Carol Christian Poell was born in 1966 in Linz, Austria. From early childhood, he was involved in craftsmanship and worked with leather. His father, grandfather, and uncle owned a leather goods business, while his stepfather was a professional tailor. From a young age, Poell was exposed to different production techniques and methods of crafting high-quality garments, experimenting with leather and other materials.
After finishing school, Poell entered the Higher Academy of Fashion and Design near his hometown, but soon left. He then moved to Vienna to study costume tailoring, yet found that education insufficient - he had already learned the essentials within his family’s workshop. His final decision was to move to Milan, where he earned a master’s degree in fashion design and met Sergio Simonio. In 1995, they founded the independent brand Carol Christian Poell.
His first collection, or as he called it, “trilogy,” consisted of basic garments: shirts, trousers, and T-shirts. It was quickly bought out by Japanese customers. The following collection, Spring/Summer 1995–1996, brought him wider recognition for its intricate detailing and the complex treatment of materials.
Poell’s materials undergo numerous manipulations. Leather and fabrics are burned, soaked in wine, blood, and silicone. He uses horsehair, human hair, snakeskin. The leather is often intentionally aged and distressed to achieve its signature texture. One of his key techniques involves dipping items into silicone, creating the distinctive “stalactites” seen on shoes, bags, gloves, and other pieces. Poell constantly experiments with texture and garment construction.
One of his most well-known performances took place in 2003 at the SS-2004 presentation in Milan, held on the Naviglio Grande canal. The show had no music and no official opening. At first, individual garments floated down the water, followed by models - motionless, lifeless, resembling corpses or mannequins. The clothing was mostly white: leather jackets, trousers tucked into red socks, wide belts, sewing blades as accessories, and shoes without soles. Some garments resembled straitjackets due to their white color and multiple straps. There were also oversized elastic bands used as belts and other unconventional details. The presentation emphasized Poell’s radical approach to materials and garment construction.
The central theme running through Poell’s work is death and decay. His pieces resemble the gradual decomposition of matter. Models in his shows are static, detached, more like objects than people.
The Carol Christian Poell boutiques are a world of their own, hidden from random eyes. There are no signs, no open doors, no windows inviting you in. Entry is only by prior appointment. A client must call in advance, be added to the schedule, and only then can they enter - through an unmarked door, by pressing a silent bell. Inside, there is stillness, half-light, the scent of leather and dust. No excess, no noise - only garments that exist outside of fashion seasons. After viewing the collection and possibly making a purchase, the guest leaves, and the door closes behind them. It is not a store but a quiet ritual of entry into the brand’s inner world. This format reflects Poell’s philosophy: privacy, detachment from the industry, creation for those who truly understand. There are about ten such spaces worldwide - hidden, almost mythical, each preserving the atmosphere of silence, shadow, and craftsmanship.
Today, Carol Christian Poell remains one of the few designers who refuse to follow the industry’s rules. He does not seek attention, give interviews, or explain his ideas. Everything he does revolves around material, form, and silence.
