The outdoor experience has become more layered, more psychological, more focused on the relationship between body, environment, and identity. It’s no longer only about pushing through the elements, but also about how we choose to inhabit them. About what it means to enter a landscape not in opposition to it, but in dialogue with it.

Founded in 2021, Uppervoid brand is part of a new generation of outdoor labels rethinking not only how technical products are designed, but what they symbolise. Its vision begins with performance, but refuses to stop there. The garments are conceived to function in real environments, with the rigor and responsibility that technical outdoor demands, yet they also carry another ambition: to propose a different design of exploration— more attuned to comfort, contemplation, and inner experience.

In conversation with founder Vis Bi, what emerges is more than the story of a brand. It’s a reflection on how outdoor culture itself is changing—becoming more plural, more self-aware, and perhaps, more human.

Going back to the beginning, how did the idea of Uppervoid take shape? What was the initial vision behind the brand?

“We started in 2021, and the vision was actually quite simple, built around two main ideas. At that time—before the whole gorpcore wave really took off—I felt that functional outdoor gear was, in a way, aesthetically lacking. It was either overly bright or reduced to black and white. There was very little cultural dimension to it. In running and sportswear, brands like Satisfy, Soar or District Vision had already begun to reshape the landscape, bringing a more contemporary sensibility to performance. But in technical outdoor, that shift hadn’t really happened yet. Part of the reason is that outdoor products are more complex to design and produce. In running, much of the innovation sits in the fabric. In technical outdoor, craftsmanship plays a much bigger role.

At the same time, we were observing a new type of user emerging. People who are psychologically drawn to extreme environments, but not necessarily interested in approaching them through physical hardship. I experienced this personally in Nepal. I originally planned to hike the Annapurna circuit, but after the first day I realised I didn’t enjoy that kind of experience. So I took a helicopter to base camp instead. And I realised there are many people like that. A different way of engaging with nature.

The idea behind Uppervoid was to create products that are as technically capable as heritage outdoor brands, but with a different narrative. Less about conquering nature, more about a psychological and spiritual relationship with it. This also reflects a broader cultural shift. We’ve moved away from the ‘just do it’ mentality, where discomfort was part of achievement. Today, people are more aware of mental wellbeing. They don’t necessarily want to suffer to reach a destination. There are other ways—more balanced, more considered, even more aesthetic ways—to engage with the outdoors. That’s where the brand was born.”

On a personal level, what has been your relationship with the outdoors? How did your own experience shape the way you approach the brand?

“I grew up in Vancouver, which is naturally an outdoor-oriented city. Access to nature was immediate and easy. You could snowboard in the morning, hike down, and be at the beach in the afternoon—all within short distances. So I was introduced to the outdoors from a very young age, but in a way that didn’t feel extreme or inaccessible. It was always something integrated into daily life. At the same time, I realised over the years that I’m not an endurance-driven person. I’m more drawn to short, intense experiences—moments of adrenaline rather than long-duration effort. I enjoy snowboarding, climbing, skydiving, and riding through the desert, but I don’t gravitate towards long treks. That perspective is reflected in the brand. The way we present the outdoors is aligned with how I personally experience it—not as a test of endurance, but as a series of meaningful, often intense moments within nature.”

Today, sport is not only about performance—it’s also about community and environmental awareness. How does sustainability fit into your vision?

“Our approach to sustainability is slightly different from the conventional narrative. Of course, we use recycled fabrics where possible. But for us, the real focus is longevity. Creating products that last as long as possible. 

Coming from a family with a background in clothing manufacturing, I’ve seen how many sustainability claims in the industry are not entirely accurate. Using recycled fabrics doesn’t always significantly reduce environmental impact, especially when you consider processes like dyeing, which is one of the most damaging stages in production. Recycling itself is also more complex than people think. Most garments today are made from blended materials, which are very difficult to recycle properly. True recycling requires single-fiber fabrics, and even then, there are limitations. So our logic is simple: we aim to create the best possible product, using high-quality materials, so that once you buy it, you don’t need to replace it.

At the same time, we continue to research new materials. For example, we’ve developed a copper-based fabric and even patented a way to produce it. But at the moment, the cost is too high to make it viable. Sustainability only works when it’s scalable. It’s not about a few people using better materials—it’s about making those solutions accessible to everyone. Until then, we keep developing.”

One of the most distinctive aspects of Uppervoid is its design language. There is a clear influence of Eastern aesthetics. How does this perspective shape your approach?

“I see our work as a blend between traditional outdoor aesthetics and an Eastern perspective. Historically, most outdoor brands have been Western, rooted in specific geographies and environments. But the outdoor world is much broader than that. Asia, for example, has very different landscapes, climates, and ecosystems. These differences influence design in subtle but important ways. A simple example: we never use yellow in our spring-summer collections, because in many parts of Asia it attracts insects. That’s not something you would necessarily consider in another context.

Climate also plays a major role. In many Asian regions, temperature variation throughout the day is minimal. Summer can stay consistently around 30 degrees, even at night. That changes how you design ventilation, layering, and materials. We’re currently developing a hard shell specifically for summer rain seasons—something that wouldn’t traditionally exist in Western outdoor design, where rain is more associated with colder conditions.

Footwear is another example. In many Asian markets, consumers prefer heavier, high-ankle boots for trekking. In other regions, like Northern Italy, there’s a stronger preference for lighter, low-cut footwear. 

All of these factors—environmental, cultural, practical—come together and shape the final product. And that’s what makes the brand feel different. Not intentionally, but as a natural result of approaching the outdoors from another perspective.”

Today, the boundaries between sport, culture, and aesthetics are increasingly fluid. As we often explore in Athleta Magazine, fashion can also be seen as a form of art. Do you think the growing intersection between sportswear and fashion is bringing more people closer to the outdoors?

“We’re actually very careful about that balance. Internally, we don’t really use the word ‘fashion’. We prefer to talk about ‘aesthetics’. Fashion, by nature, is tied to trends. And in recent years, many brands have emerged that are essentially outdoor-inspired fashion. That’s not necessarily a negative thing, but for us, it’s not the same.

The biggest risk we want to avoid is that someone wears our product in a real outdoor environment expecting it to perform, and it doesn’t. In fashion, there are no real physical consequences. In the outdoors, there are. Our products carry a responsibility—they need to keep people safe and comfortable. So we do draw inspiration from fashion, but only in areas that don’t affect performance. Colors, prints—those are open to interpretation. But when it comes to technical elements—pocket placement, zippers, construction—we don’t follow trends. We follow functions.

Every product starts from a very clear question: where will it be used, and for what activity? Then we break that down further. For trekking, it might be based on the number of days. For mountaineering, altitude. For trail running, distance. Within each category, we define different tiers, and for each one, we work closely with athletes to understand what is actually needed. That’s how we build products—through real use cases. Once that foundation is established, then design can come in. But never the other way around.”

You mentioned working closely with athletes to test and refine your products. Are you planning to support some of them with a sponsorship?

“We are actively trying to support athletes, but it’s not always easy. Many of the athletes we would naturally connect with are already sponsored by larger brands. So we’ve shifted our focus towards more grassroots athletes. We look at rankings like UTMB, and we explore regions that are less represented—countries like Georgia or Armenia. Sometimes we find interesting profiles there. It’s an ongoing process. We’re constantly searching, building relationships, and trying to create something meaningful over time.”

Looking ahead, what are the next steps for Upeervoid? How do you see the brand evolving?

“The next phase is about refinement. Over the past few years, we’ve focused a lot on expanding our product range. Now it’s about improving what we’ve already built. Taking those learnings and developing second and third iterations—2.0s, 3.0s—making each product more precise, more functional, more resolved.

At the same time, we want to continue building relationships with athletes, especially at a grassroots level, and strengthen that connection between product and real-world use. We’re also expanding into new markets and sales channels. But in the outdoor sportswear industry, growth is naturally slower than in fashion. It requires time. It requires consistency. You can’t shortcut credibility. So for us, it’s about staying focused. Continuing to believe in what we’re building, and moving forward step by step.”

Generate. Degenerate. Regenerate. Clothing can now enter a stage that has long been overlooked by both the sportswear and fashion industries: regeneration. A return to the origin, capable of eliminating any negative impact on an environment already deeply scarred—almost irreparably—by plastics and overproduction.

Generate. Degenerate. Regenerate. This process defines the bold, yet essential philosophy of Eric Liedtke: a visionary who decided to tackle paradigms that seemed impossible to break. He shaped the UNLESS brand, using only plant-based materials designed for natural decomposition. Fashion that leaves the planet intact. Clothes that, over time, don’t pollute but merge with the Earth.

Performing a so-called ‘regenerative action,’ Liedtke explains during a special event at Fuorisalone during Milan Design Week, means leaving a positive footprint behind, and designing a better future. By his side, Kevin Plank, founder of Under Armour, nods in agreement. Behind them, a backdrop that shows the fruits of the first synergistic collection between UA and UNLESS, while also marking Liedtke’s new role as Brand President of the company born on the football fields of the Maryland ‘Terrapins.’

“I want to congratulate Eric for picking up the baton in this relay race. And for turning this into a team sport, where we can encourage others to join us, because people need to understand how crucial all of this is…” Plank emphasizes, using his signature sports-driven language, a reflection of his background as a former high-level collegiate athlete turned entrepreneur.

Athleta, too, is amplifying this critical mission, listening directly to Liedtke’s pillars, the current state of his sustainable creative journey, and his vision for the future. As we talk, worms inhabit a few of the UNLESS pieces in an advanced state of decomposition. It may sound unusual, but it’s a vision of hope. Hope captured in the phrase “Protect Your Earth,” a slogan framing the Under Armour – UNLESS collection. The hope that emerges from a conversation with a Game Changer who is reshaping an entire industry.

The claim of Athleta Magazine is ‘Sport is Art and Culture’. When talking about contemporary sports culture, it’s inevitable to think about its complex relationship with sustainability. In your case, what role has sport played in approaching, studying and learning about this theme? And how has the sports culture influenced and inspired the origins of UNLESS?

“I was at Adidas for a long time—26 years, to be exact. I started next to the mailroom and eventually found myself in the boardroom as the brand President. Along that journey, the guys from Parley (a global environmental organization and network that raise awareness for the fragility of the oceans ed.) walked into my office and asked, “Would you like to save the oceans?” I said, “Of course, who wouldn’t? But I also have a day job.” They responded, “Are you aware of the impact that sportswear is having on the oceans?” 

So, I asked them to tell me more. We discussed the degradation of the underwater world and how it’s responsible for every second breath we take. And the microplastics, which are killing entire ecosystems. I couldn’t believe my ears. This was an industry I had loved for over 20 years… At that moment, something clicked. We instantly decided to partner with Parley and design better solutions. 

The first thing we did was acquire gillnets that had been recovered from a Sea Shepherd expedition. They had chased illegal fishing boats using gillnets in the Antarctic, where they weren’t allowed to fish. The Sea Shepherd crew followed them to the point where the boats were forced to scuttle. They boarded the vessels, retrieved the gillnets filled with decaying fish, and took them back to Hamburg. My team traveled to the city and used those gillnets to create the first-ever running shoe made from ocean plastic. It’s a fantastic story.

That achievement was a turning point for the world—to realize that you could create beautiful, functional products out of someone else’s trash or these nets of destruction. We made it happen in 2015.

By the time I left in 2019, that ocean plastic initiative was likely worth close to a billion euros. But I knew I couldn’t stop there. I had to address the bigger issue of plastic as a whole. I didn’t want to rely on recycled plastic anymore—what if we could create footwear made entirely from plants and minerals? Everyone in the industry knew that was the ultimate goal, but UNLESS was the one to make it happen. We started with lifestyle and sneakers, now we even have skateable products.”

And what about this new, meaningful chapter with Under Armour?

“The core of this special partnership with Under Armour is simple: if you set a clear goal, you can create anything you want. With Kevin Plank’s help and Under Armour’s support, we can make football boots, basketball uniforms—anything we want. We just need to solve a few challenges. Once we figure those out, we’ll be able to create any product fashion demands. And that includes performance gear.

The goal is clear: If we are going to disrupt the fashion industry, we need to create products that don’t make consumers choose between quality, taste, and values. We want to offer both exceptional products and sustainability.”

You’ve already touched your personal sports imagery, but can you tell us something more about it?

“From an early age, sport has always been a cornerstone of my life. I was a swimmer and a football player—those were my two passions. If I wasn’t doing one, I was doing the other. I kept my love for both alive, but as time passed, I eventually aged out of American football. However, my connection with the water stayed strong, and I evolved into water sports. Scuba diving, snorkeling, kayaking—you name it. And ultimately, I found my true calling in surfing.

Surfing is my passion now. I may not be the best surfer, but I’m deeply passionate about it. It’s one of those sports that you don’t just pick up overnight. I started when I was living in Portugal, at 40 years old, and though I’m still learning, the joy I get from it continues to grow.

There’s something profound about being in the water, about sitting in the ocean and feeling the rhythm of the world beneath you. It inspires a deep need to protect it. I had already fallen in love with the idea of sustainability, but as my love for surfing grew, I realized that this passion for the ocean meant I had to act.

I was fortunate enough to retire when I left Adidas 6 years ago, but I didn’t want to just walk away. I wanted to build something meaningful—something I could be proud of for myself, my children, and my children’s children, seven generations from now. I want to help clean up the mess we’ve made.

Sport has always been important to me, as has the world around us. For me, they are in balance—both are priority one. And I’ve made it my mission to combine the two.”

When it comes to athletes, what kind of role do you think they can play in sharing these causes?

“I believe some athletes are naturally inclined to care, and there are certainly many who do. I haven’t had the chance to speak to all of the athletes Under Armour works with, but I did have the privilege of dining with Hakimi, the PSG player, earlier this week. What an incredible person—so intellectually curious. We didn’t get a chance to discuss the UNLESS proposition, but I have no doubt he would be the right kind of person to engage.

Right now, I’m looking for people who share the same background—whether in skateboarding, surfing, or snowboarding. There’s no snowboarder or skier on earth who doesn’t care about protecting the mountains. The same goes for surfers. Skaters are a bit more complex, given the nature of the sport, but these athletes seem to care more than others—they’re the true leaders of culture.

I think that’s where we start. These more ‘edge’ sports—the ones that push boundaries—are often the ones that truly make a difference and become the sharp point of change. So, we start from there, with purpose.”

‘Protect This Earth’ is a slogan that deeply aligns with the manifesto of UNLESS: ‘We Leave Nothing and No One Behind.’ Both encapsulate the essence of our Game Changers series, which explores the intersection of contemporary sports culture and sustainability. Reflecting on these words, what does it mean to you to be a Game Changer?

“At the core, I just want to make a difference. I believe that, in the end, when my time comes, and my ashes are scattered across the waters of the Pacific Northwest, I want people to remember one thing: he made a difference. I’ve adopted a new philosophy—one rooted in purpose. I don’t want to live a life of obligation. My life is built on zero wasted time. If what I’m doing doesn’t serve myself, my family, my friends, my community, or the world, then I’m not doing it. It’s liberating to live by that principle because I believe that whatever you invest your time and energy into comes back to you. It’s the compounding effect—what you put out into the world multiplies.

So, am I a Game Changer? Am I a creator? I’m just doing my part, trying to make the difference I wish to see in the world. Everyone here is trying to create the change they envision. The beauty of being mission-aligned is that we amplify each other. And that’s what’s most important: this is an invitation to take a story I’ve passionately worked on for the last seven years and share it with your audience. Let’s amplify it together—for my family, for your families, for the world. Together, we’ll make the difference we all seek. The world could certainly use a spark of hope right now.”

Your career has unfolded at the forefront of global design. Given the symbolic importance of Milan Design Week, could you share your thoughts on the role design must play in streetwear—and beyond—to bridge the gap between fashion and sustainability?

“We just spoke about sports. The key is finding the communities at the cutting edge and innovating alongside them—surfers, skaters, snowboarders, skiers—alongside designers and engineers. That’s where we create change.

Having worked with some of the greatest artists of our time—Kanye, Pharrell, Beyoncé, Yohji Yamamoto—there’s a consistency I see in them: they aren’t afraid to take big risks. They’re willing to make bold bets. Kevin Plank took a big risk on me, and I’m deeply honored and humbled by that. When you pair that spirit of risk-taking with people from these high-energy communities—people unafraid to push boundaries—you create something truly transformative.

I believe evolution isn’t a linear process; it’s marked by massive leaps forward. And right now, I’m looking for a leap—a leap that accelerates change in a meaningful way. To achieve that, you have to be where the designers are. And this is Milan. 

We may not have the biggest display, nor the most extravagant showcase, but I believe we have the most meaningful. We’re not here to lecture you; we’re here to invite you to join us in creating, designing, and driving real change.”

All that is true behind Lavoisier’s principle—nothing is created, nothing is destroyed, everything is transformed—finds its fullest and most sensitive execution in the creative process behind every piece of art and each meaningful fashion composition of Stitching Stories. From Haarlem, flowing through Rotterdam, Amsterdam and the Netherlands — Europe’s gateway and a culturally vibrant melting pot — Stitching Stories’ revolution continues to grow, aiming to transcend borders and share its vision with the global fashion industry.

Listening to the words of Carmen Luijt, the sensitive creative founder of this virtuous fashion label alongside partner Guillermo Ware, Stitching Stories appears like a supernova made of intuitions and craftsmanship. Its avant-garde stylistic expressions aren’t just an aesthetic exercise; they pursue a higher purpose—a narrative and practical goal, committed to sustainability.

Stitching Stories elevates the ancient craft of cutting and sewing through a meticulous and pure act of upcycling, creating garments that are like snapshots of a life already lived, yet ready for new directions and emotions. They look like an artistic dimension that fights and revolutionizes an age dominated by the short-lived nature of garments and the tragedy of fast fashion.

In the vision of Carmen Luijt and Guillermo Ware, the assertion ‘we are what we wear’ fits perfectly, assuming remarkable sporting nuances. We had the opportunity to meet Carmen and be introduced to this avant-garde project.

Let’s start with the basics: when and how did Stitching Stories come to life? And what’s the core idea behind this innovative and ambitious fashion label?

“I attended the Art Academy in Rotterdam, then specialized in fashion and design. In my final year, in 2020, I created a project exploring all the cultures and subcultures of Rotterdam. I also focused my research on football fans. Then came Covid, and I shifted my focus to Stitching Stories, reflecting on what I wanted it to become.

A turning point came when I was a guest at Sneakerness with my boyfriend, wearing some of my pieces. Instantly, we were asked if we’d like to have a stand at similar events in Amsterdam. So, we gave it a shot, and it went really well. We sold out in just one day. In short, Stitching Stories was born naturally and grew thanks to collaborations with many freelancers, who still play a key role in our team today.

The idea is to bring people together by talking about their respective cultures through the reuse and reworking of existing garments/fabrics and telling a story through them. It’s about creating stories together. We want to create something that goes beyond clothing, something that speaks about you, about us, that manages to unite different worlds and meanings. 

The artistic archive and the connection to past and present sporting icons also allow Stitching Stories’ identity to draw life from everything related to the world of sport. For some time now, the sports imagery and the associated street culture have overtaken the realm of streetwear. We believe that this link finds innovative outlets in Stitching Stories.”

Given your clear connection with sports culture, what does it mean for Stitching Stories?

“It’s funny. When I was a kid, I never wanted to go to the gym or play sports—I was really lazy—but I’ve always been inspired by cultural diversity. So, I’d try to look beyond: I always wanted to try different types of food and listen to different music. That’s what inspired me in the beginning. Over time, I learned that sport somehow brings a lot of cultures and subcultures together.

For example, football fandom has undoubtedly evolved into so much more, ultimately becoming a true social phenomenon, and a subculture with anthropological and stylistic paradigms related to casual clothing. Here in the Netherlands, we have the example of Feyenoord supporters, who intertwine their identity with brands like C.P. Company and Stone Island (we recently explored the relationship between the creator of these brands, the legendary Massimo Osti, and his sporting muse https://athletamag.com/en/sport-through-the-lens-of-massimo-osti/).

I lived in Rotterdam when Feyenoord won the Dutch championship, and I witnessed the celebrations in the city, thinking how incredible the vibes were. Sports are so loved because they unite such a wide range of people. I also have to mention that my partner comes from a real sporting family: his uncle is the former footballer Jimmy Floyd Hasselbaink, and we created a special t-shirt for him. It was a really emotional project for all of us. So, yeah, I’ve definitely come to love and embrace sports culture, especially through these family connections.”

Talking about the terraces culture and the world of fandom, what’s your view on their imagery?

“During my academic years, I had the chance to do extensive studies and research on the nature of contemporary ‘hooligans.’ I watched documentaries, conducted interviews with fans, etc. At first, I just thought a ‘hooligan’ was a supporter, but quickly I learned to recognize their one-of-a-kind attitude. I also realized that, most of the time, these fans inherit both faith and habits from their family core.”

Let’s dive into the creative process that gives life to Stitching Stories’ pieces. Do you start with the product idea and then look for materials, or do you begin with the available materials and then decide the direction to take?

“Actually, I do both. Sometimes I come across materials that inspire me, I buy them, and then later figure out what I can do with them. All the materials I use are sustainable or second-hand. I also work with furniture designers who always have leftover materials that are perfect for new creations.

For example, right now I’m really drawn to the world of basketball. So, I just made a corset and a jacket using broken basketballs that couldn’t be used anymore. We tore them apart and reassembled them, like a collage. For me, this means giving new meaning to things. The project with another former footballer, Eljero Elia, is another example of this creative process. He gave us some old jerseys, which we used and combined to create a project exploring his football career.”

Let’s dive into the special collaboration with this former Juventus player. How did the idea come about, and what were the steps in the creative process?

“He came across our profile through a mutual friend and was immediately intrigued. He asked us to create something that would represent him. Given the opportunity, we decided to build a campaign around his persona, also shooting some social videos to highlight the story behind the collaboration and our design approach. We even shot a small clip at the Kyocera Stadion in Den Haag, where he started his career. 

This synergy gave us a major exposure boost. And I also want to emphasize the human connection we built with Elia. For us, it was a first—we had never done a project for such a big personality. It was a beautiful and important step. And Eljero is truly humble and kind; he kindly entered our world and even brainstormed with us… Everything was really cool.”

Speaking of football jerseys, their overproduction clashes with the theme of sustainability. What are your thoughts on the connection between high-level sports products and environmental protection?

“Of course, I’m fascinated by football jerseys. Last year, during the European Championships, I even created a small collection for all the participating countries. I continue to research vintage jerseys, because I prefer to use jerseys from the ’80s or ’90s to create something new. I also collaborate with jersey distributors, who give me defective pieces—ones with a small hole or issues like that, which make them unsellable. At the same time, they give me old jerseys that are no longer in the market. Every time I touch one, I can’t help but notice how poor the materials quality is, both in terms of long-term sustainability and short-term fit… I’ve even shared these thoughts with some footballers, and they agree with me. A lot has changed compared to the past. The oversized shirts that dominated the ’90s weren’t exactly comfortable for playing, but they were incredibly appealing from an aesthetic point of view, plus they featured fabrics very different from today’s. Now, the larger companies definitely make too many jerseys for a single season… I think the overall direction is wrong.”

Let’s focus on the increasingly evident link between the world of sports and fashion/styling. Do you think it’s here to stay?

“Yes, definitely. Many athletes now have stylists and experts behind them, and I believe that, until a few years ago, this wasn’t the case. I love that athletes, throughout their careers, develop a different, unique visual identity. When I watch a football match or any sport, what attracts me is that athletes today tend to showcase their individuality, highlighting their tastes.”

Stitching Stories demonstrates its DNA even in the selection of its partners. Could you tell us about A Small Gang Education and Impact Ateliers?

“When I started creating stories inspired by popular cultures and subcultures, I didn’t want to ‘take’ without ‘giving back.’ Many companies draw inspiration from street culture but don’t give anything in return. That’s not the case for me and Stitching Stories. We’ve always had a clear vision, a conscious mindset.

A Small Gang Education is an institution that works with young people who drop out of high school because they can’t adapt to the traditional school system. SGE creates a creative support system for them. They help us with campaign production, as well as creating videos and multimedia content. Sometimes, they even assist in creating garments. At the same time, the SGE boys and girls can learn something and discover our world.

Impact Atelier, on the other hand, is an organization that primarily works with refugees. It’s a global social and educational project aimed at integrating them into our society and supporting them through the adaptation process. They help us in the development of our collections.”

Are you trying to pass on the essential concepts in the Stitching Stories philosophy also through workshops?

“Sure, the idea came from my boyfriend, who, besides helping me Stitching Stories, is an educator. We noticed that many people want to learn how to make clothes themselves through upcycling, and it’s actually really easy to create something beautiful in just a few hours. You just need the right discipline and knowledge. 

I believe many people want to contribute to changing the unsustainable direction of fashion. You have a jacket in your wardrobe, and you think you’ll never wear it again because you don’t like the sleeves? Well, you can just take it upon yourself, work on it, and create something different… We started the workshops to spread this approach.”

What steps are next for Stitching Stories?

“The community around Stitching Stories is growing. In the future, we want to open a showroom in Milan and/or Paris. We’ll also continue with sports-themed projects, as shown by a recent show we did during the Dutch Basketball League Finals. We want to keep sharing our philosophy with as many people as possible, through projects that have real meaning, like all the ones we’ve undertaken so far.”

According to ultramarathoner Dean Karnazes, running teaches that pursuing a passion is more important than the passion itself. For Circle co-founder Romain Trébuil, this concept takes on an even deeper meaning, as in his high-tech Parisian brand, passion transforms into a mission: a universal mission that bridges running cultures, cutting-edge materials, and active awareness to help address the challenges facing our planet.

Educating on how to improve RunningWear and, in a broader sense, SportsWear. Leading a virtuous revolution by example. As Circle proposes, “Progress is not Linear, but Circular,” and both the vision of Romain Trébuil and the work of his team has made the first critical shift in the still, unfortunately, utopian relationship between running products and environmental conditions. The SuperNatural Runner — a performance shoe already showcased at the Olympic Museum and worn by legendary sprinter and Circle ambassador Marie-José Pérec during the Paris 2024 for instance — stands as the manifesto of this project. It is dedicated to rethinking sustainability and fully endorsing circularity as a unique and essential process for running with conscious purpose.

Thanks to Romain Trébuil’s direct testimony, we can understand the origins, evolution, and future of an idea born for and with running: a theoretical manifesto transformed into tangible action, already capable of reshaping the approach to both the sports and fashion industries. It proves how thought, innovation, and sensitivity can limit — even completely reduce — the impact of our individual actions and passions on the Earth.

THE GENESIS OF CIRCLE – THE IMAGERY OF ROMAIN TRÉBUIL

“I founded Circle in 2020. By that time, I was already an entrepreneur in the tech industry. I had the opportunity to launch my own company, and I wanted to focus on a passion project. Sports have always been a fundamental part of my culture. I’ve always been a lover of sports in general, but especially running. I run almost every day and participate in marathons. I enjoy competing, pushing my limits, and sharing moments with other people united by a common passion. In the past, I skied for many years and even competed in international events. During one of these competitions in Cortina, I fractured my leg in multiple places, but now it’s just a memory… On winter weekends, I still continue to ski. Running entered my life during my university years; it was love at first sight with cross-country, and I was lucky enough to compete in the French national championships. Then, I went through a tennis phase: I became fascinated by the mental side of the sport — the internal battle with yourself and the mental challenge of outsmarting your opponent… During those years, I temporarily put running aside, only to rediscover it later in a new form.”

“Before Circle, I worked for a company that required frequent travel. I was practically flying to different parts of the world every week. It wasn’t an eco-friendly job — I was bringing running shoes everywhere and heading out to explore. Running gives you an escape from daily worries and stresses, helping you discover new places. For example, I used to run 15 to 20 kilometers in every new city to get to know it better. These days, I enjoy balancing solo runs with crew and community outings. Before launching the brand, I took some time to examine what I was wearing, where it was made, and to study the labels. I was shocked to discover that almost all running apparel was — and still is — produced on the other side of the world, using plastic and petroleum-based materials. The clothes I was wearing for running didn’t align with my values: taking care of the places where I run, as well as our collective future. In the running industry, there was — and still is — the exact opposite of what I love and what so many other runners love. That’s when I decided to launch Circle, focusing on two core principles: performance and circularity, with products made entirely in Europe using organic or recycled materials. The brand’s identity is built around these two cornerstones.”

RUNNING TOWARDS A BETTER FUTURE: A UNIVERSAL MANTRA FOR UNIVERSAL AMBASSADORS

“The Run Towards a Better Future mantra is everything. It means running for something bigger than us, being conscious of the impact each of us can have. This doesn’t mean we need to focus solely on sustainability—it means we can run while having fun and still take care of the Planet. The running industry has always been entirely performance-driven. We show that it’s possible to prioritize performance while, at the same time, honoring our environmental legacy. We’re not perfect, but we aim to push toward a better future by proposing simple actions: like avoiding plastic garments and choosing, instead, virtuous products. In our case, the concept of circularity becomes a metaphor made explicit by the image of a track. Our philosophy is simple: burn the track, not the Planet.”

“We’re currently shaping our Ambassador Program. Before announcing it, we wanted to establish strong values, clarify our mission, and build a consistent, impactful project. Rather than following the traditional ambassador model, we launched with a global call to action, inviting runners from all over the world to submit an application to represent the brand in their daily lives. In just a few weeks, we received hundreds of emails, and now that number has grown into the thousands—each one a testament to the international network we’re creating. From a professional standpoint, we’ve handpicked young French talents, offering them support on multiple levels. We provide them with an ecosystem designed to enhance both their performance and their environmental awareness. As part of our commitment to excellence, we’ve enlisted the legendary French sprinter, Marie-José Pérec, as a coach. With three Olympic golds to her name from Barcelona ‘92 and Atlanta ‘96 in the 400m and 200m, she brings invaluable expertise to the program. We’re also in the process of building a state-of-the-art facility and track for our team, creating a space dedicated to both training and sustainability. It’s an ambitious project that runs parallel to the grassroots movement of day-to-day runners, who represent us in cities around the globe.”

“We aim to support and raise awareness around positive minds—it’s the backbone of our brand. Anyone who connects with Circle must have a bond with our philosophy. We strive to nurture this personal inclination, grounding the social and environmental impact of every Circle figure. This philosophy gives meaning to our approach to running, because Circle is not just about products—it’s a movement. We’re part of a new generation of brands tasked with leading a necessary transition. And we need to grow in order to achieve this goal. But growth isn’t just about scale; we also have to think about comfort, as well as design, to evoke a different kind of emotion in runners with our products. Ultimately, if the product doesn’t deliver, no one will choose you.”

THERE IS NO INNOVATION, OR CIRCULARITY, WITHOUT TECHNOLOGY

“We innovate constantly, and we’re proud to merge innovation with sustainability. It’s incredible to see partners like Woolmark who believe in and invest in our project. It fills us with a great sense of responsibility because every partner shares our values. Changing the market takes patience, but I remind my team daily that every agreement and partnership is a step toward greater impact and revolution. Technology, especially considering my background, is critical to Circle. For me, ecology and innovation are inseparable. We created our first shoe, the SuperNatural Runner, using materials that didn’t exist before. We launched it from the ground up, collaborating with innovative partners. We incorporated agricultural waste to make the shoe ultra-durable and biodegradable. We also replaced petroleum-based materials with plant-based alternatives. None of this would have been possible without technology. Innovation is woven into every stage of our work.”

“The SuperNatural Runner is our most significant milestone. As I mentioned, there was nothing like it before. I’m proud to have created something that didn’t exist. It gave us the chance to change the market. Even if we were to fail tomorrow, we would still have left an indelible mark, because to this day, we are the only running brand in the world entirely devoted to ecology. This is certified by the fact that our shoe has already been inducted into the Olympic Museum, even before it hits the market, representing the future of the sport.”

A CIRCULAR AND GLOBAL REVOLUTION

“We have around 100,000 people engaging in our community and with our Run Clubs in Paris and Annecy through social media. In the French capital, we gather 150 people every week. From one perspective, these are significant numbers, but they’re still not enough. A few months ago, we also had a major activation in London; it’s a starting point that will be replicated in many other parts of the world. This is the plan for 2025, where we will definitely hit South Korea, Italy, and Germany. In London, we had 400 runners complete almost 1,000 kilometers in 3 days… In these social runs, we share serious topics related to eco-responsibility and circularity, but we also aim to have fun, to touch on various emotional chords. It takes time to explain our point of view, and people need to feel emotions to give you their time and bond with the brand. That’s why we also hosted a special event in London called ‘Pass the Baguette,’ with Runlimited where we combined our French roots with local crews, having them run a relay race with baguettes. The concept of circularity extends to emotions and fun as well.”

“Now we want to grow. In 2020, when we launched Circle, I had Paris 2024 in mind. We wanted to have a presence there. We succeeded both with our shop in the city center and with Marie-José Pérec, our ambassador who carried the Olympic flame wearing our shoes. It was a dream. The next dream is the LA 2028 Olympic Games. We are already in talks with several countries to build joint projects and we want to bring our athletes to America to compete. Above all, we aim to establish a new generation of running brands that place eco-responsibility at the heart of all decision-making.”

Within the rich tapestry of Polartec’s history, the threads of innovation seamlessly weave past, present, and future. From its humble beginnings as the creators of synthetic fleece to its pioneering role in sustainable technologies, Polartec embodies the promise of a harmonious balance between innovation and respect for the Earth.

‘Product’ is the third and final chapter of the “Beyond Begins Today” campaign, a deep dive into Polartec’s identity, imagery, and forward-thinking vision. This chapter places particular emphasis on the vital connection between cutting-edge innovation and the imperative to safeguard the planet. Featured in this chapter are Paul Cosgrove (Chief Product Officer of Mammut), Sachiye Koide (mountaineer and product engineer), and Eric Yung (Managing Director of Polartec).

Through a conversation that begins with a tribute to the iconic designs of brands like Mammut and the pioneers who wore them, the documentary explores multiple facets of the outdoor experience, celebrating gear that has the power to unite humanity and the natural world. It also highlights Polartec’s ongoing legacy: improving lives through the strength and consciousness embedded in its textile solutions.

With its Beyond Begins Today campaign, whose first two chapters focused on the Planet and People, the Milliken & Company brand—creators of innovative and more sustainable textiles—aims to strengthen awareness and unity on universal issues such as sustainability, diversity, and positive change. Whether considered individually or as a collective, all content is rooted in the fundamental belief that the future is something we actively choose to shape. By changing our behaviors, we change the narrative. For the Planet. For People. For Products.

We conclude this Game Changers focus with the powerful words of Eric Yung, Managing Director of Polartec: “Innovation is not just what we do, it is who we are. Every fabric we create carries with it our promise to push boundaries, protect the Planet, and support those who choose us. Our responsibility is to see innovation as inspiration: to inspire action, redefine possibilities, and break through artificially imposed limits.”

Below, you can watch the first two chapters of this impactful series.

‘The Sustainable Way’ is far more than a cosmetic doctrine, a fleeting trend packaged into a marketable claim, or worse, a hollow label lost in rhetorical buzz. For Vibram, it represents a concrete and strategic commitment to meeting the increasingly vital demand for sustainability. It is a journey that began in 1937 with the vision of Vitale Bramani, the brand’s founder, and has since evolved into a multidimensional plan of action.

Information and collaboration, value-driven convictions, and day-to-day operations are at its core. Marco Guazzoni, Vibram’s Sustainability Director, walks us through the company’s contemporary approach—one that blends personal experience with the brand’s DNA, an affinity for nature with a deep spirit in sports. He outlines how Vibram strives to respect individuals, society, and the Earth, delivering on sustainability in both philosophy and practice.

This testimony, from a true Game Changer, maps out Vibram’s sustainable journey—a path that remains long but grows increasingly more evident. Personal values and corporate vision merge into a single, purposeful mission: to lead a better future.

A PERSONAL STORY FOR A COMPANY DIRECTION

“I’m an electrical engineer by training, but I never actually practiced the profession. My career began in the chemical industry with an American multinational, but later I found myself in an entirely different space—becoming general manager of a company distributing musical instruments. My path to Vibram has been anything but conventional. Yet, looking back, I see a thread connecting my time in music to my role today: passion. Musicians have this incredible edge, powered by their love for what they do. While I didn’t share that visceral connection to music, I’ve always had a deep love for sports. I knew I needed to find a way to make that world my own.”

“When I joined Vibram, I led the innovation department for three years, overseeing research and development. Then, the company approached me to develop a sustainability project. At the time, sustainability wasn’t particularly close to my heart, but I took it as an opportunity to learn. I immersed myself in the subject and quickly understood that short-term efforts are meaningless when it comes to the issue. True impact requires a long-term vision—a strategy that integrates sustainability into every business layer. Only by planning for the long run can a company drive genuine, lasting change.” 

“The starting point is knowledge. Knowing what to do, and how to do it, that changes everything. Through our studies and analyses, we’ve identified core pillars. Take energy, for instance: reducing energy waste and embracing renewables are key priorities. Then there’s waste itself—production byproducts, end-of-life materials—it’s a crucial issue. Addressing these concerns has a clear business benefit, too: less energy consumption and less waste equal lower costs. You don’t achieve goals like this with scattered, one-off initiatives. True progress requires a systematic approach, clear strategies, and a shared commitment across the entire Vibram family.”

“The fundamental belief behind our actions is that the planet must be seen as our most significant shareholder. We take from it, so we must give something back. We can no longer afford otherwise. Vibram is building systems to guide footwear toward a more sustainable future. These days, there’s a lot of talk about B Corp certifications, and while that’s important, what really matters is the position sustainability occupies within a company’s structure. If it’s parked under marketing, it’s likely more about storytelling, or worse, justification. If it’s in administration and finance, it probably serves investor-driven goals. But when sustainability is integrated into production, research, and innovation, it becomes meaningful and actionable.”

“At Vibram, sustainability is reported directly to the Executive Board. That’s where strategy is defined, and where real change begins. It’s the front line—the decision-making sphere that leads to a better future.”

SPORT AS A MUSE AND TOOL FOR A BETTER PLANET

“I like to call myself an ‘Everyman’—someone who enjoys trying all sports without necessarily excelling at any of them. Among water sports, my favorite is windsurfing, but whenever I find the time, the wind always seems to be elsewhere. Over the years, I’ve dabbled in countless disciplines and, admittedly, picked up a few scars in the process. These days, I dedicate most of my time to cycling, as it’s gentler on my knees and back. I still carve out a weekly evening for touch rugby and, when winter comes, I make it a point to enjoy a few days of freeriding. Recently, I’ve combined that passion with ski mountaineering, and it’s completely transformed my relationship with the mountains. Now, I experience them differently: I’m immersed in the views, in those quiet, awe-inspiring moments of nature. My most rewarding adventures have been climbing peaks like Monte Rosa and Mont Blanc—experiences that really put you in your place.”

“As I’ve grown older, my perspective has shifted. I’ve started to channel my energy more purposefully, taking ‘targeted bites’ of adventure. Not long ago, I’d think, ‘I haven’t done this yet, so I will.’ Now it’s changed to a quieter thought: ‘If I haven’t done it yet… who knows if I ever will?’”

“For Vibram, athletes are not just brand ambassadors—they’re experts in their fields (we spoke about this topic with Vibram’s Sport Innovation Marketing Global Director Jerome Bernard in this article, ed.).. They provide invaluable feedback to our innovation department, helping us refine and evolve our products while also serving as authentic and knowledgeable storytellers. Recently, we showcased ‘Odyssea Borealis’, a project we developed with mountaineer and climber Matteo della Bordella (watch here). Sustainability runs throughout this and many of our other productions, but we approach it in a broader, more deliberate sense.”

“We’ve always been extremely careful about how we communicate sustainability. From the outset, our biggest concern has been avoiding even the slightest perception of greenwashing—a risk that can quickly turn into a communicative boomerang: first, fully understand the issue; second, do substantial work; and only then, communicate it with coherence and integrity. This principle guides everything we do.”

“I admit to being a bit self-centered—I like leaving a mark and knowing that mark has made a real difference. For me, though, it’s not about social or influencer recognition. I’m far more interested in creating meaningful change, breaking patterns, and finding the right example to share—the one that triggers that ‘click’ moment: you hadn’t thought about it before; now, you do. It’s about small steps, little contributions that shift perspectives and lead to real change. A sporadic donation might feel good in the moment, but it’s an easy way to absolve your conscience without following up on its impact. True change lies in concrete action.”

“That’s why I’m so proud of the Vibram Green Team we’ve created: the Green Team is dedicated to taking actions that benefit nature. It support environmental associations and partner with sporting events we sponsor, where we actively ensure that, at the end of a race, nature remains untouched by human presence. I think of stunning landscapes like Mont Blanc or Lake Orta, where athletes, their families, local residents, and event staff often join us to clean and restore the areas. Over time, we’ve expanded this initiative, involving customers, suppliers, and neighboring companies, and encouraging them to take part. Recently, we even launched the Vibram Green Team racing bib sale, which is tied to nonprofit activities in the sports community. Seeing people think differently and take action—no matter how small—reminds me that real change begins with awareness, and that’s what drives me.”

A FUTURE SOLE FOR FUTURE FASHION

“Fashion is one of the greatest challenges for sustainability. Vibram entered the fashion space for several reasons—connecting with a younger audience and engaging with other industry players among them. The real issue to address, or rather to change, in fashion is the concept of emotional durability. Vibram soles, for example, are built to last. In the mountains, after years of wear, they do eventually wear down, but we give everyone the opportunity to resole their shoes. The problem lies in our obsession with the ‘shoe of the moment,’ the constant need for the latest model. In conferences I often get asked, ‘How many shoes do you have in your closet? And how many do you throw away because they are no longer usable and worn out? How many, on the other hand, are discarded because you no longer like them or they are out of fashion?’ The modern drive to consume—constantly buying, discarding, and replacing—fuels production at an unsustainable rate, especially given that it far outpaces population growth.”

“In technology, we used to talk about planned obsolescence. Today, regulations have curbed its worst effects, introducing frameworks for reuse, recycling, and circularity. Fashion, however, still lags behind. Breaking this consumption-driven mechanism requires a shift in mindset and business models. The need for ownership—something so important to past generations—must be reimagined. Take my son, for example. When I turned 18, I couldn’t wait to own a car; that ‘rite of passage’ held no interest for him. It’s a generational shift, reflected in trends like Vinted and the rise of sharing culture. In this new landscape, quality and durability are the keys. They’re the only way to combat disposable, fast fashion and pave the way for a truly sustainable future.”

“To draw an ideal comparison for Vibram: today we sell soles, but maybe tomorrow we’ll sell passes, kilometers, or meters of elevation gain. Imagine going to the mountains, using a Vibram sole, and passing it on for someone else to use once you’re done. Another vision involves on-demand production: you need a product, we create it after you purchase it—no excess sales, no waste. Another guiding principle of our ownership concerns the design of our soles. Ideally, we would produce only the essential: universal soles for everyone. Of course, every brand partner wants to preserve its own ‘family feeling,’ showcasing and enhancing its unique identity. I understand that, but from a sustainability standpoint, creating a hundred soles that differ only in minor details is far from efficient. If a proven, virtuous design—like our Carrarmato sole—were applied across as many projects as possible, the positive impact would be substantial.”