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Among all the niche designers in the fashion industry with distinctive personalities, Carol Christian Poell (born in 1966, a “Leo man”) is the only one who remains low key and elusive while garnering widespread admiration and fervent following. Over his thirty-plus years of design career, Poell, who was born in Linz, Austria, and lives in the Lambrate district of Milan, has become renowned for his strong self expression and milestone design techniques. From his personal style to the experimental fabrics and intricate structures in his works, which embody unique design aesthetics, to the bizarre and eccentric fashion presentations, his work is highly recognizable.

His eponymous brand has never collaborated with other brands or companies, nor has it gained financial support by establishing sub lines or sub brands. These elements are his personal, distinctive language and are the stepping stones that led him to the throne of the “avant-garde king.” Now, on the 30th anniversary of Carol Christian Poell’s brand, the final round of the IN-BETWEEN release, and with the real “new collection” about to be unveiled, I present the most comprehensive and easily understandable guide to explore his surreal world (in this article, Poell refers to the designer himself, CCP refers to the brand/team, and CCP srl refers to his company).

A: Avant-garde

What is “avant-garde”? Or what is the difference between “dark” and “avant-garde”? In recent years, many versions of these terms have emerged, generally sharing similar characteristics such as extreme materials, a somber, gloomy aesthetic, a tendency to avoid mainstream attention, and opposition to the mainstream. “Dark” is more of an image, not necessarily tied to the clothing itself, but rather to the stylist and the photographer’s skill. In contrast, avant-garde is more about the essence rather than the image. However, in the fashion field, these terms lack authoritative definitions. Often, they are used to describe the common traits found in a number of brands with distinct personal styles, with varying interpretations. For example, some might consider Rick Owens not avant-garde because “avant-garde” can be measured by the degree of commercialization, and one could even use the frequent use of black, white, and gray as a boundary between “dark” and “avant-garde” (although this seems quite laughable).

In non-fashion “avant-garde” theory, whether one sees avant-garde as a technical term meaning “having experimental techniques” or as an ideological term referring to “self-criticism in bourgeois society” or “offering critical and self-reflective opinions about oneself and the system they belong to,” Carol Christian Poell, as one of the top few representatives of the avant-garde world, fully embodies these descriptions. He explains his core philosophy as follows: “Avant-garde is advanced and independent thinking. The exact translation from French is ‘ahead of the crowd or the masses,’ so they won’t be popular and won’t follow trends.”

So, how far does CCP’s idea go in “standing ahead of the crowd, paving the way for the future development of its field, while simultaneously producing works that reflect itself and its system”? A prime example is the commercialized “transparent leather.” In 2017, the “Apparition” project, a collaboration between Sruli Recht and Ecco Leather, made the idea of “transparent” leather a natural leather material that shouldn’t possess this attribute a mass producible reality. Today, transparent leather can be freely ordered at trade shows. However, as early as 2000, CCP had already created transparent leather and used it in clothing. Although the leather he produced was hard, had poor waterproof properties that made it prone to mold, and could not achieve the desired light and transparent feel, it could not be mass produced. Thanks to his pioneering realization of this strange idea, later designers like Boris Bidjan Saberi continued his vision, dyeing transparent leather in 2011, and Jean-Paul Gaultier’s Hermès showcased transparent crocodile leather clothing and bags at the SS11 runway, which were not available for retail. Furthermore, Rick Owens launched a series of basic transparent leather pieces in multiple colors for SS19, making it mass produced. Art historian Ulrich Lehmann commented on CCP’s work as “one of the rare attempts to apply social ideas through technology and material innovation in a forward thinking and disruptive way in the fashion industry.” Poell’s foresight has made him a benchmark and source of inspiration for countless alternative fashion brands to showcase their unique designs.

Even knowing the principles behind it, replicating some of CCP’s products remains a high challenge. The visually striking U-Sole, simply put, is “a large sole made from one continuous piece of material bent into shape, with a hollowed-out heel” — an idea that a normal shoe factory wouldn’t think to develop, but rather one where Poell made a specific request to the factory, leading to its creation. The first version (2010) was based on the Goodyear welt construction method, but Poell removed the traditional leather reinforced heel and replaced it with a hollowed out heel made from a single piece of leather, supported by a steel plate fixed seamlessly in the middle to maintain the U-shape of the heel. The downside of this version was that the all leather sole could be slippery, and over time, there was a risk of heel collapse. All the shoe factories attempting to replicate the U-Sole with cost controls under a thousand yuan couldn’t replicate the seamless integration of the steel plate in the original version, so two seam lines could be seen around the heel, fixing the steel plate, and the collapse couldn’t be avoided. Others, like Nike’s Zoom MMW 4, used much easier to manufacture plastic for the soles, with a noticeable support at the heel, making it a pseudo hollow design.

In 2020, the upgraded version of the U-Sole replaced the steel plate with stronger carbon fiber and added a tank rubber sole to the ground contact surface, making it more robust and wear resistant. Unlike a simple surface application, the outermost layer of leather was cut, and the rubber sole was embedded within the leather sole, leaving the rubber exposed. This upgrade made the design look fuller and more powerful, and no replicators or imitators have surfaced.

Balancing innovation and commercial scale is a difficult task. Although luxury groups with vast capital and extensive production chains could easily realize ideas like Poell’s U-Sole, it’s considered meaningless because the investment is high and the commercial returns are low. To create a hollow heel sole, a company like Nike can simply use plastic, making it unnecessary to add the internal support material with seams, as seen in the replicas. Thus, “avant-garde” is not only about being ahead of the crowd for more than a decade; it’s about making it so there’s no way for others to follow or, after careful consideration, for them to abandon the idea altogether.

The young Taiwanese brand Dr.Sole may not compete with industry giants like Vibram in scale, but they are willing to experiment with small batches for custom products and release them to the public, like soles made from burlap, coffee grounds, and coconut fiber. While these could easily be mass produced by larger companies, their “Urban Explorer” series features a combination of a top rubber sole and a bottom leather sole with a hollowed out area at the forefoot, exposing the rubber teeth. The design aims to fulfill a specific aesthetic: from the side, the sole appears to be leather, but from the bottom, it is rubber where it makes contact.

However, Dr.Sole’s concept of “embedding rubber soles in leather” falls into the trap of “making things people are already accustomed to.” The visual difference between rubber and leather on the side of the sole is noticeable, so shoes with this sole can only rely on polishing and color to smooth over the mismatch. In CCP’s 2020 version of the U-Sole, the hollow area on the upper leather is larger than on the bottom layer, with the rubber teeth merely embedded as components, and steel nails are used along the hollowed out edges to secure the position, maintaining a seamless leather look on the side. These additional steps are all aimed at maintaining a continuous leather surface when worn. Compared to Dr.Sole’s regular hollow design, CCP’s irregular hollowing also takes into account the forces encountered when wearing the shoes. In the 2023 version of CCP shoes, the forefoot and rearfoot soles use a similar principle of embedded rubber soles, with the heel’s outer side raised to maintain balance and reduce the risk of ankle twisting. Meanwhile, the Urban Explorer’s supporting heel is only a regular leather and rubber combination. As a “small and beautiful” brand, CCP’s exploration of craftsmanship remains limitless.

Promoted by mainstream fashion, the traditional and superficial “dark avant-garde” should be questioned because they only present the “dark” image of “avant-garde” brands, while being promoted as “avant-garde” brands based on experimental shapes. Since Vetements, Demna’s Balenciaga has been considered the most “disruptive” and “avant-garde” mainstream brand in public opinion. In the 2022 Balenciaga x Adidas collaboration, Demna made the classic Stan Smith shoes appear flattened for the first time to align with the brand’s dystopian homeless aesthetic. Twenty years ago, CCP also used “flattened” shoes to depict the “Dispossessed” homeless they needed to carry as much as possible in limited space, and the shoes could only be “stuffed in haphazardly,” resulting in a lack of “shoe shape.” But what is more complex and creative than Demna’s “flattening” of shoes afterward is Poell’s use of “flattening” as the initial state of the shoe surface, followed by sculpting and other processes, so the carving would break when worn. Balenciaga, backed by the Kering Group, is not lacking in funding, but its shape experiments still borrow from familiar objects, achieving only superficial disruption. The end product is less meaningful compared to that of smaller studios like CCP, while requiring consumers to pay a premium for this “disruption.”

Among independent designers, there are also those who have simplified and mainstreamed CCP’s image to promote it to a broader market. The popular pants from the American brand Marcel Everette, compared with CCP’s AW07 over-lock box pants (JM/2321), only change the straight cut to a scythe shape, simplifying CCP’s complex 3D boxy cut (which has no side seams) to a 2D scythe pant with over-lock stitching. In fact, many enthusiasts themselves cannot figure out whether they are consuming because of the “avant-garde” or the “dark” image, and which of these is the main driving force behind their consumption.

For Poell, however, the appearance is the result of material and craftsmanship experiments, often not intended to present an aesthetically pleasing look for the general public, but more to realize his concepts and ideas. “The result produced from this is not aesthetically attractive to me, but I accept it.” Therefore, under the same concept (taking the raised limbs of the human body as a blueprint), there are both the technically impressive “splits” pants and the awkward-looking “hands-up” shirt.

Even so, I personally agree with the saying “where there is ‘avant-garde,’ there is ‘defense’.” In basketball, for the offensive side, the forward is the closest to the “already acquired interests”the basket. But for the defensive side, their guards are the ones standing at the “front.” Wu Hong mentioned in Ten Discussions on Art History that in cultural and artistic experiments that are called retro but are actually innovations, artists must surpass the psychological gap caused by the “divide” between the present and specific pasts and create a unique fusion of the old and new. They are not satisfied with the popular styles and forms of the present; what they pursue as “the old” is simply a form of contemporary expression. Before the appearance of the “avant-garde,” “retro” provided a major channel for constructing this contemporaneity. Therefore, craft-oriented brands often categorized as “avant-garde” but whose styles, materials, and behavior are very traditional (such as Paul Harnden, Elena Dawson, etc.) can also be seen as “ahead of the crowd” from this perspective.

Similarly, CCP is also a “defender,” whether it’s a strict old-fashioned aesthetic (see “T”) or the construction of contemporaneity through “retro” techniques. Last year, Y-3 Itogo, which was called the “experimental future of sneakers,” directly connected the upper and the sole with stitching, providing waterproofing without the need for glue. At first glance, it looks very avant-garde, right? However, CCP’s SS08 rain boots (AM/2441) take a different approach, where the leather sole and upper are thinned at the edges and directly stitched edge-to-edge, offering better waterproofing than Goodyear’s welted construction. Compared to Itogo’s plastic-to-plastic approach, leather-to-leather is clearly more complex and not as convenient. Also, the raised outer sole at the connection point of Itogo’s upper acts as a built-in welt for easier stitching, while the connection between the leather upper and sole in CCP’s design is smooth. A1923 also showcased this technique in its AW17 Derby shoes, showing that it is not exclusive but rather one of the solutions humanity has created to solve the “waterproof” issue under limited conditions, yet it has been nearly phased out because it doesn’t suit current mass-production needs. It’s a contemporary interpretation of “tradition” in the pursuit of efficient production lines.

Finally, let’s not forget no matter how “avant-garde” CCP may be, CCP srl is still a company, and selling CCP is still a business.

B: Beginning

“People are always influenced by many things.” Carol Christian Poell, born in 1966 in Linz, Austria, was influenced early on by his stepfather, who worked his entire life at a clothing factory. This gave Poell the opportunity to develop an interest in garment making from a young age, and his talent for creating fine clothing gradually matured. Shortly after graduating high school, Poell attended the prestigious Business Academy and Fashion Design Academy in Graz, Austria. During his time in Graz, he had two main choices: either continue honing his leatherworking skills or shift towards pursuing sewing techniques. At the time, he was already an experienced leatherworker but had little knowledge of sewing, which ultimately pushed him to focus on the latter.

Although Poell was satisfied with his decision to step away from the family business, he later realized that his time at the Graz Fashion Design Academy was not fulfilling. After transferring to the Michelbeuern Fashion School in Vienna to study tailoring and women’s wear, he found that he was not content with the direction. “I was ready to learn how to make pants, technically speaking. I didn’t want anyone to tell me what pants should look like.” (Achtung, 2003). He quickly realized that tailoring in Vienna did not require a university-level education, prompting him to shift his career focus to fashion design for the final time. Shortly thereafter, Poell moved to Milan, where he completed his education at the Domus Academy, earning a master’s degree in fashion design. The immense value of these diverse experiences, as he himself put it, was that one must fully understand all the rules before they can break them.

Poell’s journey as a designer began gradually. Around 1990, after working as a tailor for several companies, he designed 10 pieces for himself, which caught the attention of buyers. In 1994, as Poell prepared to release his first menswear collection, he suddenly realized that he had no intention of naming it after himself or releasing a complete, mature collection. Instead, Poell’s first works were an industrial small collection that reflected many of his values from his upbringing and the process of making these garments. Poell recalls the release of AW94: “I started in a way that was almost an accident,” later calling it the “Unintended Collection.” This small collection, presented transparently, included pants, jackets, shirts, and T-shirts. In his imagination, these four garments represented the “essence” of menswear, and he chose them to convey his vision. Fatefully, a few Japanese buyers discovered Poell’s pants and ordered 10 more pairs, as well as other pieces from the “Unintended Collection.” At the time, they were so inexperienced that they didn’t even have an order book and wrote the orders on a blank piece of paper. To fulfill these orders from Italian and Japanese buyers, CCP srl was founded. Despite this, Poell humbly recalled: “In the end, I only made one pair of pants, a jacket, and a shirt (a small amount of work).”

In SS95, Poell released his first full ready-to-wear collection, the “1st Intended Collection.” The collection featured meticulously designed coats and mustard-colored jackets, and for the first time, he showcased kangaroo leather elastic leather developed with a French manufacturer (see “E”). The show received enthusiastic responses due to Poell’s unique perspective, and over 30 retailers, including Barneys and Browns, placed orders. Daniele Ghiselli, a well-known agent who represented avant-garde brands like Helmut Lang and Viktor & Rolf, discovered CCP and later established an agency partnership. Ghiselli recalled, “He (Poell) was the best designer I ever worked with. His collection was so new, the quality was so excellent, and the shoulders were so special. In Naples at that time, this was one of a kind” (“Achtung”, 2003). Poell quickly gained a reputation as the fashion world’s most discerning designer, and his refreshing ideas were praised by many in the industry, including the famous Chanel creative director Karl Lagerfeld (see “Z”).

C: Code (编号)

“I use experimental fabrics to showcase the collection, to highlight the three components of a garment (form, material, and color), and to emphasize the role of each part.” Near the turn of the millennium, Poell introduced the design framework “Form-Material-Color,” along with a numbering system that is still in use today. The numbering system encompasses information about the fabric, pattern, and craftsmanship of the product, making it easier for him to push the limits of garment design while continuing his conceptual and technical experimentation.

(Below is an expansion and detailed explanation based on the framework proposed by Doublev_z, as well as content from Lazzari Store and Dark Archive.)

The format is: TG0000 (SP) / MMMMM-XXX CCC

T refers to Type, which indicates the product type:

• A – Shoes, bags, ties, belts, scarves, and other accessories (Accessory)

• C – Shirts (Camicia)

• D – Dresses (Dress)

• G – Blazers (Giacca)

• J – Denim (Jeans)

• K – Knits (Knit)

• L – Leather garments (Leather)

• M – Metal accessories, such as pendants, rings, often made of 925 silver (Metal – presumed)

• O – Outerwear (Outerwear)

• P – Pants (Pants)

• T – T-shirts (T-shirt)

• V – Larger area products, such as items in the Metré series or epoxy rugs (Volume or Vasto – presumed)

When two types are combined, their prefixes merge. For example, a hooded outer jacket made from parachute leather would be classified as LO. In AW06, products with double layers repeat their prefixes (GG, LL, PP, etc.), while a navy vest with a foldable parachute jacket would be classified as V, not AO.

G stands for Gender:

• M – Male

• F – Female

The “0000” part refers to the product model number, which is assigned sequentially according to the development time. For example, LM/2700 is a stitched pleated double-zipper fencing leather jacket, AM/1060 is an elastic leather safety cover, PM/2250 is a half-circle denim pant, and GM/2621B is a one-piece dead-end tailored blazer with a single button.

SP stands for Special Procedure, a special code for unique craftsmanship or products from special series. It is usually between one and three letters, and can either be written with or without a hyphen. Some common examples are:

• L – Lined (with lining)

• R – Rubber Drip (with rubber drip)

• SE – Self-Edge (involves a self-edge cutting technique)

• SED – Self-Edge Dyed (Self-Edge with garment dye)

• IN – IN-BETWEEN (involves pattern adjustments)

• POD – Prosthetic Titanium (inserted prosthetic titanium in the product)

• SOD – Titanium Prosthetic (externally exposed titanium prosthetic)

• GP – Glove Prosthetic Titanium (titanium prosthetic embedded in the skin)

• GOP – Glove Prosthetic with polished exposed metal

MMMMM refers to Material, which can have many types and is difficult to list entirely. Naming conventions are direct but sometimes include metaphors or wordplay. Some examples include:

• CAPIB (kangaroo leather) – from the Italian word CAnguro and English KANgaROO

• ALLCO-PTC (Crushable plastic leather with aluminum and cotton lining) – AL stands for Aluminum, L for Leather, CO for Cotton

• JAIL (a dense square-punched fabric) – metaphorically named after “prison”

• SHAME (cotton fabric with growth patterns)

• HERPES (reflective coating with blister-like flakes)

• X≡NIT (fabric woven from a cotton thread and three reflective strips)

• X=LIT (lightweight version of double-ply weaving)

• HAIR (horsehide leather with hair, named after the texture of human hair)

• HAAR (real hair tie from SS06)

XXX refers to Processing Methods, with the most common being PTC (Object-Dyed Process), PCC (Object-Tanned Process), and others like RTC/PTA/PTB. Some notable examples are:

• PTC (Pronto per Tintura in Capo) – Object-Dyed process for leather goods

• PCC (Pronto per Concia in Capo) – Object-Tanned process for leather

• PTA/PTB/RTC – Garment dyeing processes (commonly used for ready-made dyed items)

• KIT-R fabric garment dyeing would be written as KIT-R (P)TC

In some cases, MMMMM-XXX itself can represent a specific material.

Examples of leather used for certain clothing and footwear accessories:

· BIAS-PTC: Bison leather, thickness 1.1~1.2mm, available in both chrome-tanned and vegetable-tanned.

· BIUS-PTC: Thicker bison leather than BIAS, thickness 2.5~3.0mm, available in both chrome-tanned and vegetable-tanned.

· BUUS-PTC: Thicker bison leather cut into short patterns (laser cut), available in both chrome-tanned and vegetable-tanned.

· CORS-PTC: Horsehide (Cordovan), taken from the front part of the horse, thickness 1.0~1.2mm, available in both chrome-tanned and vegetable-tanned.

· CORSS-PTC: Thicker CORS, thickness 2.0~2.2mm.

· CURSS-PTC: Thicker horsehide (CORSS) cut into short patterns.

· CORPIB-PCC: Horsehide taken from the front part of the horse, chrome-tanned (discontinued, used as an example).

· CUL-PTC: Reverse side (rough side) of Cordovan vegetable-tanned horsehide, thickness 2.5~2.8mm.

· LUC-PTC: Skin side of Cordovan vegetable-tanned horsehide, very dark color such as black or deep green.

· CUBS-PTC: Reverse side (rough side) of Cordovan chrome-tanned horsehide, thickness 2.5~2.8mm, referred to as CCP’s most beautiful leather.

· SBUC-PTC: Skin side of Cordovan chrome-tanned horsehide.

· PONY-PTC: Whole small pony hide, currently only used for corresponding leather pants.

· ROOLS-PTC: Thin kangaroo leather, thickness 0.3~0.4mm, available in both chrome-tanned and vegetable-tanned.

· ROOMS-PTC: Thick kangaroo leather, thickness 0.7~0.9mm, available in both chrome-tanned and vegetable-tanned.

· RUUMS-PTC: Thick kangaroo leather cut into short patterns (laser cut), available in both chrome-tanned and vegetable-tanned.

· PABIS/PACAL/PABER-PTC (Paper Dart): Mixed laminated material used for parkas, Paper Dart shoes, and belts, with one layer of bison leather and one layer of polyethylene-based paper-like material (Tyvek).

· ELEER-PTC: Deer leather with elastic properties achieved through Lycra backing fabric.

· XZEMA/XDERMA/XBURN/XHERPES-PTC: Leather coated with polyurethane containing glass-reflective particles, giving it a dropped appearance.

(Poell uses reverse numbering to differentiate between the leather’s front and back, such as SBUC vs CUBS, LUC vs CUL. The difference between CORS and CORSS is that CORSS is thicker and firmer.)

CCC refers to Color, which is a numeric code. Some color codes are as follows:

· 01: Bright white; · 02: Bright white (fabric); · 03: Natural white/light peach (similar to healthy urine color);

· 04: Beige (fabric); · 06: Light green (turquoise); · 07: Gray (fabric)

· 08: Steel gray (between 19 and 33); · 09: Dark gray (fabric)

· 10/010: Black (former fabric, latter leather); · 11: Medium gray (fabric)

· 12: Dark green; · 13: Bright red; · 14: Dark gray/charcoal gray;

· 14A: Orange; · 15: Gem red; · 16: Electric blue/purple;

· 19: Medium-dark gray; 19**: Slow vegetable-tanned, rust color; 1919: Darker version of medium-dark gray;

· 20: Sand/Khaki; · 29: Deep dark blue (dark gray); 29**: Vegetable-tanned white, blue-green;

· 33: Light gray; · 35: Yellow; · 36: Medium gray.

Some color codes, such as 101: Black outer layer + white lining, 110 similarly.

The image shows the new reflective spurred Derby shoes, with AM/2755P-IN referring to this new shoe model from the IN-BETWEEN series, featuring a titanium alloy heel. XDERMA-PTC 010 refers to black leather treated with the Object-Dyed process, with a reflective polyurethane coating on the surface.

This numbering system allows CCP to rationalize production by controlling variables: the same color 36 can result in different shoe styles and materials coexisting; for the same horsehide color, CORS-PTC and CORPIB-PCC present completely different visual effects, while CUBS-PTC has a more regular pattern of wrinkles compared to CUB-PTC. For the same ROOMS-PTC, changes in color and style result in vastly different outcomes. The same kangaroo leather, KANPOB has laser “O”-shaped perforations made on top of KANPIB. Even with the same synthetic material covering leather method (DER), experiments are conducted by changing the outer layer material (e.g., DERC-PTC with Big Horse and XDERMA-PTC with PU coating). For reflective coated leather, adjusting the coating density results in different reflective coating shedding effects in XZEMA/XDERMA/XBURN/XHERPES-PTC.

About product model numbers:

In most cases, model numbers increase sequentially over time. For men’s clothing, styles from the 90s are typically three digits, SS00 introduced four digits, and SS05 started the 2XXX series, which continues to the present day. For women’s clothing, the numbering started with AW99 as 0001, and some were adapted from men’s models with prefixes changed, such as men’s model 2601 and women’s model 0901. Recently, the “2” prefix for men’s models has been changed to “10”. Some consecutive numbers indicate the same type of product, such as 2680-2689, which all refer to shoes; some numbers progress with product iterations, like the “old cadre leather jacket” series from 2198 (AW06) to 2398 (SS08) to 2498 (2009), although there is no specific pattern to follow. Even models that seem similar can have different numbers due to variations in material, craftsmanship, and the size or position of the cut pieces. For example, for short version naval vests, the leather version from SS08 is numbered 2373, while the one with parachute lining is 2423. The 2010 SELF-EDGE fabric version is numbered 2573, and the later CUBS version is numbered 2608 (since scarred horsehide only has a limited usable area, the cutting pieces needed to be rearranged). The XITCH version is numbered 2735. Similarly, as long as new materials don’t affect the fit, the numbering remains the same, such as the half-moon pants made from two-tone denim KIT-BW from SS07 being numbered 2250, or the cross-thickened horsehide CROSS set being numbered 2200/2203 from AW06.

The term “developed” is used rather than “launched” because there are always delays in releases. For example, the rubber-soled Officer boots launched in 2018 with model number 2597 actually belong to the 2010 range. The model number 2904 from the new IN-BETWEEN series is the best example of a development version model number. There will likely be many 28XX models for new series. Moreover, model numbers are often based on mood and practicality, as seen with the Tornado model: it was 2521SX for a wide shoe last in 2009, 2601 for a narrow last in 2010, and the 2601 from the 2023 batch used an IN-BETWEEN 2023 shoe last with an inward-curving toe, but the model number remained the same for production convenience.

And… Care label

Some elements of CCP have remained unchanged for over twenty years: the three-piece outer packaging set (rice bag, sketch identity tag, instruction booklet), the “leather + cushioning material” insole solution, which is very conservative but effective, and the light yellow brand logo tag… on the other hand, the care label changes with each period.

In clothing, the internal label, often considered an anti-human design, has always been present, and the most “useless” part is the care label. The main purpose of the care label is to indicate the style, fabric, lining composition, and washing care instructions, so some brands combine the neck label, care label, size label, and origin label into the care label (because it has the largest area). With the growth of the counterfeit industry, care labels, due to the large number of words/graphics that require layout, have become one of the anti-counterfeiting features and identification points.

Internal labels have become a mature and cost-effective production step. Except for luxury brands like Geoffrey B. Small, which go to the extent of using real silk thread for comfort (costing nearly 50 euros), CCP uses the most common care label material and printing scheme. The font and layout changes over the past 30 years have roughly been as follows:

1. Earliest (before AW95): Every master had a humble beginning, reflected in handwritten and hand-drawn care labels, as production was still small and could be copied.

2. SS96-AW99: The layout remained unchanged, but fonts and symbols changed, with occasional handwriting. The small tags for origin and size have remained the same, and the seasonal abbreviations switched between English (S/S, A/W) and Italian (P/E, A/I).

3. SS00-AW01: The numbering system mentioned earlier began to appear and has continued to this day. This period was a bit chaotic due to the simultaneous launch of the women’s line, with both printed and handwritten labels. The layout and fonts were not consistent, and seasonal abbreviations were still unstable.

4. SS02-SS03: The system began to unify, improved from the previous version, with a new font. Seasonal abbreviations moved from shorthand to full names (Summer, Fall), getting closer to the current layout.

5. From AW03 to the present, the current layout and fonts are used, with Spring and Summer as Spring and Fall as Fall. Some small adjustments were made for the IN-BETWEEN series.)

D: Dimensionality

Clothing is a three-dimensional structure, stitching is one-dimensional, and fabric is two-dimensional. Poell has studied the change of dimensions both technically and conceptually: dimensional expansion, dimensional reduction, and twisting or flipping within the same dimension.

Poell explored the possibility of dimensional changes throughout the 2006 collection. SS06 “U-Turn” used the concept of “reversibility” and “malleability,” symbolized by the letter U, and the intuitive impression of twisted items like a coil-shaped mosquito coil belt/rug, iron nail rings, and twisted hair forming ties. Conceptually, this “counterintuitive” thinking is reflected in adding artificial materials (iron/copper wire) to natural materials (leather).

AW06 “B-sides” emphasized “reversal,” similar to how vinyl records have an A-side and B-side, or how every thing has two sides. The internal construction was meticulously crafted to allow for reversible wear, with some items directly sewing the inner sides of two garments together (materials using this technique end with -TURN and come in two colorways, such as PI-TURN/109). Boxy, three-dimensional leather jackets and pants were designed with square shapes to enhance the three-dimensional effect, while buttons on the fly were sewn entirely on the reverse side, creating various bent leg variations (bent to J, B, and C shapes). The material dyed with tannins reflects the duality of the technique.

By SS07 “Paranoid,” Poell performed a “dimensional reduction” on all items garments, laces, shoes, and belts were all flattened, with the endpoints of the flattening shown through the scale weight necklace and the flattened watch. This concept mirrored the violent tendencies of a paranoid personality. Poell indirectly converted the possible inspiration from One-Dimensional Man into the final product at various angles. This 2kg scale weight necklace (also available in a 50g version) not only “flattened” the physical form but also logically flattened both leather and artificial materials, with this concept subtly incorporated into jackets and shoes (including shoe soles) made from the same leather.

SS08’s internal coating/edge binding carried over to the next year’s Self-Edge collection, focusing on the contours of each pattern and highlighting the edges of fabrics. This was reflected in the seamless one-piece uppers that resemble wound scars, as well as in the “spiral” twisting of dimensions: continuous fabric “edges” spiraled together to create “spiral pants” (horizontal) and “split pants” (vertical). The spiral zipper also gave rise to the Tornado boot collection.

E: Experimental

“In my subconscious, my origins influence me, but it’s impossible to describe in detail how or in what ways.” Poell can be said to have grown up with leather; for him, leather represents an atmosphere: his father, grandfather, and uncle all worked in the leather business. At the age of 15, he was already familiar with the common techniques used in the family business. Early on, CCP purchased raw hides and tanned leather from Guidi for their use. As Poell’s demand for raw material quality and tanning processes grew, he found it difficult to purchase satisfactory tanned leather products. Advancements in craftsmanship allowed him to purchase raw hides with fur, and he began considering methods like oil tanning, chrome tanning, or vegetable tanning, even using urine tanning in the “Women’s Trilogy” (see “W”). There was also the show-off approach of peeling entire hides from pigs and horses, then making “hand friend” pigskin bags (AW01) and the Dead-End Horse art installation (2010, VM/2345 CORPIB-PCC/26), which could only be secretly done due to Italian health laws not allowing it. He even fantasized about processing “human skin into leather” (a concept every leather designer might secretly dream of) though, of course, he has neither attempted nor would attempt it, and he is not a twisted murderer like Ed Gein, who made human leather gloves.

“You can pass it on to future generations…” The IN-BETWEEN series’ PONY-PTC leather pants are made from a single piece of ponyhide. Poell would go to the nearby horse butcher with each custom size pattern, lay it out on the corresponding individual ponyhide, and carefully select the correct raw hide. After tanning, the leather develops a deep, earthy, and extremely natural tone, enhanced with fine hand polishing, creating an intimate and surprising connection between the wearer and the living animal that once was.

Poell’s approach to leather treatment and development is clearly filled with experimentation and technical difficulty, with the acceptance of the general public never being the primary consideration. His grandfather’s tannery played an inspirational role in Poell’s creative process and his innovation in working with leather, this timeless material. The elastic leather introduced in SS95 stretched kangaroo leather to its limits and bonded it to an elastic fabric backing. The heat generated during the dyeing process activates the Lycra elastic fibers, causing the fabric and leather to shrink and return to their original size while remaining elastic.

The highly artistic Crushable series (ALLCO-PTC) combines leather with aluminum metal, creating a surface that displays the deformation of the metal when struck, and it can actually be reshaped by pounding. In the “Garbage Can Boots,” leather folds replace the shoelaces, serving as a means to secure the shoe.

In the “Best Before 16/10/00” exhibition (see “P”), Poell created transparent leather using an ancient tanning technique, a concept born from his fascination with harm, worry, and death, and the opportunity to transcend oneself: mimicking ancient parchment, the leather was tanned using organic materials and glycerin. The glycerin molecules fill the leather pores, giving it a translucent appearance. “Clearly, for me, as a designer, creating something with its own life is fundamental. (Isabel, 2001)” Poell and his elders were committed to finding new ways to “give life to leather,” a phrase Poell later used to define his ready-to-wear aesthetic, much like in his “Women’s Trilogy.”

The thick vein suede leather in the AW98 collection dyed the leather from the veins of the animal’s fur, then separated it from the underlying connective tissue, preserving the smooth and clear vein patterns in the garment, like a print. Inspired by Vienna Actionist Hermann Nitsch’s blood-stained creations, Poell used blood, a “biological” substance, to dye the leather: animal skin loses its vitality after the animal’s death, whereas blood represents life. The AW99 women’s collection even incorporated animal blood directly into the leather. While it remains unclear exactly what materials were used in his blood-infused leather (which Poell named HELL), he firmly believed it was the only way to give leather true character, as the chemical properties of blood change over time. “Through the completed works, we found that the color of blood keeps changing. One day, it will mold, and perhaps, it will eventually disappear due to decomposition. I’m especially interested in this, not just conceptually.

Hermann Nitsch’s works | AW99 Animal Blood Leather | AW98 Vein Suede Leather

ELEGANT fabric | Horsehair boots | DERC-PTC | Paper Dart | Reflective leather

AW04 can be described as the “Hair Season”: Horsehair is largely unaffected by clothing dyes, and dyeing it is an effective way to enhance its quality. Therefore, only the seams and leather parts of horsehair products were dyed (HAIR-PTC). A light gray long jacket that looks like wool (ELEGANT), with a bonded cotton lining, has cotton fluff pulled from the inner lining through tiny openings in the wool texture, like hair being pulled out of pores. Such experimental visual tricks, which focus on material/technical approaches without the intention to “shock” just for the sake of it, are common in CCP’s products.

Some footwear and leather jackets from SS07 are covered with a layer of peeling, worn-out paper, resembling a layer of shed skin (DERC-PTC). Paper Dart (2018) took this prototype and applied object dye. True to its name, Paper Dart is made of a mixture of genuine leather and polyethylene-based paper-like material (Tyvek), which combines the texture of leather with the pliability of paper, but with no resistance typically associated with paper. As a result, the folds will develop unique small cracks with wear. It is highly waterproof, and both the joining and dyeing process encapsulate Poell’s years of effort (the difficulty is in dyeing, see “H”).

Unlike “transparent,” “reflective” is a characteristic that cannot penetrate the leather’s interior, but instead attaches glass particles to the leather surface to achieve reflection. Unlike conventional reflective foil and glass particle spraying, CCP’s latest reflective leather series uses a polyurethane coating similar to PU leather of varying densities on the genuine leather surface. After object dyeing, this results in different peeling effects: XDERMA is the densest and scratched, XZEMA is in small pieces, XBURN has striped cracks, and XHERPES appears like blisters.

However, Poell’s sense of humor allowed him to indulge in “human leather” for a bit. Leather goods often have a genuine leather certification mark showing four legs, a head, and a tail, much like a whole hide. This mark is called “Vacchetta (young cow)” and later came to refer to all genuine leather. Poell’s leather samples, however, altered the “young cow” into a “man”: limbs, head, and Dick.

*In fact, Boris Bidjan Saberi also claims to be the inventor of transparent leather. His transparent horsehide and its tanning process were invented in 2008 in collaboration with leather expert Josep Maria Adzet.

*Similarly, there are two versions of the elastic leather origin story, and the production principles are similar:

1. The Cuirs du Futur tannery in southern France collaborated with DuPont in 1992 to apply Lycra fabric into leather for the first time (Rick Owens’ entire line of elastic leather comes from this).

2. Henri Guenoun created the birth of elastic leather by bonding the sublayer of leather with a material more elastic than leather at high temperatures (120°C)

F: Fabric

Poell’s attention has always been focused on fabrics, as they are vessels for both form and thought, expressions of his inner self. In the early 1990s, he came to Italy with the goal of experimenting with various materials, learning from his mistakes while collaborating with fabric manufacturers like Bonotto, and turning those failures into opportunities for new directions of research. “I’d rather not analyze myself, I find fabrics much more interesting. Fabrics (for me) will always come first.” (From “MR ハイファッション,” 2001). From the very first step of production, he developed and created 90% of the fabrics he required, forming the foundation for his surreal and highly personalized clothing.

In terms of functional fabrics, the ultra-light ARIC-PTC fabric is made from special fibers similar to Kevlar (i.e., Dyneema), offering high waterproof and tear resistance. The accidentally discovered thin wax-paper-like NAS-PTC material, although not waterproof, can be dyed in various colors (it is also used for printing CCP product descriptions/business cards). Poell also blends different raw materials to create fabrics or adds non-fabric materials to achieve effects that the original material alone couldn’t produce. For example, a shirt with vein stripes woven between two layers of semi-transparent fabric, or wool fabric with specially treated contrasting yarns (possibly combed or knotted yarns) to create a distinctive snowflake texture, known as WFACE (snowflake fabric). Similarly, the SURFACE fabric features high-strength nylon thread (possibly custom-made by Bonotto for CCP) which gives the fabric a structured, crisp quality similar to that used in Dior haute couture.

Traditional reflective treatments involve mixing tiny crystal particles into varnish and either brushing or spraying them onto fabric. However, for the 2010 collection, Poell used nylon yarns with reflective coating applied during the production process, requiring the crystal particles to be ground extremely fine, even though such materials already existed in workwear fabrics. XLIGHT is a fabric created using a satin weaving method where each horizontal cotton yarn is paired with a reflective yarn in the vertical direction, which is passed through three other threads before continuing. This process requires a special machine that can be difficult to adjust. The visible black spots on the fabric are caused by distortion in the reflective yarn during weaving, creating gaps that prevent reflection. Although the process is labor-intensive, this technique allows for intricate reflective patterns in the fabric without affecting the yarn’s color, and its reflective effect is superior to traditional methods, only reflecting light in low-light situations. XSHIRT is a fabric used for striped shirts, where reflective yarn is embroidered in fine stripes. XKNIT is a fabric where a cotton yarn mixed with nylon and two reflective yarns is twisted together and knitted into a sweater. After 12 years, the reflective series switched to using thicker PET strips with more reflective particles, and XNIGHT presented a regular striped pattern. X≡NIT changed from two nylon yarns to three PET strips, and the past double-strand weaving method is now called X=LIT (see “XFACE/XITCH” in “H”).

After XLIGHT, Deepti added 99% pure silver particles/steel wire into nylon yarn, making the fabric shimmer with a metallic glow. As the silver particles/steel wire oxidized and changed color, it produced a unique texture. Later, fabrics with more refined reflective qualities were created for suiting and wool fabrics (see “M”). Taichi Murakami also experimented with sewing stainless steel wire and 925 silver into yarns or outerwear fabrics.

Early Poell was inspired by Helmut Lang and Martin Margiela, using labor protection materials from fields such as firefighting and racing to create suits. For example, in AW96, he used Schoeller’s Dynatec-Reflex to create one of the earliest reflective suits. This material blends reflective fiberglass with synthetic fibers and is commonly used in the abrasion-prone areas of racing gear. It offers durability while providing reflective properties to ensure safety during night races.

Poell also paid special attention to “material language.” In addition to using nylon extensively in AW96 to create a “scratch” effect on jackets deliberately mismatching the adhesive lining with the outer surface to visually represent the theme of Dermatographism (skin scratch disease) he experimented with many materials that should not traditionally be considered “fabrics.” These included plastic wrap denim jeans, sound-emitting bubble wrap pilot jackets (where the bubbles could pop), jackets woven with PVC threads, PVC puffer-style jackets, and pullovers made from pig intestine fibers.

He also drew inspiration from the Vienna Actionist movement’s concept of “the body as material.” In his “Women’s Trilogy,” Poell explored various forms of “restriction” for women, such as sleeveless coats with embedded hair and leather tanning techniques. A notable example from 2009 was a coat containing fiberglass. Tiny shards of glass were mixed into a polyester and cotton blend, with extremely short fibers twisted into yarn. During the cutting and sewing process, the fine threads would tear the skin surface before the seamstress could notice. As a result, seamstresses were required to wear gloves, masks, and goggles. This “unwearable garment” became a standout product of that season, showcasing Poell’s technical skill and innovation.

G: Grey

“When I see a fabric, I immediately imagine its best color.” In an interview for Isabel in 2001, when Poell was asked about the common association of his work with black, he replied, “To associate my work with black is a diminishment. I always mix colors and come up with strange, intensely discordant combinations of tones that are clearly off-balance or contradictory, like between pastel pink and acidic tones. Even if I use only black, I call these ‘black colors’ to emphasize that I use many different blacks.”

Rather than the “King of Darkness,” Poell might be better known as the “King of Grey.” His grey pieces are noticeably more textured than his black ones. Unlike the common perception, he has no particular obsession with black; to him, black is neither beautiful nor repulsive. It is the grey, sitting between black and white, metaphorically hinting at boundaries and contradictions, and especially the deep grey that is almost black, that is his preferred color. He believes deep grey exudes an unusual beauty that delights him (in CCP’s color numbering system, it is color 19).

A more direct example: The IN-BETWEEN collection’s showcase item the PONY-PTC leather pants made from a single piece of pony hide, color number 1919; Poell’s silhouette in a full grey CCP outfit at a fabric exhibition. Among fans, the number 8 steel grey is particularly popular. However, due to dye issues that did not meet hygiene standards, it was discontinued in recent years, making it a de facto limited edition product.

(Gay Style)

In fact, CCP menswear in the 90s was as “colorful” as the rainbow flag. It often featured formal wear with exposed skin through strategic cutting, tight-fitting or “ill-fitting” looks created with synthetic fabrics and slim cuts, and bold visual elements like elephant or snake prints on colored synthetic materials. These designs, their pairing, and the fetishistic nature of the tight fits served as subtle sexual innuendo for gay men. As a result, Poell’s menswear garnered praise from the gay community at the time.

“Gay men don’t need to wear women’s clothes to get noticed we’re ahead of the curve. A housewife might feel embarrassed seeing a man walk around like that, but for anyone else, it’s not a big deal,” Poell commented on a British designer’s menswear collection in Attitude (1998).

This was reflected in the SS98 collection titled “Improper” (improper/abnormal/against etiquette). It was CCP’s first show, held in a small underground cinema in Italy, with models descending from ladders. Only a two-page spread in Harper’s Bazaar and a VHS tape, now fetching high prices on Grailed, remain as documentation. “Imagine someone who hasn’t rested for five days. He’s lost. Maybe he lost something at the casino, maybe he lost his pants… he could have dropped something during an affair and ended up with just one sleeve left, even without his belt,” Poell said in Attitude (1998).

To match this theme, Poell incorporated Helmut Lang’s minimalism and designed many of the suits in ways that were “against (gentleman) etiquette”: exposing large areas of skin on the front and back through cutting, using synthetic fabrics with slim cuts and lacing to create tight fits, designing trousers with cut-out waistbands, and even making red boxer briefs using traditional suit pants tailoring techniques.

H: Helmut Lang

(Helmut Lang / Massimo Osti / Martin Margiela (Famous Designers from Austria/Italy/Belgium)

Poell is extremely private about his personal life, making it difficult to know which designers have influenced him or made a lasting impression. Aside from his personal image, which is very similar to Martin Margiela’s (the similarity is that Margiela didn’t originally intend to be anonymous to this extent, it was more of a brand image choice), Poell has only mentioned a few peers in his rare public interviews: Charles James (who he praised for his creative and avant-garde designs of his time), Helmut Lang, and Rei Kawakubo (one of the fashion revolutionaries of the 1980s). He has also expressed that respecting a designer doesn’t necessarily mean reflecting their influence in his own work, but rather respecting the consistency and originality of their creations (“MRハイファッション,” 2001).

Among these, Helmut Lang can be said to be particularly similar to Poell: both are Austrian, share an artistic temperament, and possess forward-thinking and innovative ideas. Poell had already recognized Lang long before the rest of the world began to pay attention to him. Poell not only shared Lang’s quote in interviews: “Any designer who wants to modernize fashion has the same concept and works tirelessly toward it,” but also praised him: “I don’t think he created or predicted this trend. Trends come and go, but he has always stuck to his style” (“Attutide,” 1998). Helmut Lang’s minimalist tailoring, combining genderless designs with workwear/military uniforms, and the use of unconventional or even cheap materials in the 1990s, were reference points for Poell during the same period (see “E” and “G”).

The trend in recent years, where materials are transformed like molecular gastronomy into something entirely different, represents innovation in an era where “fashion has already reached a creative bottleneck.” This often involves using expensive materials to create relatively cheap-looking items, thereby enhancing the contrast. Peter Do’s Helmut Lang tribute brand incorporated bubble wrap elements into the AW24 collection, using a bubble-wrap silk fabric. Meanwhile, Poell, not only using inexpensive materials, also incorporated leather into a fabric with the visual texture of cotton/wool weaving, which predated Bottega Veneta by over 20 years. In the 1990s, however, commercial brands and mature designers still saw “molecular fabrics” as a “laborious and unappreciated” endeavor.)

Since the 1970s, Italian designer Massimo Osti has been a pioneer in the development of experimental fabrics and garment-dyeing techniques. Although he didn’t come from a formal fashion background, like Poell, he understood the importance of original research, experimenting and studying materials, colors, and treatment processes. He continuously reshaped products by experimenting with new materials and revisiting vintage garments. Beyond the aesthetic and natural visual appeal, garment-dyeing provided the fashion industry with a new way of operating: brands could purchase undyed fabrics in bulk and dye the already assembled garments when needed, allowing them to change colors with each season (Boris Bidjan Saberi does this). Poell commented, “Massimo Osti is the master of garment-dyeing and fabric treatment techniques. He has made significant contributions not only to Italy’s production system but also to the entire fashion industry. We all share a love for the materials and processes used in clothing.”

Poell and many other designers focused on fabrics owe a great deal to Osti’s groundbreaking work.

For waterproof non-woven materials like Dyneema and Tyvek, which are based on polyethylene, dyeing is nearly impossible. Osti’s most well-known brand, Stone Island, introduced the “dyeable Dyneema (crude benzene)” version, which could only dye the nylon part on the other side, whereas CCP not only succeeded in dyeing it but also used garment-dyeing (ARIC-PTC) and it’s worth noting that Stone Island and its parent company have the most advanced material research facilities in the industry, with over 60,000 different dye formulations, while CCP Srl is a company with fewer than 30 employees.

As a result, Stone Island often considers commercial practicality in its material development, often stopping at the creative stage without pushing further. Wool does not have reflective properties and cannot fix reflective glass microspheres onto wool fibers. Stone Island, proud of its reflective elements, introduced Needle Punched Reflective in AW22, using reflective-coated polyester film as the base and needle-punching wool and viscose felt onto the film. This results in a wool-reflection effect achieved by the wool’s covering a cost-controlled approach given existing conditions, though the 18% wool applied can easily fall off. In contrast, CCP achieved a similar effect as early as 2010 in their XFACE collection by using common wool-blend fabrics, with continuous reflective nylon yarn in the warp and a blend of 40% wool and 40% ramie in the weft, creating a fabric that was closer to the traditional “wool fabric” concept.

In 2023, this evolved into XITCH, where the warp was replaced with stronger reflective PET strips, which break after a certain length, making the reflective state resemble a steel wool ball. Neither XFACE nor XITCH fabrics are available for purchase on the market, nor would any factory be willing to create such a complicated wool-reflective fabric. Even large companies like Ecco Leather, which develops experimental leathers and collaborates with Stone Island, do not approach such intricate material and process challenges. Compared to them, CCP’s “avant-garde” not only pushes the limits of materials and techniques but also challenges how far an individual or small team can go with limited resources.

Poell’s concept of materials is to use “materials that should not be used as clothing fabrics as clothing fabrics.” This perspective is both material-based and anti-material. The legendary Martin Margiela is precisely the promoter of the “transformation of the ordinary” , “transforming items that only a specific group of people would use into concepts that are commonly seen in everyday life, such as ‘blankets’ or ‘plates’”. This design philosophy partly arose from the brand’s early limited budget, which later became one of its characteristic design languages. Margiela’s introduction is well-known, so no need to repeat it here. Let’s approach it from a different angle:

The admiration of Margiela by the public stems from his rare “flash of brilliance” from that era. To put it simply, his designs made people exclaim, “Oh! This could actually be made into clothing!” As more and more people were inspired by this, the design approach was easily grasped and simplified for replication. Everyone rushed to discover and display new “flashes of brilliance,” and visual design gradually devolved into cliché, leading to the neglect of the “industrial aspect” of clothing.

When we think about it carefully, how much of the admiration for Margiela, especially for the Archive pieces, actually focuses on his materials, research techniques, or pattern optimization? The most common praise is: “Who knew stamps could be used as high heel soles?” “Who knew a helmet could be disguised as a handbag?” “Who knew ice cubes could be used to make a necklace?” Even in the Rotterdam moldy works exhibition, the aim was more to showcase: “Who knew you could make clothes moldy to add aesthetic value?” And then what happens next?

If Margiela had created CCP’s most famous Drip Rubber series (hereafter Drip, see “R”) in the golden 90s, the focus would likely have been on showcasing: “Who knew polyurethane latex could be used for decoration or as shoe soles?” He wouldn’t have considered: What would happen if the whole shoe, along with the polyurethane, was dyed? What if the shoe’s structure and dyeing method were altered to reflect “scars and the process of self-healing”? What if the best leather was used to complement the aesthetic enhancement of Drip? By simply treating Drip as part of the shoe sole, this is exactly what CCP’s Fake and copied “flash of brilliance” idea demonstrates. Even if Margiela had first conceptualized Drip, the final product presented by Poell would still be entirely different. While Poell has always been inspired by Margiela, not only in dealing with “anonymity” (see “N”).

The current trend of Remake and patchwork has a common issue: the more “random” the patching is, or rather, the more easily recognizable it is as a Remake, the better. Of course, this “randomness” is accepted, which shows that our tolerance for “imperfections” in clothing from the past has increased, and it has also provided a motivation for people with less skill in craftsmanship to think, “You can do it too.” Industry insiders’ Remake works take this “randomness” and, while maintaining the “easy-to-recognize” nature, move it towards order. The one who famously established this in the industry is, naturally, Margiela.

Margiela usually develops an idea from 0 to 1, rarely achieving a transformation from 1 to 100. His “full-zipper garments” in the AW01 collection used zippers cleverly to create a tailored fit, but compared to CCP’s SS00 jacket, the former still prioritized “recognizability,” resulting in a lower sense of order. Also, if the zippers are fully closed, the ordered arrangement of the zippers creates a texture similar to fabric, making it almost impossible to recognize as a purely zipper-stitched jacket. And in pursuit of this “disorder,” the pattern is often sacrificed, as the side-by-side stitching of long strips makes it difficult for the darts to align correctly with the body parts. The starting point for this jacket was to ensure it was “a well-fitted jacket,” following the rigorous traditional men’s tailoring rules, and only then was “recognizability” pursued within this constraint.

This relates to “rap sampling.” Even though the sampling techniques today are diverse and sophisticated, they are incomparable to the Old School era (1973-1986). No matter how crude or simple the loops or scratches were back then, the people who invented and perfected these methods will always be respected. “Rapper’s Delight” and “The Message” will always be at the forefront of the greatest rap songs (for more details, see “OP-ED: Rap Sampling and Fashion Design”.

Poell represents pseudo-poor art, where his materials and related techniques are top-notch, concealed in what appears to be a worn-out final product. Margiela, on the other hand, is true poor art. The materials are not top-tier but sufficient, yet the idea of transforming the mundane brings about a revolution. One can only blame Poell for standing on the shoulders of giants and becoming another giant himself.

And… Haute Couture

In articles from the period when Poell was still willing to give interviews, CCP was often described by the media as “haute couture-like,” due to its materials and related techniques reaching the top tier of ready-to-wear designers’ reach, even working with well-known industry factories such as Bonotto, Guidi, and Cloe for haute couture-spec materials and creative yet meticulous tailoring designs.

During the recent Fall 24 Haute Couture Week, Balenciaga recreated the brand’s classic Gazar fabric in the final look. Gazar was specifically commissioned by Cristóbal Balenciaga in 1958 to be designed by Gustave Zumsteg, a designer at Abraham Fabrics, to help develop a fabric that could maintain a silhouette without external supports. The official statement said that it is no longer possible to make the fabric to the same standards as 66 years ago, so Demna “took a different approach” and made a version that can only maintain the silhouette for 30 seconds. So why, with several rounds of technological advancements, is it still impossible to fully replicate fabrics like Gazar from the previous century?

In addition to regular fabrics like COSURI, WIM, CORD, and LAICO, Poell often uses stiff materials to give clothes a sharp, defined silhouette. For example, in collaboration with the Italian old-brand fabric factory Bonotto, the SELF-EDGE fabric series required the use of extremely rare “President” weaving machines from the 1950s, produced by Picañols. These machines were bought at auction by Bonotto in Japan and then restructured to weave fabric with very high stiffness and weight, while still ensuring some level of comfort. No matter how small the pattern pieces, the seams of all Self-Edge pieces retain raw edges and overlocking, making the already limited Self-Edge fabric even more scarce. Using such a luxurious and nearly wasteful method of garment-making increases the cost by 2-4 times compared to normal production, making the garment stiffer and more durable. This also affects the design of the garment’s structure, especially for men’s suits, where the design must balance “restraint” at the seam edges while maximizing the fabric’s usage. When Poell asked Bonotto to collaborate, he insisted on using “mechanical” weaving machines, allowing direct interaction with the machines during the production process, instead of the now-common “smart” machines, which operate under a computer system and cannot be adjusted once started. This is exactly the kind of fabric development standard one would expect from haute couture. The cost of such a collaboration between Bonotto and CCP is that Poell allows the research results to be simplified and made into fabric samples that can be efficiently mass-produced for brands like Chanel and Dior to select from, sharing some of the cost burden while still meeting the “haute couture” standards. (For details on the development process and specific parameters of SELF-EDGE, see Ulrich Lehmann’s “Fashion and Materialism,” Chapter 7, which is very thorough).

Similarly, Balenciaga could fully replicate Gazar if they were willing to put in the effort, starting from already discontinued or obsolete looms like SELF-EDGE. If they cannot buy them, they would have to redevelop the looms themselves. However, such a high cost is not suitable for today’s high-efficiency operations, and it would be more cost-effective to focus on “spending 70 hours hand-drawing a heavy metal band tour T-shirt or spending nearly two months making an artificial fur coat with herringbone inlay techniques,” which are lower-cost operations. As Raf Simons said in “T Magazine”: “Don’t be fooled by the so-called great volume and exquisite craftsmanship that showcases complexity. Many brands are fabricating stories about craftsmanship and artisans (for example), 85 people spending 30,000 hours to make an embroidery.” Viktor & Rolf, the renowned haute couture creative duo, are known for their obsession with dolls, and their design career is filled with exaggerated proportions or sizes. “We want a similar method, similar exaggeration, but we want it to be more abstract.” In Fall 24, they turned cylinders, squares, triangles, and spheres into clothing shapes, and “randomly and joyfully” combined them to create an “abstract” body. Poell also “abstracted” in AW06: boxy-cut suits, turning traditional parkas and trousers into 3D shapes while keeping the essential elements and cuts intact, with a more serious tone compared to V&R. Leather, unlike fabric, cannot be bent and shaped freely while keeping its form, so CCP uses a sandwich-like method, trapping thin leather between two layers of thick leather to ensure smooth bends at the corners. Poell also didn’t place all the front pocket structures directly in the center, but intentionally separated the front pockets between two vertical planes at the corners, requiring extra thought in the pattern-making process.

Even so, Poell still holds deep respect for the “haute couture” label, believing that the haute couture circle has already lost much of its quality: “It has all become a show, companies show the specific brand name to the world, the fashion show’s goal is to get press coverage, and what is shown are costumes, not clothes. To me, haute couture means making just one piece of clothing, tailored for one person, hand-made. (Isabel, 2001)”

I: Ironic

Apart from the Drip sneakers, CCP is also widely known for its SS04 show, famously referred to as the “floating corpse show” with its “Mainstream-Downstream” theme. This show can also be viewed as a form of “fashion show”: CCP’s formal invitation was just an orange-red factory time card, with a clock indicating 7 o’clock and the location Naviglio Grande the large canal in Milan that started construction in the 12th century, flowing through the industrial area near Poell’s former studio.

On June 25, 2003, industry professionals, who had waited by the riverside for a long time under extreme heat, were extremely puzzled: there were no signs of a runway being set up along the canal, no security guards speaking into headsets to maintain order, no assistants in black clothes arranging seats, and there were no seats at all. Suddenly, the crowd began to stir, as models dressed in full outfits made from high-quality fabrics and hardware drifted along the canal. “A male figure slowly floated from the distance wearing a white shirt, black pants, and striking red boots; followed by another man dressed in a thick leather vest, resembling a ball of steel wool from afar. They both lay motionless with their faces up and limbs stretched out, their expressions peaceful as if they had lost their lives, a total of 16 models drifting by. Although the clothes were soaked in river water, making it hard to see the original contours, everyone was rendered speechless by the poetic scene. This kind of presentation had never been seen before. He didn’t care about how the clothes looked on hangers or in stores, nor did he care if consumers wanted them. Breaking the cycle of commercialization and hype in modern fashion became the most important goal,” recalled and evaluated Judith Thurman, a critic from The New Yorker magazine. Of course, Poell had thoroughly checked the water quality and the safety of the floating objects in the river to ensure the models didn’t “die.” When the models left the bathroom and office after cleaning up, the moist clothes on the floor and hangers were filled with a salty, fishy smell.

No need for seats, there were no restrictions, and passersby could stop and watch by the river. Many industry professionals’ reactions ranged from excitement to disgust, as they felt it was an insult to their work. Poell explained, “Nowadays, everything in the fashion industry moves in the same direction, like a river. When I realized I was deeply immersed in it, it was already too late, but I gave up on this trend. I wanted to express my sense of crisis and cynicism toward it.” Mainstream fashion always unconsciously flows in one direction this was Poell’s poetic metaphor for the state of fashion at the time (which could also represent today), and a silent rebellion against the fashion system. This fashion show, which was both a runway show and a performance art piece, was inspired by the character Ophelia from Shakespeare’s Hamlet, in some ways directly critiquing the mindless following of mainstream culture and demonstrating the dangers of such blind adherence. This show also embodied a law of physics: when an object remains stationary in a river, it is carried away by the relative speed of the current (i.e., to swim upstream is to resist, to stay still is to go backward). Through the perspective of an outsider in the mainstream fashion world, this show referenced “cultural material” like literature and offered institutional critique, combining literature, performance art, and avant-garde elements.

“Now street fashion is the freshest and most interesting (at the time, Raf Simons had become the top trend in the Archive wave), and what has already existed on the streets is being transformed into ready-to-wear collections on the runway,” Poell described the “mainstream” at the time. “When I have time, I go out and see what’s happening on the streets. But as a creator, no matter what (mainstream) influence you’re exposed to, you must maintain your own identity.” In his view, fashion, once a means to find and establish identity, had degenerated into a universal formula.

However, this show can be understood from two perspectives: without “flow,” there is no talk of “following” or “going against” the current, or of moving forward or backward. The existence of CCP and avant-garde fashion is especially significant: if fashion were the only great current, there would be no “mainstream” or “alternative.” But does swimming upstream imply another current? Is following a different current really distinguishable from following the mainstream?

A comparison with the equally esoteric and forward-thinking Martin Margiela SS90 runway show reveals many similarities between the two: from the equally “nonchalant” invitations to the intimate interaction with the crowd, to the shock both shows caused within the fashion industry. If Margiela’s “poverty art” and “deconstructionism” provided a template for future generations to resist the mainstream, then in Poell’s unannounced presentation, elitism and herd mentality were completely erased, and the modern mainstream fashion it represented was harshly mocked in the form of a fashion show.

J: Joints

The concept of “joints” in the leather garment industry has always been a challenging craft. In AW07 “Disjoints,” Poell demonstrated the steps before tanning, which involve sewing connections while the leather is still in its raw state, known as “hyde” (tough and rough unfinished leather). The process begins with the removal of hair from fresh hide using chemicals like lime and sodium sulfide, followed by soaking the leather in water to soften it, reducing resistance during sewing and easing the next step of stitching. After about 5 minutes of drying, the stitches become denser and stronger, effectively enhancing the continuity of the leather joints and improving the overall leather quality. Over-locking is extensively used at joints and connection points to enhance toughness.

When asked, “What would you like to design besides fashion?” Poell expressed his interest in orthopedic devices and artificial body parts. AW07 was inspired by armor and arthropods, featuring armor-like joints in areas such as the elbows, shoulders, waist, hips, knees, and ankles, made from thick, tanned horsehide as the base material, and softer kangaroo leather for the joints to allow for movement, creating a leather concept “armor.” The most iconic piece of armor leather from that season (LM/2333 HCRPIB-PCC) also featured a helmet with an expandable structure, resembling arthropods. Poell described this combination of hardness and flexibility as “Object-Tempered,” a term inspired by the metal heat treatment process that reduces hardness and strength to improve ductility or toughness. Unlike the direct “game armor sets” of 2020 by Balenciaga, Poell did not replicate the conventional “armor” but instead used “leather” to replace “metal” to create a truly functional “armor.”

Zippers, while seemingly a small detail in fashion, represent the level of craftsmanship in a garment. Most brands order zippers from zipper factories, but CCP developed its own unique zipper craftsmanship. The zippers on CCP leather jackets are sewn directly into the leather, without relying on any form of zipper tape. The teeth of the zipper are fixed directly to the leather, which itself is a major challenge to zipper craftsmanship. After the metal teeth are secured, a steel brush is used to polish the metal teeth on one side, followed by double-sided polishing after the chain is assembled to ensure a smooth and shiny finish. This process requires multiple steps to achieve the desired finish. Throughout, Poell ensured that no leather was worn down, nor were any steps of the zipper-making process omitted.

” Pockets ” are essentially the junction between a crack and an item storage tool. Over the course of fashion development, various pocket junction methods have emerged to provide convenience for storing items in different situations, while changes in form have made pockets a part of the aesthetic of clothing. CCP combines open pockets and inset pockets, extending one end of the open pocket vertically (LM/2200) or adding excess material at the extension like an envelope pocket (letter pockets), which increases the opening area when the hand enters. Due to the addition of inner pockets and excess material, the thickness of the pocket area is often thicker than the rest of the garment, especially in leather jackets, which exaggerates this unevenness (LLM/2205). Poell uses a “Г”-shaped open pocket as part of the front piece, with the inner pocket and excess material naturally located below the horizontal line of the front piece (LM/2498), or combines the inner pocket with the outer cover of the open pocket (LM/2599). This ensures that the pocket’s thickness does not affect the visual appearance. In reversible designs, the inner pocket is made from the garment’s material, with one side functioning as part of the front piece (LLM/2205).

In the design of details like joint areas on limbs, CCP has gone through the following stages: Initially, oval padding was directly sewn into the elbows — armor-like double-zipper elbows (AW07) — elbow openings at the joint, with excess material extending when bent and folding inward when straightened to ensure flexibility (SS08) — titanium alloy joints at the joints (2010), using industrial grinders to expose the metal parts, making it blend naturally like attaching real prosthetics.

K: King?

Whenever CCP is mentioned, there’s almost always a prefix: King, whether it’s “avant-garde” or “dark.” Such praise is not without reason. Take the Drip Rubber series as an example. While the latex continues to drip, the technology itself has sparked a series of ripple effects: from O.X.S’s Rubber Soul series with rubber impregnation effects, to Both Paris, a brand built around rubber, launching fully rubber-covered sneakers, and to street brands like Golden Goose, 1017 ALYX 9SM, 424, Kappa, and others who have released shoes incorporating melting or dripping latex elements. These brands have simplified and popularized CCP’s self-absorbed, almost pathological image and then promoted it to a broader market.

The “Back Raglan” design, a combined pattern frequently found on CCP outerwear, takes the traditional raglan sleeve design and further modifies the shoulder area to restrict and fit the shoulders, enhancing the shoulder line when worn. The first version (A) involves adding a horizontal pattern along the clavicle/upper trapezius at the shoulder, transforming the original raglan sleeve into a shoulder pattern that is only sewn halfway (front shoulder sleeve and back raglan sleeve). The second version (B) appears as a normal shoulder cut from the front but combines the arm and shoulder patterns into a single piece (connecting the large sleeve pattern and the back piece, erasing the excess fabric) with a “Dead-End Sleevehead.” It comes in two versions: with or without a raglan insert. The well-known “CCP admirer” Boris Bidjan Saberi frequently incorporates “Back Raglan” in his products, such as his short sleeves, which retain the horizontal clavicle pattern while eliminating the raglan sleeve design, using only two pieces to create the garment. When worn by a person with the right build, it can create a “sharp shoulder” effect, like a shoulder pad.

Another “admirer,” Simone Cecchetto (founder of A1923), has a particularly similar design language, craftsmanship, and leather use in footwear. In addition to the edge-to-edge stitching mentioned in section “A,” the Object-Tempered armor boots from “J” are simplified into a single leather upper without pre-tanning, with a side zipper that connects only the top of the boot shaft, rather than three pieces. The double zipper design (Zipper A: inner zipper; Zipper B: rear top opening zipper) relies on the upper’s bending for shaping. CCP, by altering the extension lines of the double zippers to be non-parallel, presents a completely different one-piece pattern design compared to A1923’s double-piece approach. Additionally, in order to leave space for the embedded titanium, more effort is required to adjust the design.

As Poell describes his attitude toward mainstream brands and imitators, including Boris Bidjan Saberi and Simone Cecchetto, who are categorized within similar styles: “To normal people, our works may seem very similar to those of the imitators. But if they looked at these works from another perspective, everything would be clear, and the differences would be immediately obvious.” The famous “Fashion Hell” image is further evidence of CCP’s elevated position.

So why add a question mark to the title? First, even CCP, who is revered as a god and whose work is often considered untouchable and easily accused of being plagiarized when referenced, has sources of inspiration many, in fact. In the realm of fashion, there are figures mentioned in the “H” chapter, such as Helmut Lang, Massimo Osti, and Martin Margiela. In literature and art, inspirations include Shakespeare, Egon Schiele, the Vienna Actionists, Surrealism, and others. Many designs directly reference uniforms, including tank crew jackets, U.S. Navy work vests, and fencing uniforms (see “V”). Canadian artist Mimi Parent, in her 1959 “Masculin Féminin” series, incorporated women’s hair into ties as part of men’s formalwear, further emphasizing this contradiction with pearl embellishments. Austrian artist Erwin Wurm developed creations using everyday objects, including stuffing clothing into cubic forms to create sculptures a concept dating back to 1988, though his related works were refined after CCP introduced the Box Cut series. However, when worn, these sculptures cannot maintain their original form.

René Girard once said, “Humans are creatures without a clear concept of desire, so they look to others to make decisions. We desire what others desire because we are mimicking their desires.” Stripping away the aura we’ve added, Poell is just human. Furthermore, CCP doesn’t solely represent one person; it’s also a team where ideas don’t always originate from Poell. Each member contributes to the brand in their way. But like most mainstream fashion houses, it’s the designer who steps forward for the final bow and thus becomes idolized or even deified (see “M”).

That said, compared to methods like direct printing or color extraction, Poell makes every effort to reference art through material and conceptual approaches. The debate of whether fashion is art remains polarized to this day. Poell, however, believes that fashion as a vehicle for social issues is overestimated: “Fashion can reflect what we are going through, but if you compare the clothes we wear to work with what you see on the runway, the reality is often very different. Sometimes, fashion is far removed from daily life. I believe even the media’s constant associations between art and fashion are wrong. They often undervalue the former (art) while fashion becomes the greatest beneficiary.” (Isabel, 2001)

CCP’s prowess is undeniable. But the title of “King” may owe some of its weight to the influence of capital and market forces. In 1919, Thayaht revolutionized design with the creation of the one-piece jumpsuit “Tuta” (Italian for “all-in-one”), whose simplicity and versatility starkly contrasted with the haute couture of the time. Ironically, Thayaht intended Tuta to “fly into the homes of ordinary people,” but it instead became a symbol of elite fashion, embraced by Florence’s upper class. Similarly, Poell has mentioned, “I produce by questioning the capitalist system” and “I use capitalism while simultaneously detaching myself from it” (Fashion and Materialism). Yet CCP has become one of the most niche and expensive brands within the capitalist fashion system.

Looking back on Poell’s entire design career, one gets the sense that he is a reclusive perfectionist and obsessive visionary, who constantly challenged himself for the sake of self-expression, dragging many factories along with him, throwing investment-return ratios out the window. His financial security allowed him this freedom, which in turn became a foundation for capital to exploit and drive the brand’s mystique.

Before “IN-BETWEEN,” Poell ceased releasing new collections and instead decided to produce and reissue designs from past collections, entering a frenzied replication “hiatus.” Feedback from distributors led him to produce more color variations of the Drip sneakers. During this time, rumors circulated that “Poell is preparing to retire from fashion like Lang and Margiela and become an artist.” Perhaps this was a strategy by capital to create the illusion that CCP was about to become unavailable, making it easier to sell products in the absence of new designs. For a long period, Drip sneakers inadvertently became a symbol of the wearer’s economic, intellectual, and aesthetic superiority (a status now held by Tornado boots).

Even with Margiela, the iconic elements such as the four white stitches, cracked white paint, Tabi, and number tag were initially only recognized by insiders in the fashion industry during the brand’s early years. However, after Margiela’s departure, despite John Galliano’s widely praised SS24 haute couture collection, these elements (especially the MM6 collaboration with Supreme) have devolved into mass-market visual clichés, with Tabi and the number tag being the most overused.

In the tokusatsu fandom, there’s a term called “aesthetic coercion,” referring to initially unappealing designs that, through repeated recommendations, portrayal, and subtle influence, become aesthetically acceptable or even desirable under the guise of “it must be good because I don’t fully understand it.” Reflect on how we came to accept Poell’s artistic aesthetic wasn’t it similar (e.g., the increasingly appealing titanium heel)? Every community has its myths because people need myths, but we should rationally acknowledge CCP’s high status without turning him into a tool for creating a fashion elitism hierarchy.

Poell could have, like Margiela, relied solely on “lightning-in-a-bottle” creativity and intellect to disrupt the market. However, his expensive materials and manufacturing costs have instead reinforced an elitist image. If someone buys CCP merely because it helps define a certain elite status, that’s a problem. To borrow a famous line from the movie The God of Cookery: “There’s no such thing as the King of Avant-Garde or rather, everyone is the ‘King of Avant-Garde’!”

L: Lesser boutique (Ultra-rare buyer’s shops)

While there are countless boutiques selling avant-garde brands, those capable of carrying CCP are undoubtedly the cream of the crop in their respective regions: such as L’Eclaireur in France, The Library in the UK, Darklands in Germany, 三木舍 (Sanmu She) in China, and Lift in Japan. Among these, Tokyo’s Lift is considered one of the most prestigious and long-standing stores. In November 1993, Masahiro Tsunoda and Manami Tsunoda opened the first Lift in Daikanyama. Around 1998, Masahiro Tsunoda met Poell in New York, which fundamentally transformed his understanding of fashion. From then on, Lift became the representative of CCP and avant-garde fashion in Tokyo.

Poell once mentioned in MR High Fashion: “(In Tokyo) all styles can coexist, and most of them are perfect and special. I think Japan has a sincere awareness of fashion as a form of teaching.”

Lift is divided into Lift etage and Lift ecru, both of which have been used by Poell as exhibition spaces. Lift etage even had a dedicated section solely for CCP ready-to-wear, exuding an artistic ambiance. The store’s famous glass showcase regularly displayed art installations personally crafted by designers (including Poell and Maurizio Altieri) and artists.

In 2001, the exhibition The World of Carol Christian Poell at Lift marked CCP’s first showcase in a boutique, aligning with the theme of that collection, Public Freedom (see “P”). Subsequent exhibitions included:

• Expectance, which recreated a realistic maternity ward scene.

• Inner Value, where black tape was placed on the connections between elevators, corresponding to CCP’s use of black tape for seams in that collection.

• B-sides, which featured Poell’s oversized custom leather gloves.

• 0, where the shop window echoed CCP’s official display of the KITE-S series in public toilets.

These exhibitions either served as official CCP presentations or as supplementary interpretations by Lift to highlight CCP’s seasonal design concepts.

Samsa G., located in Munich, was the first boutique entirely dedicated to promoting and selling CCP’s aesthetic and products. Situated in a quiet suburban area away from the city’s hustle and bustle, the shop only accepts visitors by appointment. Founders Hamid B. and Liu Z. named the store after Gregor Samsa, the protagonist in Franz Kafka’s The Metamorphosis, reversing the character’s name as a nod to the novel. This homage is further reflected in the occasional animated beetle that appears on their website.

The store itself is housed in a repurposed factory building that once produced luxury trains. The boiler room, which powered the entire factory with electricity and steam, was transformed into a display space perfectly embodying CCP’s industrial and experimental atmosphere. Samsa G. is also the exclusive retailer for CCP’s special “Kite-S/3” series. Since the IN-BETWEEN period, from Paper Dart to XNIGHT and Spur Biter, Samsa G.’s Instagram has effectively become the first source for official CCP previews.

In 2015, Samsa G. curated a multi-sensory photography exhibition for CCP titled Process! Episode One: Ambrotypes, centered around the theme of bodily transformation. The exhibition featured seven black glass plates, suspended by oxidized metal chains, showcasing meticulously selected details of CCP garments and footwear. True to CCP’s mix of tradition and radicalism, the images were created using the old ambrotype glass plate photography method.

Photographers Stefan Milev and Stefan Sappert designed the entire setup from scratch: an American artisan crafted a box camera using wood sourced from German forests, while 80×60 glass plates pushed the limits of image clarity. After extended exposure times, the old-fashioned process produced a texture and depth unattainable by modern cameras.

Much like CCP’s experimental creative process, the glass plates dripped liquid after exposure, creating unpredictable patterns and tones this effect was mirrored by seven rust-stained metal boxes in the exhibition, resembling the tanning process for leather. Additionally, what appeared to be door frames embedded with rubber blocks were originally photo frames that had deformed after repeated imaging on the glass. These frames were handed to Poell, who transformed them into the Rubber Block installation.

The custom-built camera used for the exhibition now quietly resides within Samsa G.’s shop, further reinforcing the boutique’s dedication to CCP’s boundary-pushing artistry.

The second mono-brand store is the CCP Room, located in Moscow. It evolved from the boutique Project 3.14 and hosts a variety of events alongside CCP products. The store was created by Alexander Moiseenkov, in collaboration with architect Ariana Ahmad, who together designed a surreal, unpolished two-story space.

The interior features poured concrete floors, exposed beams and utilities, concrete structures, walls treated with specialized glass techniques or stripped to their raw surfaces, glass bricks from abandoned factories, and simple white tiles. This raw, industrial aesthetic defines the space.

One of the most striking elements on the second floor is an artwork jointly created by Ariana Ahmad and Alexander Moiseenkov, made from a halved cast-iron bathtub. The piece evokes the SS08 showroom setting, further connecting the store to CCP’s artistic vision. Ariana described the design philosophy: “Although the interior design is minimalistic, it is sufficient to showcase Carol Christian Poell’s work, creating an atmosphere that draws attention to the main features without distracting from them.”

On the first floor, graffiti on the wall reflects Poell’s answer to the most important lesson he’s learned in his design career: Not Everything Sells.

The third mono-brand store is Samu-Shi, located in Hong Kong, which originated from the boutique Ink-Clothing. As the only CCP distributor in China, Ink expanded from a small shop in early Hong Kong to a well-known boutique selling both men’s and women’s collections, boasting the most comprehensive range of avant-garde and artisanal brands in the region. Ink once filmed campaign videos for IN-BETWEEN 2018 in Shanghai, reflecting a concept of “appearing and disappearing naturally.” The owner, Pita Cheng, a fitness enthusiast, is known to wear Drip sneakers for long-distance runs and mountain hikes (and the store is home to the famous cat MorMor, beloved by numerous avant-garde designers).

Samu-Shi is located above Ink and is designed around the concept of traditional Chinese wooden structures. It incorporates large wooden beams from old boats, hand-polished cement floors and walls, and antique furniture, resembling a Chinese-style house restored with a Western touch. This design reflects the unique blend of East and West that is characteristic of Hong Kong.

The in-store music is composed by renowned Hong Kong musician Longman Luk, who uses traditional Chinese instruments like the erhu and yangqin combined with music software to create unique, dynamic soundscapes. No two moments in the store sound the same, mirroring the one-of-a-kind nature of CCP’s products.

The Library in London was founded by Peter Sidell in 1994, with its core concept reflected in its name displaying the most avant-garde coats, skirts, and leather boots like a library. As one of the earliest stockists of CCP, Peter provided both financial and brand development support to Poell and became CCP’s exclusive distributor in the UK. The Library has released limited-edition red coats from the Dead-End series and wool versions of fencing jackets signed by Poell himself (there’s a story that it was Peter’s idea to turn leftover reflective woven scraps into rings to make extra money).

The Office Gallery, located in Nicosia, operates as both a boutique and a gallery. It is known for Deepti’s wheelchair display “Transgression At Phytorio” shot in an abandoned international airport. The gallery has hosted exhibitions by artists like Günter Brus, and CCP products make up a significant portion of its sales. It also inherits Poell’s mysterious air. However, the owner, Anastasios A. Gkekas nicknamed “Old Deng” in the community is also known for being difficult to communicate with.

Darklands, located in Berlin, was founded by Campbell McDougall in 2008. McDougall has embraced this style since the 1980s. In addition to pursuing avant-garde aesthetics, he places emphasis on quality, uniqueness, craftsmanship, and value. The store is divided into three spaces to express its vision:

1. Darklands – focusing on classical craftsmanship.

2. Darklands-x – emphasizing darker, modern, and conceptual aesthetics.

3. .03 – a dedicated CCP exhibition space set in an unrefined underground garage. With exposed concrete, water pipes, and sporadically illuminated light walls, it is filled with a unique coldness, eeriness, and darkness, reflecting the solemnity inherent to Berlin’s character.

The brand has authorized nearly 40 boutiques, including Joyce in Hong Kong, Barneys Japan, Atelier in New York, Eastern Market in Melbourne, PN\P in Florence (which has since closed), and MotelSalieri in Rome (which still sells some older CCP pieces on Grailed). The reason why there are fewer CCP distributors today, aside from the brand’s shift in strategy and Poell’s personal preferences, is largely because distributors cannot only order shoes, and those “H&M Plus” type garments are often hard to sell resulting in some boutiques still having stock from over a decade ago. With the growing convenience of the courier industry and air travel, there is now commercial competition even between stores located in different countries and continents. Consumers often care more about which store places larger orders and has more in-stock hot items. One of the owners of Eastern Market, Stephen McGlashan, explained in an interview that they stopped ordering CCP because “in the past few years (the 2010s), they experienced terrible sadness and loss.”

Especially in the current economic climate, where clothing consumption is being impacted, the strong purchasing power of CCP’s audience has made many multi-brand boutiques pay special attention to it. CCP is one of the few brands where distributors are willing to open exclusive boutiques just for it, and each store has its unique characteristics. Some have dedicated sales spaces for CCP, while others have created dedicated archive pages (e.g., Lift, Library). Even those without distribution rights can attract consumers by showcasing their personal CCP collections. For example, OneGallery Cave in Shanghai is currently the store with the largest variety of CCP products available in Mainland China, and earlier this year, the “One Window Away” Archive exhibition in Shenzhen displayed personal collections, including the AW98 veins leather jacket.

The official authorized retailers as of June 2024 are as follows:

• Lift — Tokyo

• Samsa G. — Hong Kong (by Ink-Clothing)

• Shelter II — Kobe

• The Library — London

• CCP Room — Moscow (by Project 3.14)

• Closet Case — Dubai

• Lazzari Store — Treviso

• Alan Bilzerian — Boston

• Darklands .03 — Berlin

• The Office Gallery — Nicosia

• Seikatsu-Geijutsu — Morioka

• L’Eclaireur HÉROLD — Paris

• Samsa G. Tuchwaren — Munich

And… Linear Extension

Rick Owens, a designer who co-founded his brand around the same time as Poell, is best known for using “linear extension” in his designs. He draws inspiration for each new collection from previous series and continues to sell almost all of his early works. Poell also employs linear extension, but unlike Owens, who often makes small changes by altering colors and decorations, Poell’s approach involves revisiting his past works and seeking new ways to improve and refine earlier designs with each new collection.

“My work is a result of natural and spontaneous feelings, but at the same time, I like to start with materials, looking for leathers or special fabrics. A lot of things happen by chance. I research an idea, but I don’t know how it will evolve. Basically, the job of a creative designer is to continually refine their original idea. You only ‘create’ once, and then over time, you refine it. I am always influenced by my previous works, even though every season seems like it starts from scratch.” (Isabel, 2001)

In SS03, CCP introduced the tape seam design that is still in use today. Since then, most of CCP’s coats have no lining and instead feature double visibility on the inside and outside, with seams covered by internal tape, no longer hidden by a lining. The internal craftsmanship is especially refined, allowing the garment to be worn inside out. AW03 introduced the concept of “patching,” with the tape placed on the outside; SS04 thickened the tape into “rubber strips,” used as belts; AW04 featured tape used on all major seams of leather jackets; SS08 utilized a wetsuit-like glue-bound edge technique, with a striking contrast from yellowed “double-sided tape” on white fabric. In 2010, the iconic Dead-End cut (seen in “O”) was introduced. In these pieces, the tape accentuates the seams, further highlighting the significance of stitching visually.

AW00, CCP introduced the original version of the iconic “twist pants,” a pair of long pants that twisted like bandages to form the legs. AW01 achieved the “twist” effect with an internal spiral drawstring, turning the pants’ hems inside out to enhance the twisted look. AW02 added a unique distressed effect for the season with “dust electrostatic adsorption,” spraying leather powder (leather scraps, leftover leather processing material) and electrostatic fibers onto a cotton base. The design was then streamlined multiple times, reducing the twist and adding an over-lock sewing method. Perhaps based on these earlier explorations, the “spiral pants” (spiral) emerged in 2009, embodying the concept of “from complexity to simplicity.”

In SS04, CCP launched a sock shoe, with an inbuilt insole, entirely woven from rubber strips, allowing it to be worn directly without worrying about wear and tear or discomfort. The same collection also featured a pair of “unfinished” derby shoes (AM/1883) made entirely of rubber, with no sole, relying on the shoe’s upper extending to the bottom to serve as the “sole.” In SS08, rain boots directly sewed the outsole and shoe upper edge together, creating the illusion of a “sole-less” design. This approach, which removed the traditional “sole,” continued into 2009 with the initial Drip sneakers (AF/0824), where latex replaced both the midsole and outsole, marking the beginning of CCP’s mainstream success.

The IN-BETWEEN, which has undergone three major updates, is more of an upgrade than a comparison to the previous replica “window period”: it addresses issues like the fragility of the spring buckles on AW07 combat boots and the rubber straps on SS08 weathered rain boots. The boots have been enhanced with thicker rubber soles, improving both appearance and durability. There are various versions of Drip Rubber, with the latest transparent Drip version allowing for object dyeing (see “R”). The U-Sole, which had the risk of flattening, has been upgraded to a version that better aligns with current sneaker trends and offers improved performance. Basic shoes and boots now feature embedded tank soles and titanium alloy spurs at the heel, offering both wear resistance and functional heel support. The AW06 square-box cut suit has been replicated, and a new square-box wool pullover has been developed. The thick and crunchy NAS-PTC (nylon), which was not originally a fabric material, was discovered to have object-dyeing properties and is now used for outdoor windbreakers. The KITE-S (polyester) from the same period is now used for functional windbreakers that are lightweight, tear-resistant, and fully waterproof and windproof (before object dyeing, KITE-S was color 3, and the finished color is marked on the back, such as KITE-S/3/010). The cotton content in XLIGHT has been reduced, replaced with thicker and brighter PET reflective strips for XNIGHT. The spiral zippers have been upgraded to double zippers similar to the Dead-End style (actually intersecting), which is a significant challenge in pattern making… and more.

M: Master

As the saying goes, “A master teacher produces outstanding students.” Maurizio Altieri, once considered a master figure like Steve Jobs (although his reputation is now largely negative), attracted numerous followers to his team due to his emphasis on teamwork and collaboration. His disciples went on to hold significant positions in the avant-garde scene. In contrast, Poell has fewer people under his guidance due to his unique approach to life, but those who have worked with him are exceptional and capable of standing on their own.

Twenty years ago, Hiromasa Yamaguchi, a Japanese artist who joined the studio, shared in an interview with Gap Press Man how he went from being clueless at the start to helping with exhibitions and productions. “At first, I only talked about work, but now I’m asked to provide commentary from a Japanese perspective. We get excited about some things. I respect him a lot; it’s been an exciting experience.” Graça Fisher, a PR representative at the time, mentioned that working at CCP provided a sense of job satisfaction, camaraderie, and trust that one couldn’t find in a large company. After 2010, CCP integrated design and production into one process, allowing designers and employees to easily communicate by going up and down the stairs, addressing issues immediately. Interning at CCP was highly demanding, with a requirement for error margins on both sides to be millimeter-perfect, or the work had to be redone. Craftsperson P.R. Patterson was so moved by CCP’s work that it led him to explore the avant-garde, and during his internship under Poell, he came to understand the importance of process and precision: “I understood that every small part requires its own process, and every piece must be as if it were molded. Every product at CCP is made up of these thoughtfully considered tiny parts, and each of them is crucial to the final result. Working at CCP, even writing a memo, involves paying attention to every tiny detail.”

Tania Deepti Barth, Poell’s most renowned disciple, shares a similar journey with Poell and was once a core member of CCP. Born in 1978 in Germany, she spent her childhood in a commune in the United States. In 1999, she studied foundation courses at Camberwell College of Arts in London and later pursued a bachelor’s degree in Fashion Design with a focus on menswear tailoring at Middlesex University, during which she interned at CCP and sold her own menswear collection at a store on Savile Row. After obtaining a master’s degree in menswear from Central Saint Martins in 2005, she joined CCP as an assistant designer and pattern maker, focusing on material development and perfecting garment patterns and tailoring, which helped CCP reach its peak. Until 2012, all CCP’s imagery production, photography, and visual content were created by her.

Deepti Barth worked as menswear and womenswear designer for Carol Christian Poell in Milan from 2005-2012. She founded the DEEPTI label in Berlin in 2012.

In 2013, Deepti Barth began to exhibit her work independently at stores like The Office in Cyprus and Lift in Tokyo (see “L”).

Before CCP launched IN-BETWEEN, Deepti’s work inherited the high standards and refinement of CCP, and can be seen as a continuation of its legacy. The 925-999 collection developed fabrics with different appearances by using silver nylon threads in various oxidation states, replacing traditional stitching and rubber strips with vulcanized technology for garment bonding. The Broken Formality collection featured more radical elements, such as the crash-seam, more extreme than chain-seam, as well as the “Suicide Vest” made from safety glass (explosion-proof glass), representing a whole broken glass pile, and designed to be worn without the intention of being worn. The glass’s properties limited its cutting to traditional garment pattern-making, so it could only be molded as a whole. The Petrifaction collection combined various materials with stone rocks, launching experimental outerwear similar to CCP’s fiberglass coats, where a very thin layer of stone rock (vulcanized quartz and basalt gravel) was bonded to the fabric to create a thermosensitive material. This material would change its shape depending on temperature, becoming flexible when heated and solid when cooled. The Irony collection made extensive use of metal fiber-blended fabrics or embedded iron wires, dyed to imitate rust patterns, or directly rust-dyed with iron wires to form stripes, alongside abnormally heavy full-iron ring ties.

Over the past decade, Deepti’s work has closely followed CCP’s numbering system, design language, and material research direction: XLIGHT series represents non-woven fabric and yarn blending experiments (including fiberglass, silver wire, iron wire, etc.), a strong emphasis on heavyweight materials, impeccable and astonishing patterns and cuts, seam edges left raw and overlocked, laser-cut tailoring, contrasting inner and outer fabric colors, and yarn treatments such as fuzzing or knotting to create a snowflake texture, among others. As a result, Deepti is often criticized for “not stepping out of the CCP circle.” However, is there another possibility: could these be Deepti’s contributions, or some part of Deepti’s legacy left behind? A classic example is Elena Dawson, who was criticized when she left Paul Harnden to start her own brand for “copying” her former mentor. In reality, most of the designs she had were already the ones left by Harnden, which she used to obtain funding for her own development. So, nearly 20 years later, Elena Dawson developed more patterns, while Paul Harnden was left with only seasonal prints.

Even though Deepti’s work is highly similar to CCP’s, there are still distinctions in the details. Deepti’s suits insist on using bound fabrics instead of replacing the lining with glue tape, even though glue-bound edges have no technical difficulty now. In terms of patterning, Deepti rarely, like CCP, relies on heavy shoulder pads to shape the shoulder lines. In the reflective series she introduced, Deepti used nylon reflective yarn, with suit fabric and the brand’s previous silver/metal materials using a plain weave method of one cotton weft yarn combined with one reflective warp yarn. The wool fabric used a twill weave with wool running in the warp and two strands of reflective yarn + wool in the weft. The shirt fabric was made from 90% cotton and 10% PU containing reflective particles. As a result, Deepti’s designs appear as normal clothes under regular light, only reflecting in low light, with a much more subtle level of reflectivity than CCP’s. In terms of human-centered wearability, CCP tends to prioritize technical exhibition, while Deepti compromises a bit for comfort and durability. For example, the reflective suit: the former (CCP) adds only glued edges for ultimate reflectivity, resulting in a particularly scratchy feeling, while Deepti’s version includes a lining (which can be compared with the “F” and “H” sections).

Poell’s influence extends even to the production side. Giovanni Bonotto, the successor of the Italian heritage fabric factory Bonotto, met Poell at a semiotics seminar held at the Domus Academy. He received valuable insights from Poell on the social conditions needed for developing production within the framework of vertically integrated manufacturing and the cultural industry. It was under Poell’s influence that Bonotto established the “Slow Factory” concept, using old machinery from the last century to produce high-quality fabrics that are no longer feasible in today’s high-efficiency assembly line operations. Even after being acquired by the Zegna Group, this concept continued to develop. Giovanni has frequently praised Poell in public settings, recognizing him as a top designer in the industry and an absolute authority on fashion related to fabrics. Poell taught him the “primary importance of materials (specifically raw materials for production)” and how to liberate these materials “as a key form of reversing the historical process,” prompting Giovanni to “search for materials to restore their glory.” (Fashion and Materialism). “In fashion, I consider Poell my teacher.” “When Poell became my friend, my life changed. He taught me the culture of handmade craftsmanship and the value of doing things the right way.” (Not Just A Label). Other figures such as Isabella Stefanelli, Nicolo Ceschi Berrini, and Wilfried Mayer have also been influenced by Poell. Additionally, the genius pattern maker who was previously responsible for pants at CCP came from the Yohji Yamamoto studio, and current team members include former employees of Dior’s haute couture line.

N: Non-appearance (Concealment)

Martin Margiela once said in his documentary In His Own Words: “Anonymity is like a layer of protection for me, not just as a designer, but as an individual. It allows me to work diligently without any schedules on my agenda, and those media meetings… I’m not against them, but there are things I can’t do. They pull me out of my balance… Because when they can’t associate your face with your name, fame becomes very difficult.”

Like Margiela, Poell also hides himself as much as possible from the media and the public. Few people know where he lives or what he looks like. In fact, most of the photos of Poell circulating online are over 20 years old, and few people can recognize him now (out of respect, this article will not show Poell’s current or past face, but if one insists, they can refer to Tommy Lee Jones). Even now, most buyers only see Sergio Simone when placing orders (see “Y”). He currently resides in a studio in the Lambrate district of Milan (the old location was in the Naviglio district), focused solely on producing clothes and releasing them to the public when necessary.

“All small brands are gradually being acquired by big companies, struggling financially. We work so hard, but there is so much hypocrisy, so much bullshit.” (Nylon, 2001) If Poell knew how difficult it would be to fully control his brand, he might not have chosen to create one. Thirty years later, CCP remains one of the few fully independent brands, never collaborating with other brands or companies or seeking financial support through sub-lines or sub-brands. He understands that despite the fashion industry elevating him to high status, he has no place in mainstream media. He is an industrial designer, focused on the relationship between fabrics, materials, and forms, rather than on outward appearances. “Fashion in clothing has lost its meaning and social reference… It has become superficial, mainly about self-celebration, styling, and making money.” (MRハイファッション, 2001). Fashion shows and media coverage have almost nothing to do with Poell’s garment production; they only disrupt his creative process. He doesn’t allow anyone to take photos during the presentations, let alone leak products, and all attendees must sign non-disclosure agreements before entering.

“I don’t think there’s any point in engaging in the ‘glamorization’ of fashion designers. If you really want to do that, it’s better to become a pop star.” (MRハイファッション, 2001). On the contrary, his talent and mystery combined to create his allure. He is a tall, slim man with deep brown eyes, a love for sports, and unusually long arms his green paper figure, which he uses to represent himself, proves this. “He is two meters tall, wears gold teeth in the front, and is very cute, like a child,” described Armand Hadida, the owner of L’Eclaireur. In CCP’s works, you will rarely find any form of logo. Instead, the name “Carol Christian Poell” and a light yellow label are subtly inscribed in unnoticed corners, along with the unintended surprise SAFE (a kind of “safety certification” in another sense, see “S”).

Some anecdotes about Poell are also included in this chapter, giving a glimpse into the other aspects of his hidden personality:

1. In the past, Poell would wear a woven hat, jeans with a hole in the crotch, and a T-shirt to work. Why do CCP jackets have such unique arm shapes now? Because, ultimately, he started wearing his own clothes. He even personally checks and tries on each product, regardless of the size (with a tall, slim EU50 frame and UK11 big feet).

2. Poell has a habit of drawing sketches to showcase his designs, which can be traced back to 1985, when he had already envisioned sketches for Drip Rubber. Poell prefers slender silhouettes like those of Hedi Slimane and Raf Simons, and he is also deeply inspired by the works of expressionist painter Egon Schiele. This can also be seen in the AW99 sketches: the same unfinished look, distorted lines, and bizarre use of color. Schiele believed that art doesn’t necessarily need to be realistic, and it doesn’t even have to be beautiful. If we replace art with clothing, doesn’t this sound like a description of CCP? Since AW99, every product has had multi-view sketches, showcasing the product’s detailed features, and these sketches are attached to the “corpse bag” packaging as the “death” label.

3. A question from an interview: “Do you wear shirts every day?”

Lucas Ossendrijver (former Lanvin menswear director): Often;

Raf Simons: Yes, I wear them every day, in white, navy, and black;

Carol Christian Poell: I don’t wear shirts at all.

This answer comes from a designer once thought to be capable of creating the most stylish shirts in the world. Although now known for his leather products (especially shoes), he believes shirts must have a beautiful collar, with at least nine stitches per centimeter. “I won’t compromise. In the end, I still have to make a pair of pants, a jacket, and a shirt… no one can make truly beautiful shirts.” (Achtung, 2003) Instead, his “semi-permanent skin” for a long time has been a grey navy vest (AM/2573SED PEDGE-PTA/7).

4. Sometimes, Poell finds it difficult to accept seeing his designs worn by strangers, feeling like someone has taken away his favorite part of the carefully crafted design. However, he does not hesitate to praise those who wear his pieces well, such as Hamid from Samsa G. On the other hand, Boris Bidjan Saberi says: “When I see someone wearing my clothes, I feel deeply moved, and of course, it makes me happy. For me, I wear my own clothes from head to toe. If I do, it’s because they meet my daily needs and I feel more complete wearing them.” Whether worn by celebrities or ordinary people, Rick Owens feels joy: “I know it sounds hypocritical, but honestly, I am always happy to see someone resonate with my clothes.”

5. Q: What do you think is the most interesting magazine right now (2001)?

Poell: “National Geographic, because it’s a magazine about life and nature. Fashion magazines (although) reflect our era, but most of them are about advertising.”

Q: “If you had to use one word or phrase to express Carol Christian Poell’s view, what would it be?”

Poell: “No vision, only indecision.”

Q: “What would you say to young people who want to become designers?”

Poell: “If you really want to be creative, you’d better not become a designer.”

6. Due to internal reasons at CCP srl, Poell missed the AW04 Milan Fashion Week, and initially, they considered skipping the season. Of course, they actually skipped a season — AW05. The reasons for the skipped season are varied: 1. Someone broke into his lab and stole his research on new fabrics and dyeing methods over six months, along with his sketchbooks and laptop, but no money was taken; 2. The message from the Atelier at the time was that his clothing orders were piling up and the publicity was overwhelming, so he wanted to calm down; 3. According to Barneys Japan staff at the time, he had no money left and needed to deal with financial issues. In any case, only a small number of orders were accepted that season, with requests to replicate past season’s products, but it was still labeled AW05, hence the name “On Demand,” meaning “Make it if you pay.”

7. Poell has worked as a guest designer for Premiata (around 2005) and Mandarina Duck (from the late ‘90s to the early ‘00s), designing shoes and clothing. To this day, some of Premiata’s styles still show traces of CCP’s design influence (shoe shapes, scarred horsehide leather, rivet stitching, perforations, horizontally slotted soles, dyeing, Drip Rubber, etc.).

8. The only charging station in the Guidi factory parking lot is for Poell’s Tesla.

9. Guest designers usually have to sign non-disclosure agreements and remain unacknowledged (such as Aitor Throup with Nike). As for the matter that was widely circulated but later denied by Guidi, it’s a matter of personal opinion. We’ll see how Guidi’s subsequent products turn out.

O: Object (Overall)

Some brands focus on the concept of the overall (Object) in dyeing. For example, Massimo Osti’s garment dyeing aims to achieve the natural, seemingly effortless aesthetic of blending different tones within the same color family. Later, CCP and many other avant-garde brands applied this approach to their footwear designs, where each pair is dyed after being fully assembled, as a complete object – this is where the term “Object-Dyeing” comes from. Simply put, this means reversing the dyeing step, which would normally occur after leather tanning, to the final stage. Washing and dyeing are done simultaneously, resulting in products with uneven, mottled color patterns. CCP’s Object-Dyed leather is more like a combination of tie-dye and batik dyeing techniques, with vibrant colors achieved not by intentional aging or washing, but by mixing multiple dyes in varying concentrations in different batches. Before immersing the leather in dye, a special mordant is used, which causes irregular scar-like patterns on the surface of the leather. After dyeing, the color surface appears rugged and uneven. Due to variations in raw materials and the number of dyeing processes, even the same color number can have a noticeably different visual effect. Poell also applies other materials’ dyeing techniques, such as Vat Dye (reduction dyeing), one of the oldest dyeing methods, traditionally used for pure cotton, wool, and plant fiber products. However, CCP’s use of traditional barrel dyeing on leather fabrics is a bold experiment with old dyeing techniques.

Another concept: what if the tanning process was moved to the end? Poell actually did just that Object-Tanned, where leather is cut into garments or accessories during the raw hide stage, and then tanned afterward. This results in a more unpredictable finished product with a higher scrap rate (30% to 50%), greater difficulty in production, and requires specialized protective gear to sew. This process is used on very few leather jackets and some belts (now discontinued), and sometimes he directly uses raw hides, treating them with simple preservation before turning them into finished products.

P.S.: In recent years, CCP’s Object-Dye leather goods are subcontracted to Guidi.

And… One Piece (Single-Piece Cutting)

A square sheet of paper, without the need for excessive adhesion, can transform from a flat form into a multi-dimensional rose. Using the mindset of folding paper roses to create garments, the cutting resembles pre-pressed folds on paper, and the stitching follows various shaping lines, such as mountain and valley folds, without damaging the fabric’s integrity. This clothing, made through “dancing with shackles,” is called One-Piece clothing. In an era where fashion updates are becoming increasingly rapid, pursuing the extreme of “single-piece” and focusing on “zero waste” is an excellent approach to showcasing the unique perspective of avant-garde designers.

After the Middle Ages, a clear divide emerged between Eastern and Western clothing. The East tended to continue the style of wide robes with generous excess, while Western fashion began to adopt fitted patterns, such as the Tudor period “doublet,” to shape the body. Before this, clothing in various cultures was often wrapped and draped loosely around the body in flat structures with extra room. Issey Miyake believed that Eastern and Western fashion were not strictly opposites but shared a common origin that could be traced back to a single piece of cloth, which led to the birth of A-POC (A Piece Of Cloth). He not only explored the relationship between the human body and clothing but also delved into the space that exists between them. In 1999, Martin Margiela’s single-piece duvet jacket echoed this idea, but Margiela transformed Issey’s original “fabric” an item only relevant to certain groups into a concept like “duvet,” something ubiquitous in daily life. This cutting method connects the past and present, East and West, such as the expanded duvet in the jacket resembling the flat, wide structures found in traditional Eastern garments like kimonos and hanboks, with the method of inserting the sleeves, a technique that developed from Tudor-era pattern drafting.

“Self-Edge” is a linguistic breakdown of “selvedge,” referring to the fabric’s self-bound edges, the outermost part of the material that prevents it from fraying. The common “raw edge” is simply a line used for the lockstitch, not the selvedge or edge itself. CCP’s single-piece denim jacket (VM/2560SED) also inherits this concept and belongs to the second version of his Self-Edge series, “Metré.” Compared to the first version, which cuts along the fabric’s edge and uses the selvedge as a seam, this version makes highly efficient use of the fabric and gives the sensation of the material being directly “worn” on the body. Conceptually, it is similar to Issey’s single-fold garment cutting, but due to the limitations of the President loom, which only produces fabric up to 1.5 meters wide, the jacket can only reach a size of EU52. This series also includes a long self-edge fabric scarf, shaped entirely by buttons. Of course, both Poell and Issey were influenced, to some extent, by the well-known interactive series “1. Werksatz (First Work Set)” by German artist Franz Erhard Walther, exploring the relationship between the body and fabric and how their interaction changes the spatial structure.

Self-Edge is purified, orderly, outward-facing, and, to some extent, naturally occurring (like wound healing). In contrast, the next year’s Dead-End cutting is a meticulously designed, intricate, inward-facing, and highly artificial piece, infused with Poell’s personal artistic touch. The now-iconic Dead-End is based on experimental patterns derived from traditional tailoring techniques, characterized by two parallel diagonal lines that never intersect: two non-intersecting seams, two non-intersecting rows of buttons, and two non-intersecting plackets. In essence, it is a single-piece pattern technique formed by “breaking” the pattern at the shoulder blades, elbows, lower back, thighs, and hips, and then using a Chain-Seam to stitch the complete fabric, sealing the stitch with tape. The continuous seam does not have a single break, creating an integrated flow from stitching, fabric, pattern, to the final product. Therefore, adding Dead-End to an existing pattern is not just about altering a few stitch lines; it requires a redesign from the pattern level, serving as a metaphor for fashion entering a “dead end.”

Poell has always been fascinated by the contradictory states of certain things (including the concept of “Yin and Yang” in Tai Chi), as dialectical materialism tells us: we live in a world full of contradictions. In his 2010 showroom, Self-Edge (and its extended version) and Dead-End were showcased in equal parts, because “One-Piece” is a commonality between the two. Using glass as a metaphor, if there is a crack extending from one side of the glass to the other, it can result in two or more shattered pieces. Self-Edge resembles the outer edges of the shattered glass pieces, forming the original “glass” as a whole (such as in spiral pants, split pants, etc.). However, if the crack continues to extend and break, it still results in a single, albeit cracked, piece of glass, and the end of that crack seems to have reached a dead end. Dead-End represents the crack within the “glass” as an entity, composed of two individuals that will never merge, much like the opposite poles of a magnet they can exist separately but can never escape the whole.

The former “Trigger,” the glass that cracked but did not shatter | Dead-End

(For a brief history of One-Piece, see “The Birth of Everything: A Brief Analysis of the Fashion Journey of One-Piece Clothing.”)

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P: Presentations

Consumer goods must design themselves according to the will of advertisements, especially the cultural illusions created by the entire advertising system, and role-playing and switching roles are inherent in their fantasies. Today’s fashion shows themselves are advertisements. Balenciaga has made headlines since AW20 by linking clothing with the set design in the runway shows, establishing a scene relationship. CCP’s clothing presentations, along with their unconventional design style, have also caused a stir in the fashion world. That said, Poell refuses any form of fashion show and defines them as “self-celebrations for designers and everything they’ve done in the past six months”: “I don’t like showing my work at fashion shows because it (the show) has nothing to do with the clothes. The word ‘Show’ implies something theatrical, and it distracts attention.”

“However, sometimes the atmosphere and power of certain spaces complement what I am trying to express, such as a slaughterhouse, an animal shelter, or scenes of escaping the office.” Much of CCP’s inspiration stems from Poell’s childhood. His grandfather was a doctor, and his family worked in the leather industry, so he was often surrounded by people from different stages of life. It’s clear that he incorporated these life experiences and philosophy into places that anyone could enter but were the most inconspicuous, such as behind the iron bars of a dog kennel, next to cows being skinned in a slaughterhouse, in a filthy public restroom, or even under the sheets of a morgue bed. “By choosing them (as presentation spaces), I want to show that contemporary society has no ability to redevelop and upgrade these buildings” (Domus, 2009). These scenes are used by Poell to critique the fashion system and its mechanisms (as well as self-criticism), expressing society’s constraints on us and exploring multiple themes of death and anxiety.

In addition to the most famous “Mainstream-Downstream” floating corpse show, CCP has many other profound presentations and new perspectives. “I love to fall in love with products I prefer to see them hung one by one.” At the Artissima Art Fair in Turin, CCP presented a mortuary scene in the “Best Before 16/10/00” display: seven hospital beds, seven body bags derived from pants, with “bodies” wearing numbered tags and “death certificates,” and even the scent of a morgue. Perhaps human life is like an expiration date, and even after death, the body has an expiration date. “Born in a shirt… died in pants…” Life here seems silent and calm.

“Three Refrigerated Cells (SS01)” takes place in three workshops of a slaughterhouse: In the first room, raw hides awaiting tanning are hung on industrial conveyor racks, like carcasses, reflecting Poell’s respect for these animals. The second room features extremely narrow and long jackets, pants, and shirts hanging on the same industrial racks, with shoes placed underneath in line with the conveyor path. When visitors push open the door to the final room, they see themselves a mirror opposite the door, a wooden chair in front of it, and a clothes rack on the wall like a fitting room. “I want people to see themselves in the mirror. I want to ask them,” Poell says.

“Public Freedom (AW01)” is a rather “sad” series exploring a sensitive topic: the freedom we can possess. In an animal shelter, accompanied by the sound of barking, the models are locked in a cage, looking around like animals at every noise. This is an alternative “prison,” where even an abusive husband wears fine clothes on Sundays. “The appearance and behavioral distortion within a restrictive environment use conservative elements of dress requirements as a uniform, attempting to conceal human abnormalities.” What is the difference between us and the “dressed-up beasts” in prison? Poell asks himself.

The somewhat dangerous “Traditional Escape (SS02)” features models wearing traditional suits, blindfolded with black cloths, climbing out of the (old) CCP office window using a tied long rope, then walking into a crowd below. The last one doesn’t descend; completely masked, he unties the rope and lets it fall, then closes the window and walks away. CCP, in the style of the “Vienna Actionists,” tries to explore the idea of breaking the constraints of “fashion industry regulations” through these escaping “artists.”

The invention of PVC was intended for use in places like disinfection rooms to maintain temperature and communicate with the outside through its transparent surface. “Space/Inner Space (AW03)” is inspired by this concept, not only creating a “quarantine room” in Showrooms but also transmitting experimental live performances to the changing room as people view items hanging from behind, capturing images of unconscious behaviors in a shared space.

After the “Floating Corpse Show,” Poell stopped publicly displaying collections. “Dispossessed (SS05)” constructs “temporary shelters” using white packaging bags, representing the destitute “homeless” who, for various reasons, have traveled long distances without caring about their image. The clothes, like a white shirt soaked and revealing skin color (transparent skin), are adorned with seemingly random seams (over-lock), and the shoes, worn down to “no sole” (shoes with no soles), are stuffed with as much as possible in “garbage bag” luggage. The shoes lose their shape, becoming flattened and remade.

“U-Turn (SS06)” presents Poell’s personal collection an old training mannequin sandbag from the Russian military. This season’s nylon-textured patent-leather coatings may have been inspired by this sandbag, and the physical catalogue also showcases the wrinkled effect of coated leather.

“Paranoid (SS07)” sets up a “ground” that cracks (actually paper), creating a chaotic, broken “world of the mundane.” The shoe’s lock buckles (inspired by the German military’s barrel bag loop-locks, used as handles) begin to appear as shackles, symbolizing the restraints of this world. At the end of the display, a traditional metal escape ladder, about 6 meters long, lightweight, flexible like a saw blade, easy to carry, and stable, is placed. With it, a paranoid individual can escape the mundane world and confront their inner self.

“Off-Scene / ØØ (Escape the Scene, SS08)” was filmed in an old, rundown factory with vintage rolling shutters and its restroom. The setting inevitably evokes images from movies, where dangerous experiments take place in secret military labs hidden in abandoned spaces, prompting the need to “escape,” or even a top-secret escape operation code-named “ØØ.” The escape method must be “unexpected,” often referred to as “parachuting.” Each piece of clothing is lined with parachute material, displayed in the most “unexpected” locations each item is suspended from the restroom ceiling, with the lining pulled down to the floor, casting its shadow. The restroom, a necessary yet undignified space, reflects human nature.

“Self-Same (2009)” is displayed in a slaughterhouse, which, in essence, functions like a giant refrigerator. This choice itself carries a meaning of phase change. The fiberglass coat represents the solid state when cold, while the Drip Rubber, which debuted during this collection, symbolizes the flowing, molten state when heated. The color 13 can be seen as both “blood” and “heat,” controlled by temperature-induced phase changes.

“Dead-End (2010)” was showcased in an abandoned canning factory. The details of the decaying building reflect the collection’s themes: cracks in the glass windows (Dead-End cut, as seen in “O”), the mossy green (the debut of color 6, which is the complementary color of 13 and represents “flaws, imperfection” in Western religion), and the flash of sunlight on shattered glass (XLIGHT, where the “refraction” phenomenon symbolizes an optical “dead-end”). This alludes to fashion reaching a “dead-end,” a metaphor for how Poell began his long years of reworking designs. Even now, as he continues to refine past designs in his IN-BETWEEN collection, he remains immersed in his own “dead-end.” CCP’s showcases not only reflect the aesthetics and values in Poell’s work but also serve as a commentary on the fashion industry as a whole.

Q: Quality (品质/质量)

CCP is a brand that focuses on reducing production volume to enhance quality. While it’s not as extreme as the online rumor of making only ten pairs of shoes per color per year, CCP still only produces around 3,000 pieces annually, maintaining this level consistently. Its quality is considered top-tier among avant-garde brands, using high-quality materials and incurring high costs. Some styles, due to special requirements, cannot be mass-produced (like XNIGHT). The prices are high and discounts are only given in very rare circumstances. As a consumer, you can purchase CCP products confidently based purely on their appearance; they will never be mass-produced, low-cost sneakers with inflated prices like the “cost 100, sell for 1000, then hike up to 10,000” that are common in the industry. The high level of manufacturing and quality, along with the substantial monetary and time investment, is recognized even by traditional garment industry professionals who are less familiar with fashion. CCP offers lifetime repairs just send it back to the studio, and it will be fixed. They also keep a few meters of the material from each production batch, reserved for future repairs.

Over 20 years ago, a store once chose not to renew its orders due to stitching defects in the products. Poell explained that “finding a good manufacturer is hard,” and that he prefers to oversee the entire production process. Any products made without his direct involvement in production, like bringing leather to the Guidi factory for dyeing, are not shipped. To ensure production quality and reasonable working hours for employees (the studio has long holidays in July), CCP has started to limit the number of orders that retail stores can place. They do not allow stores to increase orders indefinitely for popular models, instead, they prefer to keep the orders smaller. They also stopped accepting orders for older models six months in advance to make room for the production of the IN-BETWEEN 2023 and new collections, even though these older models are the brand’s top sellers.

“I create clothes where each piece has substantial meaning. Most designers cannot achieve this; after I look at their work, I don’t see anything. It’s hard to find a jacket with personality. If you strip away the fashion show styling and all the similar items, it’s just an ordinary jacket.” (Attutide, 1998). Therefore, Poell doesn’t particularly like working with stylists not due to personal grudges, but because he believes stylists can mask design shortcomings. In fact, he believes most designers are, in essence, stylists themselves. Interestingly, some well-known stylists in the industry, such as Stephen Mann and Karlo Steel, also refer to CCP’s work for inspiration.

“In principle, we don’t really need quality today. At least in the civilized world, the basic needs of clothing are largely met, and everything around us has standards that have never been seen before in history. However, this is the most beautiful moment in my creation… simply having beautiful things is not enough; they must also be well-thought-out things. (GQ, 2004)” Another manifestation of CCP’s unique product quality lies in CUL/CUBS-PTC, commonly known as “Scarred Horsehide.” CUL, or Culatta, refers to the back half of the horse’s back leather, which includes the rump (often referred to as Shell Cordovan), typically featuring both suede and smooth surfaces. Irregular cracks exist only on the reverse side (the side connected to the flesh), caused by the muscle fibers of the rump being damaged during the skinning process and treated with tannin, which is why it’s called “scarred horsehide” not just for its appearance, but because it is literally scarred. Horse Culatta is not rare, with several Italian tanneries, including Guidi, using this leather surface. Due to its high oil content, it easily ages to produce a metallic finish (LUC). However, the unique CUBS, clearly built on the basis of CUL, has been subjected to more “artificial intervention” during tanning (possibly extending scratches) to create deeper, more regular, and more exaggerated textures. Due to the special location of the leather, the area that can produce scars is limited, so Culatta is mostly used for shoes and accessories, and rarely for vests.

Tanned or dyed leather products typically shrink by 8% to 15%, which requires designers to leave equivalent space in their patterns. CCP’s agents and consumers need to adapt to the product itself, rather than the product conforming to the consumer. For example, most shoes do not follow international size standards; size 9 with an insole is the same as other brands’ boots, but without the insole, it is one size larger. However, you can’t be certain until you try them on, and for the titanium boots in IN-BETWEEN 2023, size 10 is needed to fit properly. In Poell’s view, quality does not necessarily mean comfort. Many CCP products have what are called “movement restrictions,” “forcing” the wearer to display good posture, achieving a dignified and upright visual effect. He doesn’t care about the discomfort or itching that comes with it, requiring agents and consumers to accept these irregularities and “flaws” or “discomfort,” which contrasts with mass-produced fashion products that are mostly similar. As he said in GQ magazine: “Some people might find my designs stiff at first, but I specifically design them to change with the wearer. I retain some randomness, and this randomness gives uniqueness that only appears in the confrontation between the person and the clothing.”

However, quality doesn’t necessarily represent the “practical quality” during actual use. Since SS03, CCP enthusiasts have experienced times when the adhesive strips peeled off in various forms. In comparison, the adhesive used in Boris Bidjan Saberi’s designs is thinner, softer, and more flexible, similar to medical tape with enhanced stickiness, making the seams of the leather garments moldable like dough, without worrying about the tape peeling off or cracking. Additionally, the carbon fiber U-Sole does not collapse, but the shoe soles are very hard and difficult to bend, causing the wearer to walk like they are marching. Compared to more scientifically designed sneakers, long-term wear of U-Sole can negatively affect the knees and walking posture. As a satin fabric, cotton (weft yarn) in XNIGHT forms separate, unconnected weft points, with fewer interlacings of warp and weft, and almost the entire surface of the fabric is covered by reflective stripes (warp yarns), enhancing the reflective performance of XNIGHT. However, the floating long threads in satin fabric are prone to wear, pilling, or fiber snagging, with strength lower than plain or twill fabrics. Additionally, XNIGHT contains nearly 20% less cotton than XLIGHT, which poses a risk of seams bursting and large holes appearing during wear a risk that has already manifested in some cases.

Even so, these rare products, which no one is willing to make, may have practical flaws or may only serve as decorative pieces, but the CCP brand audience shows an almost unreasonably high level of tolerance for these issues.

R: Rubber

What is the most popular CCP series in the market? The answer is obvious: Drip Rubber, also known as the melting series or dripping rubber series. This iconic CCP design emerged in 2009 at the slaughterhouse. “Part of the reason Drip Rubber evokes the image of slaughtered cows is that this is where their last drop of blood is spilled, and then their bodies are taken to meat shops across the city by butchers. (Domus, 2009)” In this cold storage, the blood is “fixed” at the moment it drips due to gravity. The rubber, dripping like fresh blood, may suggest a contradiction in CCP’s work: through an artificial material (rubber), he creates garments that represent nature (blood); it is the blood that creates the garments, and the garments are designed to mimic blood.

The original design purpose of Drip Rubber was to enhance the waterproofing of the shoes’ inner and outer soles, bags, and leather goods’ bottom edges, either by covering the seams or eliminating the need for seams altogether. The latex that drips and solidifies visually creates a stunning effect. Using Drip on leather garments adds to this visual impact without serving a practical purpose. Drip Rubber is likely the entry product for many enthusiasts and has been one of CCP’s best-selling design elements for over a decade, almost becoming the brand’s “signature.”

Drip Rubber products are generally made by first creating the shoe, bag, or white mold, followed by processes such as dyeing or special leather treatments. The piece is then immersed in liquid polyurethane, lifted up, and placed in a special drying machine for rapid solidification as it drips. The latex-soaked shoe increases its waterproof ability and secures the outer sole and heel firmly. It also adds this eerie aesthetic to the items.

Early Drip Rubber sneakers didn’t have conventional soles. Once the upper and inner sole were completed, the shoe was directly soaked in latex, allowing the solidified latex to replace both the midsole and outsole. The older versions of Drip sneakers in the market typically used a midsole and outsole stitched with internal support lines, wrapped in latex. The shoes were first dripped into shape and then dyed, resulting in irregular dye residues on the latex. The IN-BETWEEN 2018 version followed the opposite process, first dyed and then dripped. The 2020 version reverted to the previous method, with some styles using dyeable, semi-transparent polyurethane as the Drip material.

Drip Rubber is also used on bags and long blazers. Before dyeing, the items are soaked and lifted to air dry. Another round of Drip is applied, and during the dyeing process, the semi-transparent polyurethane may produce different colors due to its uneven surface. Shoes like Tornado, Derbys, and Work Boots may also use Drip Rubber, often just to enhance waterproofing and the visual aesthetic, as this method saves time compared to the more labor-intensive Norwegian Welt, which requires up to 3 to 6 lines of stitching.

In May 2019, the Drip sneakers, nicknamed “Cheese Shoes,” sparked heated discussions on Weibo and briefly became popular outside of their niche market in China. To illustrate, let’s take the basic models from Guidi and Rick Owens, which were among the most successful in gaining mainstream attention. Their common characteristics are: the price is moderate within this niche and doesn’t diminish their prestige, and both brands gained recognition through celebrity endorsements, which helped push them beyond their niche into the mainstream media. Additionally, these brands maintained a balance of appealing design (sufficiently normal) while still retaining a high level of exclusivity that attracted outsiders into the circle. Their rise in popularity in China can be partially attributed to their strength in the market and their role as the “basic face” of this scene (which, looking back five years later, is quite remarkable).

However, desire is always endless. After a period of “if others don’t have it, I do,” once there is aesthetic fatigue, there is a need for products that are even more expensive (but never the most expensive), with more unusual (eye-catching) designs, higher prestige, and superior or even top-tier craftsmanship to act as the “top-tier face.” From this perspective, Drip Rubber sneakers hit all of these points. Therefore, the top-tier face is designed for insiders, meant for consumers who, after experiencing fatigue from the basic products, are looking for a new target. This is a gradual process. Introducing the top-tier as a basic product and pushing it out of the circle would skip this process, making it difficult for people to accept (more details can be found in the “Conceptual Associations of ‘Cheese Shoes’”.

https://weibo.com/ttarticle/p/show?ua=Mozilla%2F5.0+%28Macintosh%3B+Intel+Mac+OS+X+10_15_7%29+AppleWebKit%2F537.36+%28KHTML%2C+like+Gecko%29+Chrome%2F131.0.0.0+Safari%2F537.36&id=2309404371123901975860

It all started with this Weibo post.

As for those brands that diluted the Drip Rubber concept into their own footwear designs, I think they can be divided into two categories:

1. Brands like O.X.S Rubber Soul series and early rubber-covered styles from Both Paris didn’t directly copy Drip’s branding imprint. They used flowing rubber as the core concept in their campaigns, with Both Paris even drawing inspiration from Günter Brus’ self-mutilation performance (a key figure of the Vienna Actionists, one of Poell’s inspirations). Personally, I would define this as “inspiration.”

2. On the other hand, streetwear brands like Golden Goose, 1017 ALYX 9SM, and 424 could be considered “copying.” Especially 424, where the shoe shape is based on AF1, with “424” appearing only on the midsole. Compared to CCP, their polyurethane is too transparent and hasn’t undergone material dyeing, particularly in the colored versions, which makes it look cheaper. I personally suspect they all use the same type of polyurethane. In this regard, I’d say they haven’t even been as thoughtful as the recent CCP counterfeits (just considering Drip alone, they are already quite similar). In fact, since the Drip’s release, even during the replication phase, CCP has adjusted its polyurethane formula every season.

S: SAFE

The word “SAFE” frequently appears on CCP products’ labels and shoes, placed directly under Poell’s full name. The earliest CCP product with the “SAFE” mark found so far is the SS00 elastic leather condom. Elastic leather was developed by Poell in the mid-90s in collaboration with a French manufacturer and later became an industry standard, used by many brands (the currently replicated material is ELEER-PTC, 97% deerskin + 3% Lycra). However, like transparent leather, CCP did not patent it. In fact, before the rubber era, materials for making condoms varied greatly, including leather. In the “Form (SS00)” season, not only was there the small “SAFE” in the form of the condom, but also a large “SAFE” in the form of a bulletproof vest made from cashmere. CCP’s metal components are outsourced to a workshop near Vicenza, which typically produces metal toe caps or other safety-related elements for workwear. Due to some serendipitous circumstances (the “SAFE” is an indelible mark in the raw materials), “SAFE” ended up beneath “Carol Christian Poell.”

(Sports)

Although Poell is passionate about sports and draws inspiration from it, he likely doesn’t have much fondness for traditional sportswear. However, he incorporates his own style and achieves the effect of sportswear or what could be considered “functional” clothing in CCP’s products. The SS96 collection, named “Fencing,” reflects this with breathable mesh and the iconic fencing leather jacket design.

Poell also created simple short-sleeve polyester garments in solid colors for the Austrian cycling team during the Tour de France, as polyester quickly wicks moisture and doesn’t absorb sweat. In fact, early CCP collections favored synthetic fabrics such as polyester and Lycra. The AW97 “Aerodynamics” collection merges suit styles with athletic wear, featuring a pullover with a polo shirt front and a double-vented blazer back, as well as combining suit tailoring with athletic hoodies made from wool and pigskin, creating a natural and smooth fusion. Racing gear also served as inspiration for his works, such as gloves from the Italian brand Dainese and gloves with built-in titanium alloy. The AW01 collection’s tooth necklace was inspired by Poell losing a tooth in a motorcycle accident. The SS08 collection introduced a windproof, anti-pull, packable, reversible parachute series. Poell also swam in Kite-S material shorts used as swim trunks. The IN-BETWEEN collection includes long reversible leather coats with a “frosted” effect after dyeing, made from Paper Dart material that has the added function of a raincoat.

T: Tradition

“I like tradition; it is our transmission of past knowledge.” This idea is vividly reflected in his ready-to-wear collections from the 1990s. Suit tailoring is the highest standard in all men’s fashion categories, requiring the use of the fewest seams to create the most fitting suit (shaping convex and concave curves, balanced lines between sharp and rounded edges, distinct transitions between the chest, waist, and hips, etc.). Additionally, the allowance for ease is small, limiting body movement. If you do not master the principles, you will never create a great suit. One can judge the skill of a tailor by how well they understand men’s suits. Over the past 30 years, no matter how trends have changed, Poell’s suits have always adhered to the slim, tailored cut and classic aesthetic, aiming for an appropriate shoulder line. Poell has experimented with various types, including the Neapolitan shoulder and French saddle shoulder, but oversized or excessively wide shoulders have never appeared in his designs. The adjustments in the fit and the high armholes give the wearer a longer, more slender appearance.

At the same time, his clothing, unlike today’s “dark, ominous, pathological, self-reflective” style labels, embodied “Italian style” for a long time – that is, mixing seriousness with a touch of whimsy, such as pairing dark suits with brightly patterned or colorful shirts and vibrant ties.

Like Guidi, CCP’s footwear is mostly based on the Goodyear welt construction method, including hand-grooved midsoles, iron shanks for stability in the shoe’s midsection, 360º Goodyear welt stitching, and hidden stitching on the outer sole. While adhering to these well-developed steps, Poell is also willing to boldly experiment on this foundation. In addition to the U-Sole and edge-to-edge stitching mentioned in section “A”, Poell may laser-cut or make horizontal grooves on the outsole, creating cross, dot, or horizontal patterns. These cuts may either enhance the shoe’s traction or improve its breathability. Some shoe models feature a one-piece sole made mostly of rubber used in tank treads, and in rare cases, a single piece of bison leather (wedge).

Poell never shies away from using industrial machinery. In midsole production, since machines cannot groove the midsole, the structure of cotton-linen inner strips, although efficient, would lower the shoe’s quality. He chooses to groove the outsole and sew it using a Goodyear stitching machine while hiding the threads. He also uses cutting machines for the outsole cutting. The stitching on his garments, such as scar-stitch, melt-lock, invisible-seam, and chain-seam, are all made using modified sewing machines. Poell once bought an old sewing machine used for making coffee bean bags, which led to the debut of over-lock in SS05. His precision and mastery in stitching even led a surgeon to email Poell for advice about scar-stitch.

Both scar-stitch and over-lock are stitched from the inside of the garment, producing an external, visible effect resembling a scar. Scar-stitch is similar to the technique used in heart surgery, while the over-lock uses thicker thread with wider spacing. Melt-lock is used to reinforce the over-lock internally. Invisible-seam and chain-seam (previously called open-seam) are different from the previous techniques, leaving a gap between the fabrics, forming an opening, and using a glue coating process similar to wetsuit sealing. The difference lies in the visual effect: chain-seam uses cotton thread, while invisible-seam uses almost invisible translucent nylon thread, which is more flexible. When under stress, the chain-seam firmly secures the fabric, while the invisible-seam, resembling a tear in the garment, reveals the hidden body of the wearer (Christian Michel’s Thought Without Concept provides a detailed description).

Poell is a curious person, grounded, and never cuts corners. For him, traditional craftsmanship and the exploration of new technologies and materials are equally important: a traditional technique can be reborn as a new one by combining it with equipment that didn’t exist at the time. He was once fascinated by traditional Japanese tatami mats, so he became a temporary apprentice to a tatami master, learning in every way he could. Eventually, he found a new method of applying this ancient craft and created a leather strip woven Blazer (LM/1687T) for SS03, which not only made a breakthrough in tradition but also offered a new interpretation of the fading art and craft. In the SS03 showrooms, cameras placed behind the ceiling projected images onto screens set below the floor, and all floor joints were covered with tape just to demonstrate that, starting with this season, Poell was combining traditional garment techniques (sewing) with the latest technology (tape).

The IN-BETWEEN four-pocket small pony leather pants not only seem like a summary of CCP’s leather works from past to present but also appear to bridge a longer period of time, tracing back to the “one-piece” era of ancient times. These leather pants embody the most advanced cutting techniques and specially created sewing methods, adapting and supporting the wearer in the initial stretching stage, leaving dynamic gaps at the edges of the design. The elements and atmosphere of these pants vaguely evoke the traditional leather pants worn by men in the Alpine regions. At the same time, however, their cut and style far exceed their origins.

U: Untraditional

Part of the pressure Poell faced since founding the brand was understanding tradition while challenging established norms and subverting tradition. “Ideally, I would draw a red line outlining what you can’t do in menswear and try to get as close to it as possible; sometimes I go too far, risking being talked about or appearing ridiculous.” (Isabel, 2001) In SS98, the most “improper” piece was probably the red boxer shorts made using formal trouser techniques, which would be like asking Italian tailors to produce something akin to pineapple pizza. “If you ask them to try something new, they might even feel offended… if you just want a traditional jacket, they can make it in five seconds.” (The Class of 2001) In Poell’s view, menswear is either traditionally conservative or extremely extravagant, and it is necessary to delve into menswear and develop new traditions of male fashion.

Poell starts with the most familiar, the men’s suit. “I want to invent new fabrics and silhouettes and combine them with all the greatest tailoring traditions that I believe should be preserved.” (The Class of 2001) Playing with the deconstructivist approach of Martin Margiela based on traditional formalwear and adhering to menswear tailoring rules, he designs combined styles that make you think, “Wow, clothing can be done like this!” Basically, it’s “disguising style A as style B, keeping iconic elements of both A and B, and using common materials from one of the styles.” For example, AW97 features a suit-material pullover, where the front is a Polo shirt and the back is a double-vent Blazer, naturally and seamlessly blending the two; SS01 uses traditional suit pant fabric, expanding formal trousers into a pullover dress; SS04 uses hoodie material for a Blazer, keeping the front pocket and ribbed cuffs commonly found on hoodies; SS07 transfers the Blazer’s peak lapels and flap pockets onto a shirt; in 2010, the Dead-End skirt was made from the same wool commonly used for structured jackets, with the rear retaining the Blazer’s slit structure. There’s also the direct approach of incorporating or hiding one style within another, a prime example being the leather U.S. Navy work vest from SS08’s parachute series, where the back can be pulled out to reveal a windbreaker-style lining made from anti-tear parachute material. At this point, the Vest Bag can’t be defined as either a “bag” or a “windbreaker.”

Although CCP follows traditional techniques closely in the development of mature shoemaking processes, Poell has many unconventional “show-off” techniques that challenge the traditional shoemakers who pursue “elegance” and “smoothness” in formal footwear. Despite stepping on many “taboos,” his technical skill is still recognized by them. The wrinkle pattern on Culatta leather is considered a “flaw” for formal shoes; although stainless steel could be used, he deliberately chooses iron shoe sole parts that rust; a circle of decorative rivets is applied along the stitching, serving no functional purpose; the traditionally elegant and smooth “piano sole” technique is an extreme display of skill when the inner shank is embedded, and it’s equally so when the shank is placed outside. This is not just an adjustment in the order of production but also affects the curvature of the entire sole, as the insertion of the shank must be adjusted to prevent interference with thickness and ground contact, which requires adjustments during the lasting process. CCP also launched a “half-finished” shoe that discarded the sole, relying on the shoe upper to extend to the bottom edge to act as the “sole,” and it followed every traditional shoemaking process except for the sole.

Oxford shoes, having evolved over hundreds of years, still retain the feature of “complete closure of the tongue flap at the lace area.” Under this restriction, a one-piece Oxford shoe cannot have a tongue-shaped cut at the flap; the tongue must be cut separately and secured with reinforcement stitching at the flap. CCP’s Oxford shoes, on the other hand, abandon the flatness and even thickness of the shoe upper, relying on creases in the shoe upper for shaping. The tongue flap is formed by overlapping and pinching the upper, so no cut is needed at the flap, achieving a true one-piece design: one version (AM/2527) has a “W” shape at the flap, with only one lace hole at the top, and when tightened, the sides fold inward into an inverted V, creating two closed lines, resembling a wound healing; another version (AM/2680) has a single vertical closure line, and the remaining material forms the tongue. The additional lace holes cause the upper to bend even further.

In the 2009 collection, the “splits” pants feature a deviation in the front center of the pants pattern on a flat plane, creating a shift in non-Euclidean geometry (non-flat space) in the three-dimensional space, resulting in a visually curved displacement effect. (However, the pants themselves are still straight.) In terms of functionality, this design also makes it easier to lift the legs, with three versions available for different levels of ease: low, medium, and high crotch. Typically, pants are designed with a cylindrical shape defined by the inner and outer side seams, but using the same geometric approach, the side seams are shifted from the vertical direction to various horizontal ones, reconfiguring the target three-dimensional shape.

Men’s fashion has many traditional pairing taboos, such as “if two buttons work, don’t use three” or “never pair white socks with leather shoes.” These rules easily ensure one appears proper and “error-free,” but as Yohji Yamamoto once said: “Is there anything more boring than dressing properly?” Poell also challenges these established appearance standards with nearly obsessive pairings, using the contradictions in combinations as metaphors that align with the theme of the season. For instance, in AW01, to depict men’s “life stains,” the models in “prison” wore sophisticated outfits with exaggerated and imperfect details, or combined formal tops with silk autumn pants or leather underwear. In 2010, there was a pair of trousers made in the traditional way but with an elastic waistband, designed as outerwear for autumn leggings (PM/2669).

V: Vintage (Secondhand/Retro)

The previous wave of the Vintage/Archive trend began with Virgil Abloh’s statement, “I don’t think fashion is about showcasing the latest seasonal items anymore; it’s like — hey, I’m going to my ‘archive’ (through wearing vintage).” Poell does not place much importance on fashion, even though since the 21st century, a wave of new designers has used archival fashion as their secret to success (including CCP’s older designs), racing to unearth lesser-known styles from the vintage market. In contrast to Archive, Poell’s interest lies more in Vintage. For designers, vintage items are not only a cost-effective material for remakes but also an expansive database, especially vintage pieces used for specific scenarios (military items making up a large proportion). Modern fashion (especially menswear) stems from the research and development of equipment during the two World Wars, with countless iconic pieces in brands’ collections tracing their origins to practical military and workwear: CCP’s SS08 navy vest — designed to be filled with floatation devices for use as a life jacket in maritime emergencies, featuring front and back storage space and a unique shape that almost wraps the upper body; and the 2009 multi-dimensional shoulder bag — inspired by a cash transport bag from the 1860s Russian State Bank, made from waterproof, fire-resistant, and durable oilcloth. The metal hinge at the opening forms a square shape, making it easier to bundle cash into a cube shape for storage, with a clasp for secure closure. When not in use, it can be rolled around the hinge for compact storage. Aitor Throup describes this as the “accidental” aesthetic of problem-solving products in the design process.

This leads to another question: why is everyone going retro, constantly resurrecting existing things? In Isabel (2001), Poell believes it’s because people need to see the same things to feel comfortable with what they know: “Most of the collections discussed by the media have very clear references. People can almost name the street markets or antique stores where the inspiration comes from. In terms of clothing, it’s a very static period.” To some extent, when it comes to new looks and ideas, everyone feels trapped: “Trends come back so quickly, like a merry-go-round. It’s as if we are far from the ’80s now, so we can revive punk rock and long hair” (Nylon, 2001).

Poell believes the most memorable fashion movement of the 20th century was the 1960s retro-futurism: “I think every century has a ’60s that decides the next direction of development” (MRハイファッション, 2001). Sixty years later, Balenciaga is at the top. Compared to what still appears to be “futuristic” retro-futurism (partly because those “futures” are still unachievable today), we have somewhat abandoned further fantasizing, lying in the short, light, and fast modern culture, choosing to recall and recreate the past based on current conditions to find relaxation and joy in an anxious life that can be attained in a short period.

Navy Vest & AM/2573SED | Cash Transport Bag & AM/2451

Visage (Face)

Advertising (including Lookbooks, Campaigns, and runway shows) not only encourages us to purchase products but also takes us into a world where we learn to connect special items with specific social concepts and meanings. They are pure, woven meanings that do not contribute directly to the production or application of things. They are not just related to consumption but become objects of consumption themselves. The environment and close-ups of characters (not just faces) seem to have become essential elements in stimulating product users to observe themselves from a god-like perspective, both of which are indispensable. During the display of clothing, the model’s personal traits (such as appearance) and the background of the photoshoot are often too intuitive and intense, making the clothing itself the backdrop.

“I am interested in the body as a shell, as a shape, not the personality of the person.” Poell does not see clothing as a complement to the body. On the contrary, he aims to weaken the concept of the body. He believes that wearing clothing is not a compliment to the body but a denial of it. He views the body merely as a three-dimensional form, a canvas for presenting his ideas. “I am a craftsman, not an artist, so what I think of first should be the product (skirt, jacket, pants…).” Like his own anonymization, Poell often covers the model’s mouth, eyes, and any parts associated with a specific person in most of his Lookbooks, sometimes deliberately making them unattractive to eliminate the influence of facial features on the final product presentation. SS08, for instance, used the scene of a “toilet,” an essential but utterly unflattering setting, as its background. CCP official styles seem to be keen on creating combinations of items in an almost neurotic way.

What I mean is not simply women or men: I am only interested in the body as a container for clothing.” Physical features should not be beautified, and clothing should not be linked to the model’s image showcasing it. The personality of the clothing should be added by the consumer who buys it. “I’m really trying to express the feeling of women, and that’s usually not very good. Others tell me, ‘You’ll make a mess of women.’” In fact, he often questions the meaning of his work and career.

(W: Women/FE-MALE (Women/Women’s Collection)

“Do women really have the habit of dressing up? Or is it just following society’s arrangements?” In 1995, Poell launched his first men’s collection, and three years later, he developed his women’s collection FE-MALE from traditional men’s classic elements. Poell believes that women’s fashion design is different from men’s. For men, the integrity of the clothing is more important, while women’s fashion design is more limited. Women can embrace men’s clothing, and no matter what they wear or how they wear it, it’s hard to go wrong, so it’s easier to fall into mediocrity, making it difficult to excite. “When designing men’s clothing, whether I express too much or too little, I can explore freely without worrying about going too far and appearing ridiculous. There’s a subtle boundary in men’s fashion. In women’s fashion, I thought I could be more reckless, but I found that transcending normality in women’s fashion is actually normal. From this perspective, women’s fashion design is more limiting.”

“It’s too easy to make women ‘attractive’ by simply conforming to the way men expect them to look. I can make men look better than women. It’s really hard to describe. (The Class of 2001)” Poell doesn’t think many women dress sexy and full of sexual appeal because they like exposing themselves or feel confident doing so. Instead, it’s more because men want them to dress that way. “I tend to complicate certain style elements in the fashion system. If fashion demands a sexy woman who exposes her legs, I’ll release a more serious women’s collection that’s less male-oriented. (Isabel, 2001)” In order to distinguish himself from similar structures at the time, Poell used the “Trilogy of Monotypologies” in his AW99 women’s collection (the first three seasons were based on this concept, which was originally planned to be used in the SS99 men’s collection but was delayed until women’s). This was a series focused on a single piece of clothing, emphasizing different parts of the body. Although the original intent of these designs was for women to wear them, they also separated the form of the clothing itself from the female body, with the body merely filling the seemingly empty and blank garments. The “detachment” reflected in these pieces is one of Poell’s design principles: it’s both a removal from codes or types and a self-reflective positioning from a societal perspective. The alienation and isolation are transformed from economic disparities and personal abnormalities into an aesthetic concept. He presented women bound with plaster and bandages, outlining the flaws in a woman’s existence, shaping the image of women who suffer tragedies and sensory disabilities, and limiting their social status. “In a way, I think women are ‘disabled.’ I try to incorporate pain and vulnerability into my women’s collection. The trivial things women have to go through are not that beautiful. For some reason, I feel I have to express it. Women are always stronger. Maybe I have a little awe for them. (The Class of 2001)”

“I didn’t want to link my first women’s collection to a particular image or style through a cohesive design. I preferred to design one piece of clothing at a time… this is a pair of pants, this is a skirt… but you don’t see a complete image.” Similar to the design framework and numbering system proposed for his men’s collection, the concept of the “Trilogy” came from Poell’s determination: he didn’t want his latest collection to become synonymous with trends or styles; it was simply about the clothes themselves. He then spent two more seasons refining the clothes, which initially only focused on the lower half of the body, to meet the visual needs of the collection. This became Le Corps Presenti (Approaching the Body), showcasing the body. Each season, Poell would connect with the previous season’s clothing, but never display a complete look. People’s attention was always on the displayed clothing, without considering its relation to the entire collection. “I try to understand the human body, but I have not yet succeeded. I try to treat the body according to the volume that forms it. As you can see in this collection, you’ll find that a piece might represent a jacket, but that’s not all of it; there should also be a shirt… in the structure of the Trilogy, every piece has its place, but I want to complete them one by one.” He wanted to give the audience a sense of a more ambiguous continuity while redefining how clothing should be presented and how it interacts with the human body.

“I design for women, trying to understand their feelings in a society that still doesn’t recognize their role. To me, this is not crossing boundaries; it’s about being yourself.” (Isabel, 2001) In his women’s collection, Poell delves more into the physiological changes, social status, and identity of women at different stages, closely reflecting reality. The “Women’s Trilogy” outlines the body’s different parts individually, with pieces such as “Dick Trousers” referring to the psychological phenomenon of “penis envy,” and items such as blood-stained leather, urine-tanned leather, human hair coats, ponytail underwear, transparent leather bras, and underwear made of leather nipple pasties. These elements subtly reference the objectification of women and various details in the clothing (closed sleeveless tops, torn clothing, broken pearl necklaces scattered on tops, fluid stains on tops that could symbolize tears/saliva, white stains on skirts symbolizing semen, etc.) All subtly referencing violence against women in various forms.

“My women’s collection is deeply rooted in men’s fashion, but I didn’t want women to end up looking like they were wearing their grandfather’s suits, so it ended up creating this awkward femininity.” (Nylon, 2001)

The entire 2001 collection starts from the angle of “femininity.” The spring/summer collection uses the “Masculine” — a combination of women’s high heels and men’s boot heels as a metaphor — while the autumn/winter collection extracts feminine elements from classic menswear with “Peculiar,” contrasting two different images: sharpness and gentleness. The models carry piglets with handles as handbags, reflecting Poell’s observation of “dog walkers”: they walk animals without genuine feelings, merely serving as a stylistic prop, just like handbags.

In SS02 “Expectance,” all the garments are based on a pregnant woman’s body. The suit collars are lowered and elongated, and even the shirts are designed with pleats and darts to accommodate the changing body shape throughout pregnancy. A pregnancy belt bag and a cow’s breast-shaped small bag directly express the idea: the physical changes during pregnancy and the expectation of new life, even featuring very personal pieces like a surgical tray backpack and a “September Rape” leather skirt with mixed shards of glass.

Subsequent women’s styles are based on modifications of the same period’s menswear.

And… Wacky Gadget

Jewelry is an important but often overlooked category in CCP’s product line. Poell prefers sterling silver for its antibacterial and preservative properties, so most of the jewelry is made from 925 silver. Unlike jewelry traditionally created solely for aesthetic purposes, CCP’s inspiration comes from everyday small objects (a skill that was also mastered by Poell’s predecessor, Margiela), such as collarbone rings, razor blade necklaces, shoehorn sculptures, and pseudo-body parts influenced by the Vienna Actionists’ “body as material,” such as false teeth necklaces, glass eye rings, and hair ties.

CCP’s false teeth earrings made it onto the “Ugly Things Competition” held by Taobao in 2023, gaining renewed public attention following the “cheese shoes.” These quirky little items, reminiscent of cheap commodities from Yiwu, seem to contrast with the meticulous and thoughtful design of CCP’s clothing, but they often add flair to the season’s concept and showcase. The idea of using teeth as decoration came from the AW01 collection “Public Freedom” (see “P”), showcased at an animal shelter with the sound of barking dogs. The models were locked behind fences, looking around at the slightest movement, as if they were animals. “Teeth” as decoration highlighted the oppressive atmosphere of “survival of the fittest” and posed a question about “freedom.” Furthermore, dental jewelry has historical aesthetic roots: during the Victorian era, a good set of teeth symbolized a luxurious lifestyle, and making it into jewelry was a symbol of nobility.

Recently, the “accessory” that caused public uproar was Balenciaga’s expensive tape, which was mistaken for a bracelet (used to bind two pieces of clothing together). While mocking such “everyday small objects,” perhaps it’s worth considering: why are the hollow spaces of large/small tapes about the same size as fists/fingers? And considering the subconscious gesture of gripping or hooking the tape, this design aims to conform to the human body and provide practical convenience. Other product designs, not originating from the human body, can also be applied to the body due to functional similarities, such as collarbone rings used on the ends of tightened hoses and retractable gates. Their adjustable elasticity/expansion design can also be applied to the arm (bracelet), finger (ring), and waist (belt), embodying “deconstructivism.”

This kind of creativity, besides being seen as feasible after accepting the aesthetics of Margiela/CCP/Balenciaga, has another potential factor: mass-produced practical items, which were not initially created with any artistic considerations during production, can still be assembled or exhibited as aesthetically meaningful objects.

Take Duchamp’s urinal as an example: is a urinal an object completely devoid of “design aesthetics”? No. Industrial design of everyday products also has its beauty: every corner and the position of each hole are carefully designed. Designs based on functionality can also have aesthetic explanations, such as ergonomics and the golden ratio, i.e., “the ‘accidental’ aesthetic movement in the design process of problem-solving products”: one is the design of functional aesthetics and the need for beauty itself, and the second is that this “accident” comes from the decorative effect brought by functional design. For example, the trench coat, with its double-breasted buttons for wind and rain protection, a flap on the right shoulder for closing and securing the coat during inclement weather, a belt to tighten the waist, epaulets on the sides for hanging items, and raglan sleeves designed to allow rain to slide off—elements like the double-breasted buttons, flaps, buttons, belt, angled raglan sleeves, and epaulets create divisions in the flat composition of the trench coat, each serving a decorative purpose. Meanwhile, changes in the scene also affect how the product’s “aesthetic” is presented. A urinal needs to be placed in a museum, while a throat clamp and lever should be on the fingers of someone dressed in fine clothing.

It’s just that they are so common in our daily lives that they are overlooked. If we apply Georg Simmel’s theory to these expensive quirky gadgets, fashion has a dual function: on one hand, it uses familiar concepts to “unite” as many social groups as possible for “democratic” discussions, attracting attention; on the other hand, it uses “brand value, craftsmanship, etc.” to exclude people outside specific circles. In the end, their “value” lies in practically showing us that if you want, you can also find beauty in things that are usually overlooked in life, and make them useful with minimal cost. What you discover and what Demna or Poell discovers is just a matter of a brand label like the shoe-box handbag from Balenciaga’s Shanghai show.

X: XIII (13)

Numbers are not only expressions of quantity but also carry a certain power of thought. Each number has its own characteristics, which can either attract people or make them avoid it. For Poell, certain numbers serve as “outer garments” and hold particular, deep significance, reflecting his thoughts on God and the Bible. One example is the number “666” that frequently appears in CCP’s jewelry: in the Bible, the repetition of three 6’s symbolizes the devil. Since God created the world in seven days, the number seven represents holiness, blessings, and completeness. The repetition of three sixes, indicating incompleteness, is used to represent “the devil, Satan, and the number of evil,” making “666” an ominous symbol.

In “The Last Supper,” Judas, the betrayer of Jesus, was the 13th person to join the meal, making the total number of diners 13. The supper took place on the 13th day of the month, which is why “13” is often considered an unlucky symbol, synonymous with betrayal and treason.

In AW02 “Protection/Good Luck/Attraction,” Poell attempts to delve into the deep-rooted superstitions and fixed beliefs surrounding “unluckiness” and to intentionally eliminate symbols like the number “13.” If a person can look at things from a different perspective and offer an alternative interpretation, ingrained prejudices will disappear, and things deemed unlucky can be seen as lucky instead. Examples include a necklace with a tag bearing the number “13,” a “Distresses” leather jacket adorned with mold-like spots, which may symbolize prolonged exclusion and unpopularity, cotton fabric with velvet or genuine leather dust, reminiscent of dust-covered garments from disuse. The “clean” sections form a large “X” on the front, potentially alluding to a body with arms crossed over the chest. A suit covered in black velvet could symbolize the black swan or black cat, known as the witch’s pet or embodiment, representing evil. However, if it’s not a black cat, rubbing its body on a person signifies good luck.

In the same season, at Japan’s Lift Ecru, Poell created an installation titled “GOOD LUCK,” with a floor made of mirrors and 13 images of varying sizes. As visitors walked across it, they heard the sound of mirrors cracking and shattering. Shattering mirrors or glass is considered highly unlucky, creating an atmosphere of danger.

“Bad Luck” Leather Jacket | Black Velvet Suit | GOOD LUCK

Details of the “13th Color” Drip Sneakers after long-term wear (for realistic injury/healing images, it is recommended to search on your own)

“I suffer, therefore I am” (Original text: “As long as I feel pain, I know I am still alive.”) — Carol Christian Poell. For Jesus, because of Judas, he endured endless physical flogging and mental torment. Poell uses the number “13” as a vivid red color in his 2009 collection, which can be interpreted as an allusion to this story. Compared to the resin-coated leather from that year, the older Drip sneakers, in my opinion, perfectly embody the process of “injury – bleeding – healing.” The inward-folded shoe upper, in line with the Self-Edge concept, symbolizes the open wounds after injury. The kangaroo leather, initially in its natural skin color, is dyed to represent the splattering of blood. When diluted by sweat from the suffering, mixed with pus, it drips down, forming the slightly pink Drip Rubber.

As the wound begins to heal (through prolonged wear), the tight laces symbolize the “healing” process. However, the once neat edges of the wound now leave imperfect “scars,” and the places where the skin was torn will forever remain concave. Blood, due to the iron content, starts to oxidize, turning the red stains and minor abrasions black over time, as the wound itself darkens with age. This “imperfection,” cultivated through time and experience, actually adds to the aesthetic value. Bleeding, a familiar yet often regarded as “flawed” event, is more honestly confronted than endlessly attempting to “beautify.”

An ironic coincidence, perhaps explaining why Poell doesn’t shy away from numbers: Currently, CCP has 13 official agents.

Y: Yokefellow (Partner)

Fate, indescribably marvelous. After finishing his long and winding academic journey, Poell met his future friend and business partner, Sergio Simone, in Linz in 1992. In June 1994, they co-founded CCP srl, the official production and distribution company of the CCP brand. For 30 years, Poell has focused solely on pushing his own boundaries behind the scenes, while Sergio, “the man in front of Poell,” took charge of business negotiations with buyers and media on behalf of the CCP brand, shielding Poell from many trivial matters. “No one is more talented than him (Poell). It is an honor to work with him.” Sometimes, Sergio would also collaborate with Poell, helping him come up with designs and presentations that aligned with the brand’s image, such as the “Three Refrigerated Cells” and “Dead-End” exhibitions, both of which were curated by Sergio.

In a 2014 interview, Sergio said: “We refuse to operate in the traditional seasonal manner… six months of preparation is simply not enough for innovation, technology, and creative work. We need direct contact with our retailers and boutique stores—we do not work with distributors. We do not do online sales. Our products must engage all of the senses, such as the smell and comfort of leather goods, and due to our technology, these cannot be fully predicted. How could you buy such products just by clicking a mouse? (Of course, time has allowed some things to change: PN\P once publicly offered IN-BETWEEN products for sale on their website; you can’t click a mouse, but you can click the screen.)”

Z: Zealot (Fanatic)

Throughout his career as a designer, Poell has established a reputation as one of the most refined designers in the fashion industry, cultivating a small but highly influential group of loyal customers, and continues to gain new devoted fans. They are fascinated by handmade or Gothic-inspired culture, tired of the mainstream fashion that is chased by the masses. Among them are influential individuals from various fields who vouch for him.

The fashion emperor Karl Lagerfeld (R.I.P) first encountered CCP’s works at the avant-garde Parisian boutique L’Eclaireur, where he expressed deep admiration: “Carol Christian Poell? He’s a fantastic designer. I’ve bought many of his works, all exquisite, though unfortunately, they are a bit too large for me now.” Armand Hadida, the owner of L’Eclaireur, recognized talent early and was eager to promote CCP at various events, proudly stating that the boutique was the only one in France to carry the brand: “Who is a designer/architect you admire? I love when architects enter the fashion industry and collaborate—breaking boundaries and working together is crucial in the creative process. But if I must mention one name, it has to be Carol Christian Poell.” “I’ve been representing him since his first collection. His departure from fashion trends and marketing strategies is vital to me. He’s someone who has no reaction to money… Poell’s approach to fashion is a skill, and he is highly respected by both buyers and consumers.” The famous New York store Atelier, which opened in 2003, made CCP its brand of choice, with manager Karlo Steel directly calling Poell the most avant-garde fashion designer. Yohji Yamamoto has also worn CCP during interviews.

In the entertainment industry, many celebrities have worn CCP, but the brand does not engage in seeding or VIP services for celebrities; they must buy from the agent themselves. A notable example is the famous actor Brad Pitt, who has worn various CCP leather jackets multiple times. The famous singer Seal, who was once a professional pattern maker, naturally developed a great fondness for CCP and became a “living advertisement.” He continued purchasing during the IN-BETWEEN period, getting EU56 exclusive sizes from CCP. The Rolling Stones once requested CCP to provide stage outfits, but the response was: “You have the money, go buy it yourself. I’m not designing for aging rock stars.”

While Korean fashion icon G-Dragon and Chinese singer Zhang Jingxuan may have worn CCP due to stylist influence, domestic avant-garde singers such as Mai Junlong and entertainment industry fashion icon Wong Wai Man (who truly understands these things) wore CCP because of their own understanding of the brand. Singaporean singer JJ Lin even personally selected a CCP outfit from Sanmushi as one of his main looks for his 2024 concert tour.

And… Zeitgeist (Spirit of the Times)

Globally, the most well-known avant-garde brand forum is probably Style Zeitgeist, founded in 2006 (abbreviated SZ). The founder, Eugene Rabkin (forum ID: Faust), was also active on general fashion forums like The Fashion Spot in the early days and has written articles on fashion and culture for publications and media outlets such as BoF, Vogue Russia, and Highsnobiety (and also the spin-off media SZ-MAG). He also taught critical writing and fashion writing courses at Parsons School of Design. It can be said that during its peak, the SZ forum gathered many like-minded avant-garde fashion enthusiasts, actively discussing and contributing many fascinating topics.

Whether it was Style Zeitgeist, which promoted avant-garde brands including CCP to a broader audience, or CCP itself, as a designer/brand/creative collective, they both reflected the spirit of the times to some extent. The current situation of the SZ forum doesn’t need much elaboration. The “dark avant-garde” style, represented by Rick Owens, has long been a thing of the past. The brand itself has embraced youth culture with “New Rick” for five years now, and the most popular sneakers among the younger crowd have transitioned from Geobasket (inverted triangle) to Vintage (infringement), with the inevitable decline in popularity.

“I don’t care about trends. I just do what I want to do, and it’s natural and spontaneous. Of course, it’s a spirit of the times, but I’ve never been influenced by it. In fact, I’m always inspired by (various factors), but it has never influenced me.” (Attitude, 1998)

The early style of CCP (90s) leaned towards traditional tailoring and a more direct material language, using synthetic fabrics such as polyester and Lycra extensively. It featured not only candy colors and rainbow hues but also logo items. In the mid-period (up until the reissue), there was the addition of conceptual and craft elements. After continuous experimentation with linear extensions, the peak period arrived in 2008-2010. By then, CCP had largely transcended/escaped (off scene) from seasons and fashion trends. Some of its content became so extreme that even now, Poell cannot surpass it, finding himself in a dead-end of identical (self-same) reissues. From the reissue until the current upgraded version (in between), the product has, to some extent, embraced the spirit of the times, compromising compared to before: trends like functionality, dad shoes, thick heels, and the iconic AJ1 & Travis Scott colorways, as well as looser fits to cater to a broader audience.

Maurizio Altieri, often mentioned alongside CCP, has spent the last decade developing 18 projects based on his research in topology, using a nine-point (novepvnti) matrix. Whether it is the Vnapersona, which showcases the skill of creating a full-body line design while aligning fabric textures as much as possible, or Vn0ra, which adheres to bespoke standards with a focus on extreme purity and clean, perfect design language, CCP is not in the same league. Although Maurizio can be eccentric and resemble an old rogue, everything he produces under his own name is always meticulous, thanks to the help of influential designers like Kei Kagami and big-name production chains, which allow ideas that are sometimes just a sketch to come to life. In the past, when Olden commented on CCP’s previous collections with a “great job,” he shook his head with a look of regret for IN-BETWEEN.

Meanwhile, the old-school avant-garde brands led by CCP and Maurizio, are not only facing the challenge of shaping themselves as artisan figures and the question of “why not buy from famous luxury brands at the same price point,” but also new-wave avant-garde brands represented by Acronym, Aitor Throup, Sruli Recht, and others.

Acronym, the representative of the “functional style” under the industrial system, rejects “planned obsolescence” to a certain extent by transforming military outdoor layering systems and using functional fabrics such as Gore-tex, Schoeller, and Ventile—technologies from the past. By incorporating ergonomic pattern-making and details from military uniforms and sportswear into its designs, the brand places the focus on shape and functionality with more subdued colors, leaning more heavily into function. Recently, Acronym has reduced costs to under $100 by using U.S. military-issued materials and Taiwan-produced technological fabrics, while some of its products are even produced in the Guangdong Province of Jiangmen City.

Aitor Throup, famous for his work “When Football Hooligans Become Indian Gods,” and known for his skull backpacks as a mainstream signature, designs clothes using product design concepts. Starting with the human body’s posture in different situations, he creates body models exclusive to each scenario and uses them for pattern-making. Materials and colors are then chosen based on the best solution for the given situation. The combination of irregular static mannequins and dynamic cuts in his garments is like a video, with dynamic silhouettes embodying various static postures in each “frame,” far more advanced than most “single-frame” garments made using static mannequins. (We still eagerly await his long-delayed “Anatomyland” collection, which embodies his 20+ years of research). Errolson Hugh has expressed his great admiration: “I bought a small version of the skull bag at the time, and I really couldn’t afford it, but I had to have it… To me, what Throup does is not really clothing, it’s more like art. Even if viewed from the perspective of clothing, it’s still hard to understand.” (For more, see Aitor Throup: Slow Work, Fine Craft).

Compared to fashion designers, describing Sruli Recht as an “industrial designer” would be more fitting. He became famous for his “Forget Me Knot” human skin rings and has dabbled in designing items in other light industrial fields such as perfume bottles and wine glasses. Most of his creations are made simply to please himself and are not for sale. Backed by Ecco Leather, his material research has become even more experimental: for example, he has created leather for shoe uppers cultivated from fungi under artificial vacuum conditions, and shoe soles made from fungal foam materials. This approach aligns with the current sustainability movement, embodying the concept of “self-sufficient survival in space.”

The comparison between the old and new eras is like the transition from reality to virtual, from steampunk based on historical traditions to cyberpunk that reveres future technology, materialization where showmanship far outweighs practicality versus dematerialization that showcases practicality with a focus on utility (here, “showmanship” is not negative but refers to the use of advanced technology in certain situations where it doesn’t add value to the perceived practicality. For example: after hearing an explanation of the dynamic clothing structure of completed material dyeing and one-piece garments, a classmate asked, “What visible difference does it make when you wear it compared to a Puma t-shirt and AF1 sneakers?”), sticky, damp, heavy abandoned corners versus clean, dust-free, lightweight urban domes, butchers wielding rusty chains with bloody hands versus futuristic ninjas wielding laser swords and digitized bodies, low-key to the point of invisibility versus high-profile, humorous, IP-based social figures like Errolson Hugh (also Rick Owens and others), individual or small group lone heroes like in “Me Against the World” versus accepting multilateral cooperation for mutual benefit as in “We Are the World,” and so on.

Even so, amid the economic squeeze on clothing consumption, CCP’s audience still demonstrates exceptional purchasing power. Compared to mainstream luxury brands, CCP offers more unique aesthetics, niche craftsmanship, and intellectual depth. Compared to independent designers, CCP excels in these aspects while maintaining a high brand loyalty and stable consumer base. This represents both personal struggle and the progress of history. Whether it’s the more understated Deepti, whose products are similar, or the more stable and universally appealing Boris Bidjan Saberi, neither can replicate CCP’s success. In this niche field, CCP’s achievement is almost impossible to duplicate.

The CCP team buys fake/counterfeit domestic products to observe how well they replicate the originals. For a long time, you could even distinguish the counterfeit by comparing the shoe shape to the authentic product images. But this doesn’t mean CCP’s products are completely immune to copying. Domestic counterfeit factories have already started using Culatta leather for shoes, and copies of CUBS are being mass-produced. However, this is not something to be praised. Culatta used to be considered a “flaw” and was avoided in formal shoes. Even now, most shoe brands still prefer grain leather for the exposed parts. This non-mainstream leather aesthetic is likely due to the low demand, and for a long time, domestic tanneries were reluctant to use it. But in the last couple of years, Culatta has been domesticated and is now available at lower prices. Reflective knit fabrics can now be bought freely in China, and there have been recent examples of reflective yarn woven into denim fabrics. This reflects that CCP’s products meet very niche demands, and the craftsmanship requires a roundabout process, only making it profitable for factories to follow when initiated by a notable brand.

Finally, the ostentation of social networks has also given some old designs of CCP new life, as well as the design style that is inherently based on reality but also surrealistic. For example, in terms of color matching, Poell often draws inspiration from everyday details that are so common they’re overlooked, such as “wound healing (biological) / metal oxidation (chemical),” which is presented in the “blood red / black green” sneakers in Drip Rubber form, making it seem particularly natural. CCP’s products actually fit perfectly into this over-visualized Instagram era, the era of exaggerated novelty-seeking aesthetics, and the era of numerous exhibitions and art enthusiasts. They have become democratized art pieces for staged photos.

At the same time, with the changing trends, stylists becoming more knowledgeable, and the growing influence of fashion bloggers, CCP shoes have broken the “only pairable within the same brand system” limit of avant-garde brands. With different versions from various stages, they have become part of the “top boy” visual aesthetics. As he mentioned in the 2001 film Isabel, “In reality, I consider myself a surrealist… My cynicism and the boundary-pushing qualities that others see in my work. I find the world so surreal that neither Luis Buñuel nor Salvador Dalí could have imagined a society like ours.”

Is this the best of times? I think it is, or else this article wouldn’t have been updated to its third version and shared with you all.

Let’s end with Poell’s description of his series from 2001:

Accident… flaws… irony… strangeness…

(Still applicable today)

Images, interviews, and some text sources:

Carol Christian Poell Official

Ink

Lift

WWD

Vogue

MAK.at

Library

AtypiA

Grailed

Bonotto

Samsa G.

Darklands

MotelSalieri

Dark Archive

Lazzari Store

Eastern Market

The Library 1994

the Office Gallery

OneGallery Cave

WeChat Official Account:先锋狗C

Weibo: doublev_z

Weibo: Primafacieee

Weibo: AMoveableFeast

Weibo: 2000l3l9

The Fashion Spot: Runner

Instagram: poellinfo

Tumblr: carol-christian-poell-archive

Instagram: carolchristianpoell_archives

Little Red Book: 烏鴉先生

GQ

Domus

Isabel

Achtung

Attutide

Sample

Art-magazin

The Academia

Gap Press Man

Not Just A Label

Style Zeitgeist

The Fashion Spot

Style Forum

LE PARADOX

Spatial Narratives

The New York Times

Anniversary-magazine

MRハイファッション (high fashion)

Instagram, Google, and various image searches

All quoted “” statements are excerpts from Poell’s interviews in various magazines, collected from MAK.at

Ulrich Lehmann, “Fashion and Materialism,” and translations by Weibo: doublev_z

Christian Michel, “Thought Without Concept,” and translations by Weibo: yuzhhhu

Special Thanks:

Fung, You You, 小铁, Fun-Boi-Trips, Clelo, 怪时尚研究, 青春有你山泥若, 后钝, MixOrganics, Dennis, 圆子, jiazhi, Yehuafan, 布鲁斯, yuzhhhu, Brain

Corresponding Author:

doublev_z (Although he didn’t read this time, still Salute!)

A small afterword:

Actually, the previous version was the limit of my understanding of CCP at the time, and I was worried there would be no update for a long time. Now, looking back, I was overthinking it. Compared to the previous version, this one has 20,000 more words, and I can say I still left a bit of energy behind — some views and analyses related to CCP will be discussed in the next long article. Shamelessly, I updated this “retirement insurance” like Aitor Throup’s approach to Anatomyland. Sometimes, I spend a whole day summarizing and organizing a small section of the argument, so there are many points, craftsmanship analyses, and comparison arguments in this article that haven’t been mentioned in other related articles online. Some chapters can even be seen as independent OP-ED pieces (whether the quality is good or not is another story). The A-Z writing format is like a hill-shaped jump; it’s easy to forget what was said above after reading below, so I tried to make sure that the continuous chapters connect properly to avoid excessive jumps.

I really don’t want to keep praising CCP, but currently, there are very few examples of similar creativity breaking the mold and displaying intellectual depth like CCP, which dares to experiment and go further. I don’t advocate for brand worship, though this article may appear to be very much about brand worship. You could easily memorize it and claim to be the “CCP expert.” However, is being a “brand expert” like a salesman who memorizes product numbers and details or more like a writer who reads many cultural ideas and stories and tries to analyze them? It seems that to be regarded as an expert, both are needed: the former requires a lot of (personal or shared) buying experience or being a member of a boutique store, which essentially comes down to financial power; the latter requires time to gather information and gain insights. On the flip side, some “experts” highlight themselves by memorizing product numbers. Although CCP’s coding logic clearly summarizes product information, the more a brand is deified, the more product numbers are treated as “knowledge points” like Rick Owens.

I never memorize product numbers. Ink’s official website is probably the only boutique store that keeps complete product information even after selling out. With such a resource library, all you need is to understand CCP’s coding system and then compare similar items to get a lot of information without consciously memorizing it or asking salespeople. If we describe it with “signifier-signified,” product numbers are the signifier, while the actual product and the cultural ideas behind it are the signified. Focusing too much on the signifier may be somewhat misguided. The former seems too “wealthy” and lacks depth, while the latter appears to be a low-tier strategy for those with limited purchasing power. In this endlessly elevated industry based on business, who is more noble than whom? In the end, as long as the brand is willing, product numbers and ideas don’t have to become the “knowledge points” of so-called “experts” for example, Geoffrey B. Small, who eagerly wants to write a PPT on the tags.

I’ve always positioned myself as a “writer who presents complex theories that I personally understand in a simple and easy-to-understand way.” So, if you can gain some understanding of why Carol Christian Poell is elevated to such heights, and thereby better understand doublev_z’s master’s thesis, Ulrich Lehmann’s Fashion and Materialism CCP/Bonotto chapter, Christian Michel’s Thought Without Concept, and other academic articles, it would be a recognition for me. As long as mainstream media continues to overlook that CCP did it earlier and more thoroughly in describing a creative development process, and CCP has always maintained its “avant-garde,” “roundabout,” and mysterious nature, this article will continue to be updated.

However, the “ultimate” in the title and the “encyclopedic” nature of this article may still be controversial, and because of Poell’s personal character/limited information/limited personal ability, this article still far from reaches the “ultimate” standard, so please go easy on the criticism.

For me, this is the most complete guide to CCP within my personal understanding. Some parts carry a bit of personal sentiment, and I hope that, even if it’s not your ultimate guide, it can be the most “simple and easy-to-understand” guide. Please treat this article, like all other articles, as a form of communication. It’s a way to improve my own level, so please don’t hesitate to point out any omissions or mistakes. I crave all knowledge beyond my current understanding.

Thanks Again!

The next article will continue, feel free to offer your insights!

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This content is a translated version of the original content by Mascara_11