Hi everyone. I'm here with Silvio Beanie fifth generation family and president of Beanie Group, the leading manufacturer of high end shirts and fabrics. So, Silvio >> Good morning >> Good morning. Where to create a brand in the textile industry. >> I should try for two reasons. First of all in the brand of the consumers now is towards better quality. Consumers and lots of consumers are looking more and more to better quality. And quality is becoming more important than the brand. The brand must really rely on good quality and that is one trend that is really very definite and very important, one side. The other side that textile companies that especially unique especially in our developed countries, needs to communicate value in order to acquire to get premium prices. Because we have to do everything to switch the focus on just price, and a company like ourselves has decided to focus on communicating quality to our customers we're business to business. But also to the final consumer. >> So you can reset it there is a lot of real value in what you do but in order for the value to be perceived it has to be communicated. >> [INAUDIBLE] did that. Yes and as well business to business where to look to the final consumer. In a win-win >> Strategy >> Strategy, in a win-win cooperation with our customers. And what we've done, step by step, I think it's really paying back. It's appreciated by our customers who are shirt makers, who are Greeks and blends of the world. High quality tailors but Bocconi also by final consumers. And so the two reasons can go together. So you communicate to the final customer throughout your own customer so you do combining. >> Yes, this [INAUDIBLE] branding is the main way of our individual branding. How do we communicate our brand? >> Yeah, so can you provide me some examples? Yes we have many, many examples. Let's start from raw materials. Raw materials in textile are very important. Let's start with the best cotton in the world, this is the cotton we produce in Egypt in our fields. It is the best in the world, and to produce very fine fabrics, the best certain fabrics in the world, you need this all material. >> Can i say that this is softer than silk, is really amazing, cocooning. Top quality really, I want to keep it as a, a ring. And so this is the flower so. >> This is the flowers and, we have seen that the, customers, final consumers are very interested in knowing ,about, the best cut on it, about >> Not many of them know that cotton is a flower. This is incredible and that this is the furthest step. And to communicate this for us has very important. >> So, what does it mean, GIZA? Can you explain? >> GIZA is the name of the cotton coming from Egypt >> All the Egyptian cottons are code named with GIZA [INAUDIBLE] while the pyramids are in Cairo. And 45 is the kind of cotton. 45 is the best in the world. Because maybe, not everyone knows that the best cotton comes from Egypt, and that's why he also took the decision to go up swimming tasks of Replican integration and start without activating the cotton in them. For certain fabrics you need long staple cotton. And long staple cotton is only between 1 and 2% of the cotton produced in the world. Within this 1, 2%, Egyptian cotton is definitely the best in the world. Giza 45, It's the best of the best. Very few bales that we produce in our cotton fields in Egypt. >> So you're vertically integrated, because your staff farm the raw material, then you have the spinning mill, and. >> We really felt the need to become more and more vertically integrated. Why? Because quality is made step by step, as I said, starting from the best raw materials. And we wanted to control the best raw materials. this is the cotton then there is the fabric. I remember that once you told me that when you have high quality fabrics the more times you wash the shirts the better it is. So this is opposite of mass market quality, right? >> Yes, it's right. A good fabric with a good cotton improves when you wash it, becomes softer and with better body, and after 20, 30 washes, the shirt really is better at the beginning. >> That's why we have to educate the customer but also to [INAUDIBLE] to promote it as well is to make the customers understanding that the more they pay also the higher life style of the product they're going to buy. >> Yes, definitely. One thing we have done is that we need to teach. We need to Train our customers. We have somebody in the company dealing with the training. It's a bit evolution for us. But we have seen that it's very well-appreciated by our customers. And more and more customers want to know about everything behind. >> So this is the cotton, I see other examples of co-branding, of doing away with the standard brands, luxury brands. Can we have a look. >> There are many fine tools for the raw materials that we have developed with our customers. Because to be always close to the customers, together with the customers is very important. Let's start from the simplest things, but very effective. Smaller labels, sometimes personalized with the customers that is the real Cobaline Dinga/a. Small labels to be put on the shirt, sometimes on the collar or, here. They are simple things, but they are very effective because every time the final consumer wears a shirt, he reminds that the fabric is good. And as the fabric is good, there is really a satisfaction for the ingredient. >> So for example, this is super fine shirting by Thomas Mason, two-fold, woven in Italy. So it carry out a lot of information that are also guaranteed when you buy a product. >> Also found in 1796. >> Wow. Or the heritage of Thomas Mason. The woven in Italy is very important. To fold is a bit technical, but means the best yarn, with better strength and better handle. Because after the fabric, after the cotton, intermediate project is the yarn. Yarn is very important and with good yarn we make good fabrics. >> And I also see books. >> Books >> Okay, let me say little books. >> Little books? >> What are those for? They are very important especially in the moment which is extremely important when the consumer, the final consumer buys the garment. These are put on the garment itself when they are shown in a shop on the shelves. And they say a lot of things much more in-depth than a simple label about all our values. Have retained the content or material. So the process. This is. >> Yeah, this is okay. >> About the Egyptian. >> The culture is one, yeah. >> The Egyptian culture. >> Also, some nice images explaining everything that's a source of inspiration for the fact. Emotional definitely but also a lot of information the two things of value partnered. >> And speaking about Thomas Mason he's well known for eccentricity because it's an English brand. Do you have examples of fabric sample, you work with tailor shops? Yes, we have developed a very nice tool dedicated especially to tailors and shop measures for sports and measure suits. With this tool we communicate directly with final consumers. The [INAUDIBLE] a people really like [INAUDIBLE] it well make to measure shirt. We are connoisseur of the shirt. In this case, the relationship is diagonal. Between ourselves and the final consumer. This is a typical Thomas Mason british bolder colorful palate of colors. >> And we love a palate. So if a man goes to the tailor he has the possibility to choose between all the different Hundreds and hundreds of different patterns. >> But what is nice is that you also tell us about the story, the heritage that is behind the brand. For example, those question marks they are useful for? >> And some pictures, fabric is made up of a vertical part. Called the warp and horizontal pattern, called left. Ant and picks. Here we explain a little bit what ants and picks mean. The number of ants and the number of picks make a lot of difference in the performance of the fabric. So we want to explain sophisticated customers like to know more and more. And so we try to let them know. >> And that's why you have created the Thomas Mason Academy. So you are training the customers. >> This way we involve final consumers with the fabric. We know that the fabric in the shirt makes a lot of difference. So we involve The final consumer on the fabric but this is helping a lot also the maker of the shirt and so together we give value to the final consumer. That is the concept of ingredient-branding. >> This is the relationships you have with the customer but sometimes you also work with luxury and designer brands. Can you show me some examples of co-branding you are doing? Lets see I think that one of these is Bocconi one of the best fruits of Italy best of the best yet we are interesting in the formula of the is our Topline when we use the Giza 45 or well. We put the finest fabrics in the wool. With Brioni, we have put the two names together to give a sure answer to our work, final consumers, which are extremely sophisticated that Here they have an exceptional fabric. Really, its [INAUDIBLE] >> It is such a pity that you cannot touch it, because really you have to experience it and feel the quality of such a fabric >> [INAUDIBLE] Here we put together the [INAUDIBLE] >> Again [INAUDIBLE] 1822 so it's a real [INAUDIBLE] a real [INAUDIBLE] not wield by us. Cullinan is the name of the fabric. Cullinan is a great diamond. 300 to [INAUDIBLE] 300 to [INAUDIBLE] is a bit technical, but it means that the finest The thread of the yarn is the best in the world. I have seen that people who buy this kind of shirts know what to feel and the design is. So they are already dedicated but more and more They want to be educated, and they like this small, technical details that make the difference. >> So we can we say that, in order to make the invisible become invisible >> You need to combine something that is more informative technical also because the customer want to know with something that is an emotional story. So the heritage, the naming you give to the fabric, the nice visual, the books are like this one. So it's a combination of different tools, all right. Definitely we have meant sometimes the mistake to be too technical and we are a producer and manufacturer and sometimes the risk is too technical. We have to put together [INAUDIBLE] Put together some technical issues, matters but with a lot of emotional things together. The heritage is very important. And We have seen that this fabric, and this yarn, can be, made on the most technological machinery. So sometimes we have to put everything together. Technology which is important know how, heritage and emotion all together and this way we build something special with the culture. >> Technology, know how, emotion, heritage those are the key words. Of the strength of modern Italy. Thank you, Silvio, it was very inspiring. Thank you.
