JOBZ
CREATIVE & FOUNDER
Design. Production. Tech packs. Material sourcing. Online shop. Texts. Images. Allocation. Every decision bears my signature. Every decision is my responsibility. This is the foundation of a single conviction: if you want to control quality, you have to make the decisions. Every mistake is your own. Every result is too.
Self-management is not a limitation. It is the only condition under which the artefact that has become the Magvely 50 could be created. Whoever is responsible for everything cannot let anything be diluted. What comes out of it is unmistakable — because it comes from a single source.
There were nights when all the samples were spread out on the table. Six constructions over months. Each with something right. Each with something that wasn't quite right yet. I surgically put together what was still missing — until the revisions slowly brought the producer to their limit. This is the portrait of a method that knows no other way than total control over the end result. Perfection is a demand I place on myself — and on the people who speak this language.
Development of the Magvely 50
ON-SITE
MAKING DECISIONS
I was 22. It was early 2025. A 19-hour flight – alone, to Guangzhou. I had previously contacted factories in Germany, Italy, and Portugal. None could implement the Magvely 50 as it needed to be. The others demanded prices that I couldn't afford on my own. Guangzhou was the only honest answer – because that's where the world's largest fabric markets are. And because that's where the materials I was looking for were located.
The Perpetual Ocean No. 9 velour. The high-tech microfibre leather in Sapphire Noir, which refracts light in the sun. No other place on Earth had both. What I hadn't expected: the city itself. Guangzhou is gleaming skyscrapers next to beautiful nature next to traditional buildings where design and craftsmanship still play a role.
Precisely this flavour – function, new technology, old tradition in perfect symbiosis – we had lost at home. I brought it with me. Every inch of the Magvely 50 embodies this conviction: bringing together the best influences from all worlds makes the result perfect. There is no single track – the fusion makes it complete.
All the failed samples lay spread out on the edge of the hotel bed. Each one had something right about it. I surgically put the pieces together. I had only one day for it.
I chose the name "jobz" as the echo of an attitude that I first understood as my own in Steve Jobs' biography. It is the articulation of a worldview that comprehends existence through the uncompromising lens of design—and finds its sole integrity in perfectionism.
Origin of the Artist Name
BETWEEN
TWO WORLDS
In 1953, a school opened on Ulm's Kuhberg that taught that an object is honest precisely when it shows what it is — without excuses, without ornamentation. The Ulm School of Design. What was conceived there travelled for decades through design studios, through factory halls in Frankfurt, through a desk in Cupertino — and shaped the design language of our time.
I grew up in the same city. 23 years between Jungingen — dirt roads, open spaces, the place where the mind clears — and Ulm. Cathedral, cobblestones, history. The church tower has stood since 1377 because no one stopped holding onto it. 513 years of construction. Albert Einstein, born in 1879 on Ulm's Bahnhofstraße, later wrote: The city of one's birth clings to one's life as something as unique as one's origin from one's biological mother.
chincheckgermany carries this attitude within it — from the place where it all began. The same Ulm. The same conviction.
Most of the decisions that changed things came about during walks. Far from the city noise, in the open space between Jungingen and the surrounding fields — that's where I think freely. Nature and movement do what no desk can. Changes of direction, design decisions, moments of clarity: almost all of them came while walking. The mind needs space. Jungingen provides it.
A CONSTANT ON A JOURNEY
WITHOUT STOPPING
The name is the only constant in a development that changed every year. It keeps the origin visible. It makes the distance measurable – between what I was and what I design today. Anyone who hears the name and then holds the artefact understands the distance. And the energy that lies within it.
The Germany came as a confession. A promise to myself: to work with the best materials on earth, from this country, with these standards. Ulm. The same Kuhberg where it was taught in 1953 that an object shows what it is.
I say CC. Cee-Cee. Two letters, one sound – the monogram of an attitude that speaks for itself.
The brand name embodies the initial period. It is the point from which everything began — and from which everything evolved.
CC