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côte&ciel – Excellence In Experimentation [Interview]
côte&ciel has captivated minds and IG feeds of fashion geeks around the globe for more than a decade. Stellar visuals, unparalleled craftsmanship, timeless design – all of it continuously propels the brand to new heights with each collection.
We have been fans of theirs from before our project was even formed. Our trip could not leave the brand out. One unsuccessful attempt to meet in Paris later, we journeyed to the Kreuzberg district in Berlin to meet with the team at their HQ.
We sat down with côte&ciel team and asked Jacqueline Helen Schmid [Head of Marketing] to nerd out on design and innovative materials, collaborations and how to stay true to one's DNA, new releases and their creative community.
côte&ciel – Excellence In Experimentation [Interview]
côte&ciel has captivated minds and IG feeds of fashion geeks around the globe for more than a decade. Stellar visuals, unparalleled craftsmanship, timeless design – all of it continuously propels the brand to new heights with each collection.
We have been fans of theirs from before our project was even formed. Our trip could not leave the brand out. One unsuccessful attempt to meet in Paris later, we journeyed to the Kreuzberg district in Berlin to meet with the team at their HQ.
We sat down with côte&ciel team and asked Jacqueline Helen Schmid [Head of Marketing] to nerd out on design and innovative materials, collaborations and how to stay true to one's DNA, new releases and their creative community.
We sat down with côte&ciel team and asked Jacqueline Helen Schmid [Head of Marketing] to nerd out on design and innovative materials, collaborations and how to stay true to one's DNA, new releases and their creative community.
[TECHUNTER: So this is the new Fall-Winter '22 collection?]
côte&ciel: Yes. If you look left we have some of our completely new shapes called "Infinity Range". This backpack is pretty similar to the original Moselle backpack, the round one, but it has an opening in the front where you can put stuff in. It is a little bit like a whirlwind. And this one has shapeshifting abilities. It is like a tote that can expand from inside out.
Depending on whether you want to have a batwing type of structure, or if you want to have it completely round, it works in both ways. And you can grab fully through. So whether you are left-handed or right-handed it does not matter.
These pieces are also part of Fall-Winter '22. But they have a different core story. The one over there is an Isar Air that has been updated with a reflective panel for better night-time visibility. If you want it all black and sleek you can go fully zipped up, and then it's completely gone.
[The new "infographic design" is pretty cool, the way you incorporate all these graphics into the product is pretty amazing. You are basically a physical manifestation of a modern website design.]
*laughs* I like it. That is the first time anybody ever said anything like that.
côte&ciel: Yes. If you look left we have some of our completely new shapes called "Infinity Range". This backpack is pretty similar to the original Moselle backpack, the round one, but it has an opening in the front where you can put stuff in. It is a little bit like a whirlwind. And this one has shapeshifting abilities. It is like a tote that can expand from inside out.
Depending on whether you want to have a batwing type of structure, or if you want to have it completely round, it works in both ways. And you can grab fully through. So whether you are left-handed or right-handed it does not matter.
These pieces are also part of Fall-Winter '22. But they have a different core story. The one over there is an Isar Air that has been updated with a reflective panel for better night-time visibility. If you want it all black and sleek you can go fully zipped up, and then it's completely gone.
[The new "infographic design" is pretty cool, the way you incorporate all these graphics into the product is pretty amazing. You are basically a physical manifestation of a modern website design.]
*laughs* I like it. That is the first time anybody ever said anything like that.
[TECHUNTER: So this is the new Fall-Winter '22 collection?]
côte&ciel: Yes. If you look left we have some of our completely new shapes called "Infinity Range". This backpack is pretty similar to the original Moselle backpack, the round one, but it has an opening in the front where you can put stuff in. It is a little bit like a whirlwind. And this one has shapeshifting abilities. It is like a tote that can expand from inside out.
Depending on whether you want to have a batwing type of structure, or if you want to have it completely round, it works in both ways. And you can grab fully through. So whether you are left-handed or right-handed it does not matter.
côte&ciel: Yes. If you look left we have some of our completely new shapes called "Infinity Range". This backpack is pretty similar to the original Moselle backpack, the round one, but it has an opening in the front where you can put stuff in. It is a little bit like a whirlwind. And this one has shapeshifting abilities. It is like a tote that can expand from inside out.
Depending on whether you want to have a batwing type of structure, or if you want to have it completely round, it works in both ways. And you can grab fully through. So whether you are left-handed or right-handed it does not matter.
These pieces are also part of Fall-Winter '22. But they have a different core story. The one over there is an Isar Air that has been updated with a reflective panel for better night-time visibility. If you want it all black and sleek you can go fully zipped up, and then it's completely gone.
[The new "infographic design" is pretty cool, the way you incorporate all these graphics into the product is pretty amazing. You are basically a physical manifestation of a modern website design.]
*laughs* I like it. That is the first time anybody ever said anything like that.
[The new "infographic design" is pretty cool, the way you incorporate all these graphics into the product is pretty amazing. You are basically a physical manifestation of a modern website design.]
*laughs* I like it. That is the first time anybody ever said anything like that.
Obviously you have some bigger logos for Fall-Winter '22. This shape is a mini-duffle that works also like a bottle bag, if you go from the top, you can put something inside. Or you literally wear it like a mini-duffle. It has all these little eyelets that you can put a strap through. Whatever you want to do with it: clip it to something that already exists, put it onto an Adda, or use the strap that it comes with. It is really nice. This is my favourite of the new collection.
[Is this your permanent HQ here?]
Yeah.
[You're neighbors with MYKITA? Is this building primarily theirs?]
They occupy everything, except this top floor, yes. Sometimes you hear their laser, when they are cutting out lenses. It can get pretty loud actually. *laughs*
[The story we heard is that côte&ciel was founded by Apple designers. Or is it just a legend?]
It is half a legend, half truth. Two things that kind of got twisted. The first original products, in the very beginning, were made as Apple accessories. It was laptop sleeves, made out of neoprene, and some other pieces, gear that they made used to be sold in Apple stores around the world.
[Is this your permanent HQ here?]
Yeah.
[You're neighbors with MYKITA? Is this building primarily theirs?]
They occupy everything, except this top floor, yes. Sometimes you hear their laser, when they are cutting out lenses. It can get pretty loud actually. *laughs*
[The story we heard is that côte&ciel was founded by Apple designers. Or is it just a legend?]
It is half a legend, half truth. Two things that kind of got twisted. The first original products, in the very beginning, were made as Apple accessories. It was laptop sleeves, made out of neoprene, and some other pieces, gear that they made used to be sold in Apple stores around the world.
Obviously you have some bigger logos for Fall-Winter '22. This shape is a mini-duffle that works also like a bottle bag, if you go from the top, you can put something inside. Or you literally wear it like a mini-duffle. It has all these little eyelets that you can put a strap through. Whatever you want to do with it: clip it to something that already exists, put it onto an Adda, or use the strap that it comes with. It is really nice. This is my favourite of the new collection.
[Is this your permanent HQ here?]
Yeah.
[Is this your permanent HQ here?]
Yeah.
[You're neighbors with MYKITA? Is this building primarily theirs?]
They occupy everything, except this top floor, yes. Sometimes you hear their laser, when they are cutting out lenses. It can get pretty loud actually. *laughs*
[The story we heard is that côte&ciel was founded by Apple designers. Or is it just a legend?]
It is half a legend, half truth. Two things that kind of got twisted. The first original products, in the very beginning, were made as Apple accessories. It was laptop sleeves, made out of neoprene, and some other pieces, gear that they made used to be sold in Apple stores around the world.
They occupy everything, except this top floor, yes. Sometimes you hear their laser, when they are cutting out lenses. It can get pretty loud actually. *laughs*
[The story we heard is that côte&ciel was founded by Apple designers. Or is it just a legend?]
It is half a legend, half truth. Two things that kind of got twisted. The first original products, in the very beginning, were made as Apple accessories. It was laptop sleeves, made out of neoprene, and some other pieces, gear that they made used to be sold in Apple stores around the world.
[What was the year?]
We were founded in 2008. And then pretty much in 2008, early 2009, is when we started making bags. That is when Emilie, our Head of Design, joined the company and started working on the Isar. The brand was moving in that direction, and the Apple accessories eventually kind of faded out. You can still find them here and there though.
[So, are you a French brand based in Paris, or not? We are meeting in Berlin after all.]
We are, it is only the corporate headquarter that is in Berlin, and the Design Studio is still based out of Paris. They have never moved out. It is why the slogan remains as "Designed in Paris", because it is very much still done from there. The studio is located in the Marais, very centrally in one of the oldest parts of Paris. And that is not going to move. The heart and brain of the company is still there.
[Can you talk in more detail on new forms of the new collection, what is the main philosophy here?]
We were founded in 2008. And then pretty much in 2008, early 2009, is when we started making bags. That is when Emilie, our Head of Design, joined the company and started working on the Isar. The brand was moving in that direction, and the Apple accessories eventually kind of faded out. You can still find them here and there though.
[So, are you a French brand based in Paris, or not? We are meeting in Berlin after all.]
We are, it is only the corporate headquarter that is in Berlin, and the Design Studio is still based out of Paris. They have never moved out. It is why the slogan remains as "Designed in Paris", because it is very much still done from there. The studio is located in the Marais, very centrally in one of the oldest parts of Paris. And that is not going to move. The heart and brain of the company is still there.
[Can you talk in more detail on new forms of the new collection, what is the main philosophy here?]
There are two key themes to it.
I think that you can see one is really all about visibility. Once we go into the darkest season – then it is about functionality, not just a fashion statement. That is why we chose to work with smart ways to incorporate reflective material, and lots of things have been updated to be more lightweight, ready for urban commuters who want to be out and about and take their bags and everything wherever they go.
The second theme is what we call the "Infinity Range''.
It really embodies the essence of how we design. The whole flow of our creative process is that we start from a single surface and think of what could be something that takes us further, how we can twist and merge it? That is where a lot of different, but really exciting shapes came from.
They are also super adaptable obviously. We are using neoprene zippers, so you can always play between something that looks more feminine and feels more soft, but also has these really cool and sporty details to break the perception of it being just pretty.
I think that you can see one is really all about visibility. Once we go into the darkest season – then it is about functionality, not just a fashion statement. That is why we chose to work with smart ways to incorporate reflective material, and lots of things have been updated to be more lightweight, ready for urban commuters who want to be out and about and take their bags and everything wherever they go.
The second theme is what we call the "Infinity Range''.
It really embodies the essence of how we design. The whole flow of our creative process is that we start from a single surface and think of what could be something that takes us further, how we can twist and merge it? That is where a lot of different, but really exciting shapes came from.
They are also super adaptable obviously. We are using neoprene zippers, so you can always play between something that looks more feminine and feels more soft, but also has these really cool and sporty details to break the perception of it being just pretty.
[How do you feel, does côte&ciel go more into fashion, into sports, or into something else?]
*laughs* It is a little bit of everything, right? I think at the heart we've always said, we are a design brand that just happens to make bags. So it is really about exploring, and it is up to the consumer in the end to choose the use case. We do not necessarily go and say: For sports you should be using this, for fashion you should be using that, because in the end we know, whoever chooses to wear our products is left the freedom to do whatever they want to do with them.
We try to design for certain functionality, so obviously if you are someone who wants to wear the backpack for an extended period of time, then it should not weigh ten kilos and break your back.
*laughs* It is a little bit of everything, right? I think at the heart we've always said, we are a design brand that just happens to make bags. So it is really about exploring, and it is up to the consumer in the end to choose the use case. We do not necessarily go and say: For sports you should be using this, for fashion you should be using that, because in the end we know, whoever chooses to wear our products is left the freedom to do whatever they want to do with them.
We try to design for certain functionality, so obviously if you are someone who wants to wear the backpack for an extended period of time, then it should not weigh ten kilos and break your back.
There are pieces that are more fashion-driven, pieces that are more, let us say, sporty-commuter, but in the end, yes, it is really up to people, what and how they want to use it. We try to push the brand into territories where we are usually not expected.
For example, together with Danish e-bike design brand Hermansen Copenhagen we designed a bike, but we are also looking towards interior goods and home equipment.
And even further in the season you are going to see a collaboration we did with Descente ALLTERRAIN, which is also something very different. The brand itself is spreading into different territories. So as a design brand we will continue to keep asking ourselves, what can we do if we apply our approach to this different territory, what will emerge from it?
For example, together with Danish e-bike design brand Hermansen Copenhagen we designed a bike, but we are also looking towards interior goods and home equipment.
And even further in the season you are going to see a collaboration we did with Descente ALLTERRAIN, which is also something very different. The brand itself is spreading into different territories. So as a design brand we will continue to keep asking ourselves, what can we do if we apply our approach to this different territory, what will emerge from it?
[We think you are a design brand for designers, in a sense. Your favourite's favourite. And you bring in so many aspects and ideas from all over the different mediums. When you look at the beginning of the brand, and now, it changed a lot. All of it seems like eras of your brand. Any specific ideas where it is going?]
I mean, it is a little trial and error, and I would be lying if I said we always know exactly where everything is supposed to go. We want to leave that grey space for ourselves to experiment in as well, and to potentially discover something we have not planned yet.
The idea is for sure to keep innovating within the space that we are known for – bags or accessories, it will always be our lifeblood. And that is where our consumers expect newness to happen and things to change, new designs to pop up.
But then again, like we said, we branch out into home and interior goods and other avenues. It is to stretch ourselves and see whether what we are doing is applicable to that area. If it is, then it is something for us to dive deeper in. Now with the team all set up, it is really for us to double down, because if you are calling yourself a design brand, then inspiration comes from everything. If you are trying to niche yourself and call yourself a bag brand – then you sit down and compare your prices with other competitors, but for us the design aspect is really important, and we are trying to see where inspiration takes us.
I mean, it is a little trial and error, and I would be lying if I said we always know exactly where everything is supposed to go. We want to leave that grey space for ourselves to experiment in as well, and to potentially discover something we have not planned yet.
The idea is for sure to keep innovating within the space that we are known for – bags or accessories, it will always be our lifeblood. And that is where our consumers expect newness to happen and things to change, new designs to pop up.
But then again, like we said, we branch out into home and interior goods and other avenues. It is to stretch ourselves and see whether what we are doing is applicable to that area. If it is, then it is something for us to dive deeper in. Now with the team all set up, it is really for us to double down, because if you are calling yourself a design brand, then inspiration comes from everything. If you are trying to niche yourself and call yourself a bag brand – then you sit down and compare your prices with other competitors, but for us the design aspect is really important, and we are trying to see where inspiration takes us.
[We think you are a design brand for designers, in a sense. Your favourite's favourite. And you bring in so many aspects and ideas from all over the different mediums. When you look at the beginning of the brand, and now, it changed a lot. All of it seems like eras of your brand. Any specific ideas where it is going?]
I mean, it is a little trial and error, and I would be lying if I said we always know exactly where everything is supposed to go. We want to leave that grey space for ourselves to experiment in as well, and to potentially discover something we have not planned yet.
I mean, it is a little trial and error, and I would be lying if I said we always know exactly where everything is supposed to go. We want to leave that grey space for ourselves to experiment in as well, and to potentially discover something we have not planned yet.
The idea is for sure to keep innovating within the space that we are known for – bags or accessories, it will always be our lifeblood. And that is where our consumers expect newness to happen and things to change, new designs to pop up.
But then again, like we said, we branch out into home and interior goods and other avenues. It is to stretch ourselves and see whether what we are doing is applicable to that area. If it is, then it is something for us to dive deeper in. Now with the team all set up, it is really for us to double down, because if you are calling yourself a design brand, then inspiration comes from everything. If you are trying to niche yourself and call yourself a bag brand – then you sit down and compare your prices with other competitors, but for us the design aspect is really important, and we are trying to see where inspiration takes us.
But then again, like we said, we branch out into home and interior goods and other avenues. It is to stretch ourselves and see whether what we are doing is applicable to that area. If it is, then it is something for us to dive deeper in. Now with the team all set up, it is really for us to double down, because if you are calling yourself a design brand, then inspiration comes from everything. If you are trying to niche yourself and call yourself a bag brand – then you sit down and compare your prices with other competitors, but for us the design aspect is really important, and we are trying to see where inspiration takes us.
[It is an obvious question, but any further plans to branch out into hiking gear? Your brand is known specifically for urban products.]
Let's say – not actively. I think there are already some pieces available, like the Ashokan. A while back we did a shoot together with Dreaded Path. They picked out that bag themselves, so we actually, without knowing, created a backpack that is applicable to these settings. But it was not meant for that. It is exactly what I said in the beginning, we do not mandate or force a particular functionality.
[In terms of storytelling, you guys are one of the top creators of visuals for any product on the internet, ever. Every time you release a collection, it is just like – "woah". How does this come about? It looks like you either have a really intense creative team here, or you give creators full control, whatever they want to do.]
It is a bit of both. You can actually see it when we work. We have core content that we create out of this team, and we will relay the appreciation to the core people, for sure *laughs*. Then we also work with people from our creative community. Either they approach us, or we approach them. For example, recently, Adam Katz Sinding. He has been a fan of the brand for a long time, and we are super fortunate to be able to work with him. There are other people as well, like Olli Hoosen, who is a dear friend of the brand, and we love working with him. We just have to send a product, and he goes off.
Let's say – not actively. I think there are already some pieces available, like the Ashokan. A while back we did a shoot together with Dreaded Path. They picked out that bag themselves, so we actually, without knowing, created a backpack that is applicable to these settings. But it was not meant for that. It is exactly what I said in the beginning, we do not mandate or force a particular functionality.
[In terms of storytelling, you guys are one of the top creators of visuals for any product on the internet, ever. Every time you release a collection, it is just like – "woah". How does this come about? It looks like you either have a really intense creative team here, or you give creators full control, whatever they want to do.]
It is a bit of both. You can actually see it when we work. We have core content that we create out of this team, and we will relay the appreciation to the core people, for sure *laughs*. Then we also work with people from our creative community. Either they approach us, or we approach them. For example, recently, Adam Katz Sinding. He has been a fan of the brand for a long time, and we are super fortunate to be able to work with him. There are other people as well, like Olli Hoosen, who is a dear friend of the brand, and we love working with him. We just have to send a product, and he goes off.
[It is an obvious question, but any further plans to branch out into hiking gear? Your brand is known specifically for urban products.]
Let's say – not actively. I think there are already some pieces available, like the Ashokan. A while back we did a shoot together with Dreaded Path. They picked out that bag themselves, so we actually, without knowing, created a backpack that is applicable to these settings. But it was not meant for that. It is exactly what I said in the beginning, we do not mandate or force a particular functionality.
Let's say – not actively. I think there are already some pieces available, like the Ashokan. A while back we did a shoot together with Dreaded Path. They picked out that bag themselves, so we actually, without knowing, created a backpack that is applicable to these settings. But it was not meant for that. It is exactly what I said in the beginning, we do not mandate or force a particular functionality.
[In terms of storytelling, you guys are one of the top creators of visuals for any product on the internet, ever. Every time you release a collection, it is just like – "woah". How does this come about? It looks like you either have a really intense creative team here, or you give creators full control, whatever they want to do.]
It is a bit of both. You can actually see it when we work. We have core content that we create out of this team, and we will relay the appreciation to the core people, for sure *laughs*. Then we also work with people from our creative community. Either they approach us, or we approach them. For example, recently, Adam Katz Sinding. He has been a fan of the brand for a long time, and we are super fortunate to be able to work with him. There are other people as well, like Olli Hoosen, who is a dear friend of the brand, and we love working with him. We just have to send a product, and he goes off.
It is a bit of both. You can actually see it when we work. We have core content that we create out of this team, and we will relay the appreciation to the core people, for sure *laughs*. Then we also work with people from our creative community. Either they approach us, or we approach them. For example, recently, Adam Katz Sinding. He has been a fan of the brand for a long time, and we are super fortunate to be able to work with him. There are other people as well, like Olli Hoosen, who is a dear friend of the brand, and we love working with him. We just have to send a product, and he goes off.
We know the moment we get it back it is going to be bang on, and he knows exactly what the brand is supposed to look like.
[The creative community around the brand is probably one of the strongest there is, because the people who care about it feel associated with your vision. It is the same as sneakers: you represent yourself by sneakers and your bags. Right?]
Yes, I know, it is really fun to see people approach us to say they really want to work with us. We can collaborate and also make them give us input on what kind of content they want to create. How would they want to wear it? We do not have the biggest budget, but we let them put their whole personality into it, which really shows in the end.
[What is the brand audience, not a target audience, but world disposition geographically. You are a European brand born in Europe, what is your market?]
The biggest audience was and remains Japan, really. It is quite funny. I grew up there.
[The creative community around the brand is probably one of the strongest there is, because the people who care about it feel associated with your vision. It is the same as sneakers: you represent yourself by sneakers and your bags. Right?]
Yes, I know, it is really fun to see people approach us to say they really want to work with us. We can collaborate and also make them give us input on what kind of content they want to create. How would they want to wear it? We do not have the biggest budget, but we let them put their whole personality into it, which really shows in the end.
[What is the brand audience, not a target audience, but world disposition geographically. You are a European brand born in Europe, what is your market?]
The biggest audience was and remains Japan, really. It is quite funny. I grew up there.
Japan is a country, where everyone is very particular about what they like and what they don't, and if they adopt something of yours, they are very particular about details or little hidden story pieces. So we are very fortunate to have been adopted into the hearts of the consumers there.
They really also appreciate newness, but I guess there is a different level of appreciation for thoughtfulness, in design in particular.
And that certainly is fortunate for us.
[Is there any specific Japan domestic market-releases you guys might be doing? Because when you are popular there, you probably have to do something for them. And we are left out, obviously.]
We have three stores in Japan, so in terms of direct interaction with the consumer it is much tighter, too. Other than that, we have a few Japan-exclusive SMU's. For example the Isarau in EcoYarn you can only buy there. But it is not like we are creating cherry blossom pink packs.
They really also appreciate newness, but I guess there is a different level of appreciation for thoughtfulness, in design in particular.
And that certainly is fortunate for us.
[Is there any specific Japan domestic market-releases you guys might be doing? Because when you are popular there, you probably have to do something for them. And we are left out, obviously.]
We have three stores in Japan, so in terms of direct interaction with the consumer it is much tighter, too. Other than that, we have a few Japan-exclusive SMU's. For example the Isarau in EcoYarn you can only buy there. But it is not like we are creating cherry blossom pink packs.
[Maybe you should? We think people adopt colours a lot more nowadays, because everybody was stuck for so long, and in general there are many more colours coming to functional apparel lately.]
*laughs* Fair enough. Well, we can see that in the end most people buy black. It is the easiest, especially for a backpack, because you can wear it with everything. But colors are a thing for sure. That is why for Fall-Winter we integrated these neon pop colors, so all those people who do like colour are satisfied as well.
[There was and is a trend for brands to come out with their specific womenswear functional collections, which are not unisex. What is your opinion on that, and do you see something like that in your area, more women-specific. Your brand was always…]
Unisex. Yeah, it is a good question.
*laughs* Fair enough. Well, we can see that in the end most people buy black. It is the easiest, especially for a backpack, because you can wear it with everything. But colors are a thing for sure. That is why for Fall-Winter we integrated these neon pop colors, so all those people who do like colour are satisfied as well.
[There was and is a trend for brands to come out with their specific womenswear functional collections, which are not unisex. What is your opinion on that, and do you see something like that in your area, more women-specific. Your brand was always…]
Unisex. Yeah, it is a good question.
Before côte&ciel, I used to work at adidas, and I mean that is obviously another company that does women-specific collections. So I get the commercial appeal of doing that. I do however think in terms of actual functionality in design there has always been a gender bias, in terms of how the world is designed really – it is designed off a standard male body type. So, in that sense, I think that trend is nice to see, but it is unfortunate because a lot of brands just take the easy way out, they go and make it pink: "It is for women – great". Or they put a few sparkles on it, and then it is for women, go buy it. There is a real biological difference there, people!
For us, like you said, the way we design, we always tried to be more fluid. Our Head of Design, Emilie, is female and always tries new bags on herself and a couple stockmans. So we are always able to see how new pieces will work with different body types. It has been important for us that it is adaptable enough to fit whoever. Everything that we do is always accounting really for gender fluidity, trying to not make something specifically for just one body type.
For us, like you said, the way we design, we always tried to be more fluid. Our Head of Design, Emilie, is female and always tries new bags on herself and a couple stockmans. So we are always able to see how new pieces will work with different body types. It has been important for us that it is adaptable enough to fit whoever. Everything that we do is always accounting really for gender fluidity, trying to not make something specifically for just one body type.
[That is one of the ways, for sure. But you guys are kind of lucky in this case, because you are not doing clothing.]
Sure, that is a whole different beast. I think with backpacks the difference is that you have to work in the range of something that looks huge on a petite person, versus really tiny on a big person. That is like a personal preference, right? Do you want a massive backpack – we have that. You want a tiny backpack – we have that too. In terms of fit itself, we are always trying to have it that can be adjusted to your particular needs.
[Can you expand on your company's approach to sustainable production?]
Of course. Sustainability. I have to say I am sick and tired of hearing the word. Not necessarily because I think it is not important, it is, incredibly, but because it has been abused and misused in so many different ways by so many different companies that I think, if I am a consumer, I do not know what sustainable is anymore.
Sure, that is a whole different beast. I think with backpacks the difference is that you have to work in the range of something that looks huge on a petite person, versus really tiny on a big person. That is like a personal preference, right? Do you want a massive backpack – we have that. You want a tiny backpack – we have that too. In terms of fit itself, we are always trying to have it that can be adjusted to your particular needs.
[Can you expand on your company's approach to sustainable production?]
Of course. Sustainability. I have to say I am sick and tired of hearing the word. Not necessarily because I think it is not important, it is, incredibly, but because it has been abused and misused in so many different ways by so many different companies that I think, if I am a consumer, I do not know what sustainable is anymore.
H&M tells me it is sustainable if I buy a T-shirt for 5€, because it is made from another T-shirt. And some other brand tells me it is sustainable, because it is made from a mushroom leather. Sustainability is left for the brand's interpretation, which I hate.
We at côte&ciel try to tackle the actual issue of overconsumption and resource overuse by thinking about it in terms of what we can do to lessen our company's impact on the world. How can we make sure that whatever we do uses the least amount of resources, or creates the least amount of pollution and make sure that everything we do is made to our best abilities and ultimately make sure that we continue to decrease that kind of impact as well.
EcoYarn is something that we started using 14 years ago. It was literally the first material that we used, a smart choice back then and it still is. It uses considerably less water and chemical substances to be dyed, and also to manufacture the product itself. And for future collections, it is the same thing for us. You will continue to see accessories and materials that have been used in previous collections.
We at côte&ciel try to tackle the actual issue of overconsumption and resource overuse by thinking about it in terms of what we can do to lessen our company's impact on the world. How can we make sure that whatever we do uses the least amount of resources, or creates the least amount of pollution and make sure that everything we do is made to our best abilities and ultimately make sure that we continue to decrease that kind of impact as well.
EcoYarn is something that we started using 14 years ago. It was literally the first material that we used, a smart choice back then and it still is. It uses considerably less water and chemical substances to be dyed, and also to manufacture the product itself. And for future collections, it is the same thing for us. You will continue to see accessories and materials that have been used in previous collections.
[We see that you reuse elements year to year.]
Exactly.
[And we wanted to elaborate on this part. Seems like for the last five years you have been using the same buckles and the same zippers, and they are always the same size.]
Not all of them. We had some quality issues with certain zipper pullers for a while, so we had to replace those. Nowadays they are coming out of the same batch, yes.
It would be a lie to say that we do not experiment with hardware, because we do. However, we do limited quantities of our products, especially for seasonal collections. So if you are an independent label that stands on its own and does not belong to some bigger group – you try to make sure that what you have got is used to the best of your abilities. When you have to order five thousand yards of fabric, but for a collection you only need three thousand, you have got two thousand left over, what do you do with that?
These are the kind of questions that we continue to ask ourselves so we don't end up with I don't know how many batches of deadstock fabric. And hardware begets the same consideration. It is really interesting, because on the one hand you are obviously trying to introduce new things, but the thought of just tossing stuff out – we are trying to avoid that as much as possible.
Exactly.
[And we wanted to elaborate on this part. Seems like for the last five years you have been using the same buckles and the same zippers, and they are always the same size.]
Not all of them. We had some quality issues with certain zipper pullers for a while, so we had to replace those. Nowadays they are coming out of the same batch, yes.
It would be a lie to say that we do not experiment with hardware, because we do. However, we do limited quantities of our products, especially for seasonal collections. So if you are an independent label that stands on its own and does not belong to some bigger group – you try to make sure that what you have got is used to the best of your abilities. When you have to order five thousand yards of fabric, but for a collection you only need three thousand, you have got two thousand left over, what do you do with that?
These are the kind of questions that we continue to ask ourselves so we don't end up with I don't know how many batches of deadstock fabric. And hardware begets the same consideration. It is really interesting, because on the one hand you are obviously trying to introduce new things, but the thought of just tossing stuff out – we are trying to avoid that as much as possible.
[We see that you reuse elements year to year.]
Exactly.
[And we wanted to elaborate on this part. Seems like for the last five years you have been using the same buckles and the same zippers, and they are always the same size.]
Not all of them. We had some quality issues with certain zipper pullers for a while, so we had to replace those. Nowadays they are coming out of the same batch, yes.
Exactly.
[And we wanted to elaborate on this part. Seems like for the last five years you have been using the same buckles and the same zippers, and they are always the same size.]
Not all of them. We had some quality issues with certain zipper pullers for a while, so we had to replace those. Nowadays they are coming out of the same batch, yes.
It would be a lie to say that we do not experiment with hardware, because we do. However, we do limited quantities of our products, especially for seasonal collections. So if you are an independent label that stands on its own and does not belong to some bigger group – you try to make sure that what you have got is used to the best of your abilities. When you have to order five thousand yards of fabric, but for a collection you only need three thousand, you have got two thousand left over, what do you do with that?
These are the kind of questions that we continue to ask ourselves so we don't end up with I don't know how many batches of deadstock fabric. And hardware begets the same consideration. It is really interesting, because on the one hand you are obviously trying to introduce new things, but the thought of just tossing stuff out – we are trying to avoid that as much as possible.
These are the kind of questions that we continue to ask ourselves so we don't end up with I don't know how many batches of deadstock fabric. And hardware begets the same consideration. It is really interesting, because on the one hand you are obviously trying to introduce new things, but the thought of just tossing stuff out – we are trying to avoid that as much as possible.
[Do you plan a collection just a year in advance, working on two at a time?]
Not necessarily. We work with a timeline of about a year plus something in advance, about 18 months-ish. We start early. Using materials from past collections, for example applied to smaller pieces. Because when you have something left over you do not have enough to just create another season out of it. There are definitely use cases for it in our workflow.
[And for the end user there is a continuation and it also expands the functionality via the combination of these smaller pieces with previous releases.]
Yeah, and I think it is a good thing for us. Especially the core pieces, they have timeless designs. The good thing is, we know the stuff that we create, it lives on people's bags for a long, long time, the design that is. And therefore it is lessening the impact in the way of how you create.
The other one is making sure the quality is made for longevity. Because the longer you continue to use something, the less is your own impact on the world. In that sense those are the two main things that we can and do tackle.
We are not unaware or oblivious to the whole sustainable economy. Would we want to do a 100 percent circular model with everything plant grown and stuff – sure. Is that feasible right now – not really.
Not necessarily. We work with a timeline of about a year plus something in advance, about 18 months-ish. We start early. Using materials from past collections, for example applied to smaller pieces. Because when you have something left over you do not have enough to just create another season out of it. There are definitely use cases for it in our workflow.
[And for the end user there is a continuation and it also expands the functionality via the combination of these smaller pieces with previous releases.]
Yeah, and I think it is a good thing for us. Especially the core pieces, they have timeless designs. The good thing is, we know the stuff that we create, it lives on people's bags for a long, long time, the design that is. And therefore it is lessening the impact in the way of how you create.
The other one is making sure the quality is made for longevity. Because the longer you continue to use something, the less is your own impact on the world. In that sense those are the two main things that we can and do tackle.
We are not unaware or oblivious to the whole sustainable economy. Would we want to do a 100 percent circular model with everything plant grown and stuff – sure. Is that feasible right now – not really.
[Do you plan a collection just a year in advance, working on two at a time?]
Not necessarily. We work with a timeline of about a year plus something in advance, about 18 months-ish. We start early. Using materials from past collections, for example applied to smaller pieces. Because when you have something left over you do not have enough to just create another season out of it. There are definitely use cases for it in our workflow.
[And for the end user there is a continuation and it also expands the functionality via the combination of these smaller pieces with previous releases.]
Not necessarily. We work with a timeline of about a year plus something in advance, about 18 months-ish. We start early. Using materials from past collections, for example applied to smaller pieces. Because when you have something left over you do not have enough to just create another season out of it. There are definitely use cases for it in our workflow.
[And for the end user there is a continuation and it also expands the functionality via the combination of these smaller pieces with previous releases.]
Yeah, and I think it is a good thing for us. Especially the core pieces, they have timeless designs. The good thing is, we know the stuff that we create, it lives on people's bags for a long, long time, the design that is. And therefore it is lessening the impact in the way of how you create.
The other one is making sure the quality is made for longevity. Because the longer you continue to use something, the less is your own impact on the world. In that sense those are the two main things that we can and do tackle.
We are not unaware or oblivious to the whole sustainable economy. Would we want to do a 100 percent circular model with everything plant grown and stuff – sure. Is that feasible right now – not really.
The other one is making sure the quality is made for longevity. Because the longer you continue to use something, the less is your own impact on the world. In that sense those are the two main things that we can and do tackle.
We are not unaware or oblivious to the whole sustainable economy. Would we want to do a 100 percent circular model with everything plant grown and stuff – sure. Is that feasible right now – not really.
[We do not remember seeing this aspect of your approach to marketing.]
Which is exactly the point for us. It is not because it is not important, and it is almost like a daily topic, obviously, with all different departments.
But standing on the rooftop and screaming "We are sustainable!" – let the other brands do that.
Quality is in the focus for us. Especially if you buy a big backpack, which costs a bit of money, you think differently, you think: "okay, do I like the fabric, do I like all the little details?". Just as with a normal handbag, it is more your personal preference that in the end, overturns everything. Seeing the whole package as it is, all has to fit. Sustainability is a big part of it, but if you know you can wear it for ten years and it is an investment – that kind of is the biggest thing.
Which is exactly the point for us. It is not because it is not important, and it is almost like a daily topic, obviously, with all different departments.
But standing on the rooftop and screaming "We are sustainable!" – let the other brands do that.
Quality is in the focus for us. Especially if you buy a big backpack, which costs a bit of money, you think differently, you think: "okay, do I like the fabric, do I like all the little details?". Just as with a normal handbag, it is more your personal preference that in the end, overturns everything. Seeing the whole package as it is, all has to fit. Sustainability is a big part of it, but if you know you can wear it for ten years and it is an investment – that kind of is the biggest thing.
[What are your personal favourite materials that have been used, or are used now, or maybe will be used tomorrow?]
I think we have three staple materials besides EcoYarn, that you find everywhere.
One is a Coated Canvas, I think that is for everyone that likes that leather look, but does not want leather. You've got Obsidian, which looks almost like a hardshell, that is also a coated material, which I personally love. I mean, the OG Nile is made out of Obsidian and it is an icon. Really gives you that super futuristic type of look. Then we have Smooth which lends itself really well to more organic or twisted shapes, because it has this soft yet crinkly texture, where the light looks different depending on the angle.
Those are the three besides EcoYarn.
I think we have three staple materials besides EcoYarn, that you find everywhere.
One is a Coated Canvas, I think that is for everyone that likes that leather look, but does not want leather. You've got Obsidian, which looks almost like a hardshell, that is also a coated material, which I personally love. I mean, the OG Nile is made out of Obsidian and it is an icon. Really gives you that super futuristic type of look. Then we have Smooth which lends itself really well to more organic or twisted shapes, because it has this soft yet crinkly texture, where the light looks different depending on the angle.
Those are the three besides EcoYarn.
[Do you have input into your own materials?]
Yes, to some degree. The recycled leather currently used for our wallets in particular, Emilie worked really hard on that. She had a lot of exchanges with the manufacturer about what should be the hand feel, what should be the texture and so on. She really went into the nitty-gritty with it.
But then again, we are small. Let's say we work with Komatsu from Japan. They are going to smile at us if we come to them and ask: "We would like to have a different material", – "Okay, are you going to order ten thousand yards?" No, of course not.
Yes, to some degree. The recycled leather currently used for our wallets in particular, Emilie worked really hard on that. She had a lot of exchanges with the manufacturer about what should be the hand feel, what should be the texture and so on. She really went into the nitty-gritty with it.
But then again, we are small. Let's say we work with Komatsu from Japan. They are going to smile at us if we come to them and ask: "We would like to have a different material", – "Okay, are you going to order ten thousand yards?" No, of course not.
With smaller companies we can do much more. We are looking for an alternative for nylon for example. To have something that has a hand feel to it as well as being sustainable.
[It is cool, because you are saying you are a small company, yet we don't get this feeling. Main thing for me besides the design, obviously, is how well crafted this all is. And you say your goods are expensive, we would not say that to be honest. Maybe double the price, and then it is going to be on the verge of being reasonably priced.]
*laughs* Tell that to our Sales Team - they will love to hear that.
[It is cool, because you are saying you are a small company, yet we don't get this feeling. Main thing for me besides the design, obviously, is how well crafted this all is. And you say your goods are expensive, we would not say that to be honest. Maybe double the price, and then it is going to be on the verge of being reasonably priced.]
*laughs* Tell that to our Sales Team - they will love to hear that.
You can compare côte&ciel's work and its results to a state of flow. They are "in the zone": immersed in a feeling of energized focus, with full involvement and enjoyment of the process. And you might say it is too poetic to talk about bags in such a way.
Yet we are certain, that if anyone in the functional apparel business has truly achieved such a state – it is your favourite's favourite design brand, founded in Paris in 2008 and incessantly pushing the boundaries of possible, 14 years later, and surely for many more to come.
Stay tuned for more articles from our European tour soon and until then check our other relatable materials via the links below.
Yet we are certain, that if anyone in the functional apparel business has truly achieved such a state – it is your favourite's favourite design brand, founded in Paris in 2008 and incessantly pushing the boundaries of possible, 14 years later, and surely for many more to come.
Stay tuned for more articles from our European tour soon and until then check our other relatable materials via the links below.
Produced by TECHUNTER Media.
Questions: Alex Zabelin [TECHUNTER, chief editor], Ivan Dzhatiev [TECHUNTER, creative director].
Answers: Jacqueline Helen Schmid [côte&ciel, Head of Marketing].
Decryption: Artemii Kozak.
Edit: Ivan Dzhatiev [THM].
Layout: Alex Zabelin [THM].
Images: Ivan Dzhatiev, Alex Zabelin [THM].
Special thanks to FUJIFILM for the gear support during our trip.
Questions: Alex Zabelin [TECHUNTER, chief editor], Ivan Dzhatiev [TECHUNTER, creative director].
Answers: Jacqueline Helen Schmid [côte&ciel, Head of Marketing].
Decryption: Artemii Kozak.
Edit: Ivan Dzhatiev [THM].
Layout: Alex Zabelin [THM].
Images: Ivan Dzhatiev, Alex Zabelin [THM].
Special thanks to FUJIFILM for the gear support during our trip.
