This is Good, a unique collection of limited edition essentials. We are excited to share with you how this collection came to be, the reasons for working with deadstock, why we chose to manufacture locally here in Berlin and what we hope the collection will mean to you.

For many of us, fashion has become an increasingly abstract construct; you rarely know who made your T-shirt, where your favourite dress was manufactured or what resources were employed to create your favourite pair of jeans. Since The Good Store’s founding six years ago we have worked to reconnect you with the narratives surrounding your clothing. The Good Store’s curation of second-hand clothing illustrates the need for us to rebuild relationships with the pieces in our wardrobes, consciously acquiring each piece for a more responsible way of consumption. The collection is an embodiment of The Good Store’s understanding of exquisite, lasting design and contemporary curation.

What is Good?

The first Good collection brings unique basics to your wardrobe: dresses, tops, shirts, trousers and a suit. Its clean silhouettes celebrate the true essence of a garment; for the Berlin woman this means functional, but never complicated – easy to dress up, but never ostentatious. The fabrics of silk, cotton, linen and Italian wool form timeless, versatile pieces, never to be thrown to the back of your wardrobe. 

Made in Berlin 

The Good Collection has been made here in Berlin, a short bicycle ride from The Good Store, determinedly avoiding cheaper oversees production for the sake of profit, and instead creating a collection that has been brought to life through local manufacturing. Berlin is The Good Store’s home and a city with a unique fashion heritage; it was our mission to support local businesses and individuals. 

100% Deadstock

Just as it was a natural decision for The Good Store to work with second-hand pieces six years ago, it’s founder, Gerda Jünemann, saw only one path to creating a collection for you: developing Good with 100% deadstock materials. We were devoted to the slow, methodical process of selecting and working with high quality end-of-roll cloth sourced from Italy and Germany. Often plagued with negative connotations, deadstock’s reputation is a complicated one. Good demonstrates the undervalued, unique potential of working with limited fabric. The collection is a direct response to the crisis of overproduction in the fashion industry.

“In everything I do, I at least intend to make it ‘good'. Nothing additional, superfluous, but something with substance.” Gerda Jünemann

Take a look at the first drop of our GOOD COLLECTION

Text by Eliza Edwards