels between the present and historical periods, such as the Enlightenment and the Late Rococo. The designs are characterized by refined, yet restrained silhouettes and sober volumes. These are complemented by subtle, poetic details. MARKE relies on carefully crafted materials and a muted, reduced color palette. „The Owl“ does not view fashion as an escape from reality, but as a tool for clarity and focus. Amidst social and digital overload, the collection stands for a conscious reflection on intellectual depth and artisanal precision.

While MARKE sought the answer to the digital flood in internal clarity and conscious focus, Sia Arnika found it in a radical breakout. The show, titled „OVERTIME,“ took place on the 6th floor of an office building, situated among desks, fluorescent lights, and running printers. Sia Arnika staged a compelling transition from the rigid daily work routine to the freedom of the night. While printers continuously ejected white pages, a symbol of the infinite repetition of working life, models walked like employees whose classic, rigid clothing transformed into fluid, nocturnal looks throughout the show. Sculptural tailoring met soft jersey fabrics, mesh, and tactile surfaces.

Earthy, industrial tones formed the foundation, accompanied by resource-saving Tencel Lyocell fibers as well as crystal mesh and accessories by Swarovski. The show was accompanied by Kylie Cosmetics as the exclusive beauty partner, a continuation of the creative relationship between Kylie Jenner and Sia Arnika. Supported by deadstock specialists such as Beglarian Fabrics and Fabric House, the focus was placed on conscious production and material reuse. With „OVERTIME,“ Sia Arnika solidifies her design language, which is based on tension and material experimentation. It reflects modern life by maintaining the balance between structure and pleasure, control and desire.

From the bright sixth floor of the office building, the path led directly into the Berlin underground. The Berlin-based label UNVAIN was founded in 2020 by Robert Friedrichs and presented its first runway show at Berlin Fashion Week 2026 at the Feuerle Collection, a former World War II telecommunications bunker. The collection marks a milestone for the label and defines its identity through a blend of brutalism and elegance. The surroundings, consisting of Southeast Asian sculptures and imperial Chinese furniture, formed the perfect frame for the brand’s aesthetic. UNVAIN stands for beauty beyond perfection. The collection is a pure concentration on the essence of the brand, characterized by contradictions within the designs. The silhouettes moved between sharp minimalism and striking, architectural forms. Robert Friedrichs deliberately avoided focusing on a specific theme, creating an immersive fragrance installation in collaboration with Ryoko instead. Models carried incense burners across the runway, which gradually dispersed the specially developed scent throughout the room and expanded the visual presentation by a sensory dimension.

The DAGGER show provided a radical contrast to this almost ceremonial staging. Instead of incense and elegance, the label relied on raw honesty. Like the label UNVAIN, DAGGER was founded in Berlin in 2020 and presented its first runway show this year. Deeply rooted in street style, DAGGER brought an entirely different energy to the runway. Designer Luke Rainey started his fashion label after receiving a termination letter from his job in 2020, which concluded with the words “We wish you all the best”.

He took the impersonal sentence literally, printed it onto the back of his first T-shirt, and turned „All the Best“ into the brand’s slogan. This shirt marked the beginning, and today, it is the centerpiece of the brand. The design language of DAGGER is rooted in Rainey’s youth in Northern Ireland during the early 2000s, a time when money was tight, but skateboarding was the measure of all things. The fashion appears raw and authentic. It is meant to look lived-in and worn, a tribute to the beauty of a life full of stories. DAGGER symbolizes the cycle of endings and new beginnings. It is a dedication to the stories that life writes between these two points, and it brings a very raw, authentic streetwear component to the mix of the previous shows.

While DAGGER focuses on the raw, real life on the streets, Haderlump looks back at the elegance of Marlene Dietrich. Two Berlin labels, two different bows. The Berlin label Haderlump presents its new collection, „VARIUS,“ at the historic Wintergarten Varieté. In front of approximately 350 guests, a fashion evolution was presented, which appears significantly more elegant and refined than before. The collection is a tribute to Marlene Dietrich, and it explores identity, freedom, and the power of androgyny. The name of the collection is no coincidence, but rather a thoughtful play on words. It is a direct reference to the venue, the Wintergarten Varieté, where Dietrich herself performed at the beginning of her career. She herself represents uncompromising determination and a drive for freedom, and she used her presence to subvert expectations and make diversity visible.

„VARIUS“ stands for the importance of spaces where diversity is allowed to be lived. Velvet curtains and a central mirror defined the stage design. The models moved slowly and deliberately, to an exclusive soundscape by Grammy winner John Carlsson. The collection featured a mix of flowing evening dresses, sharply cut tailoring, and the iconic „Marlene trousers.“ Lace was used for the first time, combined with typical Haderlump elements such as leather, denim, and heavy wool. To complete the look, the label collaborated with well-known brands such as Liebeskind, Converse, Wempe, and Le Specs. The collection marks a turning point for the label, moving away from the purely avant-garde and rustic, towards a refined, elegant aesthetic that realizes the full potential of the brand. Accompanied by a string ensemble, the models formed an impressive „tableau“ on stage for the finale. Haderlump understands fashion as a collaborative project. For the AW26 collection, the label relied on a mixture of established partnerships and new, high-profile collaborations. What remains from this year’s Berlin Fashion Week? The realization that this week’s collections are not mere designs, but visual statements that practically demand a substantive engagement.

Between the historical heritage of the Wintergarten and the hard asphalt of DAGGER’s founding years, Berlin has found a language that resonates internationally. A loud, honest ‘All the Best’ for a fashion scene that has truly come into its own.

The Perfect Candidate, Film directed by Mischa Gurevich

Anna Klusmeier — Tue, 03 Feb 2026 21:12:26 +0000

In an industry driven by visibility and constant performance, Balletshofer chooses to slow the pace. For AW 2026, designer Alan joins director Mischa Gurevich to present the collection through a short film rather than a runway show. Set within a dystopian corporate interview, the project explores authenticity, identity under pressure, and the quiet tension between who we are and who we perform to be. Numero Berlin in conversation with Balletshofer designer Alan and film director Mischa Gurevich on casting, craft, and why film is a powerful medium for asking the questions we rarely do.

Words by Nicole Atieno

Talent Relations Usman Latif

Image Courtesy of Balletshofer

Nicole Atieno: How did this collaboration begin, and what initially connected the two of you?

Alan: We originally connected through the industry, but I had long wanted to present the brand through a narrative format rather than a traditional runway show. Film always felt like the right medium, even though I hadn’t explored it deeply before. I grew up reading scripts and directors’ notes, but never had the chance to work that way. When I met Mischa, we started talking, writing, and developing ideas very intuitively.

Mischa: We met in Berlin while I was directing a narrative film, and Alan was part of the styling team. That project already revolved around authenticity, moving away from performance and toward something more associative and emotional. I’m not interested in explaining films too much; I want them to be felt before they’re understood. That mindset became the foundation of this project.

Why did you decide to make a film rather than a conventional fashion show presentation?

Alan: Film allows you to start from a blank page. Even though the project is connected to the brand, it opens a completely new space. You can create moments of pure cinema. It was exciting to work with well-known actors like Emma Schweiger, Philip Günsch, Sira- Anna Faal, Stefanie Giesinger, Evgenia Gurevich, Zethphan Smith-Gneist but place them in an anonymous environment, removing their public identities and allowing something new to emerge. Film allows us to explore gestures, tailoring, in details like, how clothes behave when someone moves or sits. Those details mirror how character develops beneath a clean surface.

Mischa: We wanted to skip the surface and go straight into something personal. From the beginning, we approached this from an art-house perspective. It’s not meant to function as a campaign, it’s a narrative piece.

Photo by Emil Dietrich

Casting plays a crucial role in the film. How did you approach it?

Mischa: I cast the film myself. I don’t work with traditional casting directors on projects like this because I want to meet people as humans, not just as profiles. The story centers on four young adults entering a dystopian corporate office in Berlin for what appears to be a job interview.

The interviewer, played by Stefanie Giesinger, is deliberately cold and mechanical. Her styling reflects that dark and structured Balletshofer look. The questions begin very generic, almost rehearsed, and are answered in a similarly mechanical way. Words like commitment and endurance are repeated rapidly. But then the rhythm shifts. The questions slow down and become personal: Can you imagine working late? On weekends? And finally: How would you describe yourself? As the film progresses, the characters move from rehearsed answers into personal territory. That’s where everything collapses, insecurity, individuality, humanity.

We limited each actor to one take. That created real tension and presence, which you can feel on screen.

Alan: I chose actors with very different energies and experiences. I asked them not to approach the roles technically, but emotionally to draw from their own insecurities and internal conflicts. That’s where the authenticity comes from.

Photo by Christopher Behrmann

At the end of the film, they remain in the office. What does that moment signify?

Mischa: It represents identity under pressure. The interview becomes a mirror. That final question, How would you describe yourself? is something we’re rarely asked so directly. Watching them sit in silence, unable to answer, felt very honest.

Your collections often exist in very specific environments, airport, coffee shop and now in the offices Why are these spaces so important?

Alan: They’re places of urgency and transition. People pass through them quickly, rarely stopping to reflect. In this film, the office is isolated and quiet, which heightens the tension. In earlier collections for example at the coffee shop we explored trust, slowness, and physical presence. The office extends that idea: is reflection possible in a space designed purely for productivity?

Let’s talk about Spring Summer 2025 collection and the Timberland collaboration. How did that partnership influence the collection?

Alan: The collaboration felt very natural. Both our brands value craftsmanship and heritage. Moving into footwear opened a new perspective. Shoes affect posture, movement, and the overall silhouette. We avoided visible branding and focused instead on construction, pattern, stiffness, and fluidity. These are details you discover slowly.

Mischa: From a film perspective, that idea of wholeness is essential. If an outfit doesn’t feel coherent, sound and rhythm feel disconnected too. That thinking carried directly into sound design and editing.

What does authenticity mean to you beyond clothing?

Alan: Authenticity is something you keep questioning throughout life. Clothing is often the first signal, but it’s only the surface. The real tension is between fitting into a group and staying true to yourself. Ideally, the look comes from who you are not the other way around.

How do you stay relevant today without chasing trends or youth culture?

Alan: We don’t design for trends, and I wouldn’t even label the brand as “slow fashion.” It’s more about precision and handwork. Relevance comes from continuously reinventing ourselves and doing projects we genuinely believe in.

Mischa: This project breaks familiar systems no runway show, casting outside fashion, working intuitively. Authenticity is letting things happen naturally, without forcing meaning.

Do you see film becoming a bigger part of the brand moving forward?

Alan: Definitely. Film allows for depth and subtlety that a runway doesn’t. A show is fleeting, while a film stays with you. If this resonates with people, we want to continue exploring it.

The film centers on identity under pressure. Is there something you’re personally ready to let go of after this project?

Alan: Yes, small behavioral patterns, like code-switching or adapting language to please others. If something doesn’t feel genuine anymore, I’m choosing not to do it.

Mischa: For me, it’s about listening more to myself and to others. That’s ultimately why I make films: to create space for attention and reflection.

IN CONVERSATION WITH JOHANNES BOEHL CRONAU

Anna Klusmeier — Mon, 02 Feb 2026 00:21:42 +0000

Words by ALEXANDRA SCHMIDT
Photography ROSA LOBE

ioannes is an independent fashion label, founded by Johannes Boehl Cronau, that has developed a very distinctive handwriting. The designs exist beyond trends. They are guided more by what feels right and what inspires them in the moment than by the rhythm of the seasons.

Johannes’ interest in design goes far beyond fashion. Architecture, interiors, and craft are central to his work and shape not only the collections but also the way ioannes thinks and operates. Garments are never considered in isolation but as part of a larger context.

In an industry so focused on visibility and growth, ioannes deliberately operates on a smaller, more controlled scale. We spoke with Johannes about his new collection at Berlin Fashion Week, his take on the current market, and the people who inspire him the most.

Alexandra Schmidt: Your studio has a warm, almost familial calm to it. What does home mean to you?

Johannes Boehl Cronau: I’m realizing more and more, both for myself and for our brand, how important the idea of home and the domestic space has become. I love interiors, I love architecture, and I come from a family-run craft business in a small village. That’s completely part of my DNA. For me, craftsmanship is home.

You once wanted to become an architect, right?

I did want to be an architect, and I think my mother would have liked that too. The idea of home is incredibly important to me. I was exposed early on to Architectural Digest and Vogue, which were delivered to our village, even though it was very small. There was this rural context, but at the same time there was always a view out into the wider world.

So how did fashion enter the picture?

For a long time, I was genuinely torn between architecture and acting. Then I went to Paris and looked through the curricula of architecture programs, and I got a little bored because so much of it was already familiar to me. Acting felt a bit intimidating, to be honest. And then I drifted into fashion because it had always fascinated me, yet it was the one area where I knew nothing.

I don’t have a story about my grandmother always sewing with me. In fact, I couldn’t sew, and I really hated it. But I wanted to learn. When I started my bachelor’s, I thought I should at least see it through. After that, I did an internship with Haider Ackermann, and that’s when I thought, okay, this could actually work. Honestly, it was a bit of a struggle to find my commitment.

Do you get bored easily?

I have a certain impatience and like to see results quickly. Fashion is exactly that. You can fully dive into a concept and make it tangible in no time. It’s very visual, and in theory, you can explore a completely new topic every six months. Of course, in practice, a lot happens at the same time, and the more collections you have, the more you also return to things from the archive. I find this repetition, what materials, what colors, really fascinating. On one hand, there’s always something new happening, on the other, it’s about seeing which patterns and motifs keep reappearing.

In what ways do you think your Fall/Winter 2026 collection will influence ioannes moving forward?

Having inspiration and imagination is a luxury of the early phase.

As more stores, retailers, and wholesale partners come on board, more structure sets in, and a lot of energy shifts toward administration. Suddenly, you encounter new limits and challenges. With this collection and looking back at the first one in Berlin six months ago, I really allow myself to experiment. Right now, so many social and economic questions are emerging, like how small and mid-size brands can reposition themselves and find a sense of regionality and intimacy. I find that exciting because it’s not just about being “new and bigger,” it’s about figuring out where you stand as an individual and as a collective. Fashion is extremely personal, which is both its strength and its challenge.

Commercial success and reach are often underestimated, but they are skills in themselves and a form of self-awareness. At the moment, we are redefining ourselves, thinking carefully about how we want to make clothes, going back to craftsmanship, prioritizing what really matters, and reflecting on what we produce. This focus on regionality and authenticity makes sense both creatively and economically.

How do you design for the market while remaining creatively authentic?

Buyers usually look for one thing: is there a clear essence? Is there an identity that feels exciting? Looking back at my first collections, my focus was completely on the product, but there were no shirts. Simply put, if you go to the Dover Street Market today, you see shirts, trousers, T-shirts, and jackets. Back then, my focus wasn’t on what would actually be in stores. It’s really just a straightforward reworking of archetypal garments, and I realized that a little too late. I was too focused on what we wanted to see. Our collection was very light and squiggly, but for winter, people were focused on jackets and heavier garments.

Right now, we’re going through another shift where everything is being redefined. It’s no longer about who benefits but about rebuilding and figuring out whether we still want to align with Fashion Weeks or focus more on mini-capsules and drops.

Your brand has always been deliberately positioned as very niche. Were there moments when you wished for a stronger presence in the mainstream?

Of course. It almost feels a bit outdated to think that way now, because we come from a mindset where mass exposure and visibility were equated with success. You do something the right way, and if it’s done right, it’s considered good. I’m grateful that we’ve had very visible partners like Kylie and Rihanna. On the other hand, I’m also grateful that our brand has never become too big, especially over the last six years. When something grows too fast, it can start to consume itself. That’s an incredibly fascinating learning curve. With more experience and reflection, I no longer measure my value by exposure or follower count. Instead, I ask myself what I truly feel connected to in my work.

How do you define your brand today?

I think we’re only just reaching a point where we’re perceived with a certain depth. That perception needs time to develop and grows slowly. I’m realizing more and more that ioannes isn’t a brand I have to serve. ioannes is the framework in which I experience being an independent designer and creative. Today, I give myself the authority to decide what that framework looks like and how it can be the best possible practice for me.

At the same time, there’s a certain kind of guidance. Since being on Net-a-Porter, everything I design sparks a reaction. After Rihanna and Kylie wore our dresses, we suddenly became known as the Lycra print brand. I was never about bodycon or prints, but I embraced that identity because it takes decisions off my plate and gives structure.

For me, the brand isn’t just the printed dress. I ask myself how it can be everything, how I can use the space, the studio, host dinners, or collaborate with partners. Eighty percent of what’s in my atelier, I designed myself or created in collaboration with friends. The furniture comes from our own carpentry workshop, and the lamps from designer friends in Spain. I don’t want to make clothing every single day. Today it could be a lamp collaboration, tomorrow a rug made from leftover stock from Scherling jackets. At the beginning, I had to focus on fashion because you have to start somewhere. But ultimately, I want to do everything.

How do you handle visibility?

I’m not some spicy social media god.

I hate posting, I often don’t know what to share, and then I ask others if it’s okay. It doesn’t come naturally to me. What comes naturally is knowing exactly where to place a flower. I guess I’m missing a 21st-century skill there. But I do believe in persistence and consistency, and that visibility comes when something wants to be seen and is ready for it. We’re often told we have to be Beyoncé, and eventually you realize maybe you’re more like Adele. I don’t want a 160-date world tour. I want to do three concerts in one place and then have my peace.

Do you ever feel pressure to create something new?

Not really, I don’t feel pressure. To me, “new” is such a capitalist concept, like why we need this one Teflon pan instead of another. There is genuine novelty in a technical sense, for example, in how fabrics are made, whether seams are necessary, or if 3D printing can be used. But in the way we approach fashion, it’s not really about being new. It’s about whether a piece, with everything it carries, its influences, impressions, and personal sensations, is authentic and true to the brand. Whether it expresses something meaningful, becomes visible, makes the right use of material and silhouette, and strengthens the brand. I find it exciting to see how brands will position themselves now, because the system is slowly exhausting itself, and many people no longer want to chase every trend. It’s about setting priorities, curating what makes sense in everyday life, and what brings joy. I’d rather be a more “cuntified” version of The Row than a brand that constantly has to deliver.

How did you end up choosing womenswear?

I think menswear ultimately works according to codes, certain rules, a kind of template that everyone more or less follows. Since I was interested in so many topics at once and womenswear promised something completely free and limitless, that’s what I chose. As a child, I used to look at the red-carpet images in Vogue. It’s funny how far I am from the red carpet now, especially since it’s actually more restrictive than anything else we do. I love things that are used in everyday life, and that’s simply my vision of the woman who inspires me in my daily life.

You’re showing at Berlin Fashion Week for the second time in a row, after previously showing in Paris. Do you think Berlin Fashion Week is already reaching its full potential? If not, what do you think it still needs?

I think everyone needs to be given time first. We are really impatient. Berlin doesn’t need to become Paris. For some reason, Berlin has this uncertainty about giving itself time. It’s so focused on “we have to become one of the five fashion capitals.” That doesn’t matter. As long as it’s good and authentic. Even from a commercial perspective, is louder always better? It’s really about understanding relevance. I think the great thing is that Berlin and the Fashion Council have learned to give us space. We can present our work without having to edit it beforehand. It’s not like “we’re going to be the Sustainability Fashion Week now.” It just lets us do what we do, and the rest will follow.

With us, Ottolinger, GmbH, and William Fan, there’s already a diversity of brands and, ideally, also of customers. We just need space and time and continued support, not only by funding the show but also by supporting the structure behind the companies.

Curiosity seems to play a big role in your work, like asking what happens to a fabric when you treat it in a certain way. How much of your process is driven by that curiosity?

Almost everything, actually. Some people plan everything like architects and then execute it exactly, but for me it’s more trial and error. I see what happens, experiment, and pick things up along the way. Sometimes, for example, we dye all the sweatshirts, and suddenly one piece ends up accidentally packed wrong or in the wrong color. I like these little surprises because they show how many hands a garment passes through and how much craftsmanship is still involved.

A good example is our prints. We use a blowtorch to burn designs onto wood, scan and digitize the results, and then apply them by hand onto the garments. Or the bias cuts inspired by Madame Vionnet, or the ruffle tops inspired by random vintage pieces. We often play with silhouettes, lines, seams, and construction. And sometimes at the last minute we decide we need gloves and just see what comes out. All of this comes from curiosity and the joy of experimentation.

What do you think clothing can express about identity or personality that words simply can’t?

I find it hard to say that about anyone else, I can only speak for myself. I’m completely intuitive, and I feel “dressed up” very quickly. If something doesn’t align with my mood or my identity, I feel incredibly uncomfortable. I believe you should never wear something just because it’s trendy or considered cool if it conflicts with your inner self. I just can’t relate to that. I always found it funny when friends or family used to ask me if they could really wear something. Honestly, I hardly have any judgment there. Just wear what you like and what feels right to you.

How do you feel right after an ioannes fashion show, and how do you handle criticism?

Ideally, I feel very satisfied with my performance. In reality, I notice the compromises I made that I really shouldn’t have. This time, I try to do everything as if it were the last time, to push myself to be more radical in my decisions, and to avoid saying for the tenth time that I actually don’t love how something turned out.

Honestly, criticism is rather secondary for me. My brand is too niche for anyone to truly influence its direction. I’m realistic about that. For me, it’s only about presenting something I fully believe in and am genuinely satisfied with.

Which people inspire you personally?

My two sisters. They are archetypal examples of what I admire: this autonomous, highly self-determined form of lived femininity. One of my sisters runs our family’s mid-sized business as the next generation of women in the family, and my youngest sister is an ornithologist, traveling across Germany to observe birds. Both are so authentic and fully live their lives. They don’t structure their lives around external validation, which is constantly present in fashion. Instead, they base their choices on their own values. I find that incredibly inspiring. I have two very confident sisters, and I’d love to have even a little of that for myself.