In Conversation with...
Christian Weber, about his new label, timeless design, responsibility, and a return to genuine values.
The interview was conducted by Dr. Ricki Weiss.
“Wear your legacy” – this claim sounds very personal.
What does “legacy” mean to you?
I don’t design garments for trends, but out of what life has taught me. A piece that doesn’t merely protect us functionally— against cold, for example—but surrounds us like a second skin. A garment that becomes a reliable companion—like a good friend: always there when you need it, loyal, quiet, self-evident. Something you can trust blindly. Over time, it gains meaning, memories, patina—it becomes part of your own story. When a garment becomes so important that one day you might even want to pass it on, perhaps to the next generation, then it is more than fashion. Then you are no longer wearing fabric alone, but values, time, and experience. That, to me, is “Wear your legacy.”
You consciously return to these values in your work.
Why now?
Timelessness does not mean outdated. A design can be modern, use new materials or be technically innovative—as long as its language of form serves human needs. Good design is simple, functional, and elegant. It does not shout. A perfectly crafted armchair follows the same principles as a well-tailored jacket: clear lines, comfort, and a certain calm.
How do you define timeless design?
Timelessness does not mean outdated. A design can be modern, use new materials, or be technically innovative—as long as its language of form serves human needs. Good design is simple, functional, and elegant. It does not shout. A perfectly crafted armchair follows the same principles as a well-tailored jacket: clear lines, comfort, and a certain calm.
Did your early professional experiences shape this attitude?
Absolutely. I had the opportunity to work for Versace in Italy for many years, where I learnedwhat quality truly means: fabrics, cuts, silhouettes, details—all of it craftsmanship at the hig-hest level.Equally formative were my experiences with Austrian companies such as Wolford. There was an almost fanatical dedication to perfection: cleanliness, discipline, pride in craftsmanship. These values still run through my work today.
You often speak about people.
Why does the human aspect play such a central role in your brand?
For me, clothing is never just “fabric.” Every piece is the result of a vast network of people: the small weaving mill in Tuscany, the pattern maker with forty years of experience, the button-making family near Bergamo who still brush their horn buttons by hand. All these hands, stories, and convictions flow into every single garment. And when these people believe in what they do, work with passion, and take pride in their craft, you can see and feel it in the finished product— it gains a special, charged sense of value.
And you want to make these stories visible?
Yes.
When salespeople or retailers know the story behind a piece, it is no longer sold through logos, but through attitude. Then a jacket is not just a jacket, but a piece of lived culture. Telling the story of origin, craftsmanship, and the people behind it creates a genuine connection between product and wearer.
You have lived in many places—Los Angeles, Milan, Vienna. How have these cities shaped your thinking?
Los Angeles was my cultural awakening. As a young man from Vorarlberg, I encountered true diversity there for the first time—people, cultures, contrasts. You learn to listen and to understand that difference is enriching. Milan shaped me most professionally. In Italy, fashion is not consumed—it is celebrated. Clothing is part of everyday life, an expression of personality and joie de vivre. This passion and the tradition of craftsmanship are deeply embedded in my brand.
Fashion as disguise versus fashion as an expression of personality—how do you distinguish between the two?
Some people hide behind brands and logos—fashion becomes a uniform, almost a suit of armor. You become part of a mass instead of being visible as an individual. And then there is clothing that does the opposite: it highlights the person rather than covering them. It fits their life, their style, their attitude. The garment should not be the center of attention— the individuality of the person wearing it should be.
Do you see yourself as a designer bearing responsibility here?
Everything sold under my name must live up to its promise. More than that: every piece comes with a lifetime guarantee. Quality must not be a marketing buzzword —it has to be real. I openly criticize the way many brands gloss over origin and production conditions. Authenticity is non-negotiable for me. If something says it is made in Italy, then it must truly be made there—honestly and fairly.
Alongside transparency, reduction to the
essential also seems to be a guiding principle.
Yes. You only find the essence of things after many years of designing. You learn what works—and what is merely noise. Less, but better: this is not a stylistic dogma, but an attitude. A good garment does not need effects. It needs substance.
What do you wish for the people who wear your clothing?
I wish that people not only look good in my clothes, but recognize themselves in them. That these pieces accompany them through meaningful moments in life, through journeys and encounters. Perhaps some of them will be passed on, inherited, or gifted.
“Wear your legacy” thus becomes a personal identity—an expression of memory, attitude, and history.
