Celine

CELINE Charms Collection
Sets a New Code for Personal Jewelry

The CELINE Charms collection sits within the current vocabulary of the house, but it moves with its own logic. Seen on the runway in unapologetically dense clusters, the charms shift the attention toward how people build identity through small objects.

There is no single instruction for wearing them, only the suggestion that jewellery can function as a set of personal signals rather than a fixed decorative layer. The pieces carry a deliberate sense of weight. Some reference the Triomphe, the long-running CELINE code that has travelled across bags, buckles, and hardware. Others push into new shapes that feel more like found symbols than seasonal designs. Together they form an assortment that lends itself to mixing rather than categorising. CELINE frames them as collectibles in the press notes, and the idea fits. They work best when assembled gradually, when the accumulation starts to say something about the hands that put them together.

The collection stretches across gold and silver finishes, sometimes polished, sometimes softened. The tension between the metals gives the charms a lived-in presence, not in a nostalgic way but in a straightforward acknowledgment that jewellery gains meaning through constant use. It is easy to move them from a bracelet to a necklace or to pin them to a jacket, which turns the collection into something closer to a modular system. The wearers decide the scale, the noise, the density, CELINE keeps the structure open on purpose.

As new motifs enter the collection each season, the line grows in a way that feels continuous. Designs shift, earlier symbols reappear, and the combinations evolve with the same casual logic people use when they pick up small objects over time. Some charms stay, others move from one piece of jewellery to another, and a few drift out of circulation entirely. The collection supports that slow accumulation, treating personal editing as an essential part of how the pieces function. It builds an aesthetic that comes together through repetition and daily use.

Placed within CELINE’s larger universe, the charms become a quiet extension of the house without slipping into the language usually tied to jewellery campaigns. Their scale keeps them close to the body in a practical way, allowing them to shift between bracelets, necklaces, and safety pins with no hierarchy in how they should be worn. That flexibility creates a more grounded form of expression. The pieces align with how people handle accessories they reach for constantly, moving them around until the arrangement feels right. In that sense, the relevance of the collection comes from its openness. The line continues without finality. New pieces enter, older ones remain in circulation, and the set adjusts through use. This movement keeps the collection active and connected to the person who builds it.

watch
campaign film

all visuals
CELINE 2025

Polène Paris - Numéro Neuf East-West

Holiday Edit
Polène’s Numéro Neuf East-West

written AMANDA MORTENSON

Polène entered the industry in 2016 with an unusual clarity of purpose. The three founding siblings, Elsa, Mathieu, and Antoine Mothay, built the brand around a conviction that design, craftsmanship, and material should form a single conversation.

They wanted a house that felt contemporary in its rhythm yet grounded in the discipline of artisanship. Within a few years, that direction resonated globally. Polène opened spaces in Paris, New York, Tokyo, Seoul, London, Copenhagen, and Hamburg, each reflecting their attitude toward calm precision and intuitive form. The growth felt fast, but inside the brand the focus stayed steady: refine, edit, and let the work speak. What shaped Polène’s rise is their close connection with Ubrique, the leather-making region in southern Spain. More than 2,200 craftspeople bring the designs to life, giving the brand a direct link to a long-standing tradition. The Paris design studio develops the visual language; the artisans translate it into structure, weight, and tactility. This exchange has defined Polène’s identity—clean silhouettes, sculpted leather, organic lines shaped by hand. Their collections show a consistency that comes from respect for the material and for the people who work it.

Polène also thinks in systems. Circularity became part of their process early on. They introduced the Plèi collection, where leftover leather from bag production becomes macramé surfaces, bead work, objects, and collaborative pieces with guest artisans. The intention is simple: use material fully and treat every offcut as something with potential. In 2023, the brand expanded into jewelry, produced by Italian specialists and plated with 24-carat gold. The pieces follow the same design instincts—shaping, folding, and texturing the metal with the same attention given to leather.

Among all lines, the Numéro Neuf collection has become a signature. First introduced in 2020, it reflects the house’s interest in structure softened by movement. Full-grain calfskin is molded, draped, stitched, and shaped until it carries volume and gentleness. It is one of the clearest expressions of Polène’s vision and a marker of how the brand approaches form.

Polène Paris
Numéro Neuf East West bag Camel

Polène Paris
Numéro Neuf East West bag Ebony

This season, the Numéro Neuf East-West marks a new chapter. The design extends the original silhouette into a long, horizontal format and introduces a shoulder-bag version for the first time. It reads as confident and composed, with a contemporary zip closure and an elongated profile that gives the piece a distinct attitude. Available in Black, Camel, Taupe, Chalk, Ebony, Black Cherry, and Sand, the model is crafted in Ubrique using the same meticulous process as the rest of the collection. Every detail shows intention, from the shaping of the leather to the precise seams that hold the draping in place.

Polène Paris
Numéro Neuf East West bag Taupe

Polène Paris
www.polene-paris.com

based in Paris, France and creating handcrafted leather goods produced by skilled artisans in Ubrique, Spain

Polène Paris Numéro Neuf East-West price: 440 €

LE MILE selected the Numéro Neuf East-West for this year’s holiday season recommendations because it represents exactly what we look for: a design with clarity, a strong sense of identity, and craftsmanship that feels immediate when you hold the piece. It aligns with Polène’s broader story of thoughtful growth and with our interest in objects that carry aesthetic strength and quiet emotional presence. As the season approaches, this bag stands as one of the most grounded and assured releases of the year—an example of how contemporary leather goods can be relevant, refined, and deeply considered.

Polène Paris
Numéro Neuf East West bag Chalke

Polène Paris
Numéro Neuf East West bag Chalke

Polène Paris
Numéro Neuf East West bag Taupe

Valentino Garavani DeVain - Age of Electric Couture

VALENTINO GARAVANI
*Craft, Code and the Curious Case of DeVain

Valentino Garavani DeVain appears in the digital ether with a calm, almost ceremonial presence, occupying that peculiar zone where craft speaks to code and the instinct of the atelier leans toward the logic of algorithms. A quiet meeting unfolds between centuries of handwork and the cool hum of computational imagination. The maison’s dedication to gesture, material and emotional precision finds itself mirrored by an AI engine that renders its own forms of ornament and atmosphere, a pairing that feels unexpectedly harmonious and gently provocative, as if couture and circuitry were testing the edges of each other’s worlds without losing their sense of poise.

Thomas Albdorf opens the procession. In his mirrored chambers the bag performs a gentle act of multiplication, slipping between reflection and refraction with the calm confidence of an object aware of its own charisma. His studio becomes a small observatory where materials converse with their own silhouettes and symmetry grows its own contemplative pulse.

Enter The Void descends deeper, their world resembles a dream rescued from a half-remembered video game and dipped in an extraterrestrial ocean. Fishes drift between cacti, hotel chandeliers rise from dunes and the bag glows like a passerby who has wandered into someone else’s subconscious. This is surrealism with the autofill function humming quietly underneath, the kind that feels familiar and feverish at the same time.

Maison Valentino presents DeVain as the new protagonist in a sprawling visual experiment, inviting five artists to take the bag far from the usual marble floors and closer to the evolving frontier where images appear before they exist. In a cultural landscape that worships immediacy, this series arrives as an ode to crafted illusion, stretching the definition of what creative authorship can become when imagination merges with machine logic.

Paul Octavious
still from the film below

Paul Octavious transports DeVain into the long corridors of art history. Sixteenth-century still lifes breathe again, except this time they blink, shift and fold into layered animations. The bag perches among fruits and goblets like a visiting character who has slipped through a tear in a tapestry. Octavious choreographs a conversation between centuries without asking for permission, giving classical composition a sly digital pulse.

Annie Collinge builds a world where objects and cut-out figures share the same mischievous logic, creating a tableau that feels playful on the surface and quietly uncanny underneath. The bag appears among her colours and silhouettes like a character stepping through a handmade stage set, moving through scenes where humour and strangeness sit comfortably side by side. Her universe blurs reality just enough to remind viewers that imagination always has its own rules.

Total Emotional Awareness
still from the film below

Total Emotional Awareness leads DeVain through a landscape where pop forms stretch, multiply and reorganize themselves with dreamlike intent. Geometry expands, colours pulse and the bag moves through a vision that feels sculpted from pure imagination. Their world hovers between play and philosophy, creating a visual rhythm that absorbs DeVain into an ever-shifting field of possibility.

Z_Captures throws DeVain into sharp contrast with everyday pop objects, creating collisions that feel playful and deliberately disorienting. The bag sits among bold colours and unexpected pairings, adopting a presence shaped by tension and surprise. His compositions turn contrast into structure, allowing fantasy and pop culture to occupy the same vivid frame.

Tina Tona finishes the first chapter by exploding the visual field entirely. Her collages vibrate with color and hand-cut energy, weaving fragments of memory, culture and playful rebellion. The bag slips between viewpoints, blooming into countless versions of itself. Tona’s world has texture, movement and a joyful refusal to stay still.

Albert Planella approaches the bag as if it were an apparition. Here DeVain becomes mutable and cinematic, drifting between clarity and haze with a rhythm that feels borrowed from dreams. His images hold their breath while shifting into new states of being, as if the bag were quietly considering who it wants to become next.

For a house that reveres human craftsmanship, this digital series introduces a new tension. Energy-hungry algorithms sit beside centuries of artisanal knowledge. The contrast generates friction, and the friction generates light. The visuals shimmer with a strange kind of beauty, born from human impulse and computational curiosity. DeVain emerges from the experiment slightly transformed, carrying the patina of a bag that has travelled through mirrors, deserts, dreams, archives, memories and machine logic. The result feels like a quiet promise that creativity, in all its evolving shapes, still belongs to those who dare to stretch the image until it reveals something unexpected.

note
The video and image works in this project were created by nine participating artists: Thomas Albdorf, Enter The Void, Paul Octavious, Albert Planella, Tina Tona, Animus Pax, Annie Collinge, Total Emotional Awareness and Z_Captures. The AI-generated visuals were produced by Enter The Void, Paul Octavious, Albert Planella, Animus Pax and Total Emotional Awareness; all imagery by Enter The Void was created with the informed consent of the portrayed models and all participating talents.

GOT BAG Moon Bag Ruffle

GOATS GOT BAG Campaign
*A Herd Becomes a Headline

written AMANDA MORTENSON

Some campaigns arrive through strategy decks. But others fall from the sky. GOT BAG’s latest story started with a shepherd in Albania who typed four letters into Google. G-O-A-T B-A-G. A delivery went out, a herd received its new gear, and soon an email returned with photos of goats on the beach. Each animal carried a GOT BAG as if this was the natural order of things. The team packed cameras and went to see it firsthand. Their result is the brands new campaign called “GOATS GOT BAG.”

watch Film

The images feel like postcards from an unexpected runway. A black goat under the coastal sun wears a pale Moon Bag with complete ease. A taupe bag appears against limestone and tumbling lemons. A shepherd named Sherif, dressed in wool and holding a staff, lifts a hot coral Ruffle like an official badge of style. The herd moves together along a stone wall and Mediterranean light is washing the scene. The film that accompanies the visuals carries the same energy. Sherif speaks about his herd, the way he names them after his children, the way he sees them as family. He smiles, and the herd steps into fashion history.

GOT BAG’s identity has always circled around material, impact, and design. Since 2018, the label has worked under the line “From Trash to Treasure.” Their process starts with discarded matter such as ocean plastic, fishing nets, industrial scraps. Through recycling and refinement, this matter becomes yarn, then fabric, then a surface with style. From that surface, shapes arrive. Backpacks for commuters, shoppers for markets, rolltops for travel, crossbodies for urban rhythm, puffer bags for play. Each design carries a signature of clean lines, strong details, a feel for volume and curve.

GOT BAG Wavy Puffer Moon Bag in oyster

GOT BAG Cloud Moon Bag in soft shell

The campaign shows this spectrum in action. On the goats you spot the Puffer Moon Bag in black, oyster, scallop. You see the Moon Bag Ruffle in hot coral, cobalt, soft shell. You recognize the way GOT BAG expands a family of products into a larger landscape. They form a catalogue that grows season by season, always linked to the same ethos of reuse and redesign.

What stands out is the tone, because “GOATS GOT BAG” is playful, clever, and confident. The visuals have humor, the mockumentary leans into irony, and the whole story carries a wink. At the same time, it signals reach. Fashion audiences see it, lifestyle audiences see it, and global followers share it. The herd becomes a symbol of how far a label can travel when it mixes creativity with a clear core.

Sherif appears in the campaign as a central figure, he lives with his herd by the Albanian coast, cares for them with devotion, and shares their daily rhythm. His story unfolds in the visuals and the film, where shepherd and herd move together through landscape and frame. His goats wear the bags, he tells his story, and the brand steps into new territory. The shepherd and the label stand side by side, each adding weight to the other.

Behind the campaign sits a company that has grown with purpose. GOT BAG operates as a B Corp™, meeting global standards for social and ecological responsibility. Their foundation in Indonesia collects plastic waste from rivers and coastal areas, builds waste systems with local communities, and channels material into new cycles. The impact is measurable, at the same time, the brand designs products that people want to carry. A backpack on a bike lane in Berlin, a crossbody on a weekend flight, and a Moon Bag carried by a goat along the coast.

Sherif wears GOT BAG Cloud Shoulder Bag in hot coral

“GOATS GOT BAG” frames all of this with lightness. The images travel easily and the story sticks. A herd with bags moves across a landscape and suddenly a global audience pays attention. GOT BAG steps into 2025 with a narrative that feels surreal and direct. A shepherd, a herd, and a set of bags that embody design with responsibility. GOT BAG has always spoken through product and this new campaign speaks through image. Together they shape a brand that holds its line, carries its mission, and expands its world. From beaches in Albania to sidewalks in Tokyo, the bags move. They hold objects, they hold meaning, and now they hold a place in one of the most original campaigns of the year.

GOATS GOT BAG Campaign

GOATS GOT BAG Campaign

discover the brand www.got-bag.com

NOMOS Glashütte *Club Sport neomatik

A New Worldtimer from NOMOS Glashütte
*Refined Color and Craft

written Amanda Mortenson

Understated design and horological finesse define the work of NOMOS Glashütte. With the Club Sport neomatik Worldtimer Volcano, the brand continues its dedication to color and function—all filtered through the lens of quiet elegance.

(c) NOMOS Glashütte

This timepiece is part of a limited series of six new color variants in the Club Sport Worldtimer line. Its dial, rendered in a bold anthracite tone reminiscent of volcanic rock, introduces a refined chromatic depth to the collection. The look is tactile and mineral, without becoming ornamental. It’s a precise composition of shape and substance.

The 40 mm stainless steel case features a domed sapphire crystal with anti-reflective coating on both sides. At just 9.9 mm in height, it wears flat and balanced, secured by a durable Club Sport bracelet with quick-change spring bars and a 20 mm lug width. With water resistance up to 10 ATM, the Volcano edition moves seamlessly from day to evening, city to travel.

(c) NOMOS Glashütte

(c) NOMOS Glashütte

(c) NOMOS Glashütte
S1 Club Sport neomatik Worldtimer Volcano

Its engine is the DUW 3202, an in-house automatic caliber designed for technical and visual harmony. The worldtime mechanism, paired with a red 24-hour hand and a day-night display, allows for simultaneous reading of two time zones, ideal for those living across borders. White Superluminova ensures readability in dim light, integrated into the hour markers and hands.

NOMOS assembles each movement in Glashütte using traditional methods and proprietary innovation. The DUW 3202 features the NOMOS swing system, a stop-seconds mechanism, and a bidirectional winding rotor. The balance bridge, blue balance spring, and regulation in six positions reflect a commitment to precision. A sapphire caseback showcases the rhodium-plated surfaces decorated with Glashütte ribbing and perlage, while the ratchet and duplex wheels display a sunburst finish.

On the wrist, the Volcano edition carries weight through detail rather than excess. It communicates clarity and control, with a dark dial that changes with the light, from cool slate to deep charcoal. The restrained color is interrupted only by the quiet accent of the red 24-hour hand, introducing just the right amount of tension within the harmony. This is a limited edition of 175 pieces only. Each watch is engraved accordingly: "Limited Edition – Volcano 1/175." It is a watch that travels, but does not shout. Its presence is refined and expressive of a design language that values materiality and nuance.

NOMOS Glashütte brings mechanical ingenuity into dialogue with restrained aesthetics. The Club Sport neomatik Worldtimer Volcano lives in this space—a watch of precision, made for individuals who move across time and space with intention.

also read NOMOS Glashütte Color Revolution *31 Shades of Time

Louis Vuitton *LV BIKER

LV BIKER
*New Signature in Soft Power

written MONICA DE LUNA

A rebellion in leather. A manifesto in motion. The LV BIKER bag, unveiled in Louis Vuitton’s Spring-Summer 2025 collection, rewrites the language of luxury accessories. Designed by Nicolas Ghesquière, this latest signature piece channels the paradox of soft power—a force both undeniable and fluid, strength disguised in elegance.

The LV BIKER is a study in movement and form. Inspired by the silhouette of a classic biker jacket, its foldable construction reflects Louis Vuitton’s heritage of craftsmanship, shaping a new expression in design. With its supple structure and precise detailing, this bag embodies a distinct presence.

LOUIS VUITTON
Making Of

LOUIS VUITTON
LV BIKER Bag SS25 Collection

Introducing Pixel lambskin leather, an innovation in texture and tone. A meticulous layering process deepens the grain, giving the bag a two-toned effect that shifts under the light—an illusion of depth, a whisper of movement. Available in a spectrum of urban hues, from Pixel Noir to Dark Denim, Pixel Grège to Nano Noir, each variation speaks in its own frequency.

The LV BIKER thrives in transition. A dynamic interplay of straps and handles allows for multiple identities—worn as a clutch, draped over the elbow, slung across the body. A shape-shifting companion that adapts to the rhythms of the wearer, asserting itself in every iteration.

Heritage meets future. Trunk-making savoir-faire collides with contemporary utility. The LV BIKER bag, available in stores from February 22, 2025, challenges convention and refines rebellion. Three sizes. Infinite ways to wear.

LOUIS VUITTON
LV BIKER Bag SS25 Collection

LOUIS VUITTON
Runway

Louis Vuitton *Tambour Alchemize

Louis Vuitton Tambour
*Time Forged in Stone

written AMANDA MORTENSON

Louis Vuitton orchestrates time. The Tambour High End collection—now expanded with two audacious new iterations—embodies the synthesis of engineering and artistry. This is material mastery, savoir-faire expressed through horology.

Two watches. Two philosophies. A 40mm yellow-gold Tambour with a dial sculpted from Brazilian onyx, anchored in a bezel of saffron sapphires. A platinum Tambour, gradient-lit with rubies and sapphires, an explosion of calibrated color that reshapes the idea of the spectrum. Both operate in extreme limitation—only 30 and 50 pieces respectively. Their creation follows a meticulous process that dictates its own rarity.

Louis Vuitton
Tambour High-End Rainbow Session

For the first time, the Tambour embraces hard stone, elevating Brazilian onyx to an object of precision. Twelve individual segments form the dial’s minute ring—each piece drilled, polished, and adjusted under a near-zero margin for error. A slip, a scratch, a miscalculation? Start over. The luminous baguette-cut saffron sapphires carry a coded language, drawn from a 1911 Louis Vuitton trunk in Vuittonite yellow. Timekeeping here manifests as storytelling.

Platinum resists. It refuses to be easily shaped, demanding 30% more machining time than its gold counterpart. The result: a case of extreme density and weight, its brushed and polished surfaces absorbing and refracting light. Encircling it, a spectrum of 59 meticulously sourced corundum gemstones, their color transition seamless—no jarring breaks, no discord. From the high-energy fuchsia rubies of Mozambique to the deep greens and violets of Sri Lanka, this is color as movement, gradient as narrative. Even the caseback whispers exclusivity—a single 1.6mm saffron sapphire, a hidden marker of the watch’s platinum identity.

Within both pieces beats the Calibre LFT023—the first proprietary three-hand movement of La Fabrique du Temps Louis Vuitton. Aan exhibition of savoir-faire: Geneva Chronometric Observatory-certified accuracy (-4/+6 seconds per day), a 22K rose gold micro-rotor carved with the Louis Vuitton monogram, a barrel adorned with the maison’s signature flower motif. 50-hour power reserve. 31 colorless sapphires embedded for reduced friction. Precision and poetry, without compromise.

Louis Vuitton
Tambour High-End YG ONYX Front

Louis Vuitton’s Tambour High End collection manifests as an expression of material truth. Time, sculpted in precious stones and metals, takes on permanence. 30 yellow gold. 50 platinum. The countdown has already begun.