On’s new editorial platform is where the brand’s ideas spark, meld and grow

On is on a run, literally and statistically, with the Swiss sportswear company currently out-performing other maker sports shoe brands tenfold. Perhaps it is not only what On makes but how it makes and markets the latter that has led to commercial and cultural success. On’s maxim is worn on its sleeve (and printed on its shoes). Its products are Swiss-engineered, and this considerate sensibility infiltrates the team’s creative process, carefully incorporating collaboration, iteration and experimentation throughout to shape a refined holistic brand. Equally, On isn’t quite categorisable, straddling both sports and culture. This industrial, sector-defining challenge is indicative of the Swiss brands’ character, leading its practice with critical and speculative thinking. That’s another reason why On has launched its own editorial platform, Ondesign – a space that lets us in on the work of the brand’s creative teams – design, graphics, styling, retail and spatial design, you name it – answering why they do what they do and who’s who behind the scenes. 

Ranging from product and UX/UI design as well as architectural, graphic or retail design, Ondesign will open up the doors to the practice and processes behind previously closed ones, allowing us to delve into the workings of its intriguing smaller projects. For instance, designing storage for shoe testers, who felt that the current infrastructure in place wasn’t conducive to their actual day-to-day. “We stepped back, listened, and let the answer speak,” architect and spatial designer Astrid von Mühlenbrock says, “the problem itself became the solution,” creating something freeflowing that meant the testers didn’t need to rummage around to find what they needed. “It sounds simple, but it became one of those collaborations that reminds you how much there is still to learn.” 

Likewise, stylist Zakia Ali finds the collaborative nature of On’s practice has a huge impact on many projects’ outcome, and gives the brand’s 2026 Paris Fashion Week popup as an example. “The mission was to elevate On beyond the performance space and into lifestyle,” Zakia recalls. “Working cross-functionally, we translated the creative direction into the overall showroom environment,” brought to life through close collaboration between multidisciplinary teams, and the openness to experiment together. “This collaboration ensured a cohesive, elevated brand expression, unified across every touchpoint,” Zakia adds, “from the showroom environment to the guest experience.” Normally, this would create a too-many-cooks sort of situation, however, in On’s case, collaboration is ingrained into the foundations of the brand.

This is without a doubt the through-line across On’s teams: the depth and assortment of disciplines and characters, all working cohesively under a single brand. Astrid is an architect, working on On’s spatial design and workplace environment projects. Having studied architecture in Chile where she was born, and hailing from a Swiss-German family, she had worked primarily in urban spaces and government-led social projects. “That gave me a strong sense of scale, of what it means to design for people and communities,” she says, especially her time in the Ministry of Public Buildings, “and how to negotiate ideas and goals as a collective”. From there, Astrid sought out new ways of thinking, new tools and new technologies, leading her to On, where she’s part of the special projects team. Here, the team asks what the future of On looks like, whether that’s architectural and spatial experiences or entirely new programmes, labs and training camps.

Opportunity is afforded across the board by the exploratory perimeters that On sets. As Matt explains, “the most rewarding space is early thinking,” allowing for experimentation prior to fixed formats. “For me, the role is about creating the conditions for great work to happen,” he adds, “setting a clear direction, staying open to exploration, and helping the brand move forward without losing what makes it distinct.” An example of this attitude, as Zakia raises, is On’s Ikon campaign where young creatives were brought in to help shape a fresh take on the brand. 

“The Ikon collection represents the pinnacle of Swiss engineering,” Zakia says, taking classic sportswear items and reimagining them with more contemporary silhouettes. “For this campaign, we used that as a vehicle to bring true, authentic diversity to the world of On,” which was especially true for Zakia, as she got to work in front of the camera as well as behind the scenes. “I was able to bring my true sense of self to the shoot, and the result was a huge success.” Ikon still continues to be used as an internal case study for performance, community, and creativity can converge. Again, indicating how ever-evolving and evergreen On is. “That’s what excites me most about On,” Astrid adds, “the brand is still becoming, and I get to be part of that.”

It’s hard for brands to stand out today, especially as there are so many of them vying for your attention. But evidently, On’s success – both commercially and creatively – comes from a genuine belief in what it is they do and why they do it. Maybe this is why, particularly for On, the line between sports and culture has not only blurred but been eradicated. On has counted on there being an audience that values intention and they were right. On tapped into what was already there rather than trying to create an entirely new audience. “People don’t switch off their personal style when they go for a run,” Thiago says, “and they don’t stop valuing innovation when they’re walking through a city.” On never treated sport and culture as separate, independently operating spaces, but part of a single experience, and that is where it places itself, its products and the creative work its teams produce. “I think if we can keep building a team that understands both of those languages instinctively, we’ll do more than simply sell gear,” Thiago ends, “we’ll be a part of how people move through the world.”