Almost one hundred
years after the Italian leather goods family business was founded, Graziano
Mazza took over the reins of his grandfather’s company. In 1991, he created
the Premiata brand and restructured and modernised the leather goods
business. Since then, the brand has expanded internationally and is sold in
its own stores in Milan, Berlin, South Korea, Saint Petersburg and Tokyo.
FashionUnited spoke with the CEO and creative director about the brand and
its development.

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Please tell us a bit about the heritage of the Premiata brand and where
it comes from.

Premiata has a long history dating back to the 19th century. The company
was founded in 1885 in Montegranaro, a small town in the Le Marche region
of Italy known for being the most important historical area for the
production of high-quality footwear. In this area, most people were to some
extent involved in the shoe manufacturing process; the leather for footwear
came from the port of Ancona – the capital of the region – and was then
distributed throughout the region.

What did you change when you joined the brand in 1991?

When I joined the family business in 1981, I concentrated mainly on two
things. First, I decided to industrialise the local and the craft business,
buy new machinery and equipment and introduce new production techniques –
all without losing the craftsmanship of the company. I managed to build a
bridge between modernization processes and the company’s tradition.
Secondly, at the style and design level, I created new freedom in the
creative process, which was opened up internationally and made it into the
fashion segment.

In a nutshell, I modernised the company and opened the door to the
future, which led to the creation of the Premiata brand in 1991.

At that time, I was inspired by many different styles and influences. I
was very impressed by the Belgian school and the Antwerp Six – their
slightly dark and twisted minimalism – and wanted to make a connection
between the classic style of handmade shoes and the shapes and proportions
of workwear.

And what interested you in this brand?

First was a passion for leather. I remember that when I was a child,
large quantities of leather came into my father’s laboratory – and I was
really fascinated by the smell and the possibilities of the material. It
also has to do with a son’s curiosity and fascination for his father. In a
way, I was predestined for this job, it was really in my DNA.

What makes the sneaker such a long-lasting trend?

Sneakers represent the direction a society is taking – towards a more
relaxed dress code and “casualness” at all levels – perhaps sneakers are
one of the best examples for that. It’s a long-lasting trend and just like
the general social shift towards informality, after this development it’s
hardly possible to reverse it – it’s a process that can’t be stopped.

And there is also a practical reason: comfort. The comfort of wearing
sneakers instead of formal shoes quickly creates a kind of addiction and
dependence – and as we know, it’s not easy to get rid of these things once
they are in our lives.

Will the sneaker replace elegant shoes in the long run?

There will always be classy shoes and more formal footwear because in
more formal situations all one needs is an elegant leather shoe with laces.

What can Italian design contribute to the sneaker?

A certain way of working with leather and a long tradition of working
with different materials, but also a certain way of “decontextualizing” a
style and applying it to the “sneaker world”. Just think of our sneakers
for women where we apply a certain sense of style that emanates from
classic women’s shoes, a certain “finesse”, a slightly baroque style – and
I think we were certainly pioneers in that.

Or think of our urban version of trekking shoes, in which the hiking
style is placed in a new context. Italian design brings a more formalistic
urban approach than a classic sports shoe brand.

What is the main difference between Italian and German customers?

I don’t think there is a big difference as I don’t believe there are big
geographical differences today. I think it’s more about different
personalities and people – and also about “style clusters”.

Some of these personalities go along with the Premiata message and
others do not – regardless of whether they are Italians or Germans. There
may be another difference between a “European” and a non-European taste,
but it also depends on the styling and the way you combine your outfits and
pieces.

Do you see yourself as a minimalist or a maximalist?

To be honest, I really don’t know if I’m a maximalist with a minimalist
impact or more of a minimalist with a maximalist mood. I don’t like labels
and it always depends on what angle I approach a project from.

What inspired the Sharky, Premiata’s new “Ugly Sneaker” and the
accompanying campaign?

I see the Sharky as an advancement of a shoe model from the past. The
Sharky is our interpretation of the Chunky Sneaker trend from the late 80s
and 90s. Our interpretation of boxy silhouettes and retro colorblocking is
less extreme than that of other brands as we strive to strike a balance
between what we are and will remain and this new retro style.

The Sharky campaign and our campaigns want to celebrate diversity and
openness to other styles and lifestyles in general, and we are always
looking for new places, landscapes and situations that match our eclectic
worldview. The campaign also plays with the “aha effect” of the location, a
salt lake that, due to its futuristic atmosphere, could initially be
perceived as a lunar landscape. “Project Sharky” is going very well so far;
we are being sold in some of the most prestigious stores in the world,
turnover has doubled our sales expectations and we have been forced to set
a quota for orders.

What are you currently working on?

On the one hand, I am working on the internationalisation of the brand.
We have already achieved excellent results, but we want to raise awareness
in Europe and introduce premières in as many countries as possible. We
recently opened a store in Tokyo and our business in Korea is going very
well.

On the other hand, we are developing and perfecting a product that is
capable of achieving iconic status, a product that has a fairly defined DNA
and a high degree of recognition, but at the same time can adapt to style
and historical changes without losing its “character”, a bit like a
Volkswagen Golf, I would say.

This article was originally published on FashionUnited DE. Edited
and translated by Simone Preuss.

Photos: Premiata (1) Skarky campaign image; (2) Graziano Mazza