Clothing in Use - The Language of Maara Studio

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Where Colour Holds
Maara Studio by Izabela Barbaric

written LE MILE

Maara Studio takes shape through a way of working that stays close to the garment itself and to how it is worn. Founded by Izabela Barbaric, the label develops through decisions that remain tied to the piece rather than building a fixed vocabulary.

Maara Studio

Maara Studio

Colour enters the collections with a clarity rooted in presence. It holds the garment in place, allowing it to register immediately while remaining connected to the body wearing it. The effect is direct, with a controlled sense of staging.

A similar precision runs through the way garments are imagined in relation to specific people. Many pieces are connected to women from Barbaric’s own circle, as a way of thinking through posture, gesture and how a piece is carried. This thinking informs proportion, material and colour at a level that remains embedded in the garment itself, without resolving into fixed characters or narratives.

Material and production follow these conditions, with small editions produced through Italian ateliers keeping the process close to the object so adjustments remain traceable and decisions do not disappear in scale. Fabrics such as silk, cotton and linen are selected for how they respond in wear, how they hold shape without fixing it, and how they shift over time. What emerges is a way of approaching femininity that does not need to be defined in advance. It takes shape through use and through how a garment holds together while being worn. In the following conversation, Izabela Barbaric speaks about how this approach developed and how it continues to inform Maara Studio.

Maara Studio

Maara Studio

Maara Studio

LE MILE
When did your design language reach a point where it needed its own label? Was there a decisive moment, or did that step take shape gradually? And how closely is that founding impulse tied to the assured femininity your work expresses today?

Izabela Barbaric
The desire was there from an early age. As a child, I used to flip through catalogues and magazines and knew I wanted to be part of that world. At first, I took a different path, worked, gained experience, and saw a lot, but something creative was always missing.
During the pandemic, that thought became more concrete. The turning point came in a conversation with a friend who simply asked why I wasn’t doing it. I didn’t have an answer. In that moment, I realised there was no real reason not to, so I started. Confident femininity was never a concept to me, it was always a feeling. For me, it is less about an external image and more about an inner attitude: taking space, being present, and not adapting.
Over time, that feeling became more defined through the process itself, through making decisions, but also through moments of uncertainty. That attitude was always there, but it only became tangible through building my own label.

Looking back at your earlier years — before Maara existed — what did you believe fashion could give you that it perhaps couldn’t at the time? And has that belief changed?

Fashion has always been a way for me to express mood and personality. It is about feeling comfortable, moving freely, and dressing intuitively rather than according to expectations.
That sense of freedom is still at the core of my work today. If anything, it has become even stronger.

Colour plays a central role in your collections. It feels deliberate, almost defiant in its openness. What does that luminosity mean to you beyond its immediate visual impact?

Colour represents joy to me, but it is also a statement. It expresses presence, confidence, and a certain independence from the need to conform. Colour always carries an attitude. At the same time, it is a form of communication. It influences how a look is perceived, the mood it carries, and how present it feels.
Sometimes colour is an intuitive decision, sometimes it is used more consciously to create contrast or a sense of calm. It also helps structure my collections by creating connections or, in some cases, intentional breaks.

Much of contemporary fashion operates through irony or conceptual distance. Against that backdrop, Maara feels direct and sensual. Is that a conscious choice? And what does that directness allow you to express that might otherwise get lost?

Yes. I believe in honesty in expression. Clothing should connect and evoke something without needing explanation. That directness makes it accessible, while still remaining deeply personal.

Maara Studio
portrait of designer and founder Izabela Barbaric

Maara Studio

Who do you design for? And how does that presence — real or imagined — influence the way a piece takes shape?

I design for individuals. I often have a friend or an important woman in my life in mind, her presence, her way of living, the way she presents herself, how she wears colour, and how she wants to be perceived. Clothing should enhance that personality, not overshadow it. It is about presence, confidence, and a sense of joy.
This idea directly shapes my designs, especially in terms of silhouette and proportion. Colour and material also come from this, because each piece needs to adapt to the person, not the other way around.

When you design, how consciously are you thinking about the body? Is movement something you construct deliberately, or does it emerge intuitively as the piece develops?

The feeling on the body is essential. A piece needs to feel natural and move with the wearer. When that works, everything else follows almost automatically. I think about the body and movement very early in the process. It is not something that comes at the end, it accompanies the design from the beginning. There is always a moment where I test how a piece falls, how it moves, and whether it supports the body or restricts it. Many decisions are made at that point.

Several of your pieces carry the names of women from your own circle. What shifts in your process when a garment is connected to someone you know personally? For you, is friendship more a source of inspiration, a space of resonance — or at times even a form of corrective?

It makes the process more personal. I think about real characters, their energy, their presence, and shared memories that are meaningful to me. Friendship is a strong source of inspiration for me because it strengthens each person in their own identity. That is essential.
At the same time, these relationships create a kind of resonance. They influence how I see my designs, how I develop them further, and sometimes how I question them. It is less about direct feedback and more about a shared understanding that shapes the process.

What does working in small editions allow you to preserve? And when does limitation start to feel like a conscious choice rather than a constraint?

It keeps me close to the product. I can work more consciously, make more precise decisions, and preserve the uniqueness of each piece. This creates something more personal and less interchangeable.

When working with small Italian ateliers, where does quality become non-negotiable for you — in the material, in the cut, in the finishing, or in something less tangible?

Everything.
Quality reveals itself in the details, in the materials, the cut, the craftsmanship, and above all in the fit. That is where I take the time it needs. For me, it also means paying close attention to the construction of a garment, how it is built, how cleanly it is made, and how well it holds its shape over time. That is where the difference really lies.

Croatian roots, Italian production — how present is that duality in your thinking? And where does it surface most clearly in the design itself?

For me, Croatia represents boldness, freedom, and a very vivid understanding of fashion, a way of expressing oneself and embracing life.
Italy, on the other hand, stands for precision, craftsmanship, and uncompromising quality. Both cultures carry a strong female energy, as an attitude, as a presence, as something natural. A woman as the centre, as a driving force, as someone who shapes rather than follows. This duality also becomes visible in the design itself, in the interplay between strong colours and clear silhouettes, between expression and controlled construction. That tension defines my work.

— Explore the Full Collection at www.maara-studio.com
all images seen by Karolina Golis, beauty by Anna Winkel for Maara Studio

Ammann Sneakers - ASCONA BEINWIL Leather Cowhide Construction

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Ammann’s New Sneaker Line 

Flat Silhouettes Shaped by a Century of Shoemaking

The form settles low and controlled, with a sole that introduces a measured lift while keeping the overall proportion compact, allowing the upper to remain close to the foot and uninterrupted in its line, so the shoe reads as a continuous volume rather than a layered construction, its presence defined through balance and alignment instead of added elements.

Ammann
Sneaker Urban

Ammann
Sneaker Urban

Developed from a lineage that began in a small workshop in Oberentfelden and expanded into a manufacturing structure shaped by durability, repetition and large-scale production, including military boots and everyday leather shoes built for sustained wear, the current collection carries forward a way of thinking that prioritises how a shoe performs over time and under use. This history does not surface through direct reference, yet it informs the way proportions are handled, how the sole meets the upper, and how the overall structure avoids unnecessary articulation.

ASCONA and BEINWIL follow this logic through flat, continuous lines and a construction that stays visually closed, with the sole slightly raised and softly rounded to stabilise the form without introducing tension, while the upper remains compact and aligned, allowing the shoe to maintain a consistent stance across different contexts.

Ammann
Sneaker Urban

Ammann
Sneaker Urban

Ammann
Sneaker Urban

Across the collection, smooth leathers define the surface through a restrained range of tones, from pale variations to warmer finishes, each responding differently to light and wear, while cowhide introduces natural variation through its pattern, ensuring that individual pairs carry subtle differences without affecting the underlying structure. The material selection stays precise, with each surface supporting the overall form rather than redirecting attention. Seams follow the curvature of the upper closely and remain visually contained, while branding is reduced to minimal interventions that do not interrupt the line of the shoe, and within the lacing, a small cowhide heart is integrated into the tongue, positioned in a way that remains secondary to the construction and only becomes visible upon closer inspection.

Developed in collaboration with specialised manufacturers in Northern Italy, where long-standing relationships shape both material sourcing and fabrication, the production process extends the same level of control beyond a single location, maintaining consistency through shared technical knowledge and established workflows. Within the current landscape of sneaker design, where form is often driven by scale, surface treatment or visible construction, Ammann’s approach remains focused on proportion, material handling and structural clarity, allowing the shoe to hold its position through the way it is built and resolved.

images (c) AMMANN SHOES

DISCOVER MORE: www.ammann1917.ch
Explore ASCONA and BEINWIL sneakers shaped through low silhouettes, smooth leather, cowhide details and precise construction.

Secrid Envelope Wallet - Slim Leather Wallet

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Inside Secrid’s New Envelope
How Fold and Mechanism Define Access

written LE MILE

Since 1995, Secrid has developed pocket-sized accessories shaped through industrial design and a clear approach to construction. Founded by René and Marianne van Geer in the Netherlands, the brand continues to produce locally, with assembly carried out in collaboration with social enterprises. This production model connects material, process and labour within a consistent, regionally anchored system.
The wallet is defined by how it manages access and Secrid’s Envelope approaches this through a construction that begins with a single fold, shaping the object into a compact, continuous volume where structure and closure are resolved in one movement. The geometry emerges directly from how the material bends, creating a form that holds its shape without added framing or reinforcement. Developed and produced in the Netherlands, the object carries a design logic that connects industrial precision with a clear, everyday usability.

SECRID
Envelope Pebble Ice Blue

SECRID
Envelope Vintage Cognac

That fold establishes the outer presence, but its function becomes clear once the wallet is handled. The surface carries a slight resistance, the edges remain precise, and the volume stays contained even when filled. The construction holds a fixed proportion, keeping the object stable in the hand and in the pocket. This controlled containment defines how the wallet behaves in everyday use, setting limits that prevent it from accumulating excess.

The interior builds on this constraint by distributing space with exact intention. Cards, coins and small essentials are assigned distinct positions within a layout that remains legible at a glance, including a dedicated compartment that accommodates loose items without disrupting the overall structure. Each compartment is directly accessible, allowing interaction without rearranging the contents. The organisation is embedded in the construction itself, guiding how the wallet is used through its spatial logic.

At the core sits Secrid’s card mechanism, a compact unit that defines the system the wallet is built around. A single press releases the cards in a stepped formation, making selection immediate and controlled while holding up to eight cards within a protected enclosure. The movement is consistent, governed by an internal structure that stores, shields and presents the cards in one sequence. This mechanism establishes a clear rhythm of use through repetition and precision.

SECRID
Envelope Pebble Butter Yellow & Vintage Cognac

SECRID
Envelope Vintage Cognac

The interaction between folded exterior and mechanical core determines how the object performs over time. The outer layer absorbs contact and movement, while the internal unit maintains its exact function with each use. Production takes place in the Netherlands, with assembly carried out in specialised social enterprises, embedding the object within a broader manufacturing context that links material, labour and process.

Material selection reinforces this behaviour, with leather that retains enough structure to preserve the folded geometry while remaining responsive to touch and motion. Its surface develops subtle variation through use, registering contact without altering the underlying form. Colour options extend this without changing the construction, allowing the same object to appear more subdued or more pronounced depending on finish.

Within the broader shift toward carrying fewer, more deliberate items, the Envelope narrows its scope through this controlled construction. It defines capacity through form, organises access through mechanism, and stabilises use through material. The wallet becomes a fixed system that holds its shape, its contents and its function in a single, continuous structure.

SECRID
Envelope Original Ballete

SECRID
Envelope Original Ballete

Price €79 for the Secrid Envelope
— Explore the full Collection at www.secrid.com

NUBIKK SS26 - Collection Moccasins and Loafers Return to Everyday Wear

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Inside NUBIKK’s SS26 Collection
Why Moccasins and Loafers Matter Again

Footwear has been running on autopilot for years, with sneakers absorbing functions that once belonged to other categories until their dominance flattened distinctions to the point where they stopped saying much at all. What is taking shape now is less a new trend than a redistribution of attention. Loafers, moccasins and mules return without recovering their old authority, entering the same everyday space without insisting on occasion, status or hierarchy.

NUBIKK SS26
Riley Mio Brown Loafers Women

NUBIKK SS26
Riley Mio Brown Loafers Women

NUBIKK makes that shift easier to read because the brand has never depended on heritage mythology or on the inflated novelty cycle that drives much of the contemporary market. Founded in 2012 in Waalwijk, a town with a long connection to Dutch shoemaking, it has built its identity through a more pragmatic line of thinking, one that begins with wear, material and repeat use, then extends that logic across sneakers, booties, slip-ons and moccasins. Production in Portugal, leather sourcing tied to Leather Working Group suppliers, and a repair-first approach give that positioning more weight than the usual contemporary-brand language ever could, grounding the product in continuity while keeping it visually aligned with a contemporary sense of style.
That matters because NUBIKK is neither trying to rescue the moccasin as a classic nor inflate it into a fashion object. In SS26, the category is handled with less sentiment and more clarity. The point is not revival but usability within a wardrobe where the old division between sneaker, loafer and softer leather shoe has started to erode, while maintaining a level of lightness that shapes both how the shoe feels and how it appears.

Within this group, Riley Mio and Riley Jade hold a tighter, more controlled line, while Joan Macaw and the more open Joan Mule extend the same idea outward, not as separate statements but as variations within a shared position. They remain closely aligned, with surface and detail carrying most of the variation. A smoother leather upper with a restrained strap keeps one version tighter and quieter, while suede opens another through visible seams, lacing or fringe, allowing texture to carry more of the expression. In models such as Joan Macaw and Riley Jade, these shifts become more visible through fringe, stitching and lacing, while Riley Mio and Joan Mule introduce a slightly firmer note through their more defined upper construction and hardware. Elsewhere, embossed finishes and metal hardware sharpen the tone without pulling the shoe out of the same broader field. The point is not that these models blur into one another, but that they stay close enough in attitude to function within the same wardrobe logic.

NUBIKK SS26
Joan Macaw Beige Slip Ons Women

NUBIKK SS26
Joan Macaw Beige Slip Ons Women

That proximity is what makes them timely, as the moccasin is no longer framed as a softer cousin of formal footwear nor as a nostalgic gesture toward leisure. It becomes a direct, adaptable part of daily dressing, able to sit with denim, tailoring or looser silhouettes without asking for a change of register. Even the mule, which pushes the line further through its open heel, does not break the structure. It shows how little closure a shoe now needs in order to feel complete.

This is where NUBIKK becomes more interesting than the average seasonal footwear label. The brand is not operating at the level of runway declaration, and it does not need to. Its strength lies in understanding a middle zone of the market that many brands still mishandle, where shoes carry enough form to register, enough ease to remain in constant use, and enough variation in material and finish to shift mood without forcing a new identity each time, while retaining a lightness that reads as both a functional and visual quality. That balance is harder than it sounds, especially in a category where products still veer too quickly toward either comfort cliché or overdesigned statement.

NUBIKK SS26
Riley Mio Off White Loafers Women

Seen from that angle, the collection says something precise about the current state of footwear. Categories remain visible, but their authority has weakened. What matters now is not whether a shoe once belonged to formalwear, leisurewear or sneaker culture. What matters is whether it can keep moving across those territories without friction. NUBIKK does not solve that through spectacle, but through a steady recalibration of forms that were already there, waiting for a different use.

NUBIKK SS26
Riley Jade Bordeaux Loafers Women

NUBIKK SS26
Joan Mule Brown Slippers Women

images (c) NUBIKK

DISCOVER NUBIKK: www.nubikk.com
Explore moccasins, loafers and mules shaped through lightweight construction, material clarity and everyday adaptability.

HAKA beja - Material-Driven Approach to Contemporary Menswear

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A Jacket, a Shirt, a Coat — Nothing More, Nothing Less
HAKA beja and a Material-Driven Approach to Contemporary Menswear


At HAKA beja, each jacket remains tied to the availability of its fabric, and that condition already says a great deal about how the work is made. In a fashion system organised around calendars, images and recurring releases, clothing usually enters circulation with its timing already decided. Material follows the idea, quantity follows the plan, and the garment arrives as part of a larger visual proposition, while HAKA beja operates from a different starting point. Here, availability sets the terms, fabric determines direction, and a piece reaches release only once its form, construction and proportion have settled over time. What results carries a quiet clarity that feels increasingly rare in contemporary menswear, as these are clothes whose value does not depend on novelty at the moment they appear but on whether they remain convincing once they are worn, handled and returned to.

That orientation did not emerge from a conventional fashion trajectory. Textiles were present early on through family connections to the industry, and Benjamin Seeßle had originally intended to train as a tailor for menswear. During a dual degree in fashion management, he spent his practical phases at a long-established retailer in Lower Bavaria whose history lay in trouser production. The people around him understood fabric, construction and quality with real precision. At the same time, he found himself unable to connect to either standard retail fashion or the codes of high fashion, which led him to begin making his own pieces from leftover cloth within that environment. Those first samples were developed as a private practice, shaped by an interest in traditional menswear and by a desire for clothing that could retain simplicity without becoming generic.

That sense of simplicity remains central to the brand and is easy to misread, as HAKA beja does not chase extravagance and does not rely on conceptual overload to produce significance around the object. Seeßle describes the outcome with almost disarming directness as simply a jacket, a shirt, a coat, a phrasing that shifts attention away from inflated authorship and back toward the garment itself. These pieces are designed with precision, but they do not perform design as spectacle, and their authority comes from material, cut, hardware and use.

The structure of the brand follows the same logic. There are no classical seasonal collections, no complete SS or FW proposals assembled for a date on the calendar, no artificial limitation staged as scarcity, as HAKA beja instead works in individual products developed independently of a fixed release structure. Overproduced luxury fabrics are sourced first and used until they are gone, which establishes the central condition under which each piece is developed. Availability does not enter at the end as a practical restriction but acts at the beginning and shapes what can come into being at all. Quantity is therefore limited by actual supply, and each piece remains bound to the specific fabric from which it was developed, so that once that material is gone, the exact constellation of material, cut and finish cannot simply be repeated.

This results in a different temporality, as garments are not created to complete a line-up or to satisfy the expectation of seasonal renewal, but develop over months through vision, modelling, tailoring and adjustment until they hold together. Influences enter from far beyond fashion in any narrow sense, with references ranging from film, personal environment and hunting to craft, gardening, everyday labour and food culture. The language of classic menswear and the Alpine region remains visible throughout, though never in the form of costume or citation, appearing instead as discipline in silhouette, restraint in proportion and a functional clarity that leaves room for variation.

Food culture is especially important here, and it gives the brand one of its most useful images. Seeßle speaks of the laid table with friends or family as a guiding idea behind HAKA beja. The image works because it is less metaphor than method. A good meal prepared for others depends on the quality of ingredients, on manual work, on time and on care in presentation, while it also establishes a difference between consumption and appreciation. The host selects well, prepares carefully and plates with attention, creating a situation in which everyone present responds accordingly, as pace changes, perception sharpens and behaviour follows. Within that setting, clothing enters the same field of respect, where one dresses properly for such an occasion to acknowledge the people around the table and the effort that has gone into what is being shared.

photographer LEO KÖHLER / stylist NATALIA WIERZBICKA / assistant DOMINIK EHRENGRUBER / hair + make up EVA HERBOHN / studio OAT MILK STUDIOS / models PAOLO FIORE, ADRIAN GABOR VITUS VON ZOLYOMI, JANIS BITARAF

From that perspective, HAKA beja becomes easier to understand, as the garments do not ask to be read through fashion images first but belong to a larger idea of conduct in which material quality, craft and presentation shape how an object is received and how one behaves in relation to it. This is also why the brand’s simplicity feels substantial rather than reductive. It is grounded in selection and preparation, where good natural ingredients, manual work and careful presentation form the basis of thinking and making. The analogy to cooking remains direct and extends from product development to the way a finished piece enters life.

The process begins with material, as only natural fibres are used, chosen for durability, tactile presence and the way they record wear over time, while wool, cotton and silver form the basis of the work. The fabrics often come from overproduced stock originally made for major luxury houses, sourced through European suppliers such as Nona Source in France. Sampling takes place in Germany, silver components are produced through jewellery foundries and goldsmiths in southern Germany, and construction is handled by tailoring partners in Italy and neighbouring European contexts. The phrase Made in Europe is often used loosely in contemporary branding, but here it refers to a production chain that remains concrete, localised and traceable.

What distinguishes HAKA beja is that this material logic does not announce itself through overt virtue signalling, as the garments do not read as proofs of concept for sustainability discourse but stand on their own as resolved objects. Dense wool fabrics with a firm hand allow jackets and outer layers to hold shape with striking assurance, while proportions are handled with intelligence, often through shorter lengths that shift visual weight upward and subtly alter the movement of the body. Shirts, ties and tailored references persist, while workwear and Alpine dress introduce a different register of utility and familiarity, so that the result sits in a precise zone of tension once described as roughness and elegance, remaining materially legible.

This tension becomes particularly visible in the silver elements, where fine cross-shaped fastenings in 925 silver appear on several jackets with exact placement, functioning as closure and structural point at once. The act of opening and fastening carries a slight resistance, making wear a more deliberate interaction, while each element retains its own material character and remains visibly marked. The relationship between textile and metal stays legible instead of dissolving into styling effect, and Seeßle’s preference for silver over gold, expressed with notable directness, reflects a clear distinction in perception, where silver reads as genuinely valuable without becoming loud. Even the naming system refuses unnecessary narrative inflation. Terms such as Korpus, Rumpf, Kittel or Sack do not construct mythology around the product but simply identify types. A jacket remains a jacket, a vest remains a vest, and variation takes place through cut, material and handling, which keeps attention on labour and execution rather than on storytelling frameworks imposed from the outside.

What emerges from all this is a practice with a rare degree of internal consistency, in which material, time and use remain closely aligned throughout. The pieces do not rely on collection logic, on theatrical image production or on the designer’s self-mythology to establish relevance, but instead shift the focus toward a more demanding question of whether a garment can remain persuasive through construction, touch, proportion and repeated wear. At HAKA beja, clothing does not gain value by appearing, but proves itself through use over time, as garments are worn, returned to and recognised for the consistency of their material, construction and form.

images (c) HAKA beja

DISCOVER HAKA beja: haka-beja.de
Explore Made in Europe garments released in small series, with a focus on raw natural materials, craftsmanship and contemporary design.

HIDDEN WHITE - The Recalibration of luxury Footwear

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HIDDEN WHITE and the Recalibration of luxury Footwear
A London Brand focused on Material, Durability and Value


Any footwear label working with a reduced visual language faces a fundamental condition from the outset, since the absence of dominant branding places the full burden of identity on construction, proportion, material and finish. HIDDEN WHITE operates precisely within that constraint, building recognition directly through the object, where material, structure and proportion define authorship in a way that does not rely on amplification.

HIDDEN WHITE
Dylan White Black Leather Trainers

HIDDEN WHITE
Dylan Black Leather Trainers

Founded in London in 2024, the brand is structured around a clearly defined conceptual frame, yet its relevance is determined by how consistently that frame is translated into product. White functions here as a tool for surface precision and visual clarity, while the notion of the hidden introduces a second layer that directs attention toward embedded elements. This relationship is resolved through construction. Stitch lines follow the contour of the foot with clear intent, panel transitions remain controlled, and the connection between upper and sole is handled in a way that keeps the form continuous and visually stable.

The Morse code translation of H and W serves as the most specific identifier within this system. Its application is integrated into the structure of the shoe through embossing, linear detailing or subtle graphic placements that remain part of the construction. Repeated across models, this code forms a quiet but consistent signature that can be recognised without relying on overt branding.

Across the collection, this approach takes shape through a range of silhouettes that extend beyond a single core product. Trainers such as Dylan and Dara establish the foundation through clean leather uppers, measured proportions and restrained graphic intervention. Asure introduces a more pronounced toe construction and a sharper outline, shifting the visual weight forward, while certain versions move further into a more expressive register through material contrast and surface treatment. Asher translates the language into an oxford structure supported by a heavier sole unit, and Aura carries it into boots. Taken together, the collection operates as a system, though not a uniform one, with quieter models sitting alongside more assertive interpretations that test how far the underlying design logic can be extended.

HIDDEN WHITE
Asure Black Leather Trainers

HIDDEN WHITE
Asher Gunmetal Patent Leather Oxford Shoes

The context in which HIDDEN WHITE operates is already densely populated. Minimal leather sneakers, reduced branding and controlled palettes have become a shared language across a wide range of premium labels over the past decade. Under these conditions, restraint alone no longer produces distinction. What becomes relevant is whether a brand can develop a recognisable internal structure, one that remains identifiable through proportion, construction and repeated design decisions, not through external markers. HIDDEN WHITE builds that distinction through a combination of coded detailing, clearly weighted silhouettes and a material-led approach that holds together across different product categories, giving the collection a level of internal definition that remains legible even as individual models shift in tone, and making it increasingly difficult to read the brand as interchangeable within this segment.

This extension across categories reflects a broader development within contemporary footwear, where the distinction between casual and formal continues to dissolve and categories increasingly overlap. HIDDEN WHITE addresses this through a shared construction logic, allowing elements to move across trainers, more formal silhouettes and boots without appearing displaced.

HIDDEN WHITE
Asure Grey Leather Trainers

Material decisions reinforce that structure at a functional level. Full-grain leather, structured linings and solid rubber sole constructions define how the shoes respond to movement and pressure. The surfaces maintain clarity while adapting through wear, and the internal construction supports extended use through a balance of cushioning and stability. This is further supported by a comfort-focused insole system that introduces a more technical layer to the product, shaping how the shoe performs over longer periods of wear. The product is built to hold its form over time and gradually adjust to the foot through repeated use.

At the same time, HIDDEN WHITE sits within a broader recalibration of how value is defined in footwear. Material quality, durability and long-term usability are gaining weight in a market where visual status signals carry less relevance than they once did. This shift is reinforced by increasing scrutiny around production standards and product lifespan, placing greater emphasis on how things are made and how long they last. In that context, a focus on full-grain leather, structured construction and wear over time moves beyond aesthetic positioning and becomes part of a wider conversation about what constitutes a valuable product today. Positioned between legacy luxury and more accessible design-led brands, HIDDEN WHITE reflects a segment that combines material quality with a more attainable entry point.

This physical definition remains central to how the shoes are perceived. The soles carry a certain mass, the materials retain density, and the overall construction prioritises substance. That decision shapes appearance and experience, giving the shoes a grounded presence and a more direct, supportive feel in wear. The visual language follows the same logic, with a restrained palette that still allows the shoes to maintain a clear presence through proportion, toe shape and panel definition. Individual elements are positioned with precision, allowing variation without disrupting the overall reading of the collection.

HIDDEN WHITE
Dara Different Trainers

HIDDEN WHITE
Dara Different Trainers

HIDDEN WHITE
Asher Burgundy Leather Oxford Shoes

The strongest moments in the collection appear where proportion, construction and material align with clarity. Models such as Dylan and Dara show how this balance can hold in its most reduced form, while Asure and selected Asher variations demonstrate how the same logic can be extended into more pronounced silhouettes without losing definition.

HIDDEN WHITE’s strength lies in its ability to maintain that balance across a growing range of products. The brand does not depend on a single defining model, but builds its identity through a consistent set of decisions that remain visible across different categories, which gives the collection stability while leaving enough room for development, positioning HIDDEN WHITE as a label that is not searching for direction, but actively shaping it.

images (c) HIDDEN WHITE

DISCOVER HIDDEN WHITE: hiddenwhite.com
Explore leather sneakers and footwear focused on construction, durability and material quality.

Portofino Ceramica - The Structure of Contemporary Tableware

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Where Objects take their Place
Portofino Ceramica and the Structure of Contemporary Tableware

Ceramic objects rarely stand alone as they enter use immediately, shaping how food is placed, held, and perceived, and defining situations through weight, proportion, and surface. At Portofino Ceramica, that condition informs the work from the beginning.

Portofino Ceramica
Bento Cups

Portofino Ceramica
Bento Diner Plates

Portofino Ceramica
Elsa & Bento Tablewear

The brand traces back to a family business founded around thirty years ago, originally centred on the trade of Italian ceramics. Now led in second generation by Phil and Zoi, the company continues its family structure while gradually redefining its design direction. Production moved to Portugal as the European ceramic landscape evolved, placing the work within a production context shaped by technical precision and long-standing ceramic know-how. What defines the process is gradual refinement, with forms adjusted over time and decisions building on what already exists.

Design takes shape through close exchange with the producers, as ideas originate within the brand and develop further through technical knowledge and an understanding of clay that shapes proportion, feasibility, and finish. Form does not arrive fully resolved but stabilises between intention and material behaviour, shaped by both.

This dynamic continues directly in production, where material behaviour determines each stage. The initial forms are cut from clay plates and shaped by hand, giving each piece its slightly irregular contour. Stoneware is then refined and finished by hand, dried to stabilise its structure, then fired at high temperatures to establish durability. In some cases, drying takes place under natural conditions before firing. Glazes are applied manually and reach their final state only in the second firing, where surface, tone, and texture settle. Subtle variations remain visible in colour and reflection, with the overall character remaining consistent.

Portofino Ceramica
Alvo Vase

Portofino Ceramica
Rio Vase

These differences give the collection variation within a coherent whole, reflecting the nature of hand-applied processes and raw material behaviour. They become perceptible in handling and light, allowing objects to exist together without becoming identical. In the Elsa series, this approach translates into a precise, tactile form. The matte exterior absorbs light and stabilises the object visually, while the reactive glaze inside introduces depth and variation. Its qualities are most evident in use, in the way heat is retained, the surface responds, and the object settles in the hand.

Bento shifts the emphasis towards surface interaction, where matte and glossy glazes meet within each piece and shift with movement and light. Reflections change, edges soften or sharpen, and the surface remains active while retaining its restraint. The palette of beige and black reinforces this direction.

Portofino Ceramica
Bento Jug

On the table, the pieces relate through proportion and spacing, with plates, bowls, and vessels aligning without hierarchy and allowing arrangements to emerge from context. They remain adaptable, moving between everyday use and more composed settings without adjustment.
This flexibility is sustained by a material structure designed for continuity in use, as high firing temperatures ensure durability and resistance to regular handling, including dishwashing, while weight, edge definition, and surface remain perceptible, allowing the objects to continue registering physically in use.

The same thinking extends to sourcing, packaging, and logistics. Manufacturing in Portugal concentrates specialised knowledge and keeps material sourcing regional, while packaging and distribution in Germany maintain control over handling and reduce plastic use, with a focus on durability, responsible production, and reduced material waste. They form part of the same overall approach.

A different emphasis appears in the vases, where use becomes less central and silhouette takes on greater presence. In pieces such as Rio, Alegra, or Alvo, vertical proportions and more pronounced forms define space more directly, allowing material and surface to be read without mediation.

Portofino Ceramica
Bento Bowl

Portofino Ceramica
Elsa Tablewear

Across the collection, refinement remains continuous, with forms reduced until they hold, surfaces calibrated until they stabilise in light and use, and variation contained within a narrow range.

The collection settles into everyday contexts through repetition and continued handling, carrying a clear identity through proportion and material presence. Its coherence lies in how pieces relate in use, through scale, spacing, and surface, forming a system that can be extended over time. In practice, the system stays open, shaped by how it is arranged, adapted, and lived with over time.

images (c) Portofino Ceramica seen by Aimilia Theofilopoulos

DISCOVER PORTOFINO CERAMICA: portofino-ceramica.com
Explore contemporary tableware, stoneware ceramics, and handmade collections including plates, bowls and vases.

Sweef Modular Sofas - Scandinavian Design for the Modern Living Room

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Why Modular Sofas Are Redefining the Living Room
— A Look at Sweef


In many interiors, the sofa occupies the largest wall or the most obvious corner. Yet its presence shapes the entire room, setting the space in motion and determining where the eye settles, how a conversation is staged, and how the body lands at the end of the day.


Sweef
Modular Sofa Kamelen

Sweef
Modular Sofa Hajen

Sweef
Modular Sofa Dromedaren

Few objects carry so much spatial consequence while appearing so familiar. This quiet spatial authority explains why the sofa has become one of the most telling objects in contemporary interior design, functioning less as an accessory of domestic life and increasingly as a form of soft architecture.

This shift is especially visible in the renewed interest in modular seating. As homes become less fixed in their routines and more layered in their use, the sofa is increasingly expected to do more than remain in place. It has to absorb change, adapt to new spatial conditions and continue to make sense across different phases of living. The most compelling systems therefore combine comfort with a design clarity that allows them to structure a room with confidence.

Sweef approaches the home from exactly this territory, with the sofa at the centre of its thinking. Founded in 2011, the Swedish brand emerged through e-commerce and developed around the idea that customers should be able to build a piece around their own sense of comfort, proportion and material preference instead of choosing from a narrow set of fixed outcomes. Much of the collection is made to order, with extensive fabric and colour options shaping the final expression of each piece.

Sweef
Modular Sofa Dromedaren

Sweef
Modular Sofa Dromedaren

One of the clearest examples is Valen, a sofa whose appeal lies in its deep seat, low horizontal emphasis and generous, almost compressed softness. It reads immediately as a piece designed around staying rather than perching. The proportions are substantial without becoming heavy, and the silhouette remains calm even when the upholstery shifts the mood from neutral linen to saturated velvet. Colour plays a decisive role here, as a sofa upholstered in deep green velvet creates a very different spatial gravity than the same piece in pale linen or textured bouclé. Within contemporary interiors, upholstery increasingly carries the visual weight of a room, giving colour and texture a more defining role in the overall composition.

Where Valen establishes the core language, Mammuten expands it into a fuller spatial proposition. Presented by Sweef as a modular sofa series, it strengthens the idea of the sofa as an evolving landscape within the home. That is where Sweef becomes especially relevant within the current interior conversation. Modular furniture is being reconsidered as a long-term domestic framework capable of moving with its owners, absorbing changing habits and maintaining continuity while the surrounding life shifts. Sweef’s modular presentation of pieces like Mammuten and Dromedaren speaks directly to that logic.

That focus on modularity does not define the full scope of Sweef’s collection. Alongside its configurable systems, the brand develops more fixed sofa formats, sofa beds and a broader interior offering that extends its approach to comfort and material into different domestic situations. The recently introduced Björnen 2.0 sits within this expanded context as a sofa bed that carries the same attention to proportion and surface into a more transitional use. It reads as a piece that moves between states without disrupting the room, maintaining a consistent presence whether in its closed or extended form.

Sweef
Modular Sofa Dromedaren

Material plays a central role in how this logic is perceived and in how the object enters the room. Sweef’s universe is built around velvets, linen blends, bouclé-like textures and a notably broad palette of colours, allowing fabrics to act as spatial markers within the room instead of functioning merely as upholstery. Contemporary interiors are increasingly described as layered environments in which different materials, surfaces and tones build atmosphere through depth and tactility. In such spaces the sofa often becomes the strongest textile element in the room, anchoring the composition visually and atmospherically.

This renewed attention to material also intersects with a broader shift in how furniture is valued. In contemporary interiors, quality and longevity increasingly function as indicators of luxury, encouraging homeowners to select pieces that justify their presence over time. Sweef’s made-to-order production, emphasis on durable upholstery materials and repair-oriented service logic position the sofa as a long-term object designed to evolve with its owners across changing living situations.

Sweef’s showrooms give this philosophy a spatial dimension and allow the furniture to be experienced beyond digital imagery. Locations in Stockholm, Oslo and Berlin present the sofas within fully realised interior settings where scale, proportion and tactility become immediately legible. The newest of these spaces opened in Berlin-Kreuzberg on Prinzessinnenstraße 14 and introduces the collection to the German market within a setting that makes Sweef’s Scandinavian language of comfort, material and proportion physically legible.

Sweef
Modular Sofa Mammuten

Sweef
Modular Sofa Mammuten

Within these showrooms, the relationship between sofa and space becomes clearer. Walking around a modular piece reveals how its proportions define circulation through the room. Sitting down exposes the depth of the seat and the structure of the cushions. Fabrics shift character depending on light and distance, and configurations that once appeared online begin to read as spatial structures.

Seen from this perspective, Sweef resonates with a broader return to interiors that value adaptability, material character and emotional permanence. The best sofas offer comfort while establishing order and atmosphere within the room. They anchor the interior and provide a stable centre of gravity for everyday life. Sweef understands this well. The contemporary sofa is no longer only where living happens. It increasingly becomes the structure that allows living to take shape at all.

images (c) Sweef

DISCOVER SWEEF MODULAR SOFAS: sweef.de
Explore Sweef’s modular sofa collections, materials and colour configurations.

SENSES .THE LABEL - Spring/Summer 2026 Collection

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SENSES .THE LABEL 

Why Colour becomes the defining Structure of the Collection

written SARAH ARENDTS

In many current womenswear collections, colour rarely appears all at once. Often it appears as a tonal shift that subtly alters the mood of otherwise familiar silhouettes. 
In the Spring Summer 2026 collection by SENSES .THE LABEL this dynamic becomes visible through a series of carefully placed colour accents within a stable wardrobe vocabulary. One of the clearest appears in the drop Vanilla Sky, where butter yellow enters through textured knitwear and relaxed layering pieces. Set against a palette of soft neutrals and fluid tailoring, the tone warms the collection without disturbing its calm composition.

SENSES .THE LABEL
Vanilla Sky Drop

SENSES .THE LABEL
Vanilla Sky Drop

The Spring Summer season is organised through six drops released gradually over time. Vanilla Sky, Neon Nectar, Riva Mare, Tropical Edit, Gym and Cin Cin introduce shifts in colour, pattern and material while remaining anchored in the same design language. Feminine silhouettes, streamlined shapes and casual structures define garments that move easily through everyday life.

Each drop subtly recalibrates the visual atmosphere of the wardrobe as the season progresses. Cin Cin introduces a vivid orange that becomes the collection’s most direct colour accent, while Riva Mare adds maritime striping in white and Spicy Red whose graphic rhythm brings structure to otherwise fluid silhouettes. Tropical Edit expands the palette with saturated blues and lighter summer prints, Neon Nectar deepens the chromatic range, and Gym leans further into the collection’s sport-inflected dimension. Butter yellow in Vanilla Sky remains the softest tonal intervention within this evolving palette.

Across these variations the underlying construction remains consistent. Wide trousers, soft tailoring and lightweight knitwear establish pieces that transition easily across different moments of daily life. Many pieces rely on relaxed proportions and clean cuts, allowing fabric, colour and silhouette to carry the visual identity of the wardrobe.

SENSES .THE LABEL — Explore the full Spring/Summer 2026 collection at www.sensesthelabel.com

SENSES .THE LABEL
Neon Nectar Drop

Knitwear plays a particularly important role within this structure, with lightweight pullovers, cardigans and fine-gauge layers appearing throughout several drops as flexible elements within the seasonal wardrobe. Positioned between structure and softness, knitwear becomes an ideal surface for colour within the collection’s tonal system. Shades such as butter yellow or aqua can appear clearly without overwhelming the silhouette itself.

The drop structure reinforces this gradual approach. Instead of presenting the season as a single visual statement, the collection evolves through smaller tonal adjustments across the different chapters. Each drop introduces a new colour impulse or graphic element while leaving the broader wardrobe language intact.

Within contemporary womenswear this modular approach has gained relevance as wardrobes increasingly favour garments that circulate easily across different contexts of everyday life. SENSES .THE LABEL adopts this structure with particular clarity, organising the season through a sequence of focused colour interventions. Collections built through smaller releases introduce colour, pattern and material in clearly defined moments throughout the season. Each drop concentrates these elements within a specific phase of the collection, allowing the wardrobe to develop through successive shifts in colour and material.

SENSES .THE LABEL
Neon Nectar Drop

SENSES .THE LABEL
Riva Mare Drop

SENSES .THE LABEL
Cin Cin Drop

SENSES .THE LABEL uses this rhythm to position colour as a guiding element of the season. Aqua, orange, butter yellow, Spicy Red and deep blue appear as distinct accents before receding into the collection’s quieter tonal field. The wardrobe evolves through a sequence of tonal adjustments that unfold gradually across the season. Each shift introduces a subtle change in atmosphere as the underlying silhouette language remains stable.

A measured rhythm runs through the collection as calm base tones establish orientation and precisely placed colour accents guide the movement of the season. Relaxed silhouettes remain consistent throughout the wardrobe as colour gradually reshapes the atmosphere of familiar forms.




Anna Schäfer Bachtadze - Concept Couture

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Anna Schäfer Bachtadze
Defines a Slower Couture Rhythm Between Berlin and Paris

written SARA DOUEDARI

Anna Schäfer Bachtadze creates couture with a quiet kind of conviction. Between Berlin and Paris, she has shaped a practice that values time, sensitivity and the intimate dialogue between garment and woman. Her designs do not chase attention — they unfold gently, revealing their strength through craftsmanship, comfort and care. In this conversation, she reflects on transformation, longevity and the beauty of choosing a slower, more conscious path in fashion.

BACHTADZE
seen by Anna Schaefer Bachtadze

BACHTADZE
seen by Anna Schaefer Bachtadze

Born in 1980 in Tbilisi, Georgia, Anna grew up in a deeply artistic environment that shaped her early understanding of aesthetics and discipline. Ballet was her first great love; although she did not pursue it professionally, the weightlessness of stage costumes and the emotional intensity of performance continue to influence her work. Fine lace, fluid silhouettes and a sense of movement remain signatures of her design language.

BACHTADZE
seen by Anna Schaefer Bachtadze

BACHTADZE
seen by Elizaveta Belyaeva

After moving to Berlin at the age of fifteen — where she acquired the nickname “Bibi” — she later studied fashion design at HTW Berlin, graduating magna cum laude. Professional experience in management and marketing at international luxury houses such as Louis Vuitton and Céline provided her with the strategic foundation to establish her own label in 2009.

Originally operating within the traditional fashion calendar, she made a decisive shift in 2019, stepping away from wholesale and overproduction to reposition her brand as Concept Couture. Today, she works exclusively made-to-order, creating modular eveningwear designed to transform and endure. For Anna Schäfer Bachtadze, couture is not about seasons or spectacle — it is about responsibility, precision and pieces meant to accompany a woman for years, even generations.

Anna Schäfer Bachtadze, founder + creative director
seen by Elizaveta Belyaeva

BACHTADZE
seen by Anna Schaefer Bachtadze

Sara Douedari
Are you a romantic or a realist when it comes to fashion?

Anna Schäfer Bachtadze
It depends on my mood. I don’t like to define myself within rigid categories. In terms of aesthetics, I feel closer to a mystic than to a romantic — I am drawn to atmosphere, intuition, and subtle emotion. Yet when it comes to construction and wearability, I am very pragmatic. I design gowns that feel effortless on the body, so a woman can fully inhabit the experience of wearing them.


What was the exact moment you decided: I refuse to produce fashion that doesn’t last?

It wasn’t a single moment — but rather a process. When you run a small brand with a direct connection to your clients, there is no space for compromise or for failure in the form of a bad product. You cannot hide behind marketing. Your clients experience your work up close — they judge you by your quality. They don’t buy a logo; they buy your expertise. And loyalty only comes through real satisfaction.

Fashion has always been my life, not a trend or a strategy. If I was building something that would define my path, it had to have longevity. I didn’t create this brand for recognition or visibility. I created it because it was the only language that felt true to me.

Saying no to overproduction sounds powerful - but what did it cost you?


In fact, nothing. Quite the opposite. When I was operating within the traditional fashion system — producing up to six collections a year simply to fill the calendar — that was the most stressful period of my career. High risks, high investments, constant pressure to sell.

Stepping away from overproduction didn’t cost me financially or creatively. It only cost me my ego — and that was a very healthy exchange.

When you say „Made to Transform“, is it the garment that transforms - or the women wearing it?

Both.

The garment is engineered to allow transformation. Each dress is built from several modular elements that can be combined in different ways, allowing a woman to shift her look — from black tie to cocktail — with ease.

But “Made to Transform” also refers to the awareness of the client. Stepping out of the traditional fashion system was a necessary evolution for me. Yet transformation is never one-sided. It is a mutual story between the creator and the consumer.

To move beyond habitual consumption patterns requires a certain level of consciousness. True transformation happens when both sides are ready to evolve

Craft takes time. The market demands speed. Where do you draw the line - and have you been tempted to cross it?

I don’t design in response to market pressure — I design in response to my clients. If a woman comes to me with an urgent and meaningful occasion, we will do everything possible, even work through the night if necessary. But urgency must remain the exception, not the norm.

I will never again push my team into constant stress simply to compete within a system that has lost its sense of proportion. Craft requires time, precision, and respect — both for the garment and for the people who create it.
That is where I draw the line.
I also made a structural decision: I stopped working with wholesale. I now sell directly or online. This allowed me to step out of the pressure of buying seasons and production calendars dictated by the market. After Covid, selling luxury online became normal — even expected. So this transition felt organic, almost inevitable.

Between Berlin and Paris - who understands your work faster?

No one understands my work quickly. My dresses don’t scream like Instagram fashion. They reveal themselves when you try them on — when you feel the construction, the comfort. That takes time.

But Paris has a long-standing culture of couture and craftsmanship. There is a certain sensitivity here — an understanding that subtlety can be powerful.

Ten years form now, when one of your garments is still in someone closet - what will that prove?

In fact, many of my clients already own dresses that are ten years old or more — and they still wear them, or even pass them on to their daughters.

What does that prove? That true style exists beyond trends and seasons. And that I have done my work well.

Sustainable Luxury Footwear by AGAZI

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AGAZI - Sharpens Footwear with Redefined Design Intelligence

Plant-Based Innovation and European Workshop Production Redefine Contemporary Footwear

written LE MILE

Luxury houses invoke craftsmanship while expanding production across global markets, and sustainability is framed as urgent even as most brands remain embedded in accelerated supply chains. Contemporary footwear operates within this visible tension, balancing heritage narratives with industrial scale and ethical ambition with logistical reality. Design, material responsibility and manufacturing logic frequently coexist without fully converging. Founded in 2023 in Poland, AGAZI does not position itself as manifesto or corrective intervention. It advances a quieter alignment in which design, material responsibility and workshop production operate within the same structural framework.

AGAZI
Mule Haze

The alignment becomes evident before it is explained, as a sharp red pump elongates the foot without exaggeration and a cut-out heel structured through latticework reveals skin in measured intervals, its geometry deliberate and controlled. The silhouettes feel composed, shaped by proportion and restraint rather than seasonal impulse. Visually, the collection aligns with contemporary runway imagery while maintaining its own internal clarity, inviting assessment through line, surface and balance first.

This matters because the high heel remains one of fashion’s most exacting objects, it exposes hesitation in construction, magnifies imbalance and leaves little room for material compromise. In this context, responsibility cannot remain theoretical. The IVO line sharpens the classic pump through disciplined colour blocking and clean edges. DANCE YOUR WAY introduces negative space without disrupting internal precision, allowing the heel to move, flex and be tested in motion. Durability, craftsmanship and comfort under pressure become intertwined standards. Techniques such as Strobel construction and certification for sensitive feet reinforce a commitment to longevity that extends beyond appearance. Within a fashion culture long oriented toward image, comfort increasingly signals seriousness, as the intention shifts toward refining how the heel performs rather than tempering its authority.

In Łuków, eastern Poland, a family-owned workshop with more than thirty years of experience forms the operational core of AGAZI, where performance remains inseparable from place. Now led by the founder’s son, the factory has introduced systems that reduce material waste and tighten the relationship between design intent and resource use. More than ninety percent of the workforce are women, shaping a locally rooted company structure marked by social awareness. At a moment when progress in fashion is often equated with geographic expansion and layered supply chains, maintaining a contained production model becomes a deliberate position. Growth is pursued through refinement and selective positioning. Oversight remains immediate, decisions travel shorter distances, and European manufacturing functions as an operational condition informing each stage of development.

AGAZI
IVO MIDI Red

STEP INTO PLANT-BASED FOOTWEAR
agazi.eu
Vegan shoes handcrafted in Poland from certified plant-based leather alternatives.

AGAZI
IVO Green Pink

Material innovation appears without spectacle, as plant-based alternatives such as apple leather derived from juice industry waste, grape leather sourced from wine production residues, bamboo-based components and natural cork, paired with sugar cane soles, are integrated directly into the construction process. Over the past decade these materials have moved from experimentation to credible industrial application. The decisive question concerns their capacity to sustain uncompromising quality in practice. At AGAZI, their use remains controlled, with surfaces kept precise, finishes refined and colour saturation deliberate. Sustainability operates as a foundational condition of production, while aesthetic expression retains its autonomy.

The resulting collection resists seasonal volatility through measured proportions and restrained embellishment. Structural play remains disciplined, preserving formal clarity. The shoes appear conceived to settle into a wardrobe and accompany daily life over time, allowing durability to function simultaneously as material property and stylistic stance. Longevity concerns not only the endurance of a sole but the continued relevance of a silhouette.

AGAZI
LOUISE Matte Brown

AGAZI
Dance Your Way Toffi

AGAZI
Dance Your Way Toffi

This coherence extends into the Second Life programme, through which worn pairs can be returned, cleaned, repaired and redirected in collaboration with local foundations. Responsibility extends beyond the moment of purchase and informs how products are conceived from the outset. Material choice, construction method and lifecycle form a continuous design consideration across the lifespan of each pair.

AGAZI positions itself within European luxury through a measured, structurally grounded approach, acknowledging the realities of an industry defined by scale. Its strength lies in coherence. By aligning thoughtful design, uncompromising quality, material accountability and a contained European production framework, the brand articulates a model that feels internally resolved. Within the contemporary fashion landscape, such resolution carries weight. As a European label with a clearly articulated ethical orientation and a design language shaped by precision and aesthetic sensitivity, AGAZI commands attention not through volume but through structural clarity and refined design intelligence.

credits for images:
IVO black&caramel, IVO green&pink, IVO jeans, IVO #2, DANCE YOUR WAY (black & toffi), MULE HAZE, NOMAD MOON, NOMAD SUN
photographer Mateusz Grzelak
stylist kasiamioduska kasiamioduska + Filip Janiak
beauty Kasia Olkowska
set design Dagmara Kazimiera Stępień

CARMEN, IVO midi red, LOUISE (black & matte brown)
photographer Julia Niedospiał

That’s Engineering in Men’s Grooming with Brooklyn Soap Company

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That’s Engineering in Men’s Grooming

Brooklyn Soap Company extends its Grooming System with the Brooklyn Blade Pro

written MARK ASHKINS

Brooklyn Soap Company introduces the Brooklyn Blade Pro as the most technically defined device in its grooming range to date. Positioned alongside the Brooklyn Blade trimmer, the Brooklyn Shaver for foil shaving and the Brooklyn Body Blade for waterproof body grooming, the Pro advances the brand’s shaping phase through material density, mechanical precision and service-oriented construction.

Brooklyn Soap Company
Brooklyn Blade Pro

Over the past decade, men’s grooming has settled into a disciplined routine shaped by precision and repetition. Beard length, neckline definition and calibrated fades are maintained with an attention that treats the bathroom mirror as a recurring checkpoint. In this environment, devices gain significance because consistency over time defines the result as clearly as the initial cut. Construction and mechanical integrity therefore move to the centre of evaluation. Weight, balance and torque influence handling during trimming, while material stability determines how cleanly contours can be drawn and how reliably a chosen length can be reproduced across weeks of use.

The Brooklyn Blade Pro is built around a full metal housing sealed for waterproof operation. Inside, a brushless professional motor delivers sustained torque engineered to reduce mechanical wear over time. The precision blade is specified at 0.35 millimetres, enabling controlled edge definition and tighter line work. Runtime is listed at up to three hours per charge, supported by an exchangeable battery system designed for extended lifecycle use. Nine magnetic attachment combs ranging from 2 to 20 millimetres create a stable interface between blade and beard, reducing micro movement during trimming and supporting uniform length control.

These specifications position the Pro within an engineering-led understanding of grooming. A rigid metal body stabilises grip during detail work. Magnetic guards help maintain consistent pressure along the skin. Sustained motor performance supports even cutting from the first pass to the last, embedding accuracy in the mechanics of the tool itself.

Part of Brooklyn Soap Company’s expanding grooming system — explore the Brooklyn Blade Pro at www.bklynsoap.com

Brooklyn Soap Company
Brooklyn Blade Pro

The release also reflects the structural development of Brooklyn Soap Company as a brand. Founded on beard and shaving formulations, the company gradually articulated a phased grooming system structured around cleansing, shaping and conditioning. Care products such as Beard Shampoo, Beard Oil in variants including Classic and Cedarwood, face and beard cream and aftershave treatments establish the supportive layer around form and skin balance. The trimmer defines shape; the surrounding formulations maintain texture and comfort once that shape is set.

Across its cosmetic portfolio, the brand references formulations developed with natural ingredients and produced without microplastics or silicones under a Made in Germany designation. In hardware, the emphasis on durable metal construction and replaceable components extends this framework from cosmetic composition to industrial design. Longevity emerges as a shared principle across both liquid and mechanical categories.

Brooklyn Soap Company
Brooklyn Blade Pro

Brooklyn Soap Company
Brooklyn Blade Pro

Brooklyn Soap Company
Brooklyn Blade Pro

Within the contemporary men’s care sector, evaluation criteria increasingly centre on specification and service life. Motor type, battery concept and housing material influence purchasing decisions as strongly as scent or surface finish. Against this backdrop, the Brooklyn Blade Pro operates as a structural reinforcement within the grooming system, strengthening the shaping phase through material solidity and mechanical stability. Engineering becomes the defining language of daily beard maintenance.

Muller Van Severen - Inside the Belgian Design Duo

How Muller Van Severen Built One of Today’s Most Influential Furniture Studios

Fien Muller and Hannes Van Severen began working together in 2011, bringing two independent artistic backgrounds into a shared studio. Fien trained as a photographer, developing a precise understanding of composition, surface, and colour, while Hannes studied sculpture and focused on spatial structure and the behaviour of materials in three dimensions. The partnership formed through ongoing conversations about objects and through a gradual interest in how furniture could serve as a direct extension of their artistic processes.

ALLTUBES Bench by Muller Van Severen, part of the ALLTUBES series
(c) Muller Van Severen

ALLTUBES Cabinet High + Chair 2 by Muller Van Severen
(c) Muller Van Severen

Detail of the ALLTUBES Wall Cabinet L by Muller Van Severen
(c) Muller Van Severen

The development of each piece begins with material examination and simple construction tests. Metal rods are bent or joined to explore tension, leather is suspended to understand curvature, and polyethylene sheets are evaluated for their stability and chromatic presence. Decisions emerge from these practical studies rather than from conceptual narratives. Lines, joints, and surfaces remain visible because every part of the object reflects the steps that shaped it. This approach creates furniture that carries the clarity of studio experimentation without decorative additions or concealed elements.

Colour selection follows the same principle of directness. Polyethylene retains the industrial tones originally used for classification in food-processing environments; metals age at their natural pace; leather develops patina through use. These properties guide the design process and influence the proportions and combinations of materials. Instead of treating colour as a secondary layer, the duo integrates it at the earliest phase of development, allowing it to act as a structural element within the work.

Diversity within their oeuvre arises from the range of functional questions they address. Seating pieces examine how minimal surfaces can maintain comfort through tension alone. Tables often incorporate lighting, creating merged objects that organise spatial arrangements through a single construction. Shelving systems explore vertical extension and load distribution, while carpets translate the duo’s sense of balance into textile form. Variations come from the specific technical requirements of each task, not from shifts in style. The relationship between Fien and Hannes remains central to the evolution of their work. Drawings, scale models, and continuous dialogue form the basis of their process, with both artists contributing to each stage until a coherent solution emerges. The studio functions as a place for daily testing and refinement, and this environment shapes the calm, straightforward presence found in their finished pieces.

Daybed designed by Muller Van Severen for Kvadrat’s “Divina: Every Color Is Divine” exhibition, 2014
(c) Muller Van Severen

Hannes Van Severen + Fien Muller
Muller Van Severen

A recent development in their practice is the opening of a dedicated showroom near Ghent, accessible by appointment. This space allows architects, collectors, and design professionals to encounter the work in a precise and controlled setting. The showroom presents their furniture in a scale and context aligned with its intended use, giving visitors the opportunity to study materials, proportions, and constructions directly. This addition extends the studio’s reach without altering its foundational methods, and it offers a clear view of the ongoing investigations that anchor their work.

Bridges cabinet series by Muller Van Severen for BD Barcelona
(c) Muller Van Severen

Collaborations with production partners, including long-term work with valerie_objects, extend their designs into international contexts while preserving the essential principles of the studio. Manufacturers follow material guidelines that reflect the duo’s priorities: clearly defined geometries, unaltered surfaces, and structural transparency. These partnerships allow the work to circulate more widely without shifting the foundation of the practice.

Muller Van Severen continues to build a body of furniture that reflects an uninterrupted engagement with material behaviour, proportion, and the practical demands of construction. Every object contributes to an ongoing exploration of how form and function can be approached with artistic precision, and the resulting work introduces a steady presence to interiors through disciplined use of colour, material, and structure.

Duo Seat + Lamp by Muller Van Severen, presented at Design Brussels in 2011
(c) Muller Van Severen

Pillow Sofa designed by Muller Van Severen, created with KASSL Editions and reimagined by BD Barcelona
(c) Muller Van Severen

header image credit

Crossed Double Seat (2012), designed by Muller Van Severen for the Future Primitives series at Biennale Interieur
(c) Muller Van Severen

Maintaining Clean Floors in Modern Homes: A Comprehensive Guide to Floor Care Strategies

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Maintaining Clean Floors in Modern Homes:
A Comprehensive Guide to Floor Care Strategies

Clean floors serve as the foundation of any healthy, welcoming home, yet countless homeowners find themselves caught in an endless cycle of ineffective cleaning routines. The real challenge isn't just the physical act of cleaning—it's understanding how different methods work in harmony to deliver lasting results. Success hinges on finding the right balance of techniques, equipment, and timing that matches your unique flooring and lifestyle demands.

Different Floors, Different Care: Tailoring Your Cleaning Approach

Whether you're wielding a traditional broom, operating a cordless vacuum, or experimenting with other cleaning tools, grasping the complete picture of floor care empowers you to make smarter decisions about your cleaning approach.

Your flooring material dictates everything about how you should clean it. Hardwood floors demand a delicate touch—gentle, pH-neutral cleaners and minimal moisture are essential to prevent warping and preserve those protective finishes you've invested in. Tile and stone surfaces can withstand more aggressive cleaning, but those grout lines become magnets for dirt and bacteria that require special attention.

Laminate and vinyl flooring might seem bulletproof, but moisture control becomes critical since water can seep through seams and cause irreversible damage. Carpet and area rugs present their own puzzle—wool fibers need gentler care than synthetic materials, while plush, high-pile carpets trap debris in ways that low-pile options simply don't.

Each flooring type has its Achilles' heel, and recognizing these vulnerabilities shapes your entire maintenance strategy. Think of material identification as your roadmap—without it, you're cleaning blind.

Prevention First: Reducing Dirt and Damage Before Cleaning Becomes Necessary

The smartest floor care strategy starts at your front door, not your cleaning closet. Strategic doormat placement inside and outside every entrance can slash tracked-in debris by up to 80%—a simple investment that pays dividends daily. Taking it a step further with a shoes-off policy in high-traffic zones keeps outdoor contaminants from ever reaching your floors.

Furniture pads and protective barriers act as insurance policies for hardwood and laminate surfaces, preventing those heartbreaking scratches and dents that seem to appear overnight. Meanwhile, immediate spill response isn't just good housekeeping—it's damage control that prevents stains from becoming permanent fixtures.

Families with pets or children can benefit enormously from designated eating and play zones equipped with washable rugs. These contained spaces turn inevitable messes into manageable cleanup tasks rather than floor-wide disasters. Don't underestimate the power of regular walk-throughs either. Catching potential problems early—when they're still small and inexpensive to fix—beats dealing with major damage later.

(c) Dyson Press

Cleaning Techniques: From Traditional Methods to Modern Equipment

The most effective floor cleaning isn't about choosing between old-school and high-tech methods—it's about knowing when to use each approach. Manual cleaning techniques like sweeping and mopping remain irreplaceable, especially for delicate surfaces that need a gentle human touch. Master the art of systematic sweeping by working from room edges toward the center, and match your broom type to your surface for optimal results.

Mechanical cleaning equipment brings efficiency and consistency to the table. Upright vacuums excel at extracting deep-seated dirt from carpets, while robotic cleaners handle daily maintenance for time-strapped households. Handheld devices shine where their larger cousins can't reach—stairs, tight corners, and around furniture legs.

The secret lies in strategic deployment rather than blind loyalty to one method. High-traffic areas might need daily mechanical attention, while your grandmother's antique hardwood might prefer gentle weekly hand-cleaning.

Selecting Appropriate Cleaning Solutions: Safety, Effectiveness, and Sustainability

pH levels aren't just chemistry class trivia—they're the difference between clean floors and damaged ones. Alkaline cleaners slice through grease like nobody's business, but they'll wreak havoc on natural stone. Acidic solutions dissolve mineral deposits beautifully, yet they can permanently etch marble surfaces.

Natural cleaning solutions crafted from pantry staples like white vinegar and baking soda offer powerful, safe alternatives for many cleaning challenges. But don't assume "natural" means "foolproof"—even these gentle giants need proper dilution and application to avoid unintended consequences.

Safety becomes non-negotiable in homes with children and pets. Always test new products in hidden spots first, and never skimp on ventilation when using any cleaning chemicals, natural or otherwise.

Creating a Maintenance Routine: Balancing Frequency and Effectiveness

Sustainable floor care thrives on consistent daily habits paired with strategic deep-cleaning sessions. Your daily routine might include sweeping high-traffic zones and tackling spills the moment they happen. Weekly deep cleans address every floor surface, while monthly intensive sessions target those areas that need specialized care.

Seasonal flexibility keeps your routine realistic—muddy spring months and holiday entertaining seasons naturally demand more frequent attention. Pet owners and parents typically need tighter cleaning schedules, while empty nesters might stretch intervals between major cleaning sessions without consequence.

Bringing It Together: Your Path to Consistently Clean Floors

Mastering floor maintenance means recognizing how prevention, proper techniques, suitable products, and smart scheduling work together as a unified system. The most successful homeowners don't rely on any single miracle solution—they blend multiple strategies that fit their specific circumstances.

Start small by implementing one or two preventative measures and watch how they transform your cleaning routine. Clean floors dramatically enhance your home's health and comfort, making every effort you invest in proper care practices worthwhile. Remember, there's no universal "best" approach—evaluate your unique situation and adapt these strategies to create a system that actually works for your lifestyle.

onomao - Handcrafted Ceramics

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onomao
*within Portuguese Craft Culture

written SARAH ARENDTS

onomao began in 2018 with a clear intention to bring traditional Portuguese craftsmanship into a contemporary context. The brand collaborates with small manufactories that work with regional clay and long-established production methods.

Every piece is shaped, glazed, and finished by hand, which creates subtle variations in surface and form. These variations are part of the identity of the objects and underline the direct connection to the people who make them. Packaging materials are reused, and shipments remain free of plastic.

onomao
small bowl pura rosa

onomao
aberta hand-painted orange

The founders Arthur and Felix Wystrychowski grew up in Munich and developed an early interest in Portugal. Their regular travels for surfing brought them into contact with local workshops and with the atmosphere of regions where craft is part of everyday life. Arthur studied landscape architecture in Berlin and strengthened his interest in materiality, spatial order, and quiet design solutions. Felix trained as a cook in Portugal, later moved toward graphic design, and gained experience in visual communication. Their combined perspectives shaped the direction of the brand and guided their search for small manufactories that value continuity, responsibility, and fairness.

The collections show a broad range of forms and colors. onomao does not work with a single design language. Instead, the assortment includes tableware with sculptural silhouettes, soft curves, and straight lines, depending on the collection. The best-known line is called Traditional. It features pieces with a clear structure, balanced proportions, and glazes that reflect the character of Portuguese ceramic traditions. Other collections explore different approaches. Some use matte surfaces in warm earthy tones. Others bring in more saturated colors or glossy textures that highlight the material. The diversity in the assortment allows each piece to stand on its own while still fitting into a cohesive visual family.

onomao
large bowl deep plate natural white

onomao
www.onomao.com

based in Cologne, Germany and working with small Portuguese manufactories to produce handcrafted ceramics and homeware

onomao Traditional Collection average price range: 12 € – 45 €

onomao understands tableware as part of the everyday situations in which people pause, cook, and sit together. Meals often form the central moments of a household, and the founders see ceramics as one of the elements that quietly supports these routines. The collections differ in shape, color, and finish, yet they share a steady and unobtrusive presence that works in simple weekday settings as well as in larger gatherings. Forms range from strict lines to softer curves, and the glazes include muted tones, natural textures, and more saturated colors. This variety reflects the different ways kitchens function and how people choose to organize their daily rhythm.

It also reflects the founders’ interest in creating objects that remain practical while offering a sense of calm and order on the table.
Their collaboration with small Portuguese workshops follows the same principles. The manufactories work with regional clay and long-established methods, and the production decisions are shaped by continuity, material awareness, and respect for craft. These relationships have grown over time and form the foundation of onomao’s approach to design. New pieces are introduced carefully, without compromising the pace and structure of the workshops. This approach allows the assortment to evolve in a steady and deliberate way, keeping a clear connection to the people and regions involved in the production.

onomao
small and large plate natural white

onomao
salad bowl sapphire blue classic

onomao
aberta hand-painted blue

Yerevan Fashion Week - Home and Away

Home and Away
*The Yerevan Portraits

written CHIDOZIE OBASI

Nestled amid the nature-meets-brutalist setting of a vibrant city, Yerevan Fashion Week provides a compelling backdrop for emerging and established design, merging threads of innovation and tradition with potential for consumers and insiders alike.

While Spring might feel like a faraway fantasy, that needn’t be reflected in your wardrobe offerings. A surefire way to make a wealth of occasions slightly more appealing? Choosing to eschew traditional cuts and volumes for breezier kinds – or at least, integrating some flashes of colour into the mix. The Wave’s sculptural pieces; Manuk Aleksanyan’s beading; Loro Piana’s timeless classics; Faina’s naturalesque details: from longline dresses to conceal under coats, to the pieces sure to enliven any outfit, LE MILE shows you 8 ways to channel your eclectic style.

dress THE WAVE

total look LORO PIANA

dress MANUK ALEKSANYAN
loafers LORO PIANA

total look BRIONI

dress THE WAVE
boots PREMIATA
eyewear CALVIN KLEIN via Marchon Eyewear

dress FAINA

blazer + skirt FERRAGAMO
shirt TORY BURCH

photography  LIDIA VIRABYAN
fashion direction  CHIDOZIE OBASI
fashion  LISA MANCINI
model  SOFIA
video  KARO TERTERIAN
fashion assistants  INGA and VALENTIN
project coordination  ELEN MANUKYAN and VAHAN KHACHATRYAN
special thanks  @fdc_armenia

SECRID and the Culture of the Pocket

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SECRID
*Industrial Design for Everyday Carry

written MONICA DE LUNA

Since 1995, SECRID has focused on pocket-sized accessories shaped by industrial design, clarity and careful material work.

Founded by René and Marianne van Geer in the Netherlands, the brand continues to produce locally, with assembly done in collaboration with social enterprises. This setup supports consistent quality and a transparent, regionally rooted production model.

SECRID
Cardprotector Hamerstones

SECRID
Chalk Combination of the Emboss Diamond and Chalk Edition

The Cardprotector introduced a compact aluminium format with a mechanical access system for cards. Its patented Autolock mechanism regulates the controlled release of cards and supports single-handed use. This simple movement aligns with everyday situations shaped by contactless payments, transit systems and workplace access. The Cardprotector became the structural foundation for the entire SECRID collection and continues to define its handling experience.

The Cardprotector+, introduced in 2025, strengthens this foundation. An internal reinforcement plate supports frequent use while maintaining the familiar format and lever operation. It forms the core of the premium+ collection — a fully vegan line that focuses on refined materials, structured surfaces and long-term usability.

Hammerstone adds a distinct material expression to the collection. It uses recycled aluminium finished through an industrial impact technique that produces a matte, textured surface. Available in Charcoal, Azure and Navy, Hammerstone supports a lifestyle shaped by movement, daily commuting and travel, where a stable, durable surface performs well and integrates naturally into routine handling.

SECRID
Cardprotector+ FW25 Fluted Cashmere

Prices from €34,50 for the Cardprotector, €39,95 for the Cardprotector+, €44,95 for Hammerstone, and €64,95 for the Emboss Diamond Chalk Edition

— explore the full collection at www.secrid.com

Emboss Diamond Chalk presents another direction within the premium+ collection. The geometric embossing, created with high-precision steel tools, forms a consistent pattern across the leather. Chalk introduces a controlled, mineral-like tone designed for visual clarity. Each model in this category is centred around the Cardprotector+ mechanism, linking the structured surface to SECRID’s most advanced internal construction.

SECRID’s relevance today lies in how its products support the organisation of everyday essentials. Many people move between physical cards, digital identities and various access systems throughout the day. A compact format that structures these elements reduces friction and creates a steady, predictable flow in daily use — whether at transport hubs, in shops, in offices or while travelling. SECRID’s accessories are designed to fit directly into this rhythm, remaining discreet in size and consistent in handling.
Across all categories, SECRID maintains local production and close material oversight. The brand works with European suppliers under strict environmental standards and assembles its products in supervised, inclusive workshops. The result is a collection shaped by Dutch industrial thinking, material discipline and a focus on pocket formats that support modern life with clarity and intention.

SECRID
Cardprotector+ FW25 Fluted Orange

SECRID
Cardprotector+ FW25 in Fluted Orange, Cashmere, Silver, Teal, and Black

OKM - The Heritage of Sleep

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The Heritage of Sleep with OKM 

*Eight Decades of German Bedding Craftsmanship

written SARAH ARENDTS

For almost eighty years, OKM has stood for precision, craftsmanship, and enduring quality in the production of bedding. Founded in 1946 and based in Altenberge, in Germany’s Münsterland region, the family-run manufacturer continues to operate where it began, guided by values of responsibility, transparency, and mastery of the craft. Every of their products is made in-house, by hand, combining traditional expertise with advanced manufacturing processes.

OKM pillows bring handcrafted comfort and quiet precision to contemporary interiors.

The company’s history reflects continuity and dedication to excellence. Over the decades, OKM has cultivated a clear identity focused on bedding that meets the highest technical and sensory standards. Each duvet and pillow is cut, filled, and finished under one roof through a sequence of precise manual steps. Quality accompanies every stage of production, supported by a controlled process that ensures consistency and reliability.

At the core of OKM’s philosophy lies an uncompromising approach to materials. The company works exclusively with new, Class I goose down and feathers from certified, traceable sources that comply with the DOWNPASS standard for ethical sourcing and full transparency. The fabrics that encase the fillings are tightly woven cotton of the highest grade, certified according to OEKO-TEX® Standard 100 and suitable for sensitive skin. The dense weave of the cotton covers meets NOMITE® criteria, creating an environment ideal for people prone to allergies and ensuring lasting purity in daily use.

This focus on material integrity defines OKM’s idea of quality. Each product is created with precision, technical skill, and attention to long-term performance. The brand’s visual language follows the same clarity: calm, refined, and functional. Every piece is conceived for comfort, tactile harmony, and durability.

OKM’s collection consists of two lines, Signature and Bespoke. The Signature line represents the essence of the brand — superior materials, handmade precision, and immediate availability within a few days. The Bespoke line extends the experience through full customization. Customers can configure every element of their bedding, from size and firmness to piping color and embroidered initials. This personal detail echoes the atmosphere of luxury hotel bedding and introduces a sense of individual refinement to the home.

The process of personalization turns bedding into an individual composition of comfort and identity. Each configuration allows the user to select their preferred balance of softness and support, adapting the product precisely to their sleeping habits. The Bespoke service brings together the principles of craftsmanship and hospitality, translating artisanal expertise into a contemporary form of service.
Behind every piece lies a clear vision, to combine traditional handcraft with sustainability and transparency. OKM works with natural, renewable materials and maintains European production standards that favor longevity and ethical responsibility. The company operates with measured scale, ensuring full control of production and maintaining a level of quality that reflects its heritage.

Down filling being measured by hand. Each pillow is precisely filled with ethically sourced down to achieve the desired softness.

Essential materials for OKM’s handcrafted pillows — fine cotton fabric, pure down, feather filling, and sewing tools prepared for precise hand assembly in the Altenberge manufactory.

OKM
www.o-k-m.com

based in Altenberge, Germany

producing handcrafted down and feather bedding — made from certified natural materials in their own manufactory

Custom-made 3-chamber pillows by OKM. Each piece combines a supportive feather core with soft down layers and can be personalized with size, firmness, and embroidered details.

Today, OKM continues to uphold its reputation for precision and trustworthiness. All product leaving the factory in Altenberge carries a distinct signature of German handcraft, attention to detail, and a dedication to lasting comfort. The brand stands for refined bedding that performs to the highest standard and preserves a tradition of excellence passed through generations. Enjoy restful nights with OKM.

SALZWASSER - Lennart Henze on Sustainable Fashion

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From the Coast to the Studio

*How SALZWASSER Turns Simplicity Into a Design Language

written SARAH ARENDTS

SALZWASSER was born where the wind carries salt across the shore and the horizon never ends. Founded in 2019 on the North Sea island of Norderney, SALZWASSER marks its sixth anniversary. What began on the coast has grown into a Hamburg-based studio that continues to work within Europe, maintaining short production routes and close collaborations.

Each piece starts with material selection: Merino wool, organic cotton, linen. Natural fibers chosen for their quality and origin. Production takes place in Italy, Portugal, and Germany, where every step is clearly defined and carried out with consistency. The result is clothing designed to last, made without synthetics, focused on fit, proportion, and longevity. The current collection continues this approach with knitwear made entirely from Merino wool — soft, breathable, and structurally stable for years of wear.

SALZWASSER
founder: Lennart Henze

Sarah Arendts
What was the starting point for the special quality that defines the brand today?

Lennart Henze
For me, it all begins with a deep love for good products — for things that stay with you for a long time and get better every day. I realized early on that true quality is never a coincidence; it comes from patience, care, and the courage to leave nothing to chance.
I’m fascinated by materials, construction, and tactile experiences — how a fabric falls, how a knit breathes. SALZWASSER was born out of this dedication: the ambition to create clothing that feels substantial, is impeccably crafted, and is not designed for just one season but for a life full of good moments.

The new knit styles made from 100% Merino wool expand your core collection. How did the idea for this collection develop?

The collection emerged from the desire to use natural materials in their purest form.
Merino comes with natural properties: temperature-regulating, soft, breathable — and without any synthetics, it performs better than many technical fibers.
After our more distinctive, technical-looking half-zip sweaters, we wanted to create knits that are even more reduced: simple crewnecks with subtle knit structures — understated and timeless.
Once again, made as a mono-material: no synthetics, 100% Merino wool. For us, this was a logical step — moving away from synthetics and towards a pure, natural material world that harnesses the best performance nature has to offer.

Your half-zip sweaters have long become synonymous with SALZWASSER. When did you realize they were more than just a classic pullover?

When I noticed that we hadn’t just adapted a classic half-zip — we had reimagined it.
The half-cardigan structure, used inside-out, the modern, slightly looser cut — that’s what made it unique. Bolder, more contemporary. And then came the decision to produce entirely without synthetics and even achieve GOTS certification — something rare in this category.
The fact that the sweater was so well received and that we were able to expand it twice through crowdfunding showed us that people value the full package: natural fibers and sustainability, quality, and European production.

Italy, Germany, Portugal — what connects these places for you?

First of all: quality and craftsmanship. Each of these countries has its own textile handwriting, and we value them all. Germany is our home, where everything began — on Norderney, in the far north. Portugal is a place of longing and inspiration for me — the coast, the light, the calm. Italy brings its own warmth and elegance — and a precise textile tradition.
And, of course, there’s something else connecting them: a transparent European supply chain.
Shorter routes, more personal relationships, responsible production. These places are part of our identity — reflected in our colors, our aesthetics, and our sense of nature and timelessnes.

How do you prevent sustainability from becoming rhetoric?

By not treating it as marketing, but as a mindset. And by enabling people to understand what real responsibility means: natural materials, European manufacturing, transparency. For us, sustainability isn’t a concept — it’s our starting point.

Where does design begin for you?

Design begins for us with reduction and responsibility. We follow a circular textile design approach, focusing on mono-materials, natural fibers instead of synthetics, and long-lasting construction. At the same time, we aim to create a stronger emotional connection to each piece — through timeless, minimalist forms that people can truly live with.
We don’t think in seasonal cycles or collections, but work on a continuous range. Our vision is clear: Focus on Essentials. Design evolves through subtraction — until only what is meaningful, beautiful, and lasting remains.

Timelessness — more about endurance or calm?

For me, timelessness is calm — and from that, endurance follows. A calm cut, reduced details, natural tones that never shout.

What role do places play — sea, light, the North?

SALZWASSER was born on the rough northern coasts. Coasts have always been places of longing and calm. Traditionally, people living by the sea have mastered a slow, minimalist, and simple way of life. They value durable gear and meaningful experiences with nature — they focus on what truly matters. With a contemporary design approach, SALZWASSER translates this lifestyle and mindset into modern everyday clothing — for city, countryside, and coast. It reminds people of moments of longing and allows a return to what’s essential. Focus on Essentials.

What should people feel when they wear SALZWASSER?

Freedom.

Calm.

And focus on what truly matters.

SALZWASSER
www.salzwasser.eu

based in Hamburg, Germany
designing timeless essentials from natural fibers — all made in Europe

At SALZWASSER, sustainability means durability, repairability, and transparent production within Europe. Every decision, from the yarn to the finished garment, follows this logic. The aesthetic remains consistent, defined by quiet lines, natural tones and functional clarity. As the brand enters its sixth year, SALZWASSER reaffirms its commitment to creating garments built for purpose and time.

Inside Shop Like You Give a Damn - Sustainable Fashion

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SHOP LIKE YOU GIVE A DAMN
*A Department Store for the Future of Compassion

written AMANDA MORTENSON

Shop Like You Give a Damn was founded by Alex Jansen, Kim van Langelaar, and Stephan Stegeman to make ethical choices straightforward. Early on, the team tried to verify the ethical claims of brands they admired and discovered that reliable data to separate intention from reality was missing.

Together with a tech partner, they built an AI-supported assessment framework and tested it on a selection of the most ethical brands, but none met every criterion. The lesson became their principle of better, not perfect. The platform has been 100 percent vegan since day one and curates brands around three non-negotiable pillars of animals, people and planet. Its goal is progress backed by proof, with transparency throughout the production chain, fair labour and a smaller footprint. The team has assessed thousands of labels, works closely with more than 150 of them and continues to raise the bar through dialogue, evidence and clear standards.

DAWN

Shop Like You Give A Damn
founding team: Kim van Langelaar, Stephan Stegeman, and Alex Jansen

Amanda Mortenson
“Better, not perfect” is a central idea behind what you want to communicate. How did this become a guiding philosophy for Shop Like You Give a Damn, and how do you embody it in your decisions?

Stephan Stegeman
“Better, not perfect” became our mantra after an eye-opening experience early in our journey. About five years ago, we set out to verify every ethical claim our brands were making. We give a damn about animals, people and the planet, so it was crucial to ensure every brand on our platform truly aligned with our values — always vegan, fair and as sustainable as possible.

But we quickly hit a roadblock: there wasn’t enough reliable information to say with confidence which brands were genuinely better than conventional fast fashion. That uncertainty kept us up at night. Then a tech startup approached us with an AI-driven tool to verify sustainability claims. We worked together for six months to build a framework and tested it on what we thought were the hundred most ethical brands. The results were humbling — not a single one met all our criteria.

That experience crystallised our philosophy. If we chased perfection, we’d have no brands left to support, and that helps no one. So we decided to champion progress — brands that are proudly vegan, treat workers fairly and work to minimise their environmental impact. Every decision we make starts with asking: is this better for animals, people and the planet? If yes, it’s on the right path. We’ve now assessed over two thousand brands, using that knowledge to keep raising the bar and helping good ones get even better.

In your view, what are the biggest misconceptions people have about “sustainable fashion” and veganism?

One of the biggest misconceptions about sustainable fashion is that it’s actually sustainable. It isn’t — at best, it’s a less harmful version of regular fashion. Producing new clothing always consumes materials, water and energy, and generates waste and emissions. The fashion industry still accounts for around ten percent of global carbon emissions — more than all international flights and shipping combined.

The most sustainable choice is not buying new clothes at all. Using what you already have longer and consuming less is the best way to reduce impact. After that comes reusing, swapping or buying second-hand. If you must buy new, choose responsible brands that use better materials and fair production.

When it comes to vegan fashion, many people don’t realise it’s more than diet — it’s also about what we wear. Materials like wool, silk and leather all involve animal suffering and serious environmental costs. Wool, for instance, often involves painful procedures like mulesing and enormous water use. Leather isn’t just a by-product of meat — it’s its own industry, with chemical-heavy tanning that harms both workers and ecosystems. True vegan fashion means avoiding all animal materials and choosing plant-based or innovative alternatives, from organic cotton to apple, mushroom or cactus leather. It’s not impact-free, but it’s far less harmful.

When you look at materials, what trade-offs do you see most often, and which ones surprise people the most?

When you start really looking into materials, you realise there’s no such thing as a perfect one. Every fabric comes with trade-offs — it’s about choosing what does the least harm while moving the industry in a better direction.
Many people are surprised to learn that most vegan leathers still include some form of plastic, like polyurethane. That’s not ideal, but compared to animal leather — which involves suffering, toxic tanning and high emissions — a responsibly made PU- or bio-based leather is still a better choice.

The same goes for plant-based fabrics. Cotton sounds sustainable because it’s natural, but conventional cotton is extremely water- and pesticide-intensive. Organic cotton is better, but not perfect. Recycled fibres and low-impact blends help, yet they depend on proper recycling systems that don’t exist at scale.

What surprises people most is that natural doesn’t automatically mean sustainable, and synthetic doesn’t always mean bad. A “natural” fibre like wool or silk can have major animal rights and environmental issues, while a recycled polyester might have a smaller footprint if it’s kept in circulation.

At Shop Like You Give a Damn, we try to navigate those grey areas honestly. We look for what’s vegan, fair and more sustainable — accepting imperfection while supporting innovation. Real progress happens not when we find one flawless material but when the entire industry shifts its mindset from exploitation to responsibility.

How do you draw the line between what’s “good enough” and what’s still too problematic?

For us, the line starts with being 100 percent vegan — that’s non-negotiable. From there, we ask whether something is genuinely better than the mainstream alternative. That means no greenwashing, no empty buzzwords — just real, evidence-based improvement.

We have clear internal guidelines on what materials we accept. Products must be made from fabrics that are not harmful to animals and significantly less harmful to people and the planet. On labour, it gets more complex. Ideally, every worker earns a living wage, but not every region is there yet. Sometimes a verified minimum wage plus transparent progress toward a living wage can be acceptable for now. The key word is progress.

So “good enough” doesn’t mean perfect; it means effort, transparency and direction. If a brand is vegan, pays fairly and uses better materials, we’re happy to stand behind them. But if any of those pillars — animals, people or the planet — are missing, it’s not good enough.

You require sellers to adhere to your values. How do you support them in improving over time?

When we assess brands, we ask a lot of difficult questions and explain why certain choices don’t meet our standards yet. Even if a brand isn’t ready to join us right away, we often see them come back after improving.

We’re now working with over 150 brands, so we have a good understanding of where they tend to struggle and what helps them grow. Our goal is to use that shared knowledge to bring brands together, because this isn’t a competition. If we want to change the fashion industry, we need to do it collectively. One twig breaks easily, but a bundle doesn’t. That’s how we see ethical fashion — as a community. In the near future, we want to invest even more in that network, helping brands learn from each other and expand our collective impact.

KnowledgeCotton Apparel

Kings of Indigo

How do you communicate nuance or “imperfection” to your customers, without alienating or confusing them?

We try to be as factual and transparent as possible. That means saying we’re “more sustainable,” not “sustainable.” It might sound small, but it matters. Every product has an impact, and the goal is to make that impact smaller — not to pretend it doesn’t exist.

We remove vague or misleading claims like “eco-friendly” unless there’s real proof. And we make sure our language never excludes or offends anyone. Ethical shopping should feel approachable, not moralising. When people buy from us, we want them to know they’re making one of the best choices available — not a perfect one, but a conscious one that’s better for animals, people and the planet.

Recently, Shop Like You Give a Damn acquired the website of NOAH Italian Vegan Shoes. What motivated that move, and how will you integrate its legacy?

Our decision came from deep respect for NOAH’s pioneering role in vegan fashion and a shared desire to carry its mission forward. Founded in 2009, NOAH spent sixteen years proving that high-quality design can be completely vegan and ethical. It was one of the first brands we partnered with after our launch in 2018 and had long been a pillar of the community.

When NOAH announced its closure, we didn’t want that legacy to disappear. By acquiring its website, we can ensure that everything it built continues — its vision of compassionate, high-quality vegan fashion will live on and reach new audiences.

As you scale, what are the hardest tensions you face?

One of the hardest parts of running a sustainable company is making choices that are good for sustainability but bad for business. We’ve onboarded brands that customers love but later had to remove because they no longer met our standards.

It’s tough, because building a truly ethical business is difficult. Many brands and platforms have disappeared for that reason. But to make a real impact, a company also needs to earn enough to sustain its team. Only then can it continue to drive change. Balancing credibility and survival is never easy, but it’s essential.

What keeps you and your team motivated?

Most people in our company are vegan for the animals, and that shapes everything we do. It’s about compassion — making sure we don’t exploit people or destroy the planet. Even in hard times, when resources are tight or things get complicated, those values keep us inspired and focused on why we started this in the first place.

Looking ahead five to ten years, what do you dream Shop Like You Give a Damn could become?

I hope that in the next decade we’ll be the leading vegan, fair and sustainable fashion marketplace in the world. I want us to continue raising awareness about the problems in fast fashion while offering people an easy, enjoyable and trustworthy alternative.

KOMODO

SUITE13LAB

SHOP LIKE YOU GIVE A DAMN
www.shoplikeyougiveadamn.com

based in Amsterdam, The Netherlands
offering over 20,000 vegan, fair and sustainable products

A recent step reflects that approach with the acquisition of the website of NOAH Italian Vegan Shoes, preserving the legacy of a pioneer in vegan fashion and keeping its mission accessible. For Stephan, it comes down to building a credible way to buy with less harm, buy better and keep compassion at the center of commerce.

Kuyichi

Thinking MU

Rotholz