As we step foot into the ioannes atelier on a Tuesday morning in March, Johannes Bohl Cronau, founder of the Berlin-based label ioannes, greets us with a mix of excitement and nervousness. He admits that shoots tend to stress him, and it’s no different today. The atelier is busy already, employees and interns diligently working on new designs in the front while back in the main area, a bright room kept entirely in whites and creams, photographer Iga Drobisz sets up for the shoot. A brand known for its modern idea of femininity and worn by women well beyond German or European borders, Johannes runs his brand with a holistic approach. Kickstarted by an exclusive deal with Net-A-Porter, this brand has been on the watchlist since 2019. We talked to both Johannes and Beata, who takes care of the market and press end of things at ioannes, about their experience, the importance of working out of Berlin, the market, the concept of hype, education and how the two are carving out their own niche.
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ACHTUNG: When was ioannes founded?How did it come about?
Johannes: I founded ioannes in 2019 after completing my master’s at Central Saint Martins and returning to Paris where I did my bachelor’s degree. My ultimate goal with ioannes is twofold: Firstly, to empower women to feel comfortable and alive in their own skin. Secondly, as a creative, my motivation is to create a holistic aesthetic and world for myself, my team, and ultimately for my clients. A significant influence on my work is the artist Donald Judd, especially his living and working spaces in Soho, New York, and Marfa, Texas. This influence reflects my motivation to achieve a similar work-life balance with my brand. Beyond the visual aesthetics, my aim is to engage all senses and create an immersive experience. Transparency is crucial for me, both within my team and with my producers and products.
A: Net-A-Porter exclusively bought your first collection. That must have felt like a dream come true.
J: Initially, I planned to gain more industry experience before starting, but an opportunity came up at the Palais de Tokyo in Paris to showcase my graduate collection in a video format. This led to a bigger audience during Paris Fashion Week, where we did a 12-hour performance including a look book shoot, styling, rehearsals, the show itself, and post-show activities, all within the museum space. My focus since my time at CSM in London has been on creating something experiential, exploring a curational and performative approach to fashion rather than starting a traditional brand. But the platform at Palais de Tokyo pushed ioannes more into the spotlight as an emerging brand. From there, I started working on collections while also teaching at Parsons in Paris. When Net-A-Porter exclusively bought our Spring/Summer 2020 collection, it really kickstarted our journey into becoming a proper business.
A: And then you decided to move from Paris, the fashion capital, to Berlin?
J: Initially, I was operating from my Paris apartment with my first employee. After relocating the production to Portugal for our second collection for Net-A-Porter and coming back to Paris, I felt the need for a change of scenery, so we spent the second lockdown 2021 in Berlin, which seemed like the right move. Within the first week of moving here, we found a perfect atelier space, solidifying our decision to establish ourselves in the city.
A: This must have felt like a big change, right?
J: Honestly, with the pandemic, location doesn‘t play as big a role as it used to. Many designers across Europe are staying put in their own cities and just popping into Paris when they need to showcase their work. Berlin has provided me with the space and time to breathe, which is amazing. Whether or not Berlin wants to hear it, I find it refreshing that it is not the beating heart of fashion. The city offers so much in art, film and fashion as it is and there is a real sense of community.
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A: When did you come on board, Beata?
Beata: I joined in the fall of 2021.
J: Fall of that year, really? Time flies.
B: Yeah, just a few months after you moved into this studio.
A: And how did you two meet?
B: We were introduced by a former pattern cutter who was collaborating with us.
J: I was in need of a studio and production manager because things were getting hectic.
A: Since then, you’ve also taken on the press department of ioannes, right, Beata?
B: Yeah, it all happened very organically. As we were going through internal changes, we decided to take more responsibility into our own hands. So, handling press and sales just naturally fell into my lap.
J: When you’re starting a brand, you’re essentially building the foundation. You need support to establish these structures, whether it’s through external agencies for PR and sales or internally. As you grow and gain more experience, you start to rely less on external support. It’s like learning a new skill set. We’ve been in business for four to five years now, operating on a growing scale. It’s almost like getting a bachelor’s and master’s degree in business. Even though some still see me as just a fashion designer, I’ve spent enough time in this fi eld to have authority and experience in business matters too. That’s why we prefer to handle things internally rather than involving more people, which can slow down decision-making processes, especially in PR and sales.
A: That’s what sets ioannes apart, isn’t it? Typically, brands aim to secure a PR agency and delegate all the work to them.
J: We did go down that route initially as it felt crucial to gain connections and establish my then emerging brand.
A: And then decided to take back control.
J: It’s about owning your narrative and having the authority over it. While you do hope to benefit from others’ experience and networks, there comes a point where you realize you’re your best agent.
B: And that our network is strong enough. Over the years, we’ve built relationships with stylists and press who now reach out to us directly. We found that the intermediary wasn’t as crucial as we thought, especially as we became more recognized.
J: It all unfolded naturally. We didn’t struggle to break free from traditional methods. The same goes for sales. It’s not that we’re averse to relinquishing control, but we know our clothes best and how to sell them effectively.
B: Plus, the landscape is changing. Agencies aren’t as enduring anymore. With platforms like Instagram and social media, everyone is accessible. Going through an agency to make connections isn’t the only option. We started receiving direct inquiries from stores and stylists, which made us realize we could handle PR and press ourselves.
A: How did the name ioannes come about?
J: Originally, I wanted to study art history, and I was particularly fascinated by early Renaissance art, both Italian and Northern. Many humanistic painters, like Giovanni Bellini, used Latinized versions of their names, such as Ioannes Bellinus. This European tradition resonated with me, symbolizing a humanistic approach rooted in science and reason, which I believe is particularly relevant today. As for myself, I’ve always identified strongly with my first name, Johannes, rather than my last name. Even back in high school, I used the name Ioannes in various ways. When it came to deciding on a name, ioannes felt like the natural and obvious choice.
A: Can you recall your first experience of creating a garment?
J: I don’t have a nostalgic tale of sewing with my grandma for you, I actually strongly dislike stitching. But I always loved draping and the concept of making a garment. In some early memories I remember using a lot of fabrics which I knotted and draped into costumes for myself.
A: Do you typically begin with draping when conceptualizing a collection?
J: My approach changes in cycles. When I initially launched the brand, I took a highly conceptual approach influenced by my MA studies, which focused on exploring archaic dressmaking techniques from Greek and Japanese traditions, so it was very focused on cut. Then, transitioning into establishing a commercial fashion brand and further adapting during the pandemic where digital presentation became crucial. Each phase brought its own learnings. I currently find myself revisiting my MA references. I think the next chapter will involve reducing the collection a bit while dedicating more time to research and enjoying the creative process. The post-pandemic landscape has significantly impacted design and retail, prompting a shift towards a more personalized approach. We previously catered heavily to the needs of stores and global retailers, but now, with a direct audience, our focus is on understanding not only their needs, but also what they desire to see.
A: Do you consider your selling strategy when starting a collection, or is making sell able clothes integrated into your design process?
J: We’re all about ready-to-wear, and that’s something I’ve always been clear about. I want my clothes to be worn. There’s nothing more exciting than seeing someone on the street wearing our pieces. It’s equally thrilling when celebrities like Kylie Jenner and Rihanna wear our clothes, especially when it’s a surprise to us. For me, wearability is key – a garment should feel effortless and comfortable.
B: „Sellable” is a bit subjective because different stores have different preferences. Some stores prefer more extravagant pieces, while others focus on more wearable styles like dresses and occasion wear. It really depends
on the store and their clientele. There’s no one-size-fits-all approach. Sometimes we create pieces that to us are clearly show pieces but then turn out to be a great seller elsewhere.
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A: You talked about Rihanna and Kylie Jenner wearing ioannes which obviously feeds the hype machine. Do you think celebrities wearing a younger brand sustainably helps it?
J: It’s definitely great for exposure. This happened a couple of years ago, so I’m not sure if it still holds the same weight today. When Kylie or Rihanna wear one of my dresses, those specific items sell out immediately. It’s fantastic for reaching new audiences and introducing them to the brand. However, in terms of sales, it’s mostly limited to the exact pieces worn by the celebrities. These high-profile endorsements aren’t typically about deep brand education;
it’s more about initial brand recognition. That’s why we’re now focusing more on building relationships with a select group of individuals who really appreciate us. We don’t have enough samples to constantly gift items, so we have to be selective and often request the samples to be returned. It’s important for us to work with people who genuinely appreciate our pieces and embody the character we’re looking for.
A: So that is your current marketing strategy then?
J: There’s no master plan. We’re in a constantly changing environment. And people might not realize how small a brand like ours is. Other than me and Beata it’s just Louise, who is responsible for research and production, our pattern cutter Elijah and our interns Leif, Kiko, Marina and Julia. But maybe being small has its advantages; we’re like a sailboat that can handle storms better than a cruise ship.
B: Our strategy is very focused and we’re nottrying to be everywhere. With our small team, it’s more practical to handle less, but it also allows us better control over the brand’s narrative and image.
J: Plus, our target is more measurable. With agencies, you cast a wide net, making it hard to measure success. But with a specific list of who we want to work with, it’s easier to gauge our progress.
A: Did you always know you wanted to start your own brand during your masters?
J: Yes, I did. One tutor advised learning on other people’s money fi rst, while another urged me to start immediately because waiting too long could lead to missing the opportunity. The fear was that if I had a comfortable job at a large brand like LVMH by age 35, I might be reluctant to sacrifi ce that comfort and risk living like a student again for fi ve or six years.
A: Was there any education for the business end of things at CSM?
J: Not really. While CSM is an amazing school and I loved my experience there, I do think it tends to produce somewhat egotistical individuals, myself included. Interestingly, my year at CSM may have been among the last to pursue the traditional fashion brand model of producing two collections a year. Many newer students have a different approach, understanding global markets without being tied to the wholesale business model. They’ve managed to carve out their own paths without being overly reliant on traditional financial models. It’s inspiring to see how many young brands are catering to their audience in unique ways while sidestepping the conventional wholesale approach.
A: What other young brands do you think are exciting?
J: Ellen Hodakova Larsson and her brand HODAKOVA. She was my fi rst intern in London. Even back then, she was doing exactly what she’s doing now, but to me it’s just amazing to see how it’s maturing. I do think it’s a very different approach to when I started.
A: Do you still think that having a great academic education in fashion is good for starting a business? Is it essential?
J: No, I honestly think industry experience is more valuable. The more experience you have before starting, the better. Alternatively, having a solid business partner can provide much-needed structure. Trying to fi gure it out on your own is incredibly challenging.
A: Nevertheless, you did take on that challenge?
J: I did it all on my own, although I wouldn’t recommend it. It’s unrealistic. We experienced rapid growth with one of the largest online stores, but market shifts can quickly impact you. Viewing fashion as a start-up might lead to more realistic expectations, because starting a brand often involves years of losses. Having a partner who understands the market and business is ideal. Just entering that industry blindheartedly, thinking you’re the one the fashion world has been waiting for, you’re set up for disappointment.
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