Nehera, the Bratislava, Slovakia–based Czech fashion label, has an interesting story, one that many companies, in desperate need of a sellable heritage narrative, would kill for. It was founded in the 1920s by a visionary Czech entrepreneur, Jan Nehera, a pioneer in vertically integrating retail operations and advanced manufacturing production with smart marketing promotion; it was a groundbreaking process, one that predates the business model employed by today’s luxury conglomerates. Nehera took advantage of the textile tradition rooted in his hometown of Prostejov, where in 1858 the first-ever European ready-to-wear factory was opened. He produced good-quality, tailored daywear, and his forward-thinking approach proved so successful that in less than a decade he was able to open a network of 130 retail shops across northern Europe and Africa. World War II put a brusque end to Nehera’s activities; production was stopped at the company’s facilities.
After many twists and turns, the label was relaunched in 2014; its aesthetic bears a well-considered, pared-down elegance reminiscent of a certain modernist architecture. It’s not a coincidence that the great architect and theorist Adolf Loos, whose essay “Ornament and Crime” advocated the superiority of smooth, clean surfaces against fin de siècle maximalism, was born in Brno, now belonging to the Czech Republic.
Nehera’s repertoire is grounded in elevated workwear and comfortable utility dressing; designed by an international team based in Bratislava, it exudes a serene yet dynamic feel that comes across as rather cool. Pre-Fall was informed by the working lives of women artists, like Canadian-born American abstract painter Agnes Martin. Her daily routine in the atelier, where comfort as well as a certain dressed-down sophistication was needed, provided the inspiration for a wardrobe of functional, versatile pieces, rich in smartly designed details. Square-cut padded cotton cabans came with slitted armholes to remove the sleeves when required; long, masculine, apron-like shirts had attached elasticated garters to roll up the sleeves and free the hands. The same attitude of enabling unencumbered gestures was infused in a roomy Bauhaus-inspired maxi caftan, while a chunky knit cardigan incorporated long tabard-like panels to be wrapped around for extra warmth.
Juxtapositions, layering, and loose-fit proportions infused with a sense of ease were the collection’s leitmotifs; the color palette was kept restrained yet warm and comforting: rich browns, honey, and an elegant hue of Prussian blue. It made for a remarkably fresh, honest take on utilitarian style—elegantly unassuming, optimistic, practical, and artsy in equal measure.
