The Stone Island compass is one of streetwear’s most enduring emblems, best known for appearing as a ‘badge’ on the left sleeve of the Italian label’s garments. Conceived by Stone Island founder Massimo Osti in 1982, the motif was drawn from the ‘wind rose’ compass on the pioneering designer’s own wooden sailboat and chosen as a symbol of ‘exploration and innovation’ (the brand remains best-known for its experiments in garment dyeing and fabric innovation).

In the decades since, the Stone Island badge has become a pledge of allegiance: from football stadiums to nightclubs, it has come to represent a countercultural impulse that has long run through the brand’s fanbase. It is why rare versions of the Compass – whether in denim, monochrome or mesh, or those made for specific occasions and anniversaries – can sell for hundreds of pounds on resale sites (Stone Island is known for its legion of devotees, certain of whom have an encyclopedic knowledge of the brand’s back catalogue).

Pledge your allegiance with the Stone Island Bunney pin

A new collaboration with London-based jewellery brand Bunney, though, provides perhaps the most precious iteration of the Compass yet – an 18ct-gold pin, evocative of the enamel football pins collected by fans to show their devotion to a particular team. Coinciding with the arrival of the FIFA World Cup 2026, which takes place across North America from 11 June (matches are split between the USA, Canada and Mexico), Stone Island says the badge celebrates its link with football culture.

Bunney, which was founded by Andrew Bunney in 2009 and creates fine jewellery in collaboration with craftspeople across England, has conceived the pin as a collectable object. There are five versions in total, with a different city debossed on each: London, New York, Miami, Los Angeles and Toronto. Ten pins of each city are available, bar Los Angeles, for which there are 15. Measuring 18mm in diameter, they come in a display box and are hand-stamped with the Bunney logo and a hallmark of Birmingham, UK, where they were produced.

The Stone Island Bunney pins are available in selected Stone Island stores (New York, Miami, Los Angeles and Toronto), Dover Street Market London and Los Angeles, and Toronto’s Better Gift Shop.

stoneisland.com

In the 20 years since Mary Kate and Ashley Olsen founded The Row in 2006, the pair have proved increasingly adept at reimagining the quotidian in ultra-luxurious style. This is particularly true when it comes to their sought-after footwear, with everything from the humble jelly shoe – reminiscent of those sold in seaside towns to traverse rocky beaches and coves – to spa slippers and hiking sandals getting The Row upgrade (and thus making them ubiquitous within style circles, which have long looked towards the Olsens as fashion soothsayers).

The same is true of this riff on the flip-flop sandal, a style that the pair have presented in various iterations in recent seasons. Evoking the hardy beach sandals of the 1990s, this latest version is reworked in the pair’s considered, pared-back style, complete with a grosgrain strap, leather toe divider and a soft leather footbed – robust enough to prove their utility all summer long, whether padding along hot city streets or wandering beachside.

Indeed, the thong flip-flop – a once-derided summertime accessory – will continue to prove ubiquitous in 2026’s warmer months, favoured for its clean, minimal line and synonymy with the 1990s and early 2000s, an era which, in fashion at least, proves ever-present.

Alongside The Row, the flip-flop appeared across the S/S 2026 collections: at Pierpaolo Piccioli’s debut for Balenciaga, flocked thong flip-flops came with a padded sole and jewel adornment (the illusion was that of a 1990s toe ring); at Prada men’s, they were a hyper-colourful riff on the rubber-and-foam beach flip-flop (think: Prada’s take on the Havaiana, rendered in leather); while at Auralee, they came with equally brightly hued soles, a testament to designer Ryota Iwai’s reputation as a master colourist.

A version of this article appears in the June 2026 Travel Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

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What do hardcore punk, the Sonoran desert and carbon-infused racing trainers have in common? Not much, unless you are Adidas and the Paris-based running brand Satisfy.

The two companies caused a social media stir last week when they teased a new collaboration with a concept called ‘The Circle Pit,’ a pump track in Oro Valley, Arizona which saw a field of elite long-distance athletes running loops as live thrash metal bands moshed on a stage. Even if you were slightly confused by the whole spectacle, the message was clear: this is a collab style-conscious runners won’t want to miss.

Today, Adidas and Satisfy have released the first drop in their partnership – a limited-edition release of the Adizero Adios Pro 4, now available in three exclusive colourways. The trainer is one of the hottest, fastest ‘supershoes’ on the market right now. Unlike most marathon footwear, which are infused with stiff carbon plates, the Adios Pro features carbon-fibre Energyrods, an innovation that makes for a snappy ride and efficiency, mile after mile.

Adidas speediness is complemented with Satisfy’s unorthodox styling; the colourways – army green, brown and black – are inspired by hues found on trails and roads. Satisfy also looked to skateboard culture in its design, from mismatched styling to sun-faded woven mesh fabrics. Reflective stripes, meanwhile, keep runners visible at dusk.

According to the two companies, the Adios Pro marks the first of several drops throughout 2026. The Circle Pit video hinted at an apparel drop, complete with holey logo tees in Satisfy’s signature Moth-Tech. It’s all designed, according to Satisfy, to help athletes ‘unlock the high’ that comes with an intense workout. These drops will ensure that buzz is also high style.

The Adizero Adios Pro 4 Satisfy will be available from May 22, 2026, on satisfyrunning.com and on May 25, 2026 at adidas.com

Prada’s S/S 2026 show was about a collision of elements, oscillating between the working uniform – a perennial reference for designers Miuccia Prada and Raf Simons – and eveningwear, the latter conjured in colourful protrusions of satin, sequin surface embellishment, and colourful opera gloves. The co-creative directors called it a ‘new elegance’, where clothing was liberated from its traditional hierarchies. ‘There is the license to combine different elements, to compose,’ said Simons post-show, noting that it was the pair’s freest collection yet.

This juxtaposition might have been best captured in one of the collection’s handbags: the humble dustbag, usually used to store accessories to protect them while in storage or in transit, here reimagined in colourful satin and leather (rather than its usual cotton canvas). It made for a contemporary riff on the evening bag, at once functional, elegant, and a little playful – not unlike Miuccia Prada’s embrace of nylon in the 1980s, where with her 1984 ‘Vela’ backpack, she convinced that the manmade fabric could be just as luxurious as leather.

And now, the drawstring pouch has a strong case for being the accessory of the summer – simple in construction, but surprisingly practical in carrying the necessities (iPhone, credit cards, a little make-up). This is particularly true of warm days and evenings, when you no longer want to be weighed down by heavy handbags or sweaty straps – with the pouch, you simply pick up and go (in the Prada show, models grasped them in the hand, but you could equally use the drawstring cords to sling it over the wrist).

Here, we select eight of the best drawstring pouches, from Prada’s ‘Wish’ bag (here in satin and suede iterations) to Celine’s rainbow-hued leather offerings, or – for the more adventurous – a Loewe cotton pouch adorned with Louis Wain’s eccentric illustrations of cats.

Earlier this year, in February, Georgian designer Demna – who rose to prominence with his Paris-founded label Vetements before a decade-long tenure at Balenciaga – held his debut show for Gucci, where he was appointed creative director in March 2025. The show, which featured an eclectic cast of muses, from model Kate Moss to musician Fakemink, took place amid a monolithic, marble-clad set replete with painstaking recreations of classical statuary (spanning Roman and Hellenistic eras, and featuring figures from Aphrodite to Artemis, the original sculptures were 3D-scanned before being constructed in plaster by Tuscan artisans).

In a letter distributed before the show, he said it was a nod to the Uffizi Gallery in Florence, where Guccio Gucci founded the house in 1921. Travelling to the Renaissance city in a search for the ‘Gucciness of Gucci’ at the start of his tenure, Demna found himself in front of the museum’s most famous work, Sandro Botticelli’s The Birth of Venus. ‘Standing in front of it, I felt overwhelmed – the beauty in it was unconditional; it was absolute. It made me realise how deeply the Italian Renaissance shaped everything I understand about art, about proportion, about desire, and about beauty,’ he said. ‘When I left the museum and stepped into Piazza della Signoria, the first thing I saw was Palazzo Gucci. In that moment, I understood the place Gucci holds within Italian culture.’

Gucci: The Art of Silk

Now, a new project, ‘Art of Silk’, sees Demna make his mark on perhaps Gucci’s best-known export, the silk scarf. First introduced in the 1950s, it was a decade later, in 1966, when Gucci created a custom silk scarf for Grace Kelly after her visit to the house’s flagship store in Milan, that the accessory would become an emblem of Italian style (by that point, Kelly had been the Princess of Monaco for ten years, after her 1956 marriage to Prince Rainier III). It was adorned with the ‘Flora’ print, a design by illustrator Vittorio Accornero created specially for Kelly, featuring 43 different flowers, botanicals, and insects, and 37 different colours (an impressive feat, considering each colour required a separate screen to be printed). Accornero had drawn inspiration from another Botticelli masterpiece, Primavera (Allegory of Spring), which depicts the nymph Chloris transforming into the goddess of spring, Flora (like Birth of Venus, it is also housed in the Uffizi Gallery).

Indeed, interpretations of the Flora motif feature on two of the ten silk scarves in the ‘Art of Silk’ collection, alongside eight other designs drawn from the house’s archive (as well as the floral and botanic designs, there are also nautical, animal and equestrian motifs). The two Flora scarves were created exclusively for the Los Angeles County Museum of Art (LACMA) and the opening of the Peter Zumthor-designed David Geffen Galleries this month. Also in Los Angeles, in the house’s Rodeo Drive store, a collaboration with the Accademia delle Belle Arti di Firenze sees students reproduce the ten designs as artworks to decorate the space.

The Flora scarves, which will be available in limited-edition numbers, also feature a collaboration with Nido di Seta, a Calabrian agricultural collective, and Ongetta, a producer of silk yarns, who are working together to revive Italy’s silk supply chain (once thriving, it has significantly reduced production in recent decades). The project is centred on the production of mulberries – mulberry silk is made by feeding silk worms white mulberry leaves – using once-abandoned land and renewable energy. Gucci says these Flora scarves ‘embody a true rebirth of Italian silk production’ (they will be available exclusively at the LACMA Store and the Gucci Beverly Hills flagship).

The accompanying ‘Art of Silk’ campaign, meanwhile, sees the styles worn in various ways, including as handkerchief tops, belts, and headbands (‘[the campaign] explores the silk scarf as a dynamic element of personal expression, presenting multiple ways of wearing it’, says Demna via the collection notes). It is the second Art of Silk campaign since the project’s launch in 2025: in April of last year, the house drafted nine artists to reinterpret the 90 x 90 silk scarf, captured on actress Julia Garner in a campaign by Steven Meisel.

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‘A new elegance’ is how Miuccia Prada and Raf Simons described their S/S 2026 Prada womenswear collection, seeking to liberate clothing from its ‘hierarchies’ by shuffling up everyday uniforms – a longtime touch point for the house – with opulent eveningwear, often in the same look.

‘This collection is about reacting to the uncertain – clothes that can shift, change, adapt,’ said Miuccia Prada after the show, held in the sparse Deposito showspace at Fondazione Prada this past October in Milan, the floor flooded with orange-hued lacquer.

Wallpaper Design Awards: these Prada sunglasses are our ‘Best Sartorial Shapeshifter’

A series of clever accessories captured this hybrid, shapeshifting mood, from simple drawstring pouches – like those used to store shoes – rendered in lustrous colourful satin, or kitten-heeled pumps mashed up with the simple elastic plimsolls once worn in PE classes. Though perhaps most striking – and a worthy Wallpaper* Design Award winner – are these glasses, whereby uniform-issue metal-framed opticals are adorned with a surreal bejewelled flourish on their temple tips. As such, they are eyewear and jewellery in one.

‘We started from a sense of freedom,’ says Simons of the collection. ‘There is the license to combine different elements, to compose. [But] there is also a physical liberation, moving away from fashion as a sculptural imposition on the body of a woman. We shifted into the opposite – physical emancipation, but also freedom as a state of mind… Uniform is part of a Prada history – for us, there is the idea that a woman can be beautiful, elegant and strong in a uniform. It is a challenge, to a hierarchy of perception. To free women from this.’

READ: In Milan, Prada seeks freedom as a ‘response to the overload of contemporary culture’

Discover all the Wallpaper* Design Awards 2026 winners in the February issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + from 8 January 2025. Subscribe to Wallpaper* today

We know and appreciate Studio Boum for its more than memorable fashion moments, for clients that have included Alaïa, Hermès and JW Anderson among others. From pop-up retail spaces to runway shows and other brand experiences, the team, led by founders Andy Moller, Mary-Jane Forster and Olivia Herrtagem, are led by an innate understanding of spatial design and an appreciation for art.

Now, Boum presents Roum, the latest chapter in the studio’s eleven-year history. ‘From immersive spaces to fine objects’, reads an introduction to what is going to become a new permanent branch of the practice, designed by Moller and dedicated to elevating the act of gathering.

From Boum to Roum: elevated and refined objects

While Studio Boum's practice spans architectural design, set design and furniture, the team has occasionally worked on smaller objects as part of their work. 'Over time, these explorations became more regular and felt like the foundation of something more enduring,' explains Moller. 'Our work at Boum has always been about shaping how people feel when they come together. The experience does not always begin with the room as a whole, it can begin with the smallest points of contact.'

The debut collection is crafted in England and includes silver-plated candleholders and vases whose sinuous shapes are both reductive and sculptural.

'Roum lets us continue to push design at [a small] scale,' continues Moller. 'It is the same approach, brought even closer to the hand. The aim is to create objects that support real-life gatherings with care and consideration.'

The collection is inspired and takes its name from Mayfair House, the studio's London HQ, set within a 1950s Brutalist building that stands out among neighbouring Victorian, Edwardian and Georgian architecture.

'That dialogue between modernity and history is something we are naturally drawn to,' comments Moller. 'We wanted to work with English silverware as a time-honoured craft, but explore forms that feel quiet and modern in spirit. The collection was designed as a family of objects that work together across different scales of gathering, from a single stem vase to a pedestal centrepiece. Silver plate gives the pieces a soft depth, offering a different quality to chrome or polished stainless steel.'

As the Great Portland Collection launches this month, the team are already at work on the next instalment of the Roum experience: titled Bigli, it will be a collection to celebrate ‘Milanese elegance and precision’. The studio opened an outpost in the city this year, and, Moller explains, this collection is an opportunity to explore 'Italian craftsmanship in dialogue with twentieth century design. We are working with artisans whose approach to glass and metal has been shaped over generations, and we are looking to the lineage of Italian lighting and object design.'

He points out that Italian design has been an enduring influence on his work as a creative: 'A Tizio lamp [by Richard Sapper for Artemide] was a gift from my father when I was young, there are Atollo lamps [by Vico Magistretti for Oluce] in the studio, and Il Conico [kettle by Aldo Rossi for Alessi] sits in the kitchen. These Italian forms have stayed with me throughout my life. The intention is to create lighting that feels sculptural, warm and familiar, and continues to support the act of bringing people together.'

It was in 1970 that Margaret Howell founded her eponymous label, driven by a simple philosophy: to create clothes that are simple in design but a pleasure to wear, favouring the timeless over fashion’s ephemeral whims. She cites Anglepoise lamps, Ercol furniture and Robert Welch cutlery as touch points: these, for her, are ‘well made and enduring’ design – a reflection of her own unerring approach.

It is this steadfastness that has ensured that Margaret Howell has stayed in business for 55 years – a near-unprecedented run for an independent British fashion label, and a testament to her cross-generational appeal (indeed, the addition of sub-label MHL, founded in 2004, introduced a younger customer to the brand). For her 50th anniversary, she released a short film in collaboration with Emily Richardson; for her 55th, she is looking back into her archive to reissue two vintage designs.

Margaret Howell celebrates 55 years with two reissued silk scarves

Specifically, the silk foulard, an accessory which has long been a part of the Margaret Howell roster. ‘I have always been drawn to the quality and detail of scarves – they are simple yet expressive, and a subtle way to add character and detail to an outfit,’ says the designer, who is reissuing two silk scarves to mark the anniversary. One is a style inspired by a vintage piece that Howell discovered in 1969, just before she started the label, the other features a polka dot design which has run through her collections.

Hand-rolled at their edges, the foulards were screen-printed by Italian manufacturer Mantero, Howell’s longstanding silk supplier. Over the years, Howell has developed deep-rooted links with Italy: last year, as part of Pitti Uomo, she celebrated ten years of her store in Florence by paying homage to her Italian suppliers and manufacturers. ‘I have always chosen to work with specialist manufacturers and weavers,’ she said at the time. ‘Italy has an innate understanding of make and quality that is unique to our industry.’

Alongside the reissues, there will be a special display of archival silk scarves – traversing the 55 years of Margaret Howell – at the brand’s Wigmore Street store (it follows last month’s exhibition of works by British weaver Peter Collingwood, which coincided with Frieze Week). It will be accompanied by an exhibition text by Penny Martin, the editor-in-chief of The Gentlewoman.

The in-store display will run from 7 November – 21 November at Margaret Howell, 34 Wigmore Street, Marylebone, London W1U 2RS. The scarves will be available in store and on Margaret Howell’s website.

This is the latest instalment of The Inside Story, Wallpaper’s series spotlighting intriguing, innovative and industry-leading interior design.

Gunia Project, the Ukrainian design and lifestyle brand, has opened a new flagship in Kyiv. The traditional-meets-contemporary space occupies a historic building that once served as the Embassy of the Republic of Panama.

It took nearly six months to find a location that would effectively embody Gunia’s aesthetic vision. Though the building settled upon had remained unused for some time due to perceived building constraints, Anastasiia Tempynska of Kyiv-based architecture and interior studio Temp Project, who worked on the design, saw its potential.

Designed with the customer experience in mind, the space prioritises clarity and flow. A recessed reception desk facilitates intuitive movement, while a children’s area adds a family-friendly touch. Mirrors in the fitting rooms create a spacious, airy feel, and each section features comfortable waiting areas.

The original dark timber ceilings and wall panels have been preserved, now brightened with soft pastels and cool materials like stainless steel, milky glass and crisp white acrylic, as well as contemporary lighting. Carpeting was introduced not only for its warm, domestic feel, but also for practicality – to help protect the fragile ceramics on display.

The furniture selection draws from classic Ukrainian interiors, and consists of contributions from largely local makers, including Noom, Woo and Cegla Studios; being an artisan studio itself, Gunia was committed to championing Ukrainian craftsmanship. A wooden table, mirror and chair pay homage to traditional carving techniques, as well as the nearby Golden Gate, the ancient entrance to Kyiv. Such cultural references repeat throughout; a colour pairing of chocolate brown and pale blue, for example, is inspired by the refectory at the city’s Saint Sophia Cathedral.

The space is, essentially, a continuation of the story told by Gunia’s products: a conversation between past and present. The brand’s offering – which ranges from whimsical ceramics and jewellery to clothing and accessories – evokes a sense of innocence and nostalgia, like a stroll through a pastoral landscape or old-world village. The store’s design mirrors this with its palette of forest greens, sky blues, floral pinks and water-like reflective materials.

Every detail – from layout to lighting – echoes the brand’s philosophy: that craft, context and culture are inherently linked. The resulting experience reflects both the spirit of Gunia and the soul of Ukraine.

Parisian bag brand Côte&Ciel is rooted in form and structure, stepping away from traditional pencil and sketches during a product's conception and instead folding and twisting materials to reach the desired shape. As a result, the brand – which was founded in 2008 – has created bags synonymous with travel and design, often designed to adapt to the shape of the wearer’s body.

Continuing to explore material's structural boundaries, Côte&Ciel has released its new A/W 2025 collection, titled ‘Stratus’. To mark the occasion, the Parisian brand has collaborated with Milan-based architect Alberto Simoni of Aspro Studio and art director and photographer Gabriele Rosati on an installation and editorial titled ‘Soft Sculptures’.

The creative collaboration between Rosati and Simoni came naturally, the pair having been first and foremost friends. ‘I want to emphasise this,’ says Rosati. ‘Because, for me, empathy is the foundation of any work. We share many passions – from sculpture to fashion, and even football – so every time we work together it feels like sitting down for a coffee: everything is quick, immediate, and above all transparent.

‘The idea of documenting the installations came almost naturally: the objects Alberto had created already looked to me like museum pieces, true installations,’ he continues. ‘I felt it was my duty – or rather my need – to treat them as real works of art: to care for them, to give them context, to frame them with the utmost respect. And that is exactly what we did.’

‘Soft Sculptures’ is a visual narrative between contrasting compositions, from solid to fluid, structure to malleability. Rosati translated this abstract concept through his imagery. ‘The tactile quality of an image is at the core of everything,’ he says. ‘I always strive to convey the sensation of something alive within my photographs, and to achieve this, I try to understand what I have in front of me, analysing it from every angle.’

‘One of the most important reflections I had on how to capture these images was to try and photograph the sculptures as if they were being spontaneously shot by a member of the audience – by a visitor inside a museum.’

Within the installation there are new Côte&Ciel additions. The ‘Yalu’ is a backpack with a ‘cocoon-like’ shape; ‘Minho’ is a weekend duffle; and ‘Uva’ is a crossbody bag with a drawstring closure. These bags are available in Côte&Ciel’s ‘carbon black’ material (a double-layered nylon inspired by stratus clouds), in addition to new seasonal fabrics and colours, such as ‘cargo green’, ‘slate grey’ and ‘onyx black’.

‘I hope that those who encounter, view, or even scroll through these images can physically imagine the softness of the material. It becomes, in a way, its true home.’ says Rosati. ‘I hope I have managed to document and honour this feeling, this need to be embraced… just as each of us does when we open the door to welcome someone into our own home.’

Côte&Ciel’s A/W 2025 collection is available globally on coteetciel.com, the brand's stores worldwide, and at selected retailers.

‘Alexander McQueen was all about the waistline,’ said Irish creative director Seán McGirr following his A/W 2025 collection for McQueen, which carved out the waist in dramatic fashion. It would be a trend that ran through the season: architectural tailoring was nipped at the waist or narrowed with wide-leather belts, suggesting not constriction but a new power silhouette (as such, it was often teamed with a wide shoulder, superhero-style). At Sarah Burton’s Givenchy debut, jackets were meticulously sculpted at the waistline (‘to cut, shape and proportion. It’s what I feel, how I work, and want to do,’ she said), while Kim Jones’ swansong at Dior Men looked towards the pinched-waist Bar Jacket for inspiration.

In keeping with this mood, the belt became the accessory of the season, with iterations at Prada, Jil Sander, Saint Laurent, Brioni and Sacai worn to reshape the body – whether over gowns or blazers, or cinching the waist of an overcoat. But the statement belt has been bubbling under for some time: at Miu Miu’s S/S 2025 show, looping and stacked-up chain belts were akin to strings of jewellery, while other designers – from Hodakova to August Barron and Craig Green – have created iterations that are studded, charm-adorned, painted with florals or furry to the touch. As such, they provide the perfect flourish to an otherwise simple outfit, channelling an au courant desire to adorn ourselves and our accessories (see: the unstoppable rise of the bag charm).

Here, as selected by the Wallpaper* style team, are ten statement-making belts to add drama to any outfit.

Summer is a time for living with abandon; for freeing yourself from quotidian routines and making straight for the nearest beach. Dressing for the season should be approached with a similarly liberatory spirit: the heat of summer calls for embracing your instincts for the playful and the brightly hued, a more is more aesthetic befitting a mood of escapism, where, for a tantalising brief few months, you can reveal a whole different side of yourself (both metaphorically, and, for the brave, physically).

As seen in the Wallpaper* June Travel issue, Bulgaria-born, London-based photographer Irina Shestakova and Wallpaper* fashion and creative director Jason Hughes capture this spirit of playful abandon, proposing a pile-up of accessories that look best on the beach. From raffia totes, bag charms and candy-like strings of necklaces to barely-there swim trunks and fluoro T-shirts – as well as bikes and snorkels – this is our directive to let go this summer, and give into your desire for escape.

Explore the story below.

Splash out! This summer’s best accessories

Models: Mia and Tsion at Next, Nikita, Adam and Eden at IMG, Chanula at Milk. Casting: Nico at Ikki Casting Hair: Christos Bairabas. Make-up: Victoria Martin using Haus Labs. Manicure: Olivia Gane using Chanel Le Vernis and Chanel La Crème Main. Photography assistants: Federico Covarelli and Sam Sorabjee. Fashion assistant: Lucy Proctor Hair assistant: Malita Nagelyte. Production assistant: Archie Thomson.

A version of this article appears in the June 2025 Travel Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

The death of Jane Birkin last July prompted a reevaluation not only of her artistic legacy – the actor and singer starred in numerous cult films, from Blow-Up to La Piscine – but also of her impact on fashion, a poster girl for insouciant, thrown-on French style. There was also her namesake handbag, the Hermès Birkin, a fashion canon accessory that began life with a chance encounter between Birkin and Jean-Louis Dumas, the former chairman of Hermès, on a flight. She expounded a desire for a handbag large enough to carry all of her belongings; he, so the mythic story goes, drew the original design on the back of an aeroplane sickness bag.

Her own Birkin, beloved and much-used, would accompany her throughout her life, adorned with strings of colourful beads, silk scarves, keyrings, novelty charms, even watches (‘I don’t like to wear them, but sometimes you need the time,’ she explained). Her argument was that a bag was designed to be worn rather than preserved behind glass, the various trinkets a resolute assertion of individualism and personality in the ensuing era of the glossy it-bag. The ubiquity of the bag charm in recent months – from Balenciaga’s keyring-adorned Rodeo bag to the viral plushie ‘Labubu’ dolls – captures a similar mood, a riposte to minimalism and a statement of personality. When charms appeared on the Miu Miu runway as part of the brand’s S/S 2024 collection, they signalled a new mood of eclecticism: ‘moments of beauty, touches of history, pieces of life’.

Here, selected by the Wallpaper* style team, ten playful bag charms and keyrings to adorn your accessories, from a menagerie of animals to enormous sequins, chains and tassels.

Late last year, Lev Tanju – one half of cult British skatewear brand Palace, with co-founder Gareth Skewis – talked to Wallpaper* about his unabashed love of fashion. His vast archive of clothing, accessories and ephemera is the result of years of collecting; of indulging fleeting obsessions which often require travels around the world to find the very best of something. When we talked, he was off a flight from Japan, having purchased an extra suitcase for the spoils of the trip; other recent fixations included slippers from historic French shirtmaker Charvet, vintage Chrome Hearts, and golf-wear.

‘I think as long as I follow what I like, then I’m never really worried, because that’s the way I’ve always worked, following my intuition,’ he said of his working process. ‘If you don’t like it, fair enough – I’m not going to change. Then whatever happens, I know I’ve stayed true to the things I love.’

Palace and Cutler and Gross collaborate on sunglasses collection

It is part of the reason that Palace’s ongoing slew of collaborations – spanning everyone from Crocs to Wedgwood, Vivienne Westwood to Stella Artois – retain a feeling of authenticity, each personally chosen by Tanju and Skewis, and often the result of their current infatuations and desires. The latest is with British eyewear brand Cutler and Gross, a prolific collaborator in its own right, having previously united with Paul Smith, The Great Frog and Globe-Trotter, among others.

Arriving this Friday (9 May 2025), the collaboration comprises three styles, combining Cutler and Gross’ hand-crafted frames with Palace-designed embossed metal branding – from antiquity-inspired golden coins and a serif ‘Palace’ motif to a hand-drawn version of the brand’s Triferg logo (a reference to its designer, the legendary British illustrator Fergus Purcell). Other hardware includes a new ‘Wing’ motif, a play on Cutler and Gross’ ‘Oyster’ pin.

The three styles include the ‘Mercury’ (a square-shaped frame), the ‘Victory’ (a rounded style with flattened top), and the ‘Jupiter’, which Palace and Cutler and Gross describe as the collection’s ‘hero’. A gently curved ‘wrap’ shape – achieved by artisans using a complex six-base construction – the ‘Jupiter’ features the collection’s most dramatic flourish: the Triferg rendered in 18-carat gold.

Palace Cutler and Gross is available from 9 May 2025 at Palace stores and selected Dover Street Market locations, as well as palaceskateboards.com. A further drop will arrive at Cutler and Gross on 16 May 2025.

palaceskateboards.com
cutlerandgross.com

Japan has been a fertile source of inspiration for Studio Nicholson founder Nick Wakeman, who celebrated the 15th anniversary of the London-based label earlier this year. This is not only in her silhouettes – she favours the simplicity and reduction of Japanese minimalism – but also the idea of durability; clothes that are built to last, made to be mended, altered and worn, time and again.

‘I’m not saying our clothes will last your lifetime, everyone treats their clothes differently, but, particularly in Japan, there are men and women who've had their clothes for 50 years,’ she told Wallpaper* on the anniversary. ‘They really look after those pieces, and there's something quite beautiful in that. They feel authentic, and that's really what I'm trying to achieve, clothes that you grow with.’

Built to last: Studio Nicholson x POTR

After previously sourcing denim from Okayama, Japan, Wakeman continues her relationship with the country with a new collaboration: a series of accessories made with POTR, an offshoot of Yoshida & Co that specialises in nylon bags and accessories. Crafted from Japanese nylon in Studio Nicholson’s favoured shade of ‘darkest navy’ – a longtime signature of the label – the collection comprises three styles: a version of the ‘Bonsac’ drawstring bag, a messenger bag and a key pouch.

‘I first encountered Porter Yoshida on my first visit to Japan in 1999,' says Wakeman, referring to Yoshida & Co's flagship brand, ‘when my brother and I bought two motorcycle helmets and found these fantastic Porter helmet bags for them too from Tokyu Hands [department store],’ says Wakeman.

The fabric itself is tough and hardwearing, drawing on Japanese principles of durability. Constructed from three bonded layers of high-density nylon, each accessory is lined with 70D ripstop nylon for strength, while the outer is salt-treated to repel water (a fluorine-free alternative to the usual coatings used to protect nylon). They are completed with subtle POTR and Studio Nicholson branding, while Wakeman hopes the bags will gain a distinct ‘patina’ over time.

‘For me what stands out in our collaboration is the interesting colour of the nylon taffeta,’ she continues. ‘It is a really, really special material that is neither black, grey or navy, making it extremely versatile and the perfect accessory for any daily outfit. The “Bonsac” bag in particular creates an interesting shape and volume when worn – it changes your silhouette.’

The Studio Nicholson x POTR collection is available now from studionicholson.com as well as selected Studio Nicholson and Porter Yoshida & Co. stores worldwide.

Brunello Cucinelli has built his namesake fashion empire on Italian values: preservation of tradition and craft, the importance of local community, and – as any guest to the 12th-century hamlet of Solomeo, in Umbria, where the brand is based, can attest – gracious hospitality and good food (so much so, Mr Cucinelli’s dinners have become synonymous with vast bowls of paccheri pasta and golden drizzles of his own small-batch olive oil).

But Brunello Cucinelli is also a family business, with his two daughters – Carolina and Camilla Cucinelli – serving as vice presidents and creative co-directors, while living and working in Solomeo with their own families. ‘It is good to hear when a company reaches its sixth generation: that's what my grandfather would say, that's what my father would say. It is the value of guardianship and generation turnover,’ Mr Cucinelli wrote in a recent essay about the importance of family to his business.

The story behind Brunello Cucinelli’s ‘BC Duo’ bag

It’s why the house’s ‘BC Duo’ handbag – which arrives this March – represents something of a torch-passing moment, marking the first bag to be designed by the sisters. A softly structured tote, its design features geometric panels that loosely recall the ’BC’ of the house’s initials, and allow it to be folded inwards on each side to create a more compact silhouette. The sisters envisage it for everyday wear, particularly the largest shopper style which appeals to our own throw-it-all-in mentality (there are four sizes in total, including ‘medium’, ‘small’ and ‘mini’ iterations).

The sisters tell Wallpaper* that the inspiration came from ‘the idea of duality – two elements that come together to create something greater than the sum of their parts,’ with the bag embodying ‘tradition and innovation, simplicity and sophistication, functionality and beauty. [It’s like] the balance we strive for in life.’

As for designing as sisters, Carolina and Camilla call the conception of the bag a ‘truly special experience’. ‘We share an innate understanding of each other’s perspectives and a deep sense of trust, which allows us to challenge one another creatively,’ they say. ‘[Our] synergy allows us to create something unique – both our voices are present, but the final product is balanced.’

For S/S 2025, the ‘BC Duo’ comes in an array of fabrics, from classic calfskin and suede – long used for Brunello Cucinelli’s hand-crafted accessories – to bolder lamé and metallic finishes. Choosing a favourite is impossible, say Carolina and Camilla, though they sway towards the ‘soft, neutral’ shades of taupe and ivory – the hues with which Brunello Cucinelli has long been synonymous. Like father, like daughters.

The ‘BC Duo’ series is available from Brunello Cucinelli’s website and stores worldwide.

brunellocucinelli.com

Last month, Canadian travel and lifestyle brand Monos became the first North American luggage company to earn a B Corporation certification. Founded in 2018 by Victor Tam, Hubert Chan, and Daniel Shin, Monos has carved out a niche in the crowded luggage market with its commitment to sustainability and cruelty-free practices.

Adrien Brody fronts Monos campaign

Embodying its design principle of ‘less but better,’ Monos now unveils its first-ever aluminium travel collection, fronted by two-time Academy Award winner Adrien Brody, who recently won Best Actor for Brady Corbet’s third feature film The Brutalist. Captured through the lens of Mexico City-based filmmaker and photographer Alexis Gomez, the campaign follows Brody through the Moroccan landscape, as he engages with Tangier’s sounds, historic sites, and local culture.

‘Growing up in New York – a city full of diversity and unexpected encounters – ignited a thirst for adventure. I often find myself on location in different places while working on films, which is exciting; I love to explore, to travel, to get lost and find my way,’ Brody shared while on set in Morocco. ‘Travelling reminds me that borders are irrelevant, no matter how different cultures or people may seem, we’re all just people living our unique stories.’

Characterised by its sleek, durable design, the aluminium travel collection – of an infinitely recyclable quality – includes carry-on plus, medium, and large sizes, along with a trunk option. Available in Caviar Black, Champagne Gold, and Aspen Silver, each piece is reinforced with riveted aluminium corner guards and features a brushed finish that evolves over time, developing a unique patina.

The line-up also features TSA-approved combination latch locks, telescopic trolley handles with a soft-release mechanism, and ergonomic bottom grab handles. Silent 360-degree spinning wheels and quilted taffeta interiors, embossed with a subtle dot pattern in solid black, round off the sleek silhouettes.

monos.uk

In partnership with Montblanc

Marco Tomasetta, Montblanc’s artistic director, is the creative force behind the German maison’s leather goods evolution. Taking inspiration from the Montblanc archive, three future-facing collections are infused with the brand’s design heritage, while feeling utterly contemporary. The latest Meisterstück, Sartorial, and Extreme 3.0 collections span meticulously crafted leather bags, briefcases, sling bags, pouches, and more, incorporating new shapes and functionality, luxurious new leathers, and an enhanced emblem and detailing.

Meisterstück collection

The Meisterstück collection takes inspiration from Montblanc’s iconic eponymous writing instrument. ‘By mirroring some of the Meisterstück’s distinguishing features – the nib, the colour and shine of the pen’s precious resin and their smooth, sensual touch – we have created pieces that truly stand out,’ explains Tomasetta. ‘Not simply because of their elevated design, but because they clearly showcase Montblanc’s DNA.’  

In the collection’s latest iteration, Tomasetta and his team have utilised a new leather that achieves a softer touch and a deeper tone of black, with a distinctive brilliant finish. To preserve the elegance of the bags’ lines without compromising on functionality, organisation and storage compartments are all tucked away discreetly inside. Many of the design details, including the nib-shaped zip-pulls in vintage palladium, have been created by Montblanc’s team of in-house designers, the elaborate construction of bags and small accessories showcasing the house’s contemporary craftsmanship. 

The shape of the Montblanc fountain pen nib has been applied to the leather detailing itself, and around the handle and strap fittings attached to the bags. Meanwhile, the Montblanc emblem is revisited, with significantly larger interpretations featuring on bags. 

Shop the Meisterstück collection.

Sartorial collection

The redesigned Montblanc Sartorial collection, the maison’s signature business offering, features bags and accessories in new colours and softer leathers with deep two-tone effects. The introduction of a modular system allows small pieces to be attached to larger bags, improving functionality, and creating new styling options and customisation possibilities.  

The design codes for the Sartorial collection nod to the beauty and experience of handwriting. Ink bottles from the Montblanc archive have inspired the triangular design of the handles, while the construction of the sides of the bags evokes the opening of an envelope with two overlapping pieces of leather. 

‘While this collection has a timeless and classic quality with modern shapes that can be used every day, there is no reason why the pieces shouldn’t be fun and creative,’ says Tomasetta. ‘That’s where the idea for the modular feature came from – a way to express individual style while finding new functionality for each piece. We’ve given personality and life to a more modern all-black bag, so that it can be changed every season or to create a different look.’

Shop the Sartorial collection.

Extreme 3.0 collection

The Montblanc Extreme collection was conceived to withstand the demands of everyday travel by pushing the boundaries of technical innovation. New heights of durability and performance are achieved by balancing functionality with sleek and contemporary style.

‘Synonymous with life on the move and everyday adventures, Montblanc Extreme has become one of [the maison’s] signature leather collections with its dynamic, sporty design and original leather treatment,’ says Tomasetta. ‘It was time to reimagine the collection’s distinctive pattern by diving into the maison’s exceptional archive. The result is a bold, modern design that nods to  Montblanc’s tradition of disruptive designs, and connects to the lifestyles of a new generation of customers.’  

The pieces are available in signature Montblanc Black and an eye-catching British Green, paired with metal fittings in black. The Montblanc emblem has been enlarged for the collection in two different sizes – for bags and accessories. Meanwhile, three bags and a belt feature an original closure inspired by the climbing world, with a bold, black finish; the ‘M Lock 4810’ closure’s special mechanism is designed for a secure close, but an equally easy opening function.  

Across the Montblanc Extreme 3.0 collection, bags of different shapes, sizes and functions are designed to fit a work-and-play lifestyle. 

Shop the Extreme 3.0 collection.

montblanc.com

Film produced by Wallpaper* Bespoke. Directed by Matthew Donaldson. Set design by Thomas Conant and Kei Yoshino.

On the upper floor of Hermès’ Rue du Faubourg Saint-Honoré headquarters in Paris is the Emile Hermès Collection (informally, ‘the museum’), named for its founder, a scion of the prestigious family who once used the rooms as his personal offices. Behind lock and key – open only for rare visits by the house’s employees and occasional esteemed visitors – it comprises the extensive collection of objects both collected and created by the Hermès family, from rare equestrian equipment and ephemera (the house began in 1837 as a harness-maker for horse-drawn carriages) to various artworks, furniture and curios discovered on travels around the world.

Earlier this year, its doors were opened for the 11 young accessories designers (nine working solo, two as a pair) nominated for this year’s Fashion Accessories Prize at the Hyères International Festival of Fashion, Photography and Accessories, which took place 13 – 16 October 2022. Now in its 37th edition, the unique celebration of emerging creative talent centres around the small town of Hyères on France’s south-eastern coastline; more specifically, the modernist Villa Noailles, which has hosted the international avant-garde since the 1920s (built by patrons of art Charles and Marie-Laure de Noailles, Salvador Dalí, Jean Cocteau, Luis Buñuel and Man Ray have all passed through its doors, the last filming Les Mystères du Château de Dé in its grounds).

Alongside the Grand Prix for Accessories – which this year saw designers span disciplines including handbags, leather goods, jewellery and shoes – the coinciding Hermès Fashion Accessories Prize asks the same nominees to create a singular accessory, combining the might of the Hermès workshop and craftspeople with the ‘boldness and innovation’ of a new generation of creatives. This year, the accessory chosen was a belt, one of the house’s most recognisable exports; the two years prior centred on a leather-based piece of jewellery (2020) and a pair of gloves (2021). The winner is awarded a grant of €20,000, and the house notes that it hopes to forge an ongoing link with the creator (a version of the bangle that won in 2020, for example, is currently being ‘edited’ to appear in an upcoming collection). 

The project begins with an invitation to the Hermès museum to glean inspiration from the unique archive of objects, which are also used by the house’s various métiers to find reference points for their own collections and products. This year, by coincidence, the designers’ visit coincided with that of Clémande Burgevin Blachman, who was installed as Hermès’ creative director of Fashion Accessories in February of this year. ‘It was my first visit to the museum, too – we were there for different reasons, but in the same spirit,’ she says.

The French designer, who was born to antique dealer parents in Paris, has previously consulted for various houses – Chanel and Berluti among them – as well as served as the creative director for advertising agency BETC Paris, where she led a rebranding of Paris’ Museum of Decorative Arts. Meeting Belgian designer Raf Simons proved formative; when Simons was made chief creative officer of Calvin Klein in New York she joined him, overseeing the American brand’s home division, visual merchandising and artistic collaborations (including that with the estate of Andy Warhol). More recently, she worked with fellow Calvin Klein alumnus Pieter Mulier as the designer’s right hand at Alaïa. 

Burgevin Blachman notes that her own ‘initiation’ into Hermès – much the same as the designers undertook – illuminated the unique relationship between designer and craftsperson. ‘You realise that it’s an exchange – the freedom of creation goes with the hand of the craftsman. These designers were lucky enough to get those tools: the visit to the museum, the opportunity to work with the craftspeople.’ As such, she sees the Hermès Fashion Accessories Prize as defined by a feeling of ‘generosity’ and ‘exchange’, the latter figured in the new energy that the shortlisted nominees bring to both the Hermès design team, and the artisans themselves, many of which have been working at the house for decades (‘the designers have total freedom,’ she says). From February until the festival, the designers undertake regular visits to the workshops in Pantin, France, evolving their creations with the help of Burgevin Blachman and the members of the various métiers. 

‘The crafters love [the project] very much, because it pushes them, beyond what they would ever imagine,’ she says. ‘It’s almost a challenge to them. They love the freedom of these young people because they come and say, “OK, I want this”, and sometimes [the craftspeople] say, “No, but you can have this”. And then it’s an exchange again; the young designer can actually translate their ideas. It’s really a dialogue.’

Several of the participants had not worked with leather before, though the array of final designs – ‘every one was completely unique,’ says Burgevin Blachman – show a mastery of the medium, with oftentimes unexpected takes on Hermès’ heritage (one came complete with room for AirPods, another featured a hanging metal charm in the shape of a horse’s head, others riffed on Hermès’ signature emblems and closures). Burgevin Blachman notes that often there was a strong narrative drive behind the design: ‘They went really deep into social and historical events,’ she says. ‘They really wanted them to tell a strong story.’

The winning design, announced on Sunday at the close of the festival, was created by France-based duo Lola Mossino and Indra Eudaric whose main competition entry centred on jewellery-like body adornments, like a minimal gold bustier decorated with two suggestively hanging pearls. Their entry for the Hermès prize marked the first time working with leather, though they embraced the challenge, citing a desire to channel the ‘unique history and know-how’ of Hermès. The saddle-inspired design – with a signature Hermès ‘H’ clasp – saw Mossino and Eudaric work across the house’s belt and saddlery divisions, while also using techniques drawn from upholstery. They say the final design, titled ‘La Cavalière’ (‘The Rider’), marries ‘an equestrian spirit with femininity and exceptional materials’. 

The belt, Burgevin Blachman says, proved a particular challenge in its simplicity: ‘They had to think about the way you really build things – we don’t always think about how a belt has a function. The sizing, the way you adjust it, all of that. I don’t think [at the beginning] they realised how technical it was. But there was a learning process, which for me is an incredible gift. They really get to see the way Hermès is doing things. They also learn how to listen, how to behave. I think that was one of the most incredible things to witness. 

‘The heritage [of Hermès] can be heavy,’ she adds. ‘But none of the designers were smashed by it. They are pure, in a way – they’re totally free.’

hermes.com

‘An uncanny summer escape’ was how Prada described its S/S 2022 menswear film, seeing models emerge from a serpentine red-walled tunnel directly onto the idyllic beaches and rocky coves of Capo Carbonara, a peninsula at the south-eastern tip of Sardinia, Italy. The clothing – poplin rompers rolled up to the thighs; jacquard vests, akin to 1920s swimming singlets; micro shorts; cocooning hoodies, the texture and colour of beach towels – captured the ephemeral joy of a summer holiday, cited by co-creative directors Miuccia Prada and Raf Simons as an inspiration for the season. ‘[It’s about] a sense of the utopian, the ideal of hope, positivity. To expose yourself to nature, to go to the beach, it’s freedom,’ said the former. ‘That is really a primary need – an intellectual need, too.’

An array of accessories complemented the collection – striped terry-cloth slides, an octopus earring, colourful triangular shoulder bags – though it was the reimagined bucket hat that drew the eye. Forsaking the necessity for more unwieldy beach bags, its almond shape provides room for the essentials: two slits on each side to hold the arms of your sunglasses and a single triangle-shaped zip pocket on the back with just enough room for keys, coins, or earbuds, keeping your valuables close even as you head down into the water (features which prove equally efficient for a hands-free commute). As such, its form-meets-function design recalls the beginnings of Miuccia Prada’s tenure at the label, and her 1984 ‘Vela’ backpack, the first in lightweight nylon – a distinctly utilitarian approach to luxury; a classic design, reinvented.

INFORMATION

A version of this article appears in the July 2022 issue of Wallpaper*. Subscribe today!

prada.com

Founded in 1917 in Offenbach, Germany, Deutsches Ledermuseum – the German Leather Museum – has since collected close to 30,000 artefacts, tracing the history of leathercraft for over six millennia (the oldest is an Egyptian receptacle dating from the fourth millennium BC). Starting this month, though, a new exhibition explores an altogether more contemporary take on the ubiquitous material, celebrating the work of young German accessories label Tsatsas on its tenth anniversary.

Titled ‘Tsatsas. Past, Present, Future’, the exhibition promises a ‘retrospective view of the past which merges fluidly into the now’, collating pieces that define Esther and Dimitrios Tsatsas’ progressive approach to design (the husband-and-wife duo have also curated the exhibition). Having founded their label in 2012, the past decade has seen the designers hone a vision at once unconventional and timeless, informed by near-architectural precision. Indeed, Tsatsas has collaborated with David Chipperfield Architects on a travel suitcase (reportedly the only one Chipperfield himself uses to travel) and industrial designer Dieter Rams on the brand’s ‘931’ handbag, which won a Wallpaper* Design Award for Best Belated Bag. The designers themselves call Tsatsas ‘the perfect balance between functions, aesthetics and execution’.

Inside ‘Tsatsas. Past, Present, Future’ at Deutsches Ledermuseum

The exhibition takes a personal approach, tracing the foundations of Tsatsas through ephemera that tells the story of the brand, from leather-making tools, in-process samples and handbags deconstructed to their composite parts, to behind-the-scenes photographs and personal mementoes (one handwritten Post-It note in the exhibition reads ‘context over dogma’). ‘Handcrafted’, ‘Question Everything’ and ‘Down to the Smallest Detail’ are the names of some of the various organising sections, the latter exploring Tsatsas’ engagement with sustainability, a principle deep-rooted within its philosophy. Here, this is celebrated in a demonstration of the brand’s various recycled materials – from brass hardware to cardboard packaging – as well as highlighting the high-quality natural resources which make up each of its accessories, designed to last for decades to come (visitors are encouraged to reach out and touch a hide of Scandinavian calfskin). 

At the centre of the exhibition is a kinetic installation titled ‘Objects in the Mirror are Closer Than They Appear’, a clear glass box in which various Tsatsas accessories circulate around a looping track. Designed to highlight the designers’ open-ended approach – they insist the exhibition has no beginning nor end – the various objects, created between 2012 and 2022, are not arranged chronologically, nor with any particular hierarchy. ‘Staged purely intuitively, the 32 different objects melt through their monochromatic presentation into a symbol of the Tsatsas’ visual conciseness,’ the exhibition’s notes describe. 

Elsewhere, visitors can view a film created for the exhibition that provides a look inside the local family-owned leather workshop where Tsatsas produces some of its accessories – in operation for over 40 years – while another section titled ‘1 + 1 = 3’ explores some of its many collaborations, including the aforementioned projects with Chipperfield and Rams, as well as Munich-based jewellery designer Saskia Diez (these collaborations allow the designers to ‘think outside the box and leave their own comfort zone’, as the notes describe). An accompanying book, published with bilingual German and English text, features essays by Chipperfield and Rams, alongside text by Wallpaper* China editor Yoko Choy, design theorist Markus Frenzl, and Esther and Dimitrios Tsatsas themselves – a collaborative tome that encapsulates Tsatsas’ multidisciplinary approach.

INFORMATION
‘Tsatsas. Past, Present, Future’ runs at Deutsches Ledermuseum, Offenbach, Germany until 30 October 2022.

tsatsas.com
ledermuseum.de

In partnership with Akris

Selbstverständlichkeit. That’s what drives Akris creative director Albert Kriemler. Natural style and fluid elegance. Sophisticated, functional accessories and refined, ready-to-wear apparel for women with purpose.

Established in St Gallen 100 years ago, the family-owned luxury fashion and accessories house is renowned for its rarefied, innovative fabrics and Swiss craftsmanship. Among others, Albert Kriemler’s designs are inspired by the textured façades on buildings by Swiss architects Herzog & de Meuron, as well as influential artists such as Carmen Herrera, Geta Brătescu, Rodney Graham and Thomas Ruff. The most interesting pieces – the designer believes – can transcend into art forms themselves.

Since 2009, Albert Kriemler has applied his discerning, artistic eye to the Akris brand’s signature bags. Akris’ approach to accessories remains characteristically simple: functionality is beautiful, fabric comes first, shapes require meaning, materials should be unique. All techniques, aesthetics and values applied with versatility and refinement 

The ‘Anouk Messenger’, is the newest addition to the Akris ‘Anouk’ family, which also includes envelopes, day bags and clutches. Created with an elongated shape that can be worn as a modern and adaptable crossbody, the bag’s signature, trapezoid turn-lock – also seen on Akris’ ‘Ai’ shoulder bag designs – completes a contemporary, yet timeless form. 

Available in amber, caramel, taupe, pale rose, peacock, white and black, the ‘Anouk Messenger’ is made of the finest cervo-structured nappa leather and comes in two sizes, little and medium, providing a natural companion for every occasion.

INFORMATION

akris.com

Hedi Slimane’s tenure at Celine has been defined by contrast, melding the insouciant spirit of youth with breathtaking feats of luxury and craft. A new collection cements his commitment to Parisian savoir-faire, celebrating the art of maroquinerie – leather-making – with Celine Haute Maroquinerie, a series of artisan-made leather goods which centre around versions of the house’s two signature handbags, the 16 and the Triomphe. 

Leather is embedded in the history of Celine; founder Céline Vipiana began the eponymous house by creating made-to-measure ‘haute couture’ footwear for children, before expanding to women’s shoes, then accessories, and finally, clothing. Here, Slimane looks towards these haute couture roots – following his reintroduction of Celine Couture and Haute Parfumerie to the house – with pieces in the Haute Maroquinerie collection cut from a single leather hide, the process beginning only once a client has placed their order (in keeping with this singular approach, a sole artisan will work on each). 

‘This offering reaffirms artisanal excellence while establishing a rapport with an object that is at once cultural, personal and rare,’ say the house. Closures, clasps and hardware come in 18-karat gold, occasionally accented with diamonds, and the final product is delivered to the client in a custom-made panelled eucalyptus box. 

The 16 and Triomphe handbags, the first arrivals from the collection, are deeply embedded in Slimane’s vision for Celine. The former marked his debut handbag for the house and is named for the couture atelier at 16 Rue Vivienne, drawing inspiration from classic Celine bags from the 1960s; the latter is another early introduction, a slim, flap-top handbag decorated with a recognisable closure adapted from the house’s archives (its design reimagines the ‘heraldic’ chain motif circling Paris’ La Place de l'Étoile). 

Each of these Haute Maroquinerie handbags is an extraordinary demonstration of craft, taking hours of intricate workmanship to perfect (the 16 takes 17 hours to complete, the Triomphe 12 hours). As such, they are finished with a mark of true authenticity and prestige: the Celine Haute Maroquinerie signature.

INFORMATION
celine.com

You would think launching a handbag line in the year when we could go nowhere would be a hard sell. But new brand Savette, masterminded by Amy Zurek – previously of The Row, and the designer behind Khaite’s signature luggage collection – is proving to be quite literally a sell-out success story. 

Working in the bag industry for many years, New York-based Zurek believed there was still something missing: luxury, sophistication and a high level of craftsmanship, but at a realistic price point (which, for Savette, is pitched between big household-name luxury brands and premium contemporary).

The designer’s own idea of luxury was informed by her mother, who toted classic traditional bags from Hermès, Gucci, and Goyard. These days, leafing through specialist leather periodicals from the 1970s in the library of the Fashion Institute of Technology in New York further fuels her appetite for timeless, considered pieces – heirlooms in the making that Zurek hopes mothers will pass along to their daughters. 

For Savette, Zurek (who studied fine art and art history at the University of Pennsylvania, and then gained a degree in fashion design from Parsons School of Design) distilled her references into three styles: the ‘Tondo 22’ (an elevated everyday bag that takes its name from the Italian Renaissance term for a circular work of art); the ‘Symmetry Pochette’ (younger, refined, more ladylike); and the ‘Symmetry 19’ (a neat, boxy petite 24-hour bag). 

Each bag is made in Santa Croce, Florence, where small-scale master leather smiths share generations of experience between tanneries. The custom signature hardware – inspired by Zurek’s grandmother’s modernist jewellery collection, which included George Jensen and Elsa Peretti silver) – is also made in Italy. ‘When you’re making something that doesn’t exist, you really have to problem-solve,' says Zurek, who sat with the artisans for hours to perfect the magnetic metal closure. 

Elegant design aside, Zurek rigorously wear-tests each sample before it goes into production. ‘I’m construction orientated. One of the hardest things about bags is that they are hard to imagine in space, so I make mock-ups to understand how a bag will feel, how the scale will be,’ says the self-labelled ‘left-brain’ designer. The factory then sends her a sample to review – the equivalent of a muslin toile: a bag but not in real leather. Zurek’s knack for good-looking practicality is behind the multifunctional straps that mean the bags can be worn several ways: cross-body, carried as a top handler, or tucked under the arm. 

The core colours and leathers in Collection 1 – soft yet enduring black, chestnut and ivory calf leather – are being expanded to include bone- and mink-coloured calfskin and suede for the next iteration, Collection 1.1, to launch in August. Then follows red wine calf and dark navy textured goat leather for Collection 1.2, in November. 

With the project in the making since 2019, the pandemic allowed Zurek to quietly pause prior to launch and really ruminate on what women desire today. ‘Purchasing has become quieter, more intentional,’ she says. ‘We don’t want to give up the idea of having beautiful possessions.' 

INFORMATION

savette.com

If the increasingly warmer weather has got you setting your sights on some new summer accessories, then look no further. Palm Angels' delectably-hued, logo-splashed sunglasses will tick all your boxes for stand out rising-temperature style.

Founded by ex-Moncler creative director Francesco Ragazzi in 2015, Palm Angels began its life as a Rizzoli-published coffee-table book, featuring images of the Californian skate scene, which Ragazzi documented on trips to Venice Beach. The brand's debut sunglasses collection will steal the limelight in any photograph: think 90s-era streetwear-inflected rectangular frames which are available in a range of tones, from lilac to tortoiseshell, khaki to magenta.

The unisex styles – imagined in two different geometric frames – won't just appeal to Noughties obsessives or those with a penchant for skate park style – they'll also appeal to those that lust after well-designed logos. The sunglasses are splashed with metallic Palm Angels typography, imagined in the brand's ornamental gothic script. This logo is idiosyncratic of the label. It also swathes sweatshirts, tees and baseball caps and is etched into the sole of the brand's Palm One trainers, an elemental tennis style sneaker, with a range of colourful upper accents, which launched earlier in 2021.

If Palm Angels began its life luxuriating in printed matter, then its S/S 2021 collection is something of a homecoming. Renowned photographer David Sims shot the images which accompany the brand's sunglasses release, as part of a limited-edition zine celebrating its spring collection as a whole, which also featured contributions from Rosie Marks, Lea Colombo, Enzo Ragazzini, Friedrich Kunath, Javier Jaén, Javier Calleja and Thrush Holmes. 

So whether you veer towards a tortoiseshell tone, a pastel hue or a hot on the heels of accessories with an eye-catching logo, we suggest you invest in Palm Angels' standout summer accessory. Think of these sunglasses as pieces worthy of your own personal photo album.

INFORMATION

palmangels.com

Life has been a little devoid of brightness of late, which is why, for summer, we’re setting our sights on colourful sunglasses in a seductive spectrum of shades. We suggest investing in some transparent frames in vivid jewel tones that will gleam in the heatwave sun like a precious stone – think Bottega Veneta’s retro futuristic lilac cat-eye frames, Sportmax's athletics-inspired styles in emerald green, and Gucci’s oversized 1970s opticals in cerulean, among others.

The most outré new opticals tap into S/S 2021's wider penchant for punchy bright tones, which popped up on the catwalk at brands including Akris, Versace, Dolce & Gabbana, Christopher John Rogers and Roksanda. There's a high-energy optimism behind these hues and tones, which work to bring positivity to a year dominated by the dark shades of the Covid-19 pandemic. ‘Colour is everything to me, this season more than ever before,’ Akris' Albert Kriemler told Wallpaper* back in September 2020, in relation to his collaboration with Imi Knoebel, the German abstract artist renowned for his skill as a colourist.

Colourful sunglasses: life just got a little brighter (and hotter)!

If you're keen to reflect an entire prism of cheer-giving colours, a clear sunglasses silhouette is most striking. Lindberg, Louis Vuitton and Prada are all offering eye-catching options in geometric, graphic and wraparound styles. Prada, for example, has flirted with the utilitarian aviator shape, and is contrasting transparent acetate against kohl black hardware.

When it comes to the Covid-19 pandemic, the clouds have not yet fully parted, but it's safe to say that sunlight is breaking through. When sporting one of these sunglasses styles, from Celine's geometric magenta shades to Fendi's ‘FF’ monogrammed lenses, life might seem to have got a little brighter.

INFORMATION

This article appears in the June 2021 issue of Wallpaper*, on newsstands now and available as a free PDF download.

The Fendi Baguette bag, first introduced by Silvia Venturini Fendi in 1997, is a signature accessory of the Roman house. The timeless handbag style, with its idiosyncratic ‘FF' logo clasp, was designed to sit snugly under the shoulder, just the way the French carry their freshly baked bread, and has had numerous style iterations over the years. Fendi marked the bag’s 15th anniversary with an exhibition of embellished and embroidered Baguette designs, at storied Parisian concept store Colette. In 2019, the brand even launched a scented version of the style, infused with its ‘FendiFrenesia’ fragrance.

Now, the Fendi Baguette bag has been given its most artisanal update. In celebration of Italian craftspeople, working to uphold time-honed techniques, the brand has launched a series of limited-edition styles designed by Silvia Venturini Fendi in collaboration with artisans based in 20 regions across the country. Intricately formed, kaleidoscopic and tactile designs have been crafted by contributors including a family-run workshop of marquetry experts in Campania; embroiderers who operate from a castle in Piedmont; filigree specialists in Liguria; and mosaic makers trained from teenagehood in Emilia-Romagna. The iterations elevate the accessories into objet d’art.

Discover the Fendi Baguette bag in filigree

Each style from the collaboration – called the ‘Hand in Hand’ project – is available in a limited-edition of 20, and the inside pocket of every Baguette bag is stamped with the name and location of the artisanal atelier that crafted it, along with a gold ‘Fendi Hand in Hand’ logo. The bags symbolise time-honed craftsmanship, something Fendi strives to support and celebrate.

Explains one collaborator, who established a filigree workshop in Liguria in the 1980s, continuing a craft that originated in the Middle Ages, ‘Like many other handicrafts that should be preserved, it is increasingly important to be able to carry on the tradition.' 

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fendi.com

There's something sublimely simple about the design of Advene's Age bag – a folding triangle silhouette that nestles naturally under the shoulder, features only essential embellishments and an easy magnetic closure. Often elementary design is, in fact, the most multifaceted. It took a year for the New York brand's co-creators Zi Xuan and Yijia Wang to develop the style, one which is the result of six different prototype iterations and the consequence of multiple conversations with fabric tanneries, textile labs and hemp farms. The style has conscious design stitched into every seam.

Xuan – a fashion industry veteran who worked at Marc Jacobs and Coach, and Wang – whose marketing background focused on consumer behaviour, united over a interest in design that benefits its customers long term. ‘Industrial manufacturing divorces the end product from its original design context, resulting in goods that bear no trace of the materials, people, and passion behind their creation,' says Xuan. Wang also noted in gap between the din of brand marketing, which wasn't contextualised against innovative product development. After discovering there wasn't a bag in the marketplace that united their dual aesthetic and environmental requirements, Xuan and Wang set about developing the Age.

The Advene age bag: conscious design stitched into every seam

‘We started digging deeper into the market and quickly learned that consumers need to choose between price, style, and sustainability. We think they deserve better,' say Xuan and Wang. Advene's Age – which is available in a black or white colourway – is made using a durable yet buttery leather which is 100% traceable and a byproduct of the food industry. From the leather's raw hide to its finished form, the highest levels of ethical and environmental standards are maintained. Fabrics are produced in a scope-C gold-standard tannery certified by the Leather Working Group, of which there are only 13 worldwide. Additionally, the Age lacks plastic filling, which is commonly used to structure the silhouette of bags. Instead, design engineering ensures its maintains its architectural shape.

‘We are able to not only track and monitor the social, environmental, and human impact of each bag, but also challenge the traditional ways of material sourcing, construction, and development to reimagine how modern handbags can be,' Wang of Advene's production approach.

There's also elemental beauty in the design of the brand's packaging, which includes a ribbon-detail box formed from humble greyboard, that is usually used as an construction underlayer. ‘We thought, It has such a wonderful raw yet refined texture on its own, why cover it up?' say Xuan and Wang. ‘Thanks to our packaging engineer’s patience and knowledge, we collaboratively created this FSC-certified greyboard box that is elegant and versatile enough to be kept and repurposed.' In their research process, the duo were also shocked by the low quality of dust bags, creating a pared-back ‘wrap' version from OCS- and GOTS- certified deadstock hemp, ‘that can be reused as bandanas or table cloths.' You can read more about environmentally-friendly fabrics in our comprehensive guide to sustainable fashion.

‘We want our debut style to stand the test of wear, weather, and time,' add Xuan and Wang. Think of it as a style that will carry you through life. 

INFORMATION

advenedesign.com

Comfort-lovers confined to their homes around the world last year sought solace in the mouldable footbed of Birkenstock’s ergonomic sandals, making its double-strap ‘Arizona’ styles some of the most shopped items of 2020. Now the brand, beloved of both high fashion ‘ugly’ shoe fans and health-food devotees, has added more options for the lover of the open-toed – a reissued version of its woven leather 1990s ‘Tallahassee’ style, and a series of daring new designs.

The ‘Tallahassee’ sandal was chosen as part of an education project with Central Saint Martins’ BA Fashion History & Theory and MA Fashion courses, focused on research and design, which also saw four master’s students create brand-new Birkenstock designs. As part of the project, students visited the brand’s archives in Germany, Japan and the US for inspiration. ‘We laid out endless samples and catalogues,’ says Central Saint Martins MA Fashion course director Fabio Piras. For a candidate for reissue, he adds, ‘we were looking to find a historical style that had a sense of contemporaneity.’ The students came up with the reissued sandal’s fresh colour options.

A core aim of the course was to situate Birkenstock in the global fashion conversation. Its 1774 collection, which sees classic styles reimagined by luxury brands such as Rick Owens, Valentino and Proenza Schouler, has cemented its high-fashion status. ‘We were keen to educate the brand around this discourse that surrounds it,’ says BA Fashion History & Theory course director Alistair O’Neill of the impetus behind the archive trip, which also saw students create a database of Birkenstock’s global fashion editorials. 

For the reissue and design projects, emphasis on Birkenstock’s famed footbed was paramount. ‘The brand was able to democratically implement the concept of a welded sole into an orthopaedic shoe,’ says O’Neill. ‘It’s a marvel of the 20th century.’ The project also sees the launch of four original silhouettes, created by MA students Alex Wolfe, Saskia Lenaerts, Alecsander Rothschild and Ding Yun Zhang, which in their padded, armour-like and ankle-strap focused details are forward-thinking.

The brand’s collaboration with a fashion school is something of an innovation, too. Says Birkenstock CEO Oliver Reichert, ‘Investing in education will always be investing in the future. It’s the talents of the Central Saint Martins’ courses that have led the way.’

INFORMATION

birkenstock.com

Ruark Amplis

Ruark has deepened its collaboration with Linley, following the earlier bespoke version of the Tempo Radio. The Ruark x LINLEY Amplis Audio System takes melodic marquetry to another level, with an inlaid case that is hand-crafted at LINLEY’s workshop using a number of matched veneers. Evoking the radiant Deco-style forms often found on early wireless cabinets, there are three different colourways available. The veneers include Sycamore, Pama, Bolivar and Anegre, meticulously matched and combined to create a device that looks as good as it sounds.

Ruark Audio R1

The latest version of Ruark’s R1 is the fourth iteration of this modern classic. Combining DAB and Bluetooth, the compact R1 is now upgraded to a USB-C charger with the addition of Light Cream and Espresso finishes. The signature slatted wooden grille is neatly hand-crafted to create a discrete but elegant device fit for any shelf or surface.

Joy Resolve Wireless Charger

We’re big fans of Joy Resolve’s Barisieur, a coffee-brewing alarm clock. Their latest product is more low-key and less eye-opening but still beautifully functional. Deploying the Qi Wireless Charging standard – as used by Apple’s new iPhone 12 and many Android phones – into a simple walnut-clad coaster, it can also be plugged into the charge port of your coffee machine for effective desk consolidation.

Tivoli Audio Limited Edition Model One

Another radio with admirable longevity, Tivoli Audio’s Model One is celebrating its 20th anniversary in 2020. The American firm’s rectangular dial-driven device is honoured with a walnut wood special edition with inlaid mother-of-pearl, eschewing DAB in favour of a straightforward AM/FM set-up (with added Bluetooth connectivity if you can’t live without podcasts).

Grovemade

Finally, a wood object designed for the digital era but decidedly low-tech in its appeal. All-American company Grovemade offer a wide range of desk accessories, using natural materials like laminated and moulded walnut and maple plywood, vegetable tanned leather and natural cork. Its latest offering is an iPad stand; wood, steel and Merino wool come together to make a simple design statement for this desktop essential.

The most envy-inducing geometric bags look good from all angles. We favour exacting aesthetics, as demonstrated in our guide to classic handbag brands, so for the upcoming season think pared-back shapes, clean lines and concise curves. Here we present the brands for mastering mathematical precision

S.Joon

Although UK-based S Joon founder Sahar Asvandi never intentionally aimed for unusual shapes, this is more often than not where she ends up. The bag brand’s playful references to everyday objects have resulted in styles that aren’t merely unconventional but innovative. ‘The Tulip came to life because I had been gifted flowers for my engagement and they happened to be on my kitchen table as I was sketching’, she says. ‘I take inspiration from so many things — the arts, sculpture, architecture, people... My designs are often born from moments of playing around with forms or from real-life experiences.’ Our personal favourite is pared-back Shopper, a reductionist blend of circular and rectangular forms, which will elevate any morning run for milk and the weekend papers. Writer: Josefin Forsberg

https://sjo.online

Little Liffner

There's an undulating ease behind Little Liffner's minimalist creations. The Scandinavian label, founded by former fashion PR Paulina Liffner von Sydow in 2012, suscribes to a sleek logo-subverting aesthetic that nods to architectural forms. Its sizeable ‘Open Tulip' tote bag draws on flowing organic shapes and fits into the curvature of the arm. Also look out for irregular cross-body bags, inspired by the shapes of pebbles and clutches bags which clasp with metal hardware, inspired by the structure of an oyster shell. Little Lifner's pieces are crafted in a small family-fun factory in the Florence region of Italy.

littleliffner.com

Neous

There's a sculptural sensibility inherent to the accessories label Neous, which has an equal affinity towards linear forms and curves. The Italy-made brand's sophomore bags collection celebrates elliptical forms and the power of circular space, and also references Barbara Hepworth's monolithic bronze sculpture Squares with Two Circles (1963). After months of barely using a bag, we're angling towards the brand's oversized Saturn Tote, a style formed from two pieces of two-tone or monochromatic leather that has XL credentials. There's a craft-centric, luxurious finish to the bag's knotted top handle, which can be slung over the shoulder for ease.

neous.co.uk

Studio Nicholson

After launching a shoulder bag in 2017 in collaboration with Ally Capellino, versatile British brand Studio Nicholson has released its own range of bags and small leather goods. ‘Nobody wants to have to change their bag throughout the day, and so our bags have been designed with clean lines, practical dimensions and luxurious branded hardware to allow just that,’ says the label’s founder Nick Wakeman. The collection features a duffle bag and a roomy two-handled tote, available in organically toned weatherproof Italian cotton and smooth leather. The tote nods to the pared-back nature of Japanese design, a long-standing influence for Wakeman. ‘I am a minimalist at heart and a lot of my designs are inspired by post-modern Japanese architecture,' she says. ‘My favourite architect is Tadao Ando.'

studionicholson.com

Chylak

Founder Zofia Chylak cut her teeth at Proenza Schouler before launching her Poland-based eponymous bag label in 2014. There’s a mathematical mindset behind her aesthetic, and Chylak’s collections are ordered chronologically according to number. Think classic, pared-back shapes with a vintage appeal, from the curving croissant shaped ’Saddle’ bag, to handbags with screen siren-worthy metal clasps. Each piece is stamped in gold with its serial number, and for those keen to buckle into the brand, it has also launched a range of crocodile-pattern belts, inspired by vintage styles from the 1970s and 1980s.

chylak.com

Venczel

Unusual angularity defines the Copenhagen-based accessories brand, which creates sculptural asymmetric bag shapes, accented with bold metal hardware and jangling chain straps. There’s a rebellion to the rigid and boldly hued styles, imagined in vivid neon green and buttery caramel, crafted from vegetal tanned leather, and bought into sharp focus when paired with feisty workwear. Founder Matilda Venczel also has a sustainability-focused outlook. She works with leather that is a byproduct from the meat industry.

venczel.co

Aesther Ekme

There’s a strict sensibility behind the bag designs of Copenhagen and Paris-based brand Aesther Ekme, founded by Brazil-born Stephane Park in 2016. The label aligns with the concept of ‘functional beauty’ and supple calfskin bag shapes are imagined in reduced forms. Aesther Ekme subverts fashion’s current penchant for branding, and its logo is rendered simply as three embossed dots. Its ‘Demi-Lune’ bag is a sleek interpretation of the bucket-bag silhouette, with an asymmetric strap that curves around the shoulder, while its ‘Hobo’ shoulder bag has a softly curving U-shape.

aestherekme.com

Khaore

Redrawing the lines between art and the ordinary has been the goal of the New York accessory label Khaore, since it started out in 2017. (It owes its refined logo to Natasha Jen and her team at Pentagram.) Founded by designers Wei Hung Chen and Raiheth Rawla, Khaore offers a collection of architectural handbags that elevates the mundane act of carrying your daily essentials around to the level of portable structures. Whether it’s the ‘Athaarah’ – a geometric top-handled beauty available in a variety of materials and finishes, or the ‘Kutchra’ – a clutch-tote hybrid that comes with elongated handles, each Khaore design embodies a versatile and multi-use sensibility. The bags are designed in New York and produced in India, Italy and the USA. 

khaore.com 

It's hard to predict how our style will evolve when lockdown finally ends. Will we riff on the Roaring Twenties and indulge in extravagance or will we maintain a soft spot for the loungewear of our indoor, mid-pandemic existence? One thing is certain, whether you err towards the lavish or the elegant, a timeless handbag will hone any look.

Despite our reduced need to carry accessories, 2020 saw an uptick in handbag sales from a number of retailers, including Net-a-Porter and The RealReal, with shoppers investing in trend-subverting timeless brands, and styles that will have lasting impact. One luxury label that continues to transcend ‘It' pieces, with long-lasting silhouettes and sumptuous fabrications, is Loro Piana.

Now the brand, famed for its impeccably soft baby cashmere and vicuña, and recently launched luxurious workout and meditation gear, has also unveiled a new silhouette in its leather goods line-up. Enter the ‘Sesia’ handbag, an organically structured silhouette, referencing modernist simplicity and the curves of nature, constructed in a range of tactile fabrications and paint-box and pastel shades, from forest green to biscuit, sky blue to buttercup yellow.

In an uplifiting nod to nature, Loro Piana's ‘Sesia’ style is named after the Italian valley that the company inhabits and the meandering river which crosses it. Design details are subtle: a hallmark of the brand's heritage, its crest features as an enamel button, in the same hue as the bag’s exterior.

As well as coming in a range of tones and textures, the ‘Sesia’ is also realised in various sizes and shapes, from roomier double-handled bags to hands-free crossbody styles, which have an easy yet elegant élan. Whichever option you favour, the ‘Sesia’ will ensure sleek and transcendent style – sure-fire necessities for dressing in our new world. 

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loropiana.com

A new collaboration between one of our favourite suppliers of design-driven headphones, Master & Dynamic, and bespoke luggage-maker Away has us longing to start taking trips again. It might not be an optimum time to pitch a travel accessory, but the story here is one of shared design values, materials and ethos. The range includes cross-branded luggage, in materials such as leather and aluminium, as well as specially branded over-ear headphones and earbuds.

We asked Away’s CMO Selena Kalvaria, and Master & Dynamic’s founder and CEO Jonathan Levine about the partnership, starting with the question, why now?

Selena Kalvaria: There is an organic connection between travel and sound – sound enhances the travel experience by allowing us to relax, energise, escape or focus. We’ve always had a goal to partner on a collaboration that speaks directly to this crucial, sensory part of travel. Being an authority in the sound space, Master & Dynamic was the dream partner to bring the vision to life.

Jonathan Levine: We've always considered our headphones and earphones to be travel products as well as audio devices – they're built to maximise playtime during long flights, to feel light and comfortable during extended listening, and of course to provide brilliant sound. Working with a travel company felt very natural to us. We were especially excited to work with Away not just because they have an iconic product, but because they put so much thought into their designs and consider the end consumer in every part of their product.

Wallpaper*: What are the material and tech relationships between the two brands?

Selena Kalvaria: When you think about leading brands in the audio space, Master & Dynamic definitely tops that list. There is such attention to detail in their approach to designing beautiful and technically sophisticated products. When it came time to create a unified vision for the collection, the process was seamless because at Away we value so many of the same components. Our brands share a love of thoughtful, clean design and utilise many of the same materials in our core collections, including aluminium and leather. 

Jonathan Levine: We’ve always been a fan of what Away creates – each detail is engineered to be convenient, beautiful and durable. That type of dedication to design is a common thread between our two brands and can be seen throughout this capsule collection. We both have a similar clean design aesthetic, as well as signature leather and aluminium styles, so it was very easy to see the shared vision from the start! Because of this, we were able to marry our most travel-ready products with Away’s in a really organic way. We take the same approach with our tech.

W*: How has the changing world impacted on the collaboration? 

JL: The world of travel (and the world in general) has changed a lot since this collection was first conceived, but our goal was and still is to celebrate the transformative power of sound and music. We wanted to create a collection that makes it easy to escape – whether it's a weekend trip, dreaming of future travel destinations, or listening to music that can inspire and uplift your mood. Releasing the collection now, both brands felt an even stronger calling to support the live music industry during its time of need, which led to us deciding together to donate the net proceeds to [the Recording Academy’s charity] MusiCares.

SK: The world has changed in so many ways since this partnership was conceived. But we knew that now more than ever, it made sense to introduce the collaboration. No matter what travel means to an individual at this moment in time, the pieces from the collection will enhance any trip, regardless of distance, duration, or location.

W*: Are there any special products planned going forward? 

JL: We hope so! Sound and music are an essential part of so many people's travels and we hope to explore more ways to enhance that experience for our customers.

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awaytravel.com
masterdynamic.co.uk

Sneakers have taken on even more collectible currency. In September 2020, Sotheby’s Cult Canvas auction saw a series of artist-designed Nike trainers sell for prices as high as $63,000, customised by creatives including Futura and Jeff Staple, and in November of the same year, Detroit-based sneaker reseller Stock X announced it had an average of 25 million monthly users worldwide. Earlier this month, trainers even stepped into the NFT market, with virtual sneaker brand RTFKT Studios linked up with the crypto-artist FEWOCiOUS, on a sale of over 600 styles that totalled over $3.1 million in sales. From Dior to Celine, a host of brands are stepping out with new coveted styles, guaranteed to be future collectors items. Walk this way!

Sneakers to step out in now

Valentino

The rebellious stud detail of Valentino Garavani's accessoriesa are a contemporary style signature of the Roman maison, which has now been applied as an accoutrement to its trainer silhouettes. The newly released Valentino Garavani One Stud sneakers feature enlarged macro stud details, sure to draw attention. We're opting for the mid-top style for Eighties-inspired oomph.

Palm Angels

Think of Palm Angel's newly released Palm One sneaker as the trainer version of a white t-shirt: timeless, versatile and sleek. The subtly retro style's optic white upper also boasts a bold ankle tab in black and paint box tones - an exuberant way to show off your personality.

Louis Vuitton

For S/S 2021, men’s artistic director Virgil Abloh has created eco-aware upcycled versions of a sneaker he first debuted on the Vuitton runway in 2019. The styles have a skate culture sensibility and have been imagined in a spectrum of colour blocked shades, from fuschia to highlighter green. Which colour combination are you wishing for?

Dior

The Dior x Nike Air Jordan 1 has already had sneakerheads salivating, and now Kim Jones has released the latest style in Dior's sneaker cannon. The B27 nods to the sartorial sway of 1980s skateboarders and features an upper laser cut with the Oblique Dior logo. The styles are available in white and black and also grey – Monsieur Dior’s favourite colour.

Asics Kiko Kostadinov

In celebration of the GEL-LYTETM III’s 30th anniversary, Kiko Kostadinov has spliced up the three-decade old style, amalgamating the curved sole of the Asics Glideride model to its form. This hybrid shape encourages the feeling of seamless coasting when running, as the sole minimises lower leg movement through each stride. Get that runner’s high with fashion-forward form.

Celine

There’s a renegade sense of retro behind the label’s newest trainer styles, which were debuted on a motor racing track in Southern France. This high top silhouette, featuring bold colour blocked panels, speaks of sports hall sessions and cigarettes beneath the bleachers. The styles are also available in shimmering metallic.

Prada 

The second iteration of Prada and Adidas’ partnership culminates in a sleek silhouette crafted for the Luna Rossa Prada Pirelli team, who will be representing Italy at the 36th America’s Cup next March. The ergonomic and lightweight shape is inspired by the design of the team's AC75 boat and its upper is composed of recycled Primegreen. Smooth sailing style.

Balmain

Been pining for the natural world? The undulating upper of Balmain’s B Runner sneaker is inspired by the curving and meandering pathways of water. Despite being formed from rubberised leather, nylon mesh and suede, the style weighs a mere 730 grams. How’s that for added bounce?

Adidas x Meissen

Adidas and fellow German Meissen, the specialist porcelain brand, have teamed up to create the ZX 10,000 C sneaker, a style with a naturalistic floral design, created for the first time in Adidas’ Scheinfeld factory. In celebration of the collaboration, a one off art piece – the ZX 8000 Porcelain – has also been created, comprised of leather hand-painted by Meissen and porcelain overlay. It's currently at auction at Sotheby’s New York and estimated to sell for $1,000,000.

The newest style in Tod’s innovative No_Code series? A sleek high top silhouette inspired by Mario Bellini's Brionvega RR130 - Totem, a sleek 1970s soundsystem, with a turnable and speakers which folded from a monochromatic cube. Whether you opt for designer Yong Bae Seok’s white or black sneakers, you'll achieve real design-led drama.

Cartier has long been fascinated with the quotidian, creating functional items – fragrance bottles, powder compacts, inkwells, stationery – since the late 19th century. In keeping with Cartier design codes, they put an ornamental spin on the purely functional, making for chic objets in their own right.

‘Since 1880, Cartier has been interested in everyday objects,’ says Pierre Rainero, director of Image, Style and Heritage at Cartier International. ‘In 1925, with the creation of the S for Silver department, entrusted to Jeanne Toussaint, Cartier developed more accessible accessories and objects. These practical, playful, joyful and elegant items were perfectly in tune with the celebratory spirit and chic portability of the Café Society in the 1930s. The materials used to create these precious wood, porcelain or enamel objects met the criteria of elegance and durability, with today’s collections continuing the Cartier tradition,’ he adds.

In the post-war period of the 1920s, these more accessible items, including a gold pocket corkscrew and a silver cocktail shaker with hidden cocktail recipes, were enhanced with precious metals and sculpted silhouettes.

It is a philosophy reflected in this new collection composed of useful everyday items given a precious twist. A stamp, a tea box, stationery and Christmas decorations incorporate the tradition of skilled artistry which lays at the heart of both the jewellery and homeware, putting an elegant spin on the everyday.

INFORMATION
cartier.com

When it comes to breaking with convention, Telfar Clemens continues to set a new standard, particularly when it comes to disrupting the state of luxury fashion. Clemens, who founded his genderless fashion label Telfar back in 2005, has created unisex pieces since the beginning. Noted for his subversions of sportswear silhouettes, he has side-stepped the traditional structures of the fashion industry by eschewing runway shows for more experience-based presentations and now also launches collections only when it makes sense. His mantra: ‘It’s not for you – it’s for everyone’ could not be more poignant today.

These days, Telfar has become best known for its cult shopping bag, which comes in three sizes and a multitude of colours – if you can get your hands on one in the first place. Accessibly priced and utilitarian in design, the faux-leather tote consistently sells out and has earned its place in the canon of desirable bags, which you can find a shopping guide to here. Even the New York politician Alexandria Ocasio-Cortez carries a medium in oxblood.

On Monday, Telfar, who took home the 2020 CFDA Fashion Award for American Accessories Designer of the Year, launches a new collaboration with Ugg that sees the label’s small and medium sized bags realized in Ugg’s signature chestnut suede and cream shearling. Only available via pre-order on Telfar’s website (a familiar process for anyone who has tried to procure a Telfar bag) for 24 hours, lucky buyers will first received a Telfar Christmas card followed by the bag itself, which will be delivered between March and Juneteenth 2021.

Mildred Piccola in Zenzero Cera, by Gray Matters

No stranger to teaming up with unexpected entities (White Castle and K-Mart are other brands whom Telfar has made associations with in the past), Telfar’s joint effort with Ugg actually stems from Clemens’ unauthorized deconstruction of a classic tall Ugg boot in his Autumn/Winter 2011 offering.

‘I’ve always been obsessed with a certain kind of ubiquity, and when something unique ends up on everybody, that’s our model,’ he says in an interview that was recently published on Ugg’s website. ‘I think a lot of fashion collaborations attempt to elevate something popular. I am not into high and low as a concept, period. What I want to do is get down to the DNA of UGG and see what genes we have in common. To get down to the core of that feeling.’ 

INFORMATION

telfar.net

When the iPhone 12 debuted on 13 October it offered up a number of firsts for Apple. Not only was the new flagship based around an all-new chipset, A14, but it also appeared as a complete family right out of the box, with all sizes, accessories and colours catered for from day one. With the ‘regular’ iPhone 12 joined by the 12 Pro and 12 Pro Max, along with a new iPhone 12 mini, there’s a size for everyone, all benefiting from core additions to the 12 range that include the arrival of 5G, a LiDAR scanner and a case that is thinner and sleeker than ever before.

This ‘instant family’ approach is a significant departure for the Cupertino-based company. It reflects a growing desire to create an all-encompassing ecosystem that reflects how their phones are used in day to day life, usage that embraces charging, protecting and even the ability to put your screen out of sight, out of mind. The 20-strong Industrial Design Group is at the core of Apple’s creative process and typically works at least two years out. This suite of products revealed in October were still at prototype stage back in 2018, long before Chief Design Officer Jony Ive stepped back from the company after 27 years. This level of foresight is essential, allowing time for the vast global mechanism of mass production, assembly and distribution to gear up for the next generation. 

The first thing you notice about the iPhone 12 family portrait are the colours. For all its historical association with monochrome minimalism, there has also been a strong polychromatic streak running through Apple, from the candy-coloured iMac G3s to the subtle array of hues available today. The iPhone 12 comes in an impeccably contemporary palette, with five core hues, black, white, red, green and blue. These are supplemented by an array of new colours for the innovative MagSafe casing design.

MagSafe will be a familiar feature to Mac aficionados; it originally denoted the clip-on power cables that snapped into and out of place and stopped you accidentally dragging your MacBook to the floor when you tripped over it. Now it has been refined for a new era of portability, and denotes the discrete ring of ultra-thin magnets embedded in the back of the phone to create a snap-to wireless dock for a range of cases and chargers. Wireless charging uses the Qi standard, allowing for ultra-fast battery refresh speeds.

There’s a sense that Apple considered the form factor of iPhones 10 and 11 as having reached a sort of zenith, the purist expression of the object. The 12 family is rather more diverse. Now that iOS 14 has opened the door to hitherto unknown levels of home screen customisation, MagSafe promises to make swapping out cases, attaching accessories like the beautifully detailed leather card wallet, and putting on to charge a seamless, wire-free experience. 

The range of colours, which embraces blues, oranges, browns and reds, amongst others, tone perfectly with one another, emphasising the fact that an iPhone can be snapped into a MagSafe case with a wallet attached to the back, all in different but complimentary colours. ‘We’ve always gone extremely wide in our colour choices,’ says Evans Hankey, the company’s VP of Industrial Design, ‘this palette was an exploration that started around gemstones – we loved the depth of colour and the way the colours appeared through the cases.’

We also detect a touch of Le Corbusier’s earthy mid-century palette, while the Pro palette has a slightly more metallic edge. The two disc-like chargers – one which folds neatly and contains a dock for the Apple Watch alongside a phone charger – will dramatically cut down on cable clutter and strongly imply a future where the millions of miles of cables that fill our lives are finally banished.

As ever, the details go far beyond what you see on the surface — the iPhone team had to tweak the internal architecture — already a literal miracle of packaging – to accommodate the magnetic coil. The cardholder wallet is sprung so that a single card is still held as tightly as three. The passive NFC field ensures the iPhone detects when an accessory is docked, a feature demonstrated best by the sleeve which leaves a small slot for the time display. Putting away your phone will also change the display colour to match the sleeve’s. ‘This connectivity to the MagSafe eco system is what drove the final form,’ explains Apple designer Eugene Whang. ‘We designed the phone and the accessories as a single cohesive family,’ continues Jeremy Bataillou, another long-time Apple designer.

The emphasis on utility and personalisation runs throughout, making this the most curated iPhone collection yet. Interestingly, the company will no longer ship devices with EarPods or charging blocks, reasoning that many of us have these things already and their absence will be more than outweighed by the reduced environmental impact. 

Apple’s massive volumes also allow for other innovations. The new HomePod mini is one of the most affordable Apple products ever, at $99 (£99). A scaled down version of the HomePod speaker system, it is also a command hub for HomeKit, as well as an interface with Siri and a portal to myriad streaming services. With the same geometric mesh covering, proximity sensors that detect your approach and the same levels of high-fidelity as its larger sibling, the mini is destined to enter millions of homes over the next few years. ‘We’re happy there’s an ecosystem around our products,’ says Hankey. ‘As a design team, we are always exploring how we can add specific new values and make them more personal.’ As with all things from Apple, an ethos of surprise and delight is baked into every single detail.

INFORMATION

apple.com

2020 has been the year of hibernation, so it’s a fabulous fit that for the upcoming festive season, luxury German department store Breuninger has launched a limited edition sculpture in the shape of an animal we most associate with a long winter rest.

The Breuni-Bear – the German retailer’s long term mascot has been imagined in varied iterations, like 1995’s fluffy mohair friend, complete with felt nose, checked jacket and bow tie. From 2019, he got a more haute coat, when Swiss photographer and filmmaker Michael Comte devised a sleek limited edition golden bear, made in collaboration with Berlin’s KPM porcelain. There’s an interstellar inclination behind 2020’s design, which sees the Breuni-Bear coated in glossy platinum. It’s a striking, Pop Art-centric objet for any mantelpiece.

Comte has been working with Breuninger – the historic German store which was founded in by Eduard Breuninger in 1881 – since 2016. During this four year tenure, he has worked across a variety of visual projects, including wrapping its stark Stuttgart store’s facade with images of 10,000 blossoming flowers from 130 countries, for its S/S 2018 campaign. This winter also sees the launch of another organic offering – ‘Combining worlds with flowers’, a coffee table book published by Steidl.

The Breuni-Bear taps into not just Breuninger’s history, but KPM’s too. The historic porcelain producer is one of the oldest in Europe and was founded in 1763 by King Frederick II of Prussia. The smile-inducing style is available in 11 of Breuninger’s department stores, in a limited run of 100 pieces.

INFORMATION

breuninger.com

When Elza Wandler chooses the colours for her delectable shoes and bags, she doesn’t select from prescribed tonal options, but transforms shades from a huge Pantone colour book into calfskin creations. Tonal tenacity is of the upmost design importance to the Dutch designer - whose eponymous accessories label turns three this winter. She charmingly describes a creamy grey in her upcoming S/S 2021 collection as ‘the colour of a dolphin’.

It’s a golden opportunity then, that spring sees a collaboration with Julio Rondo, the Germany-based artist renowned for inverting mediums of presentation, painting behind glass with prismatic layers of acrylic and spray paint. ‘I pushed him for the last two and a half years,’ Wandler laughs of her persistence to form a partnership.

There’s a striking serendipity between Rondo and Wandler’s output. The designer is renowned for her discerning selection of colour – just look to the success of her brand's pistachio green ‘Isa’ sandal, and her bold use of colour blocking. ‘Everything he does is about layering and light,' Wandler explains. For S/S 2021, the designer selected three specific artworks as inspiration: Brilliant Trees, You know when you get there, and Precious precious long version. References to their textured tones pepper the collection, which features a host of new styles including the ‘Nana' kitten heel – a stud-detail mule and a knockout for Nineties obsessives and the ‘Carly' shoulder bag, a mini style updated with a chunky chain strap.

Rondo’s focus on layering is reflected in accessories that have subtly multi tonal elements, like colour blocked shades of ivory or puffed leather with contrast stitching. It's also noted in the design of the ‘Amber', a voluminous evolution of the brand's signature Hortensia shape, formed from folds of leather, inspired by a fortune cookie.

‘Little Wheels' (2020), by Julio Rondo

In light of Covid-19 restrictions, Wandler chose not to present its S/S 2021 collection during Paris Fashion Week, instead creating a lookbook that also celebrated Rondo’s artistic canon. Here, models are not only shot next to his kaleidoscopic artworks, but the lookbook's images are layered as surrealistic collages in post production, in a nod to Rondo’s textural persuasion. Also showcasing Rondo’s artworks IRL, the artist has created 100 miniature limited editions, allowing Wandler obsessives to hang the brand's S/S 2021 inspiration in their own home.

‘When it comes to colour, sometimes I can just sense something is going to work,' Wandler says of the instinctual elements behind her design process. Her collaborative persuasion is also one passing with flying colours.

INFORMATION

wandler.com

Côte Du Soleil – the latest collection from eyewear brand neubau – addresses desire and detail in equal measure. In part-homage to the Austrian born actress Romy Schneider, three handsome new styles draw on the sultry French Riviera setting of Schneider’s 1969 thriller La Piscine. 

Named Romy, Alain and Maurice, the frames channel the glow of a languid, Hitchcockian summer and are 3D printed in a 100 per cent biobased material. ‘The French 1960s are a symbol for change, especially when it comes to aesthetics,’ Eva Reisinger, neubau’s senior international marketing manager says. ‘It was bold, free, nonchalant. Freedom is the key word when it comes to working with 3D printing too – there are no boundaries, just endless opportunities. And zero waste.’

Since 2016, the brand – which is an offshoot of the Silhouette International group – has advocated more sustainable production methods within the eyewear market. We’re confronted with a deluge of plastic waste on a daily basis (the proliferation of PPE clogging the seas is a new worry for environmental campaigners) and so the design team took on the challenge to develop an alternative to the regular raw oil base without compromising on quality. They developed a material that is not genetically modified, nor does it occur in the food chain of animals or humans: ‘It uses oil extracted from the seeds of the castor oil plant which is then turned into a polyamide powder. This powder is merged together layer by layer by a laser during the printing process and excess material is reused for additional prints,’ Reisinger says. It takes around 24-hours to produce up to 400 ‘raw’ frames. 

‘Considering sustainability and social responsibility should be the new standard. The whole Covid crisis gives us additional tailwind to follow our strategy without compromise,’ Reisinger says. ‘The fashion industry is the second biggest polluter on earth and that definitely has to change. Wearing sustainable products shouldn´t just be the right thing to do – it should be the most attractive thing to do.’ 

INFORMATION

neubau-eyewear.com

Technical prowess is a pillar of outerwear label Herno. From its riverside HQ in Lesa, Italy, the brand sculpt protective weather-proof pieces from innovative and ultra-lightweight fabrications. It’s no surprise, then, that in its first foray into footwear, Herno has paired up with Scarpa, the Italian shoe manufacturer responsible for finely crafted and durable trail-running, trekking and ski-mountaineering shoes.

The result is a match made in high-performing heaven. Herno and Scarpa's trainer is designed to withstand any terrain. Inspired by trail-running, the silhouette is made using Gore-Tex, and is waterproof, windproof and breathable. What’s more, its Vibram Megagrip sole promises maximum stability, whether standing on slushy grass or grinding down on gravel. A rubber toe cap seals the shoes’ ultra protective upper.

Herno's technical trainer taps into the luxury industry's inclination to outdoors-inspired footwear. In recent seasons, Gucci and Balenciaga have released hiking-ready trainers, while 1017 ALYX 9SM has collaborated with Italian rubber sole specialists Vibram. The Herno Laminar Assoluto is available in a range of organic colourways, and it also boasts a reflective version, should you desire a little extra illumination on your outdoor escapades. Can’t decide which tone to tuck into your camping rucksack? The shoe weighs a mere 320g – it’s so lightweight that you could carry all of them.

INFORMATION

herno.com

The jet set lifestyle seems a distant dream, but in lieu of luxury layovers, Gucci has the escapist answer. Autumn sees the reintroduction of its Jackie Bag - a style beloved of Jackie Kennedy, first introduced to the Florentine house in 1961 – and an emblem of the 1960s and 70s jet setter lifestyle. For A/W 2020, Alessandro Michele dived into his personal Gucci archive, reimagining a vintage Jackie style of his own in a sized down simplistic silhouette, complete with a pizzazz-giving piston closure. The style has been designed in a range of colourways, including lilac, powder blue and butter.

While the latest Jackie 1961 bag has been scaled back in size, Gucci is celebrating its latest launch using XL proportions. The hobo accessory has become the star of the brand’s Art Walls project – which has seen global murals painted on buildings in cities from Lafayette Street, New York to Largo la Foppa, Milan, celebrating everything from its Beauty launch to its #chimeforchange partnership. For the newest multi storey iteration, British photographer Angelo Pennetta has lensed a male model sporting the style slung insouciantly across the shoulder, strolling in emerald flares through the quiet streets of London’s Belgravia.

We were also keen to get our hands on the Jackie 1961, shooting a black version of the style, which you can see below, against a surrealist watery backdrop in a homage to the poolside escapes the bag denotes. Like the model in Gucci's latest Art Walls, you shouldn't be seen crossing the street without it. 

INFORMATION

gucci.com

In February, when the Veneto and Lombardy regions of Italy recorded the first cases of Covid-19 in Italy, both areas entered a strict lockdown period. Venice – located in the former region – became a ghost town, devoid of the hustle and bustle of tourists and its usually teeming gondoliers empty. The Veneto region is also synonymous with leathermaking, and around Venice, factories and workshops closed and luxury production ground to a halt.

One of the multitude of labels affected was Manu Atelier, the Istanbul-based accessories brand founded by sisters Beste and Merve Manastır in 2014. The label produces its handbags in its home city and its footwear in Veneto. Both boast a graphic and sculptural sensibility, from the undulating heel Chae boots to the supple Cylinder bag, a long circular style with eye-catching gold hardware. ‘Creativity arises from slowing down and taking time to reflect,’ the duo say of the impact global lockdown had on their aesthetic approach. ‘We've focused on pieces that will stay in our wardrobes for years.’ Here, we present a photographic journal of Manu Atelier's factory production, which has now resumed, as Beste and Merve muse further on creative evolution during a time of unprecedented crisis.

Wallpaper*: Where have you both been based for the last six months, and what has your experience of lockdown taught you on professional and personal levels?

Beste and Merve Manastir: We stayed in our homes in Istanbul for months. Even though we are not as free as before, we're try to continue living our everyday lives, adapting to the new normal with precautions. As human beings we need to keep learning whatever the circumstances are. We are all the same and need each other during chaos.

What business difficulties did you encounter when the world went into lockdown?

We work with a very wide network, from producers to retailers. From our side, we have production in Turkey and Italy, and of course production slowed down and stopped for months. Our challenges arose from this first link in our chain. However, the period allowed us the chance to offer long standing products. Our customers prefer pieces for long term use, not just for a season. This allowed us to overcome the spring/summer season without major losses.

Your shoe production takes place in the Veneto region of Italy. How was your factory affected?

Our production both in Turkey and Italy stopped for months. Of course, the most valuable thing for us during this period was the health of our employees and business partners. Although our production is not progressing as quickly as before, it has now resumed.

Have you had any chance to return to Italy?

Unfortunately not. We have not had any opportunity to travel to the country or anywhere else.

What new styles have you launched for A/W 2020, and what are your favourite pieces in the collection?

We’ve reimagined our Cylinder bag in exciting new colours and in a mini size. Our Duck boots have new tones and material options, and their lace up and multi panel versions have been created in our first high knee styles.

Has the impact of Covid-19 had any affect on the design of your upcoming S/S 2021 collection?

As designers we used this period to reflect and find some headspace, researching out future collections and rethinking our business models. We combined our Pre/spring 2021 collection with our S/S 2021 offering and created new models using materials we already had. The collection was inspired by freedom and calmness - feelings we missed during the pandemic.

INFORMATION

manuatelier.com

LARQ Pitcher

Purify your kitchen with LARQ’s Pitcher – bringing together proprietary technology into a first-of-its-kind, sleekly designed water jug. Using UV-C LED lighting and plant-based filter, the jug uses a two-stage filtration and purification process that removes 90% of chemicals from your water.

Vipp Electric Kettle

Family-owned Danish design company Vipp has perfected a kitchen essential – the kettle. With a simple yet refined design, the kettle uses latest technology such as a double surface to provide optimal insulation – making the kettle heat-proof to keep water hotter for longer. 

‘Forma’ Cheese Grater

A cheese grater turned sculptural centrepiece, Alessi pairs the humble utensil with a Zaha Hadid designed stand – who was inspired by the natural formation of pebbles eroded over time. The result is an ergonomic design that fits comfortably in the palm of the hand, ensuring a sturdy grip and full control.

Bodum’s Mocca Siphon 

Peter Bodum’s first ever product, introduced in 1956 was his iconic Mocca Siphon coffee maker – now it has returned. With a sleek new update and its very own gas burner, the Mocca Siphon can be taken on the go for all your coffee cravings.

Cutting Boards, Cold Tones

Led by a design infatuation with the feel and durability of polyethylene, Belgian design duo behind Muller Van Severen have created this set of overlaying geometric cutting boards. Comprising of four colourful pieces, the set design was born with sculpture in mind – with each board created to enhance the set’s impact when hung together.

‘Wrongwoods’ Tray

Make a statement with a Richard Wood designed tray. Renowned for his work with bold and repetitious motifs, Woods is often inspired by domestic pattern and a nostalgia for mid-century domestic interiors. The British artist teamed up with designer Sebastian Wrong to create this playful plywood tray – reminiscent of 1950s homeware.

INFORMATION

LARQ Pitcher: www.livelarq.com/larq-pitcher
Vipp Electric Kettle: vipp.com
’Forma’ Cheese Grater: store.wallpaper.com
Bodum’s Mocca Siphon: www.selfridges.com
Cutting Boards, Cold Tones: store.wallpaper.com
‘Wrongwoods’ Tray: store.wallpaper.com

This week, the luxury second hand website The RealReal shared that the global effect of Covid-19 has seen a 194% rise in sales of loungewear. As we’ve eased into our newly laid back wardrobes, so we’ve also slipped into a range of sliders, slippers and flat sandals to suit our downtime do’s.

It’s a home run for our wardrobes then, that Birkenstock and Valentino have released the newest slip-on shoe styles in their collaboration, which first debuted on the Paris runway in 2019. The unisex sandals are a bold take on the brand’s double buckle Arizona silhouette, imagined in a range of camouflage hues, and emblazoned with the Valentino VLTN logo. They combine the glamour of the Roman couture house with the at-home ease of the German lifestyle label - two tenets we’re taking into the rest of 2020.

Birkenstock’s Valentino collaboration forms part of its 1774 category, which focuses on special projects and partnerships. Since its launch in 2019, it has unveiled collaborations with Proenza Schouler, Rick Owens and Il Pellicano hotel group. ‘Fashion isn’t our total thing but the process of the collaborations is very interesting because you get to find out why people want to talk to you. That is invaluable,’ Klaus Baumann, Birkenstock’s chief sales officer, told Wallpaper* of the coverted category earlier this year.

Should you be lucky enough to escape to the sea this summer, Valentino and Birkenstock’s latest take on the Arizona sandal will be a beachside essential. If you're more home bound, we suggest placing your Zoom camera somewhere near your feet. Your sandals will be the envy of anyone on a video call. 

INFORMATION
birkenstock.com

Making a fashion statement might not be top of mind for most people these days, but in the hands of the utility-focused brand Mansur Gavriel, even non-essential design flourishes take on a new and powerful significance. Starting this week, the minimalist fashion and accessories label unveils ‘Blank Canvas’ - a four-part artist collaboration resulting in a collection of one-of-a-kind bags.

Created to benefit Artist Relief, an initiative organised by a collective of United States-based national arts grantmakers to support artists in the wake of Covid-19, proceeds from the sale of the bags will help fund Artist Relief’s distribution of $5,000 grants to artists in need of financial support. It will also as well as support its ongoing function as an informational resource for the artist and creative community.

‘At Mansur Gavriel, we're always looking to artists as a source of inspiration,’ says the label’s CEO Isabelle Fevrier. ‘When we launched our new canvas bucket bag, we thought it would be the perfect opportunity to work with individuals we admire while giving back to the community. With the impact of COVID-19, Artist Relief felt like the perfect fit, as they're giving back to artists in need through monetary grants.’

The four artists involved – Camilla Engstrom, Nathalie Lete, Joey Yu and Jean Julien – have each painted a work on one of the brand’s canvas circle bucket bags, a lightweight yet sturdy carryall made from Italian canvas. ‘The canvas bag felt like a natural fit for the collaboration [as] we thought that the texture would provide a really nice backdrop to the artists' original pieces,’ Fevrier shares. ‘We asked each artist to paint a piece, based on their time in quarantine. Each came to the table with a unique take on what exactly that meant to them.’

The unique editions kick off this week with Engstrom’s colourful landscape that was inspired by meditation and nature walks from her Los Angeles studio. Her design will be followed by Joey Yu’s depiction of a socially distanced picnic, which launches tomorrow, and then Nathalie Lete’s scallop-trimmed, tongue-in-cheek take on the ubiquitous Beckoning Cat figure will be up for sale on 31 August. The series concludes with Jean Julien’s pair of ‘tree huggers’ – two figures painted on each side with elongated arms outstretched towards each other, embracing the entire bag.

INFORMATION

mansurgavriel.com

Creative director of Ambush, Yoon Ahn, is the latest designer to reinterpret Bulgari’s iconic Serpenti handbag and accessories collection.

The Tokyo-based designer brings neon brights and a contemporary edge to the Ambush x Bulgari collection. The Serpenti Forever bag is reborn as a shoulder bag, belt bag and as the heart-shaped Serpenti Minaudiere, which all keep the Serpenti motif firmly at the heart of their design. ‘History is essential because it's the root and story of the house,’ says Ahn. ‘When you work with a heritage house, it's important to remember that while the ‘design' embodies the spirit, it must reflect the time and the context. Bulgari was very open to seeing how I could re-interpret the Serpenti heritage line, and I took it to a place where they have never been before.’

The sensual lines of the snake are still there, its coils now the outline of the Serpenti shoulder bag or in the heart shape of the Minaudiere, which nods to the natural position snakes assume in the wild. ‘It was essential to express the beauty of snakes and capture it in a more approachable and lively way. Bags have been padded to mimic the fluidity of their bodies,’ Ahn explains. ‘The Serpenti head wrapped in the same leather blends with the body, so it looks like one full animal. I haven’t seen this in Bulgari’s designs previously.’ Ahn, also Dior Men’s director of jewellery, adds an opulent edge to the functional. The snake’s head acts as the closure of the bag and comes complete with reptilian eyes in mother-of-pearl or black onyx; thickly interwoven metallic chains pay homage to both Bulgari and Ahn’s jewellers’ DNA while adding a toughness to buttersoft Nappa leather.

Ahn’s modern take may rethink a classic symbol, but ultimately, the juxtaposition of cultures and aesthetics is an organic one. ‘My approach to design is instinctive, and always from the dual perspective of a creator and a user. I kept it honest,’ she says.

INFORMATION

Bags are available to pre-order from 11 August and will be in store from 3 September

bulgari.com

As life’s paced has decelerated, we’ve felt even more affinity with slow-paced creativity. Fendi is a maison long associated with impeccable artistic innovation in leather and fur – and for those keen for insight into the intricate design of its accessories, we’re lucky enough to showcase a film celebrating the savoir faire behind its signature Peekaboo bag. 

The film celebrates a triptych of Fendi Peekaboo styles, which tap into S/S 2020’s penchant for punchy tones and logo-focused details. Different artisanal approaches are applied to the designs, from laser-cutting to hand knotting and weaving, to create alluring accessories which appear stacked with Fendi typography or formed from an undulating wave of textured leather. These finishes are celebrated on film in a host of cinematic still-life sweeps, which are overlaid against graphic shots of the maison’s Palazzo della Civiltà Italiana HQ.

So press pause on your daily pursuits, and delight in Fendi’s ode to craftsmanship. It’ll soothe and inspire even the most manic of mindsets. 

The art of adorning one’s hair with jewels had some ravishing moments back in the 15th and 16th centuries. Botticelli, Raphael, Titian, Veronese and Velazquez all depicted Renaissance women with precious ornaments in their braids and curls. Now, hair jewellery is having a renaissance of its own with these lustrous embellishments being designed for everyday use.

Pearls are taking a starring role. Some ancient mythologies held that a pearl was formed when lightning struck the sea, the new jewel a repository of elemental power. Pearls, it was thought, illuminated the face of the wearer. Danish jewellery designer Sophie Bille Brahe, known for her contemporary take on pearls and diamonds, found her muse in the Renaissance art movement and created a range of hair pins. She says, ‘I was looking at Botticelli’s Primavera, where the Three Graces have long owing hair adorned with pearls, and also his Portrait of a Young Woman, where the hair is laced with delicate strings of them. I’m so inspired by the stories in these paintings.’

Completedworks founder Anna Jewsbury has also evolved her line of ergonomic jewellery and ceramics to include a range of hair accessories. These include a delicate gold vermeil and freshwater pearl pin that is intriguingly called ‘The Lure of Civilisation’.

Meanwhile, up-and-coming designer Nadia Shelbaya’s Egyptian mother and Danish father are to answer for the tension between decadence and modernism that runs through her work. This plays out in her new foray into hair pins, curvaceous pieces that entwine silver and gold with gemstones, diamonds and freshwater pearls. Meanwhile, creative use of existing jewels can also see them doubling up as hair clips; for example, a simple diamond tennis bracelet, pinned along the hair parting, can add a sparkling touch. §

As originally featured in the May 2020 issue of Wallpaper* (W*254), available to download free here

INFORMATION

sophiebillebrahe.com
completedworks.com
nadiashelbaya.dk

The sleekest flat sandals combine style with insouciance, so it's unsurprising that we've been drawn to slip on options that also boast a snuggle factor. Think flat pumps, slippers and pared-back ballet flats, and feast your eyes (and feet) on natural textures including shearling, soft leather and suede. With these options, you'll be well and truly on the right foot.

Gray Matters

There's an inherent ease to NYC-based brand Gray Matters, which specialises in sculptural, insouciant styles with geometric details and colourful accents. An elegant almond toe accentuates the shape of the Mildred Piccola slip on flat, a silhouette that flits perfectly between at-home ease and back-to-reality refinement. The style's two-tone heel is also infinitely eye-catching.

graymattersnyc.com

Yuni Buffa

South Korean designer Yuni Buffa is launching her brand ‘with a shoe that reflects a woman of our time.' This translates to a pared back elegant ballerina flat she calls Pia; perfect for indoor and outdoor wear. Made in Tuscany by specialist cordwainers, these flats have a padded insole, a functional cinch cord and soft upper crafted from buttery soft lamb nappa, that ‘will form around your foot over time and you might forget you’re wearing them,' says the designer, who has clocked design roles at Loeffler Randall and Rag & Bone, and splits her time between New York and Italy. Where possible Yuni uses end of line luxury leathers that would otherwise be discarded to cut down on waste and transform unwanted materials into lasting beautiful footwear. What’s more, as a member of 1% for the Planet, Yuni will contribute 1% of the proceeds from the sale of each pair of shoes to the Fair World Project, an organization that advocates for the fair and ethical treatment of artisans and factory workers around the globe.

yunibuffa.com

Marni

All hail the Marni Fussbett Sabot. The Italian label has launched a slip-on version of its signature shuffle-around style, which will instill a sense of easy comfort when at home. For the wilder of wearers, we recommed the style in fluffy calf's hair. Just don't sport them out in the snow.

ESSĒN

There's a balletic inclination behind Melbourne-based label ESSĒN's Foundation flat. The brand's shoes are based around the idea of essential design, seen here in this streamlined slip on shape, featuring only a simple loop detail on the style's heel. The Foundation flat is available in a range of shaes, from silver to red. Pick your favourite tone and twirl.

essenthelabel.com

Neous

There's an architectural elan behind the designs of accessories label Neous, and nothing fits more with our pared back-meets-pampered approach that the brand's pointed toe, shearling-lined Alba slippers. Slip them on and snuggle up.

Sabah

Sabah's sleek slippers are handmade by a family of artisans in South Turkey, and we find the brand's shearling-lined styles a particularly snuggly option. For the more festively inclined, Sabah's metallic silver leather styles will get you into the celebratory spirit. What better way to sparkle into spring? 

John Lobb

For those of us with a Marie Kondo-centric affinity for neatness, John Lobb’s Knighton slipper will have organisation obsessives feeling euphoric. Not only is the style constructed from cashmere suede, with a comfort-focused padded sole, both slippers fit neatly into a customised slipper bag. You'll find the ultimate storage satisfaction when you draw across its zipper.

Celine

There's a brilliant sense of bohemianism behind Celine's Babouche slipper, sure to alluringly elevate any loungewear look. We're drawn to this shiny python style, which will complement the cappucino tones of a cashmere set, and will ensure you ooze sophistication when you pop to the shops.

Carlotha Ray

Carlotha Ray

These bow detail Carlotha Ray sandals offset comfort with ostentation. Made in Italy, the styles have eco-aware credentials, made using compostable rubber and Eco Satin, and dyed using natural ingredients like medicinal flowers and vegetables.    

Sleeper

Sleeper's signature feather trim pyjamas have already gained cult sleepover status, and make for the perfect party ensemble, particularly when we're all indoors. The label's snuggly shearling lined slippers are the perfect at-home accompaniment and are imagined in neutral shades and a range of zingy brights, dependent on how much you want them to stand out on Zoom.

Manolo Blahnik

Snuggly shearling lining? Check. Sumptuous suede upper? Check. Organically toned sensibility? Check. Manolo Blahnik's snuggly sliders tick all our at home style boxes. Complete the luxuriating look with cashmere socks and a smile.

Khaite

Did lockdown encourage you to overhaul your storage solutions? Khaite’s round toe ballet flats feature elasticated cuffs which allow them to be simply folded away. They’re also essential for those at-home barre workouts.

aeyde

The square toe detail of the German brand's Gina shoe brings a contemporary twist to the ubiqutous ballet flat, which also ushers in spring in delicate daffodil yellow.

Hereu

Slip-on the label’s Caoma shoe when running essential errands. The style was crafted in soft leather by local artisans in Spain.

Martiniano

The LA-based label produces its shoes in Buenos Aires, Argentina. The unlined styles are dyed using aniline, creating an impeccably soft surface, retaining the leather’s natural grain.

Flat Apartment

Slip into the South Korean label's glossy mules, which boast a graphic criss cross detail and a distinct square toe.

Lauren Manoogian

Inspired by the silhouette of Japanese house shoes, Manoogian's Mono Mule has been updated for spring in a range of textures, including soft suede.