The Long Ride: Pas Normal Studios, More than just Hyperbolic Marketing?

Words James Ion - Photography provided by Pas Normal Studios

Before we start, let’s make something clear, this is not a paid-for feature or collaboration, it’s not a fanboy piece or sycophantic spiel sucking up to a corporation. It comes from a genuine interest in a company that is a lot more interesting than you might think.

This year seems to be the year of the “not normal” in gravel cycling. Both the King and Queen of the Traka gravel race rode under the moniker PAS Racing, as did the winner of this year's Unbound Gravel. Winners of each round in the UCI Gravel World Series are even presented with a Pas Normal Studios winners’ jersey, and Pas Normal Studios banners have become a common sight at major gravel events like the Life Time Grand Prix series. This high-end cycling apparel brand out of Denmark has taken the gravel world by storm with its presence and style. But does it stand up to the hype? Is Pas Normal Studios really anything more than cool marketing and style-over-substance? Is it truly worth the premium price tag on its kits?

In the first of our three part series we took a deep dive into the background of the company and spoke at length with CEO Peter Madsen Lange, one of Pas Normal Studios’ co-founders, to uncover the truth behind Pas Normal Studios. What we discovered is a brand that combines design-world innovation with serious cycling function, and technicality, an intentional aura of exclusivity with a genuine focus on community. The result is a company that is more complex and interesting.

Where Did They Come From? Who Are Pas Normal Studios?

Pas Normal Studios was born from the vision of a group of friends in Copenhagen who blended a passion for cycling with a background in design. The company’s co-founders are Karl-Oskar “TKO” Olsen and Peter Madsen Lange, along with a couple of their close cycling friends. Olsen is a well-known Danish fashion designer. He co-founded the acclaimed streetwear brand Wood Wood before starting Pas Normal, and he brought a high-fashion sensibility and creative direction to the venture. Lange, on the other hand, is an experienced businessperson and avid amateur racer who became Pas Normal’s CEO; he had industry connections (for example, to the Italian manufacturer Giordana) that helped turn their ideas into actual products. The motivation to start Pas Normal Studios sprang from a simple, almost accidental beginning that has since passed into company lore.

It all started in 2013, when Olsen, Lange, and some friends planned to ride the famous La Marmotte cyclo-sportive in France. Wanting to stand out with unique apparel for the event, Karl-Oskar Olsen designed a custom cycling kit for their small group of ten riders, and Lange arranged to have a tiny batch of ten kits made by Giordana in Italy. The kit’s design was striking for its time – charcoal grey with minimal branding (no large logos at all) and a sleek, pro-style fit. The friends wore this kit during the Marmotte, and it “turned heads for its understated, logo-free design and muted colours,” generating immediate interest from other cyclists on the alpine passes. That reaction planted the seed that there was pent-up demand for a new kind of cycling apparel aesthetic.

Encouraged by the Marmotte experience, Olsen and Lange formally founded Pas Normal Studios in 2014, releasing the first commercial collection in spring 2015. The name “Pas Normal” is French for “not normal,” a playful nod to being outside the norm. (The phrase originated as an inside joke on a Wood Wood t-shirt referencing a line from pro cyclist Tyler Hamilton’s book The Secret Race, where doped-up riders were described as being “pas normal.”) Embracing this idea of doing things differently, Pas Normal Studios set out to disrupt the cycling apparel status quo with its very first offerings.

The founders’ professional backgrounds greatly influenced the young brand’s trajectory. Olsen’s experience in high fashion is evident in Pas Normal Studios’ DNA; he has an obsession with sophisticated colour palettes (often inspired by the muted, earthy tones of Scandinavian nature) and an ambition to bring a streetwear sensibility to cycling clothes. As Olsen once put it, “A core pillar of our DNA is the colours… I like to use colours and tones that reflect our northern part of Europe and evoke a certain seriousness.” This was a sharp departure from the loud neons and busy patterns common in bike kits of previous eras. Meanwhile, Peter Lange’s focus was on strategy and on building a community around the brand. He envisioned Pas Normal as more than just apparel, combining “the product” with an international cycling club culture.

“From day one, we’ve focused on the community… To develop a strong customer base, you have to be present. You can’t just do it online,” Lange

Explaining why Pas Normal invested early on in things like group rides, clubhouse-style retail stores, and an International Cycling Club (ICC) to connect their customers worldwide.

Pas Normal Studios’ origin story is often told as a serendipitous mix of passion, creativity, and entrepreneurial hustle. Lacking big upfront capital in 2014, Olsen and Lange bootstrapped their first collection through their community. They sketched out initial designs and then “sent a drawing to 100 friends in our cycling community asking for prepayment” to fund production, promising delivery of the kit in three months. To their surprise, about one hundred people in Copenhagen paid in advance to order that kit, a testament to the founders’ community connections and the excitement around the fresh design. “I made an Excel sheet, sent it out, and immediately a hundred people transferred money and signed up for sizes,” Lange recalls of that moment, “then I made an order within the week and we produced the first hundred kits.” This grassroots pre-sale allowed Pas Normal to manufacture that initial run. Once those riders started proudly wearing Pas Normal Studios gear around the city, the buzz grew, and a snowball effect took hold. By late 2015, Pas Normal Studios had established itself as a distinct presence in the cycling scene, melding premium design with elite-level cycling performance.

Over the subsequent years, the founders steered the company to significant growth, but always guided by the same twin pillars that defined it from the start. “One of our competitive advantages is my genuine love for people and communities, and having a really creative and innovative designer … capable of designing something that differentiates from whatever else you see in the market,” Lange says. “Most [cycling] brands are designed by business people or old cyclists; we are fortunate to have a co-founder that has a design background in-house…We always have focused on the design element and also on the community.” This unique blend of fashion expertise and cycling passion helped Pas Normal grow from a humble beginning into an influential player at the intersection of cycling and design. By 2018, the brand had gone from a “small group of riders to a company with 35 retail outlets” (as one early team member recounted), as cycling boutiques and concept stores around the world began carrying Pas Normal Studios’ collections.

Pricing Strategy and Brand Positioning

From the outset, Pas Normal Studios positioned itself firmly in the premium segment of cycling apparel. It often draws comparisons to other high-end boutique brands like Rapha, MAAP, and Velocio. Pas Normal’s products, from jerseys and bibs to outerwear, command top-tier prices (for example, jerseys retail in the €200+ range). The brand makes no apologies for this. Pas Normal has openly justified its pricing by emphasising exceptional quality, technical innovation, and a distinct design philosophy behind every product. In the words of the company’s team members, the goal is to create a “perfect” kit without compromise. 

“We want products that are perfect, because we only want to wear the perfect kit ourselves,” explained Carolin Breintner, Pas Normal’s Quality and Pattern Manager, in an interview with Rouleur magazine. 

This perfectionist approach means using expensive, high-performance materials (Italian-made fabrics, premium chamois pads, etc.), investing in rigorous R&D (extensive prototyping and testing with experienced riders), and committing to European manufacturing, all of which raise costs. Breintner noted that the founders, who still own the company, refuse to sacrifice quality for the sake of higher margins or rapid growth. “To sacrifice quality and try to change price... so the margin you earn is always higher… You make more money, but no one really likes the clothing. I think it’s wrong. I’m happy I work for a brand now where I feel they are not chasing crazy growth. It’s about something special,” she says of Pas Normal’s ethos. In other words, Pas Normal Studios deliberately prices its apparel to reflect the true cost of top-tier materials and workmanship, rather than cutting corners to hit a lower price or chasing volume for volume’s sake.

Direct quotes from Pas Normal’s leadership reinforce that their pricing strategy is part of a broader brand vision. Lange describes Pas Normal as catering to the “dedicated amateur” cyclist, riders who are deeply invested in the sport and willing to pay for the best. “Other brands want to reach everyone… They try to have everything, but you can’t satisfy everyone. We try to tap into this dedicated cyclist group,” Lange has been quoted as saying. This focus naturally positions Pas Normal at a higher price point, since the dedicated enthusiast demands premium quality and a niche style rather than mass-market value. The brand’s Scandinavian design philosophy is a major differentiator here: Creative Director Karl-Oskar Olsen’s minimalist, modern aesthetic contrasts with traditional cycling attire. Pas Normal’s kits feature muted colours, simple logos, and design-forward cuts, a look Olsen has suggested was “stealthy… nothing on the market [had] that kind of expression” when the brand launched. Maintaining this design edge involves extensive collaboration between Pas Normal’s design team and its R&D/testing teams to fine-tune fit and style each season. The result is apparel often described as “technical meets contemporary”, which Pas Normal argues is worth the premium price. As a Cycling Weekly analysis noted, “the quality and price point of their garments [reflect] the clean Scandinavian aesthetic of their stores… and even the type of rider the brand attracts.” In essence, Pas Normal charges what it does to deliver a product that is as much a high-end design item as it is elite athletic gear.

When comparing Pas Normal Studios to other premium cycling brands, a few distinctions emerge. Rapha, the UK-based market leader in boutique cycling wear, also commands high prices but has broadened its appeal to a wide audience (from beginners to gravel riders to commuters). Pas Normal, by contrast, has kept a tighter focus on the serious, style-conscious road and gravel enthusiast, cultivating an aura of exclusivity. For example, Pas Normal’s collections are often released in limited drops and rarely go on sale, which maintains their cachet and perceived value. (This is a point often noted by cycling retailers, some of whom liken Pas Normal Studios more to a design-led brand  than a traditional cycling brand.) MAAP (Australia) and Velocio (USA) similarly compete in the fashion-forward cycling apparel space; like Pas Normal, they emphasise quality fabrics and distinctive design. However, Pas Normal leans even more into its boutique identity, with flagship stores that double as clubhouse spaces and small-run collaborations that tend to sell out quickly.

To justify its pricing and positioning, Pas Normal Studios points to a few key factors: materials and craftsmanship, design innovation, and the overall brand experience it provides. The clothing is overwhelmingly manufactured in Italy using renowned textile mills and specialist factories (more on that shortly), which inherently drives up cost but also assures a certain level of quality. The design and fit are often described by customers as “tailored” or bespoke-feeling. Indeed, Olsen famously said he wanted jerseys that “made you feel like you’re wearing a tailored suit… something special because it’s made only for you.” Finally, Pas Normal cultivates a brand community; their International Cycling Club, which adds intangible value to owning the kit.

Customers buying Pas Normal aren’t just buying bib shorts; they’re buying into a lifestyle of group rides, stylish café stops, and the image of the devoted, well-equipped cyclist. As one industry report summarised, Pas Normal’s approach is “combining style, functionality and community,” with frequent collabs (like custom Pas Normal x Oakley sunglasses) and social events reinforcing the brand’s cultural cachet. In this way, Pas Normal Studios positions its high prices as appropriate for a top-tier, design-driven cycling brand that delivers both high performance on the bike and a certain prestige off the bike.

Production and Manufacturing (“Made in Italy”)

One of Pas Normal Studios’ hallmark claims is that its apparel is “Made in Italy,” signalling a commitment to quality craftsmanship and heritage. Indeed, the vast majority of Pas Normal’s technical cycling garments are manufactured in Italy, right in the heartland of performance cycling apparel production. Early on, Pas Normal partnered with experienced Italian factories to produce its gear; for instance, their very first Marmotte kits were made via Giordana’s facilities.

As the brand has grown, it has continued to use renowned Italian manufacturing partners. A notable example is M.O.A. Sport/Nalini in Castel d’Ario, Italy (Lombardy), which Pas Normal Studios has identified as one of its production sites. This factory is famous for making high-end cycling clothing and brings decades of expertise. By working with such partners, Pas Normal benefits from Italy’s long heritage of technical textiles, skilled sewing, and pattern development for cycling wear. You can see this heritage in the construction of the products: the jerseys use premium Italian fabrics (often high-gauge knits with excellent wicking and just the right compression), and the bib shorts feature top-of-the-line Italian chamois pads and laser-cut finishes. Pas Normal’s commitment to Italian production is not just about slapping a prestigious label on the clothes; it’s about ensuring consistency and quality control that meet the founders’ exacting standards. “Technically perfect” is an internal mantra for their products, and Italian manufacturing is a means to that end.

To Pas Normal’s credit, the company has been relatively transparent about where and how its products are made, more so than many competitors. They publicly share a list of Tier-1 suppliers via the Open Supply Hub, an independent platform for supply chain disclosure. On this list, multiple Italian facilities appear, confirming that a significant portion of Pas Normal apparel is indeed cut and sewn in Italy. For example, Tessitura Taiana, an Italian textile mill known for innovative high-performance fabrics, is listed as a fabric supplier, and several assembly factories in northern Italy are noted as long-term partners. 

Pas Normal emphasises that many of these partners have been working with them “since the inception of the company,” reflecting close, stable relationships. At the same time, Pas Normal Studios is candid that not every single item comes from Italy. Their supplier map shows production extending “from Vietnam to Portugal,” indicating some products (perhaps accessories or off-bike lifestyle items) are made in other countries where they have trusted partners. For instance, the Open Supply Hub data for Pas Normal lists a garment factory in Vietnam and another in Sri Lanka, likely for items like base layers or socks. However, all core cycling apparel, the jerseys, bib shorts, jackets that form the Mechanism (road), Solitude, and Escapism (gravel/adventure) collections, are proudly tagged Made in Italy. Each product page on Pas Normal’s website clearly states the country of manufacture, and for the mainline items, it is overwhelmingly Italy.

The transparency and accountability of Pas Normal’s manufacturing set it apart in an industry where many brands keep their suppliers opaque. Pas Normal Studios has published a detailed Impact & Responsibility Report and a Code of Conduct for its factories, underscoring its commitment to ethical production. They require all their Tier-1 suppliers to adhere to standards for fair labour, worker safety, and environmental practices. By openly mapping its supply chain and engaging in these initiatives, Pas Normal invites consumers to trust the authenticity of its “Made in Italy” assertion. Furthermore, the brand’s close oversight of production (they have a dedicated in-house Quality and Pattern team, led by experts like Carolin Breintner) ensures that the finished products meet exact specs. Every season, prototypes are tested and tweaked in collaboration with the Italian manufacturers to refine fit and performance. This tight feedback loop is feasible because of the long-term relationships and the geographic concentration of their suppliers.

Peter Lange shared that choosing Italian manufacturing was both about quality and practicality. “Of course, there’s a lot of heritage in cycling from Italy, and a lot of quality products are made in Italy,” he says. For Pas Normal, it was an obvious choice because of that quality, but also because of flexibility: “It’s not easy to find companies that can do product development with different kinds of garments, [and] do the limited numbers of products we need… [The Italian factories] were able to do that. Yes, it costs more, but the business case shows there is a way.” Lange, who has a business background, also pointed out that keeping production closer to home has operational benefits. “ There’s a production security in having it right down here in Italy, two hours away.” If something goes wrong, the team can hop on a plane and be at the factory quickly. The priority, Lange stresses, is ensuring the consumer gets the best experience: “There are a lot of advantages in doing things in Italy. Number one is ensuring that your consumers get the right experience with your product, it’s on time, it’s of quality, and it’s durable. I’m not sure I can deliver that production in Asia; the risk is higher. Plus, you can’t just pop down [to the factory] easily, can you?”

In conclusion, Pas Normal Studios’ “Made in Italy” claim is well-founded and core to its identity. The company has deep roots in Italy’s cycling manufacturing scene, from its Giordana-assisted debut to its current partnerships with top Italian factories. The regions involved (Veneto, Lombardy, etc.) are world-renowned for cycling apparel production, and Pas Normal’s products benefit from that pedigree. The brand also demonstrates transparency, listing suppliers like MOA Sport and others, which allows outsiders to verify their claims. No evidence has emerged of Pas Normal misrepresenting its production origins; on the contrary, they appear proud and open about it. It’s worth noting that producing in Italy contributes to those higher retail prices, but Pas Normal uses this as a selling point: customers can be confident they’re buying a kit crafted with Italian expertise under strict quality control. Pas Normal Studios doesn’t only talk the talk of “Made in Italy”, it walks the walk, through genuine Italian manufacturing and a transparent, ethical supply chain that aligns with the brand’s premium positioning.

Community Ethos and the Gravel Racing Team

If Pas Normal’s pricing and production strategy speak to its obsession with quality and design, the company’s community ethos speaks to its soul. From the beginning, Pas Normal Studios has built a culture and community around its products. This started locally, with Pas Normal club rides around Copenhagen, and has blossomed into a global network of riders connected by the brand’s International Cycling Club (ICC). Unlike some brands that monetise their clubs through membership fees, Pas Normal’s approach is notably open.

“I don’t believe in paid membership,” says Lange

While they are developing a kind of loyalty program for ICC members, “it’s not a membership where you can pay your way in, it’s not because you buy a lot of products. It’s because you are part of the community, you are engaging with cycling.” This reflects a core principle for Pas Normal Studios’ leaders: authentic relationships trump traditional marketing. Lange comes from a marketing background, yet he deliberately steers Pas Normal away from the typical playbook of flashy ads or pay-to-play clubs. Instead, the brand focuses on grassroots engagement, what Lange calls a “below the line” strategy. “I believe in people, I always have. The relationship between people is much stronger when you steer away from traditional advertising,” he notes.

The Pas Normal Studios community includes everyone from their employees and retail partners to brand ambassadors and devoted customers. “All these people together are our community,” Lange explains. Employees and retailers help embody and spread the brand’s culture; ambassadors promote the products, lead group rides and events, and funnel back valuable feedback. It’s a holistic network built on personal connections. According to Lange, this word-of-mouth, person-to-person model creates the kind of trust and loyalty you “can’t get by advertising alone.”

Perhaps the strongest illustration of Pas Normal Studios’ community-driven approach is how the company has entered the world of gravel racing. Rather than sponsor an existing professional team outright, Pas Normal in 2023 launched its gravel squad, dubbed Pas Normal Racing, comprised of a group of supported privateers. The way they’ve structured this program is quite unlike a traditional factory racing team. “It’s basically a pro set-up, but with a lot more freedom,” Lange says, characterising it as a “pro-privateer” model. The riders on the Pas Normal gravel team aren’t bound to a single bike sponsor or required to race every event together. Team members ride a variety of bike brands and have their personal equipment sponsors. What Pas Normal provides is the unifying kit (of course) and, more importantly, a deep level of support at major races to make these riders’ lives easier.

Lange and his colleagues conceived this approach partly because many of the Pas Normal Studios staff are passionate gravel racers themselves. One employee, Tobias Kongstad, was a former continental-level road racer who scored a podium at Traka a few years back [and won it this year! - Ed] inspiring the idea that “hey, we have a strong racer in-house, why not support them and others like them?”

The goal was to help talented riders compete at the highest gravel events without having to do all the logistical heavy lifting on their own. “We chose a model of no [mandatory] bikes because people have so many different opinions on bikes and setups,” Lange explains. “So why not just give freedom on bikes, let them get their own sponsors, and then we focus on the clothes and bring in other partners to service the team.” Those partners include brands like Sweet Protection (helmets), Oakley (eyewear), CeramicSpeed, and even non-cycling sponsors like BMW/IONITY for support vehicles, a collection of high-quality names that align with Pas Normal’s premium image.

At races, PAS Racing operates with a level of support usually only seen in WorldTour road teams. “The reason we are so successful,” Lange says, “is that [our riders] only have to focus on the race. They don’t need to do everything themselves.” At big gravel events such as Traka or Unbound, the Pas Normal Studios crew provides a team infrastructure: mechanics to prep and repair bikes, a chef and soigneur to handle meals and massage, and staff to handle logistics like housing, transportation, and on-course feed zones. “At Traka, we had two mechanics, we had a chef, we had a house… a bunch of people helping with service. The racers need to bring their bike, be at the start line, and win,” Lange laughs. By taking care of the countless little tasks and stresses, picking up race numbers, bike fixes, figuring out when and where to be on the start, etc., PAS Racing lets its riders focus purely on pedalling. In gravel’s elite ranks, many athletes are lone privateers who must juggle all those tasks themselves. Pas Normal Studios’ support structure gives its riders a clear edge. “When you’re a privateer… after a certain point it’s really hard doing it all by yourself,” Lange points out. “If you’re not calm and ready when you’re at the start line, you won’t be able to take your physical advantage out [because of the mental stress]. So we give them this setup.” 

The results seem to validate the approach: in the team’s first season, Pas Normal Racing riders grabbed podiums at big events (including Unbound Gravel, where two team riders made the top 3), and the women’s squad took a major win at Gravel Worlds. This year, they have gone even further and met their goals of winning both the Traka and Unbound (Karo Migon winning both!).

Pas Normal’s gravel team currently includes about 15 riders from around the world, and it has drawn so much interest that the company is now developing a global development squad to support up-and-coming talent.

“When we do what we do, we have an obligation to secure the next generation,” Lange says.

As a Dane, he notes how many cycling talents Denmark produces per capita, thanks to strong youth development in local clubs. Pas Normal wants to contribute to that grassroots development ethos on a global scale. They started a U.S.-based development squad in 2025 simply because “there was a good opportunity,” but the vision is expanding. Lange hints that they aim to build a worldwide development program in the coming years (and indeed, at the time of writing, they’ve started working with a few young riders in Denmark and Germany as well). It’s an ambitious plan: not only is Pas Normal selling an image and apparel to affluent enthusiasts, it’s now actively nurturing the future of the sport. This speaks volumes about how the brand sees itself: not just as a business, but as a community leader in cycling.

It’s worth noting that all these community efforts feed back into the brand’s identity and value. The International Cycling Club, now tens of thousands strong, organises group rides and gatherings in cities worldwide, often starting from Pas Normal Studios’ own flagship stores or partner cafes. This grassroots network both spreads the Pas Normal Studios gospel and gives the brand a feedback loop with its most dedicated customers. The gravel team, aside from testing Pas Normal’s newest high-performance kits in the toughest conditions, further solidifies Pas Normal Studios’ credibility among serious riders.

"Explore your own road"

Lange articulates the company’s broader mission succinctly: “Our purpose, the reason why we’re here, is actually ‘explore your own road.’ We like to inspire people to go explore, go ride, find their own road.” That road, he notes, can be anything: “It can be gravel, it can be mountain bike, it can be road, it can be in the mountains, it can be flat, just go explore on two wheels.” In other words, Pas Normal Studios’ identity has evolved from simply making cool cycling clothes into promoting a lifestyle of cycling exploration and community, on any terrain. It’s a brand built around an ethos as much as around products.

“There Must Be Something Wrong With Them, Right?”

With all the hype, style, and success surrounding Pas Normal Studios, one might wonder: What are the critiques? In cycling cafés and internet forums, the most common criticisms levelled at Pas Normal Studios relate to its high prices and perceived exclusivity. Some riders bristle at the notion of a 200€ jersey or 300€ bib shorts, questioning whether the cost is justified purely by performance. Detractors sometimes argue that Pas Normal Studios is “more of a marketing/design-led company than a cycling company,” suggesting that the appeal of the gear is driven by hype, limited availability, and style-factor rather than a dramatic technical superiority over less costly rivals. For example, observers point out that Pas Normal Studios rarely discounts its products or runs end-of-season sales (unlike many competitors), which fosters a bit of a “cult” allure but also frustration among riders who simply can’t afford it.

The brand’s aesthetic has also received mixed reactions in some quarters: while many praise the minimalist design, others find the prominent “P.A.S.” logos and the subdued, earthy colour schemes too stark or even “pretentious” compared to traditional flashy cycling kits. Such subjective critiques of style come with the territory of being a design-driven brand; what attracts devoted fans will invariably alienate others who prefer a different look.

Another area of mild contention has been product durability. Pas Normal Studios markets its apparel as top-quality and built to last, but a few customers have reported issues like jersey seams coming undone or bib-short straps losing elasticity faster than expected. These reports are relatively few, and it’s unclear if they indicate any widespread quality-control problems or just isolated cases of heavy use. The brand does offer a crash replacement program and has a good reputation for responsive customer service, which helps mitigate these concerns. Moreover, the positive feedback generally outweighs the negatives; many cyclists swear by Pas Normal’s comfort and performance on the bike. Still, when you price a kit at a premium, any flaw, no matter how rare, can draw outsized attention on social media. Notably, Pas Normal has not had to execute any public product recalls or major fixes to date, and there have been no systemic defects reported in the press, indicating that serious quality issues are exceedingly rare.

In terms of labour practices or ethical controversies, Pas Normal Studios has (so far) maintained a clean record. The company’s proactive transparency in manufacturing (detailed above) and its positioning as an ethically conscious brand have largely inoculated it against labour-related criticism. There haven’t been exposés or accusations of sweatshop labour or false “Made in Italy” claims, pitfalls that have plagued some apparel companies, likely because Pas Normal publishes its factory list and an annual responsibility report for anyone to inspect.

Similarly, the brand’s marketing content has been relatively controversy-free: Pas Normal’s ads and lookbooks focus on artful imagery of cyclists and landscapes and generally avoid divisive themes. One could argue the marketing leans heavily on exclusivity, often portraying a very style-conscious, elite cyclist image, which might alienate some everyday riders. Indeed, critics have occasionally called Pas Normal’s branding a bit pretentious (the high-concept lookbooks, the tagline “Not Normal” itself invites an eye-roll from some). However, these criticisms are largely subjective and par for the course with any aspirational brand in either fashion or sport.

Importantly, Pas Normal Studios’ leadership is not oblivious to these perceptions. They have addressed some of the concerns, at least indirectly. They emphasise that the brand is not trying to be all things to all people or court mass appeal, but rather doing something unique for a niche community of dedicated cyclists. When questioned about the high pricing and competition, Lange tends to respond with quiet confidence, “So far, so good!” he has said with a smile, indicating that as long as their dedicated audience is happy, they’re not much concerned about the naysayers.

The team consistently reiterates that they won’t chase revenue or growth at the expense of product integrity or brand ethos. This philosophy can be seen as a direct rebuttal to those who think the brand is all hype. It suggests that behind the slick marketing and high prices, the company truly does care about making great products for its community of riders. Indeed, Pas Normal’s growing base of loyal customers, the International Cycling Club now counts over 27,000 members worldwide, indicates that many cyclists find real value in what the brand offers, beyond just the logo, especially in terms of the experience and community Pas Normal cultivates.

In summary, Pas Normal Studios has faced criticism mainly for being expensive and exclusive, but these traits are arguably intentional aspects of its identity rather than mistakes. The company has avoided any serious controversy regarding how its products are made or its corporate behaviour; if anything, it’s often lauded for quality and transparency initiatives that are still uncommon in the cycling apparel space. The “controversies” around Pas Normal tend to boil down to debates within the cycling community about style and value. Essentially, is a 200€ Pas Normal jersey a worthwhile investment or just paying for a name? Such debates will no doubt continue. But the very fact that Pas Normal is a frequent topic of discussion is a sign that it occupies a prominent spot in the cycling market conversation. To its credit, the brand appears to handle criticism by staying true to its ethos (quality, innovation, community) and letting its products and culture speak for themselves. As a result, Pas Normal has maintained a strong reputation and avoided the kinds of public-relations crises that can befall less conscientious companies.

Financial Overview and the Road Ahead

Pas Normal Studios is a privately held company, but the available information paints the picture of a healthy, growing business. The brand experienced rapid growth from its mid-2010s launch through the late 2010s, expanding from its Copenhagen base to a truly global presence. By 2023, Pas Normal had seven flagship stores in major cities around the world, including Copenhagen, Mallorca, San Francisco, Seoul, Taipei, Munich, and Singapore, in addition to dozens of upscale retail partners stocking its apparel. (The brand even has plans to open its first store in Shanghai in 2025, signalling its ambition in the Asian market.) This physical expansion underscores the company’s strategic investment in community hubs and international markets. “Pas Normal Studios continues to grow in a segment of the cycling market that caters to a technically-driven, aesthetically conscious demographic with higher-quality options,” the brand stated in late 2023, highlighting its global expansion goals. Despite the broader cycling industry facing a post-COVID slowdown in recent years, Pas Normal managed to carve out a strong niche, targeting riders willing to spend on premium gear, and thus faring better than some mass-market players who struggled.

In terms of revenues and profitability, Pas Normal Studios appears to be on solid footing. While the company doesn’t publicly release detailed financials, its filings in Denmark provide some insight. In the financial year 2024, Pas Normal Studios ApS reported a net profit of DKK 16.5 million (Danish kroner), roughly €2.2 million (or $2.4 million USD). This was down from an even higher profit of about DKK 23.6 million in 2023, but still a robust result, indicating the company remained profitable despite some global economic headwinds. By the end of 2024, Pas Normal’s total equity was around DKK 113 million (~€15 million), signalling a strong balance sheet with accumulated earnings. These figures suggest annual revenues in the tens of millions of euros. Independent analysts have estimated Pas Normal’s annual sales in the $25–30 million range, though exact revenue isn’t confirmed publicly. Notably, the brand’s continued profitability stands in contrast to some competitors; for example, Rapha (a larger premium brand) reported losses in recent years amid market challenges. Pas Normal’s lean, design-focused approach and its strength in direct-to-consumer channels (through its stores and website) may have helped it stay agile and in the black.

A major milestone in Pas Normal Studios’ financial story came in May 2024, when the company secured outside investment for the first time. Pas Normal agreed to sell a minority stake (rumoured to be between 20–25%) to Archive Srl, an investment firm owned by Remo Ruffini. Ruffini is best known as the CEO of luxury outerwear brand Moncler, and through Archive, he invests in up-and-coming brands at the intersection of fashion and sport. The exact terms of the Pas Normal deal weren’t publicly disclosed, but it was described by the company as an injection of capital to accelerate Pas Normal’s global expansion and “redefine cycling culture.” This investment effectively values Pas Normal Studios as a significant player in the market (given the minority stake, the implied valuation is likely in the high tens of millions of euros). Following the deal, Remo Ruffini’s son, Pietro Ruffini, joined Pas Normal’s board of directors, indicating close involvement in guiding the brand’s future strategy. The infusion of capital and expertise from a luxury-fashion veteran aligns well with Pas Normal’s ambition to blur the lines between cycling apparel and broader lifestyle branding. The company signalled that it would use the funds to open more flagship stores and strengthen its international e-commerce and community events, pushing further into markets like North America and East Asia, where it sees big growth potential.

By other growth indicators, Pas Normal Studios is also showing impressive strides. On social media, for instance, it consistently ranks among the fastest-growing cycling apparel brands. At the end of 2021, an analysis showed Pas Normal’s Instagram follower count grew 36% that year, and it currently stands around 290,000 followers, reflecting huge global interest for a niche brand. The Pas Normal community (ICC) counts tens of thousands of members and organises events worldwide, which likely feed into sales growth as well by fostering brand loyalty. Pas Normal has also diversified its product range over time, introducing new lines like the gravel-focused Escapism collection, the off-bike casual Off-Race line, and creative collaborations (for example, a Pas Normal x Pirelli gravel tire). These open new revenue streams while staying true to the core identity. All signs point to a brand in expansion mode. At the same time, Pas Normal’s leadership remains cautious about over-expansion. The co-founders still retain majority ownership and stress sustainable growth, not “chasing crazy growth” for its own sake. This mindset likely keeps the finances stable and focused on long-term value rather than short-term volume.

Looking ahead, the outlook for Pas Normal Studios appears bright. With the backing of Archive and the Ruffini family, Pas Normal now has both the funding and strategic guidance to scale up carefully, much like Moncler did in the luxury outerwear space. The high-end cycling apparel market, while niche, has proven resilient as enthusiast consumers continue to invest in their passion. Pas Normal’s strategy of operating flagship stores as community hubs (not just retail outlets) also gives it an edge in customer engagement and loyalty, translating to steady revenue and an organically growing fan base. (Those stores often serve as marketing vehicles as much as sales channels.) One potential challenge on the horizon is the broader economic condition; a global cost-of-living squeeze could pinch consumers’ discretionary spending on expensive cycling kit. However, Pas Normal’s target demographic (serious cyclists) historically tends to prioritise their sport spend even in downturns, and the brand’s strong identity may buffer it against competition or price-sensitive pressures.

As Pas Normal steps into its second decade, it’s also branching out beyond pure cycling gear, in line with its vision of supporting the cyclist’s full lifestyle. “Our core consumers are dedicated cyclists,” Lange says. “And when you are a dedicated cyclist, of course, you love cycling, but if you are professional or really serious, you also need to do strength training, especially in the off-season. You do other things.” This insight led Pas Normal to develop the new Balance collection a line of premium training apparel for off-the-bike activities like running, gym workouts, yoga, or general cross-training. “We have taken the first steps into the Balance collection, which is a gym/running collection, an alternative training collection,” Lange explains, noting that as a busy father of three, he often finds it easier to squeeze in runs or gym sessions during the week.

The brand wants to support those aspects of their customers’ lives as well. Likewise, Pas Normal is building out its Off-Race sports-style collection, which is essentially apparel to wear before and after a ride or race (think stylish jackets, hoodies, pants, casual pieces with a technical twist). “That is the main focus going forward,” says Lange. “Innovation in cycling, and then build out Balance and build out Off-Race.” By expanding into these adjacent categories, Pas Normal hopes to deepen its relationship with customers, offering products for all facets of an active lifestyle, not just cycling itself. It’s a strategy that further blurs the line between cycling brand and broader athletic/lifestyle brand, all while staying true to the niche, high-quality ethos that got Pas Normal here.

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In summary, Pas Normal Studios has grown from a tiny startup making kits for friends into a thriving premium brand with global reach, all in about ten years. It has done so while maintaining a distinct identity and cultivating a devoted following. The recent investment deal underscores confidence in its future. If Pas Normal continues balancing exclusivity with accessibility (through genuine community-building) and innovation with heritage (keeping that Made-in-Italy quality at the core), it is poised to remain a leader in the boutique technical cycling apparel market for years to come financially solid, culturally influential, and, true to its name, anything but normal.

As we delve deeper into the world of Pas Normal Studios, our next features will look more at team PAS Racing, finding out about the riders, the ethos and structure and how they are so competitive. 

We will also take a closer look at products from Pas Normal Studios and put them to the test! Do they stand up to the high-quality standards, or are they more “bas” normal?