Chanel, Prada, Ralph Lauren, Burberry: worldwide, the names of designers from Paris, Milan, NYC and London roll off the tongue. Meanwhile, you may never have heard of Namilia, SF1OG, LUEDER, Richert Beil, Sia Arnika or Gerrit Jacob, let alone spoken of them, yet these Berlin labels are gaining traction outside Germany. As the scene evolves from a hub of niche labels into a leader of sustainable and avant-garde fashion, Berlin style is hitting the international runway. Scott Lipinski, CEO of the Fashion Council Germany (FCG),
believes labels that embody and communicate the typical Berlin DNA tend to resonate and take off abroad. Brands he believes do especially well “draw on subcultural codes, for example, reflecting Berlin’s club scene in their fashion”. That might be the case, but it’s also important for the city to “showcase a wide range of brands and styles, because Berlin’s fashion landscape is highly diverse”. In other words, while the city’s style is more than clubwear, brands that capture club culture are the ones that take
off. Perhaps this is best encapsulated by the success of Berlin-based Danish designer Sia Arnika. Her pieces have been worn by Julia Fox and FKA twigs, while Charli XCX went viral wearing a white cut-out top, black short-shorts and boots from the brand to her 32nd birthday party: a quintessential BRAT aesthetic. More and more, celebrities embrace designs from Germany’s capital. Having launched his label in 2021, Gerrit Jacob has dressed many chart-topping musicians in signature bold, airbrushed designs, including Rosalía, Dua Lipa, A$AP Rocky
and several K-pop groups. But he too insists that Berlin style – and culture – is about more than just the club scene. Jacob notes that Berlin has long held cultural significance, stating, “from music to film and fine arts, the city has been an important part of many movements. Clearly, the club scene is its most potent cultural export, alongside many important fine artists.” Like Lipinski, he links Berlin’s style successes to those that capture the capital’s cultural DNA. “Fashion always has to be
seen in the greater cultural context,” says Jacob. “International appreciation for the fashion [from Berlin] can also be seen as part of a greater appreciation for the city’s other cultural exports.” As the city becomes ever more international, Berlin fashion naturally receives more international recognition. But there’s also significant drive from within Germany to platform its designers. “Certain Asian countries are absolutely fixated on German brands,” says Lipinski, who works under that assumption at the FCG. One of the ways they address this shift is
through their Berlin Fashion x International initiative, implemented with the support of the Berlin Senate Department for Economic Affairs, Energy and Public Enterprises. “On delegation trips, most recently to Tokyo and Seoul, we bring along exciting labels that take part in on-site workshops on the specifics of the local business culture and visit other designers and stores to gain deeper insights into the local scene.” He described how, during one of their most recent trips, buyers from major retailers such as Dover Street Market Ginza
and Isetan reviewed the collections of German brands. “In particular, designers that present at Berlin Fashion Week are closely observed by these key players. Looking ahead to 2027, we would like to expand this initiative to additional markets.” What happens if this or a future government ends up deciding that fashion is no longer a priority? Despite the future looking bright, Jacob issues a warning: “I do think there are some dangers when it comes to heavy reliance on government funding.” Referring to the Senate
funding being put to use by the FCG, he reflects on the flimsy reliability of funding in any area of the arts, which has seen widespread slashing. “What happens if this or a future government ends up deciding that fashion is no longer a priority?” he asks. Indeed, funding is not without its long-term risks. Ideally, for brands, funding is more of a springboard rather than a long-term strategy. Lipinski positions his vision of the FCG with his words on Berlin Fashion Week: “the brands
that present there continue to grow steadily”. Lipinski does comment on some of the challenges facing the Berlin fashion scene, noting that “in addition to general financial challenges, which young companies often face at the beginning, and which are certainly not eased by the current economic climate, there is still sometimes a lack of visibility.” Worldwide, the names of Berlin designers don’t yet roll off the tongue. That kind of reputation takes time. More than that, it also requires stores and media outlets to accept
invitations to engage with Berlin-based labels, something Lipinski sees improving by the year. “Each season of Berlin Fashion Week, we’re now welcoming representatives from stores such as Selfridges, Printemps and Machine-A, as well as media outlets like VOGUE Business, Forbes and Business of Fashion.” One thing is for sure: the tributaries of Berlin’s unique style are flowing into a more international fashion mainstream. But whether their influence loses momentum under the constant threat of culture cuts or gathers speed on the world’s runway remains to
be seen. Either way, Berlin’s fashion landscape is changing. Perhaps the real question is: can a style that’s all about subculture truly remain so once it reaches the mainstream? If you liked this article, read about how Economic Anxiety is Changing Berlin’s Style.
Berlin fashion, Fashion Council Germany, Berlin Fashion Week, Sia Arnika, Gerrit Jacob, cultural export, Berlin Fashion x International, Tokyo, Seoul, funding risk, subculture style