Exclusively for ELLE
In just twelve months, POELLE has evolved from a regional leather goods company to a noteworthy presence in the Ukrainian and European fashion scene. In a special interview with ELLE, POELLE’s creators, Pavlo Popko and Petro Lyshak, discuss their fashion industry experience and the critical shifts their enterprise is presently undergoing.
Pavlo Popko
Petro Lyshak
The POELLE label originated in 2021, but it only grabbed the fashion world's attention last year. You mentioned in a Forbes interview that the brand wasn’t profitable prior to that. What significant changes occurred at POELLE a year ago, and what factors triggered these transformations?
Petro: POELLE began as a menswear brand; we initially gained recognition through men’s accessories, which provided us with expertise in managing production and securing initial recognition. However, expanding the brand proved challenging. A year ago, we were on the verge of shutting down POELLE. This spurred us to take a daring gamble (or so it seemed to us then) – to design a collection of women’s accessories. Pavlo crafted beautiful bag designs. We also sought the help of Roman Timofeev, a top-tier PR professional in the Ukrainian market. Additionally, we commissioned a collection campaign shoot from renowned fashion photographer Denis Manokha. All three decisions were sound and, in some ways, groundbreaking.
Denis delivered a very stylish, French-inspired photoshoot, while Roman secured coverage in prestigious magazines and collaborations with the right influencers. As soon as we began releasing content featuring this collection, orders came flooding in. Our risky move proved successful!
So, you managed to turn the business profitable amidst a full-blown invasion. What marketing, PR, and internal process organization methods did you employ?
Petro: We adopted a comprehensive approach to the relaunch: we made wide use of advertising on Google and Meta, focused significantly on Instagram and TikTok, generating engaging content and curating social networks to serve as a source of inspiration rather than just a catalog. We also maintain channels on YouTube and Pinterest.
Public relations efforts were key: features in well-regarded publications, impactful photoshoots, appealing designs — these all enhanced our visibility.
A crucial element for expansion was also the selection of influencers and stylists, which we approached with great care. Alina Frendiy, Nastya Burlaka, Tina Sizonova, Marina Martynov, Zhenya, and Tanya Posternak were among the first to support us. We prioritize a shared sense of aesthetics over the number of followers. POELLE is a brand centered on art and minimalism. Consequently, we only agree to partner with influencers who hold similar views.
We now have loyal brand advocates and enthusiasts, not just customers. This is paramount for us: we prefer a smaller customer base where each individual resonates with our values and develops a fondness for POELLE.
Perhaps there were errors that you managed to correct, and you can now share that wisdom with fellow business owners?
Petro: Indeed. Our biggest oversight was not fully accounting for seasonality. The fashion industry is akin to surfing: resisting the wave will lead to being knocked over. One must be attuned to the current moment and capitalize on it. We experienced substantial sales at the beginning of autumn, followed by a downturn. Then, a surge occurred before the winter holidays. Subsequently, there was another lull until spring. We had to complete the entire cycle to observe seasonal peaks in practice. We now have a precise understanding of which months warrant increased inventory and when we need to ramp up our advertising and PR efforts to maintain sales at the projected levels.
Also, we relied solely on paid advertisements for an extended period, postponing PR “for later.” I now recognize that PR is not a luxury but an investment that builds a brand’s story and intrinsic value. Fashion influencers are more receptive to cooperating with brands that have been featured in ELLE. Retailers are keen on stocking brands worn by influencers. And so on.
Having two owners in a brand presents both opportunities and challenges. Who manages what at POELLE, how have you divided these roles, and do you ever have conflicts?
Petro: I think it’s our strong suit. A single owner can easily become trapped by their own biases and lack the ability to view situations from diverse angles. Pavel and I possess very different skills, but we share common values. Together, we serve as a counterbalance: Pavel oversees creative vision and communication, brand representation, while I handle business operations, management, and expansion. Disputes arise, but they center on resource allocation: whether to invest in production or a fresh photoshoot, a business venture or a product. This dynamic ultimately fortifies the brand. Incidentally, investors in Silicon Valley often prefer funding startups with two founders. They believe it’s the ideal arrangement. And I concur wholeheartedly.
Petro, you previously worked in IT before switching to fashion. It’s often the opposite transition. Why did you decide to shift careers, and why did you choose fashion?
Petro: It was an almost instinctive decision. I was friends with Pavel and found myself increasingly fascinated by watching him create fashion accessories. I always enjoyed dressing well, but I never envisioned becoming part of the fashion industry. When we joined forces, I sensed we could achieve something far greater than just a local brand. We embraced an ambitious international perspective and set about building a new narrative. Today, I derive satisfaction from seeing our bags adorn the streets. Walking through the city and spotting a woman carrying POELLE fills me with joy. We began with accessories, but I am certain that shoes, apparel, and décor are on the horizon.
How has your IT background aided POELLE’s growth?
Petro: I maintain the brand’s consistency and effectively function as its IT director. We utilize ERP and CRM systems, automated accounting, and clearly defined business processes. My prior interactions with international clients have also been advantageous: I have strong English language skills and understand how to negotiate with representatives from major corporations. Previously, I helped channel foreign currency into Ukraine through the IT sector. Now, we export not code, but Ukrainian design, a product with added value. And the sensation is entirely different.
Pavlo, you hold a degree in jewelry design from one of Ukraine’s leading art institutions, the Lviv Academy of Arts. What prompted you to create a leather accessories brand instead of jewelry?
Pavlo: My involvement with leather predates my time at the Academy of Arts. I began earning my first income from leather accessories during my school years, but I initially believed my future lay in metalwork. Moreover, the Lviv Academy of Arts lacked any specific programs related to leather or haberdashery. While there were departments for weaving and other crafts, I considered them too “feminine.” Metal, on the other hand, conveyed a sense of masculinity. The aesthetic was completely different: blacksmithing, toughness, a male-dominated environment, and an aura of strength. I even worked in a blacksmith shop where we forged armor and swords for knightly battles. It was immensely thrilling – true Vikings, among whom I gained experience and inspiration. In fact, this inspired me to enroll at the Lviv Academy of Arts to study artistic metalworking.
So, it wasn’t solely a jewelry-focused program?
Pavlo: For the first year and a half, the education is more broadly artistic: encompassing painting, drawing, composition, and sculpture. You work with metal in all its forms — both in the jewelry studio and the blacksmith shop. Only from the third year do you specialize in a specific field: jewelry or blacksmithing. I was more drawn to blacksmithing — it felt authentically masculine and forthright.
My time at the academy not only imparted technical skills and material knowledge, but also cultivated a distinctive sense of art. I realized that the true value lies not in the tools or even the material itself, but in the creative process. Understanding how to think, how to perceive form, and how to convey emotion through an object. This became the bedrock on which POELLE later took shape.
Leather accessories were simply a hobby. I never imagined they would become my life’s work. However, I now recognize that they allow me to express the aesthetics that have emerged from all those experiences.
Can you describe your design process? Where do you typically begin: with a specific shape or the collection’s theme? To what extent do current trends influence your brand’s creations?
Pavlo: It always begins with an idea, a feeling that I aspire to communicate. Of course, we adhere to the fashion calendar: seasons exist, and there is a logical flow to the arrival of new collections. But the true genesis lies in inspiration – it might be a memory, an emotion, or even a fleeting image from a trip.
We compile a mood board: filled with photographs, paintings, textures, and moods. Then, I translate these elements into form – sketches, silhouettes, and lines. That is how the collection takes shape.
This was the case with the Dolce Far Niente collection. We sought to create a resort line that embodied the ease of summer – a moment where you relax and permit yourself to simply “do nothing.” The “Riposo” bag became one of its symbols. Its silhouette was born from a childhood memory: my mother and I were at the seaside in Ochakiv, and she was reclining on the beach wearing a large hat. The wind swayed its brim, creating a wave-like motion. This image stayed with me and resurfaced years later in the form of a bag.
We certainly monitor trends. However, my priority is not to imitate, but to remain current and ride the same wave as other designers around the world. It is common to witness a striking synchronicity: an idea you haven’t discussed with anyone suddenly appears in a similar release from another brand. This underscores the reality that ideas truly are in the air. Therefore, another critical lesson is that exciting ideas, photoshoot concepts, bag designs, or PR strategies shouldn’t be deferred “for later”—they must be implemented immediately.
POELLE’s philosophy is rooted in art. How did this concept arise, and what is your favorite artistic style?
Pavlo: It developed organically. I studied at an art college, where instructors taught me to perceive art not just visually, but also emotionally. One of them shared a quote that I still remember: “If a painting evokes an emotion within you, that signifies genuine art.”
I am convinced that accessories should also elicit emotions. They can serve as reminders of summer, childhood, love, or freedom. Therefore, art for me is not merely a backdrop, but the very essence of the brand. We have even defined our own guiding principle: “Be true to yourself, inspire others.”
Regarding my personal tastes, I am inspired by the Impressionist Monet, the avant-garde Malevich, and modern street artists like Banksy. Each artist possesses a unique energy. That is how I want our accessories to function: they should transcend being mere objects and become emotional experiences.
Are there any bag designs you personally adore that you feel are underrated by customers?
Pavlo: Yes. For instance, the Bell model from the Stilleven collection. For me, it embodies an iconic design, a true leather sculpture. It hasn’t yet become a bestseller, but I am certain its time will come. I have friends in New York who carry it daily – and passersby often stop them to inquire: “What brand is that?” This indicates the bag’s potential to become iconic.
You’ve discontinued your men’s accessory line, yet fashionable men are often seen carrying your signature shopper. Do you intend to relaunch your men’s line?
Pavlo: Our men’s collection served primarily as an experiment. It lacked sufficient design input from me at the time. And, frankly, the timing and circumstances weren’t ideal.
I believe we will revisit the men’s theme in the future, perhaps initially in a unisex format, adopting a modern aesthetic. I spent six months in New York, observing men’s fashion extensively, and realized that there is considerable potential for development in this realm.
So yes, a men’s line is definitely in the works. It’s not a matter of “if” but “when.” I see enormous prospects in it.
Currently, POELLE bags are appearing on the Instagram feeds of Ukrainian, European, and American fashion enthusiasts alike. Do you plan to penetrate global markets?
Petro: Yes, we have already launched in the US and European markets. We initiated our expansion in Poland and plan to steadily broaden our presence across other nations. Asia will be our next focus: China, Korea, Japan, Singapore, and Hong Kong. It’s a long journey, but we are already witnessing progress: European and American fashionistas are carrying our bags, and we are gaining exposure in international media. For example, we and our Costa Bag were recently featured in Polish ELLE. And this is just the beginning. We are actively investing in influencer marketing and PR. The USA remains our top priority.
What led you to choose the USA as the next step for your business expansion?
Petro: Because it represents the largest and most competitive market. For American fashion enthusiasts, a bag priced at 200, 300, or even 500 dollars is viewed as a basic essential, rather than a lavish splurge. I realized that if POELLE aspires to attain global capitalization, it must establish itself here. The USA serves as the stage upon which global recognition is built.
Furthermore, upon our initial arrival in New York, I felt that POELLE was tailor-made for the city. Its urban landscape and energetic rhythm resonate with our brand’s aesthetic. At the same time, we will always cherish our Ukrainian and European heritage.
How do communication and business operations in Ukraine differ from those in the EU and the USA?
Petro: In most respects, there’s little difference. We established POELLE as an international brand from the outset. Concepts that resonate in Kyiv are equally understandable in Paris and New York. Naturally, we incorporate international content and adapt to various cultures, but the essence remains unchanged: POELLE embodies beauty, atmosphere, and style, which transcend language barriers.
Where do you envision POELLE in five years? What objectives are you pursuing? What will you consider your measure of success?
Pavlo: We aspire to become a brand with an annual revenue of 100 million dollars. This is not merely about the figure, but about the magnitude of influence. I envision POELLE as a global brand, boasting stores in major world capitals and cultivating its own community of fans across different countries. Simultaneously, we intend to maintain production in Ukraine. This is vital for us: to create employment opportunities locally and demonstrate that a Ukrainian brand can excel on the world stage. For me, the ultimate measure of success lies in POELLE becoming an integral part of global culture, while also remaining a symbol of Ukraine.
