Design – Numéro Berlin https://www.numeroberlin.de Thu, 23 Jul 2026 10:39:56 +0000 en-US hourly 1 W COSTA NAVARINO: A PLACE BETWEEN MYTH AND MODERNITY https://www.numeroberlin.de/2026/07/w-costa-navarino-a-place-between-myth-and-modernity/ Thu, 23 Jul 2026 10:39:56 +0000 https://www.numeroberlin.de/?p=72560
W COSTA NAVARINO: A PLACE BETWEEN MYTH AND MODERNITY

Numéro Berlin explored the luxury resort that became one of the filming locations for Christopher Nolan’s newly released film, The Odyssey.

Following Odysseus’ legendary ten-year journey home after the Trojan War, Nolan brought the epic tale back to its Mediterranean origins, filming amid the dramatic cliffs, caves and shores of the Peloponnese. Celebrating the film’s release with screenings at its open-air cinema, while also offering specially curated excursions, artisanal workshops and activities inspired by the enduring story of Odysseus, the landscape continues to invite a different kind of voyage: one defined by design, wellness, cultural curiosity and the art of slow luxury.

Let’s be honest: it is difficult not to fall deeply in love with Greece — whether for the beauty and diversity of its landscapes, the layers of history that merge with the present in a way found almost nowhere else, its spirit of philoxenia, which goes far beyond hospitality and expresses a genuine love for strangers, or its profound joy of living and instinct for celebrating life at any moment. And, last but certainly not least, its food.

As part of an exclusive series of artworks, Greek curator and visual artist Poka-Yio raises compelling questions about the symbolic identity of hotels and their ability to serve as bridges into another space, allowing us to experience the spirit of a country in a more intimate way. He sees hotels as timeless entities: “They are certainly out of place and out of time. They are portals.” Some have the rare privilege of being built on land that carries deep, collective memories of the past.

W COSTA NAVARINO: A PLACE BETWEEN MYTH AND MODERNITY

W Costa Navarino is undoubtedly one of those portals. Opened in 2022, it is nestled in one of Greece’s best-kept secrets: the region of Messinia in the southwestern Peloponnese, a landscape shaped by more than 4,500 years of history. It forms part of an expansive luxury destination comprising premium hotels, private residences and one of the Mediterranean’s most diverse offerings for exploration, sport and wellbeing.

Driven by a philosophy of protecting and preserving Messinia while thoughtfully contributing to its development, Costa Navarino places sustainability and its relationship with the local community at the centre of its vision. Messinia is home to one of Europe’s richest regions for biodiversity — the Gialova Lagoon alone provides a habitat for 271 bird species — while also preserving an extraordinary cultural legacy, from Mycenaean palaces and vaulted tombs to Classical temples, Byzantine churches and medieval castles.

The region is further enriched by several UNESCO World Heritage Sites, including Ancient Olympia, Mystras and the Temple of Apollo Epicurius. It is also home to Ancient Messene, the Palace of Nestor and Nestor’s Cave— believed to have served as one of the filming locations for the Cyclops Polyphemus sequence in Nolan’s The Odyssey — the iconic omega-shaped Voidokilia Beach.

A VILLAGE REIMAGINED

Costa Navarino is made up of three distinct destinations, each with its own character: Navarino Dunes, Navarino Bay and Navarino Hills.

Together, they comprise four luxury hotels. At Navarino Dunes are The Romanos, a luxury Collection Resort and The Westin Resort Costa Navarino, alongside private residences, two golf courses and a Mouratoglou Tennis Centre, the NBA Basketball School and a collection of villas available through Costa Navarino’s villa rentals programme. It is also home to the 4,000-square-metre Anazoe Spa, a renowned wellness and thalassotherapy centre.

Navarino Bay is home to Mandarin Oriental, Costa Navarino and W Costa Navarino, as well as Navarino Agora -a hub for gastronomy, culture and entertaintment open to all guests and residents of Messinia. While Navarino Hills features an additional two signature 18-hole golf courses.

My destination, however, is the vibrant W Costa Navarino.

After a three-and-a-half-hour drive from Athens Airport, the changing landscape gradually reveals what makes this corner of Greece so special. Rolling hills, olive groves and the sea create a quiet sense of anticipation long before reaching the hotel. “This is the Hamptons of Greece — just without the crowds,” someone tells me on the way.

The first thing that catches my eye upon arrival is the monumental W sculpture, rising almost four metres above the entrance. I later learn that it forms part of the hotel’s permanent art collection by Greek artist Poka-Yio, whose fascination with creating works for public spaces reflects one of the resort’s central ideas: bringing together culture, place and contemporary hospitality.

The sculpture is also a tribute to the Constantakopoulos family and their deep connection to the sea. Constructed from fragments of traditional wooden fishing boats, it preserves disappearing pieces of Greece’s maritime heritage, turning them into something entirely new.

“I turned to the old-fashioned fishing boats and trawlers that are quickly disappearing from Greece’s seas. We visited boatyards and marinas, collecting wood from abandoned boats and using it to fill the metal frame of the hotel’s sign. In a way, we connected the Constantakopoulos family’s history with the sea, creating a dialogue between memory, landscape and the present,” the artist explains.

Rather than functioning as decoration, the artworks throughout the hotel quietly anchor the property in the history of its surroundings. Alongside Poka-Yio’s own works, sculptures, photography and installations by emerging artists create a subtle conversation between antiquity and contemporary Greece.

One of my favourite discoveries appears in the reception area: clay tablets inscribed with Linear B. Their markings resemble prehistoric text messages or emojis, inviting guests to imagine one of Europe’s earliest written languages through a distinctly contemporary lens. Elsewhere, fragmented ceramic vessels evoke archaeological finds freshly lifted from beneath the sea.

THE W, REIMAGINED

 

For those familiar with the W brand, W Costa Navarino offers a noticeably different experience from its sister properties around the world. Overlooking the historic Bay of Navarino, the adults-only resort feels more rooted in its surroundings, balancing contemporary design with the slower rhythm of the Peloponnese.

Set along a peaceful 450-metre stretch of sandy coastline, the property features 226 rooms, including beachfront three-bedroom villas and two-bedroom suites with private rooftop pools. Throughout the season, a changing programme of events and collaborations connects guests with the surrounding landscape, offering everything from mountain biking, hiking and road cycling to rock climbing, windsurfing, waterskiing, kayaking and stand-up paddleboarding.

Wellbeing is woven just as naturally into the experience. Alongside fitness classes and yoga, the resort offers regenerative programmes inspired by Hippocratic philosophy and contemporary medical research, encouraging a more holistic approach to longevity, recovery and mental balance.

ARCHITECTURE IN CONVERSATION: LIVING WITH THE LANDSCAPE 

Designed as an ongoing dialogue between the raw beauty of Messinia and a contemporary vision of Mediterranean living, W Costa Navarino blends naturally into its surroundings rather than competing with them. Greek architectural studioAlexandros N. Tombazis & Associates reinterpret the spirit of the Peloponnese through natural materials, organic forms and a seamless transition between interior and exterior spaces, while MKV Design brings warmth, texture and a distinctly contemporary sensibility to the interiors.

Stone, water, vegetation and natural light constantly interact, allowing the architecture to almost disappear into the landscape. From certain viewpoints around the main pool, the horizon, the sea and the hotel seem to merge into a single uninterrupted panorama.

My favourite part of the property, however, was the Fabulous Infinity Swim-Up Guest Room. With direct access to the shared pool from each private terrace, the rooms quietly blur the boundary between private retreat and communal living — another subtle expression of how W Costa Navarino encourages guests to experience the resort not in isolation, but as part of a shared landscape.

COMMUNITY IS THE HEARTBEAT

Breakfast at W Costa Navarino unfolds like a walk through a contemporary Greek village square. Inspired by the traditional platia — the heart of every Messinian village, where people meet, talk and spend time together — the space transforms the morning ritual into something far more relaxed than a conventional hotel buffet.

Instead of one large dining hall, breakfast is spread across a series of individual “houses”: a bakery filled with freshly baked bread and pastries, a coffee shop, a deli celebrating local produce, and live cooking stations where dishes are prepared to order. Surrounded by pergolas, natural materials and Mediterranean planting, Platia captures something that Greece has always understood particularly well: that food is as much about gathering as it is about eating.

Just a few steps away lies Navarino Agora, a contemporary marketplace built around the same idea. Conceived as a meeting place for both visitors and locals, it brings together independent boutiques, restaurants, street-food concepts, an open-air cinema, immersive entertainment and a richprogramme of music, dance and cultural events. It feels less like an extension of the resort than a small neighbourhood that has grown naturally around it.

The Agora is also home to several of the resort’s 46 restaurants. One of the standouts located in the W is Parelia —stemming from the Greek words Parea, Elia and Paralia, which mean Friends, Olive and Beach— where Executive Chef Nikos Billis reinterprets the flavours of Messinia through a contemporary lens. Rooted in locality and seasonality, the menu remains unmistakably Greek while allowing familiar dishes to evolve and inspire.

BEYOND SUSTAINABILITY

No story about this part of Greece would be complete without its olive trees. Kalamata has become synonymous with some of the world’s finest olives, and throughout Costa Navarino the centuries-old groves are treated not as landscape decoration but as part of the region’s cultural identity.

That philosophy extends well beyond symbolism. During construction, nearly 7,000 olive trees were carefully transplanted and protected before being replanted across the estate —the largest olive tree relocation programmes ever undertaken in Europe. Since then, more than 9,900 native trees and over 1.2 million endemic shrubs have been introduced across the destination.

The environmental initiatives continue in less visible ways, from significantly reducing single-use plastics and investing in responsible water management to sourcing electricity from renewable energy and designing buildings that work with the landscape rather than against it. Sustainability here feels less like a marketing statement than a long-term commitment to preserving the character of Messinia while supporting the local economy.

There is even an unexpected final chapter to that story. Through the Navarino Pet Community, volunteers have already helped find homes for more than 270 stray dogs and cats. Together with the Captain Vassilis & Carmen Constantakopoulos Foundation and local organisations, the initiative “Messinia Without Strays” reflects another, quieter expression of hospitality — one that extends beyond guests to the place itself.

Since 2025, Costa Navarino has also been supported by a long-term biodiversity monitoring programme. Conducted by a team of 13 researchers from Nature Conservation Consultants, the ongoing survey documents the region’s wildlife and plant life, contributing valuable data while helping protect one of Greece’s richest natural landscapes.

What makes all of this even more meaningful is understanding how Costa Navarino came to exist in the first place.

The destination was born from the vision of Captain Vassilis C. Constantakopoulos, one of Greece’s most respected shipping entrepreneurs, who imagined a place that would celebrate rather than reinvent his native Messinia. More than creating another luxury destination, his ambition was to build a model in which hospitality, local heritage and the landscape could exist in balance — allowing the region’s cultural identity to remain intact while creating new opportunities for future generations.

DESIGNED FOR PLAY

Costa Navarino has become one of Europe’s leading golf destinations, with four signature courses spread across the estate. Among them are The Dunes Course, designed by former Masters champion and Ryder Cup captain Bernhard Langer in collaboration with European Golf Design, and The Bay Course by Robert Trent Jones Jr., whose route follows rolling hills, olive groves and uninterrupted views across the Ionian Sea. Both combine world-class sporting facilities with a landscape that remains unmistakably Greek.

Equally impressive is the Mouratoglou Tennis Center at Navarino Dunes, one of Europe’s leading tennis training facilities. Founded by Patrick Mouratoglou, the 

academy combines elite coaching with a global network that includes the French Riviera, Italy, Malaysia and the United States. The Costa Navarino centre features twelve tennis courts, three padel courts and two pickleball courts, with a second Mouratoglou Tennis Center scheduled to open at Navarino Bay next spring.

The destination is also home to the NBA Basketball School, the first collaboration between the NBA and a privately operated hospitality and sports destination in Europe — another example of Costa Navarino’s ambition to position itself as more than a traditional resort.

Yet perhaps the most memorable journey begins just beyond the resort itself.

FOLLOWING ODYSSEUS

Only a short drive away lies the Palace of Nestor, one of the best-preserved Mycenaean palaces in Greece and one of the places where Homer’s Odyssey still feels remarkably present. Nearby, the fortress of Niokastro in Pylos and the Archaeological Museum of Pylos trace the many civilizations that have shaped this coastline, from the Mycenaean world to Venetian and Ottoman rule.

It is here that the story comes full circle.

Long before Christopher Nolan returned to Messinia to film The Odyssey, these landscapes had already carried the memory of one of the world’s greatest journeys. Today they continue to do so — not as a backdrop for mythology, but as a place where history, culture and contemporary Greece quietly exist side by side.

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IN CONVERSATION WITH SABER AHMED https://www.numeroberlin.de/2026/02/in-conversation-with-saber-ahmed/ Thu, 12 Feb 2026 15:34:19 +0000 https://www.numeroberlin.de/?p=69035

At Ogata, Glass Cypress held its first fashion show in Paris with its Fall Winter 2026 collection titled “A Quiet Frontier.” Founded in 2016 by brothers Saber Ahmed and Samee Ahmed, the Texas-based menswear label has evolved outside the traditional fashion capitals. Raised by Bangladeshi parents, the brothers grew up with a sensitivity to craft and material that continues to inform the brand’s contemporary language in quiet, deliberate ways.

The rooms were spare yet quietly striking, light settling gently across wood and stone. There was a sense of stillness before anything began. On every chair lay an envelope containing a letter and a pen, waiting.

The note opened simply: “Dear friends, thank you for being here. My name, Saber, means patience, a value I did not naturally possess and one I have learned through time and work.” What followed reflected on discipline and reduction, on removing excess so that form could surface through repetition. The garments, it explained, were constructed without added effect, designed to sit with the body and reveal themselves gradually through wear.

When the show ended, the invitation remained. Guests were asked to respond, leaving behind a word of their own.

Glass Cypress continues to work closely with artisans, employing techniques such as dyeing, quilting, gathering, bridging, and washing. In Paris, the space, the letter, and the work itself seemed to move at the same tempo, unhurried and deliberate, leaving an impression that lingered long after the room had emptied.

Juliette Leoncini Roux – @juliette.leoncini
Juliette Leoncini Roux – @juliette.leoncini
Juliette Leoncini Roux – @juliette.leoncini
Elena Kaempfe: This season marked your first presentation in Paris. What did that moment represent for you, both personally and professionally?

Saber Ahmed: Everything I do is a continuation of a body of work. Showing in Paris felt less like an arrival and more like
a moment of alignment, when the clarity of the brand and the reason for making the work felt fully formed
and ready to be shared. Personally, it confirmed that the intuition guiding the process could hold up under
scrutiny.

What was the starting point for this collection? Was there a specific reference, idea, or period you kept returning to?

I try to avoid working from fixed references. The collection began with a feeling I experienced while
walking in Jackson Hole, watching my niece move freely through an open landscape. That sense of scale,
movement, and quiet tension became the foundation.

“I was interested in the beauty that emerges from tension.”
That sense of scale and tension is very present in the silhouettes. How did that feeling translate into construction and material on the runway?

It translated through construction rather than imagery. I was interested in the beauty that emerges from tension, in how landscapes are worn in and shaped over time. Techniques such as gathering, bridging, and washing were used to test gravity and use, allowing garments to collaborate with time rather than resist it.

What proved most challenging during the process?

Restraint. It is easy to over-design, and learning when to stop, to trust repetition and editing, was the most demanding part of the process.

Juliette Leoncini Roux – @juliette.leoncini
Juliette Leoncini Roux – @juliette.leoncini
Juliette Leoncini Roux – @juliette.leoncini
The casting felt very intentional and understated. What was your vision for the models?

I wanted models who could carry tension and human presence without projecting personality or attitude.
The intention was for the garments to speak first, without any performance or narrative attached.

You are based in Texas, which is not typically associated with contemporary menswear. How does that distance shape your work?

Texas is not a fashion reference point, and that distance is important. It allows me to work without
constant visual noise or immediate comparison, which keeps the process grounded and personal.

How would you say living in Texas nourishes you as an artist?

It provides distance from trends, urgency, and general overexposure. That separation gives ideas time to
mature and cultivate internally and quietly before they are shared.

Do you see your work as connected to a specific place, or do you try to keep it geographically open?

The work is informed by context but not tied to one place. I am more interested in conditions such as time,
movement, pressure, and of course texture, than geography.

“The intention was for the garments to speak first.”
How do you see the current state of menswear, and where do you position Glass Cypress within it?

Menswear today moves very quickly. Glass Cypress exists intentionally outside that pace. I am less
interested in novelty and more focused on continuity, building a language that can be returned to and
refined over time.

How would you describe your vision of modern menswear?

Classic pieces are forms that have already proven their longevity. Working within familiar structures forces
discipline and leaves little room to hide behind novelty.

“Glass Cypress exists intentionally outside that pace.”
You continue to work with classic pieces like shirts and tailoring. What draws you back to these forms today?

Classic pieces are forms that have already proven their longevity. Working within familiar structures forces
discipline and leaves little room to hide behind novelty.

In a fashion climate that often prioritizes novelty, what does classic mean to you now?

I don’t think classic is a refusal of change. Fashion exists because of the impulse to leave what is familiar
and move toward something new. At the same time, moving too far from the idea or too quickly risks
isolation. For me, classic lives in the tension between novelty and sameness. It is a balance, introducing
subtle difference without abandoning the idea, allowing garments to evolve while still remaining legible
and usable over time.

The name Glass Cypress suggests a contrast between fragility and strength. How did the name come about, and how does it relate to the brand’s identity?

The name reflects the same tension that runs through the work. Glass Cypress is about balancing
opposing forces i.e. fragility and strength, novelty and sameness. The clothes are meant to introduce
subtle differences without removing familiarity, allowing forms to adapt and erode without losing their
structure. That balance gives the work durability, both physically and conceptually.

The Paris venue was very considered visually. How involved were you in choosing the space, and what role did it play in presenting the collection?

The space was integral. Ogata is quiet, precise, and built around attention rather than spectacle. It
allowed the collection to exist without distraction, which was important to me.

Juliette Leoncini Roux – @juliette.leoncini
“For me, classic lives in the tension between novelty and sameness.”
When you think about the wearer, are you designing for a specific person or a broader idea of masculinity?

I am designing for someone who understands balance. Someone who values familiarity but is not
confined by it, and who is open to change without chasing novelty for its own sake. It is less about
masculinity and more about conviction and presence, where the clothes adapt to the wearer and
confidence remains intact, even as the garments change.

After this Paris presentation, what feels most important for you moving forward as a designer?

Continuity and balance. I am focused on refining the language rather than expanding it. I’ll try to make
sure the work holds up quietly, over time, without needing constant explanation.

Juliette Leoncini Roux – @juliette.leoncini
Juliette Leoncini Roux – @juliette.leoncini
Juliette Leoncini Roux – @juliette.leoncini
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ON OUR RADAR https://www.numeroberlin.de/2025/12/on-our-radar-111/ Thu, 04 Dec 2025 15:56:02 +0000 https://www.numeroberlin.de/?p=66355 Numéro Berlin’s weekly collection of the most exciting news about fashion, music, and simply everything that is on our radar. And here is why it should be on yours as well!

ALPHA INDUSTRIES FW25 WINTER COLLECTION

Alpha Industries presents its FW25 collection with a focus on cold-weather essentials inspired by Iceland’s icy landscapes. Key pieces include the N-3B VF 59 Winter Jacket, N-2B Heritage Winter Jacket, and 45 P Hooded Custom Bomber Jacket, built for warmth and durability. The MOD Fur Bomber Jacket for women updates classic shapes with improved fit and comfort while keeping the brand’s tactical edge. Each design combines functional materials, military-inspired silhouettes, and city-ready style.

The collection is available at alphaindustries.eu and the Alpha Industries store in Frankfurt.

STELLA MCCARTNEY X H&M

H&M announces a new collaboration with pioneering designer Stella McCartney, marking a renewed partnership twenty years after their debut project in 2005.

A first preview of the collection was revealed at the Fashion Awards in London, where Amelia Gray, Anitta, Emily Ratajkowski, Yasmin Wijnaldum, Bel Priestley, Alton Mason, and Kiara Nirghin appeared in early looks.

The Stella McCartney H&M collection will launch in Spring 2026 in selected stores and at hm.com.

EASTPAK HOLIDAY COLLECTION FW25

The Eastpak Holiday Collection FW25 combines silver accents, Holiday Red, and clean Off White tones with versatile and functional designs, perfectly suited for office-to-holiday looks, weekend getaways, or seasonal editorial styling. Signature Hardcase travel essentials make a return, offering practical solutions for all festive travel needs while maintaining the brand’s signature aesthetic. The campaign celebrates the joy of family and friends coming together, capturing relaxed, candid moments filled with warmth and energy. Subtle and intentional messaging adds a layer of holiday and gifting context, enhancing the festive story without overpowering the visuals, creating a cohesive and inviting seasonal narrative.

Mette Towley, Karabi Dagogo-Jack
Ruel
Becky and the Birds

ACNE STUDIOS X SPOTIFY PRESENT ROBYN LIVE IN LOS ANGELES

At the Fonda Theatre in Los Angeles, Acne Studios and Spotify welcomed friends of the brand for a special evening featuring an exclusive performance by Robyn. The legendary Swedish artist and longtime friend of Acne Studios took the stage after opening sets by Isabella Lovestory and Brownsinhazel.

Robyn performed her latest single Dopamine, alongside unreleased tracks and iconic fan favourites including Missing You and Dancing On My Own.

UGG X PALACE LOONEY TUNES COLLECTION

UGG and Palace unite with Warner Bros Discovery Global Consumer Products for a new capsule that blends laid back California style with London street energy. Launching December 5, the collection reworks the Ultra Mini and Tasman with detailed embroidery of Tweety and Sylvester, featured in chestnut, yellow, and black. Apparel pieces include a wool varsity jacket, hoodies, T shirts, and joggers.

The campaign stars Palace skateboarder Alexandrino Ferreira Da Silva, musician Shygirl, and Sylvester, set inside a surreal hotel inspired by classic cartoon corridors. Directed by Adam Toddhunter, the visuals follow a fast paced, dreamlike journey into the playful world of UGG and Palace.

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DEMNAS OWN LENS DEFINES GUCCI https://www.numeroberlin.de/2025/12/demnas-own-lens-defines-gucci/ Thu, 04 Dec 2025 12:20:38 +0000 https://www.numeroberlin.de/?p=66380

Presented as a lookbook captured through Demna’s own camera, the collection immediately carries a rare sense of intimacy. It is striking to see a creative director step behind the lens, and the result feels like an unfiltered conversation between him and the world of Gucci. Generation Gucci becomes less a documentation of clothes and more a portrait of his vision, built from the House’s long history and reshaped with his unmistakable modern edge.
What emerges is a wardrobe that moves with quiet confidence. Tailoring has an airy elegance, silk carries a soft aged feel yet remains timeless, and lines stay fluid, allowing the pieces to fall naturally as if they have always belonged to the wearer. There is a gentle sophistication throughout the collection, a calm luxury that never announces itself but is felt in every detail.

Demna’s modern twist appears in subtle gestures: a touch of nineties attitude in leather and denim, sleeker silhouettes that feel contemporary, and fluid travel ready sets that move with effortless rhythm. Outerwear envelopes the body in texture through layered combinations of shearling, silk and featherlight elements, while evening looks drift naturally, balancing relaxed ease with refined elegance through transparent layers, silk and jersey.

Accessories and shoes complete the narrative, evolving familiar Gucci shapes with just enough change to signal a new era without erasing the past, with small unexpected details like subtle spikes on loafers, seamless heels, or lightly reshaped bags.

Taken together, Generation Gucci reads as a reflection of the House through Demna’s own lens. Chic without stiffness, modern without coldness, grounded in memory yet reaching toward something new, it is a confident statement of a chapter shaped by someone who understands Gucci’s history deeply enough to push it forward with clarity and vision.

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Freestyling with ANDRÉ x ELHO https://www.numeroberlin.de/2025/12/freestyling-with-andre-x-elho/ Tue, 02 Dec 2025 15:10:52 +0000 https://www.numeroberlin.de/?p=66267

ELHO is dropping 10 unique hand-sprayed bomber jackets by André today, December 2, 2025!

The iconic Swiss outdoor brand known for its neon colors in the 70s, 80s, and 90s was relaunched last winter by Donald Schneider, former Art Director of French and German Vogue, and his partner Claudia Hofmann, fashion stylist and brand consultant. Designed for performance on the slopes and streets of fashion capitals, it has received the resounding endorsement of freestyle world champion Andri Ragettli: “I spend so much time in these garments, that I want them to be 100% functional and I want to look cool wearing them. Because style is very important in our sport!” He even caught the eye of Rihanna and A$AP Rocky competing at the X Games in Aspen in a full ELHO x Jean-Michel Basquiat look. Early adopters include fashion and music tastemakers, from Diane Pernet and Jeremy Scott to megastar DJ Charlotte de Witte and rapper Ski Aggu – spotted wearing their testimonials about town and at fashion events.
ELHO’s newest artist collaboration is with renowned graffiti artist and hospitality maven André Saraiva. The multitalent is a long time house friend and gracious host of Numéro Berlin, Fräulein, and OOR Apparel’s launches and events at his legendary Hôtel Amour in Paris. The ANDRÉ x ELHO collection features Mr. A’s signature pink and graphic codes, cutting a striking figure on the slopes and putting a smile on people’s faces in the city. The most exciting thing about this collaboration is the capsule collection of ten unique pieces, hand-sprayed by André at his atelier in Lisbon.
I spoke to them on the eve of the drop about outdoor being the new streetwear, designing for performance and style, and André freestyling for ELHO.

Dao Tran: Okay, let’s jump right into it. So, what kind of learnings and experiences in your different roles and capacities in various sectors of the fashion industry have prepared you for this undertaking and given you insight into what it takes to relaunch a brand?

Donald Schneider: On many occasions, I helped brands to get rejuvenated, to create a path forward, or to get to the next level. It has always interested me to one day try that ourselves. Then we found this exceptional opportunity and decided to go for it. For me, I have been in different roles in fashion, but mostly on the communication side. That’s what I know quite well, but the rest is complex and going into this venture, it’s a very steep learning curve, it’s really a lot of learning by doing.

Claudia Hofmann: I studied fashion design in the early 90s, then I worked for outdoor performance company Bogner, so I have this technical heritage. After that, I freelanced as a stylist for magazines like Vogue, GQ, Elle, but also Burda, and Wallpaper* when Tyler Brûlé founded it. I also worked for brands like Chanel or Jil Sander. And co-founded the first e-commerce site in Germany, STYLEBOP.com.

DT: Why did you decide to embark on this journey? Did you identify a demand in a population that was not being served? And how are you positioning to fulfill it? What do you think your value proposition is?

DS: Well, in the last maybe seven years, Claudia and I have been very interested in the integration of technical wear, outdoor wear, performance wear, into everyday fashion. A bit how sports conquered it 20 years ago. Today, everybody’s wearing sneakers. That was not normal 20 years ago, but now it is. We see exactly that potential in the mixing and intertwining of fashion and outdoor performance. We’ve seen it growing a lot in the last years. I myself have tried to convince outdoor brands to do a fashion collaboration. But I was a bit too early and they didn’t understand it because in the outdoor world, fashion was a bad word.

CH: I believe in outdoor sport because coming from high fashion, working in this field for over 15 years now, I see outdoor as the new street style. Similarly to how street style organically became a big thing in fashion. Celine established it to wear flats on the catwalk. Prada established it to wear sneakers on the catwalk. For me, now it’s outdoor since it’s super performance and the clothes are also practical. Our proposition is we want to make it super stylish so you can wear it not only for the outdoors, but also in your everyday life. Outdoor clothes are so technical and have such long-term durability that you keep them nearly forever. The style aspect is important so you want to wear them forever, too.

DT: Interesting. Growing up in Chicago and the US in general, I think it’s more integrated into our everyday lives and streetwear culture, we do wear ski jackets and snowboard pants in the city. So, do you think a Europe was maybe a little different to America in that sense?

DS: Yes. When you talk about Switzerland, where I’m from, or Germany, or the DACH region with Austria, people really go skiing. It’s a big sport. But up until recent years, you would only wear the gear for skiing and put it away when you come home. It is only recently that you see people also wearing it in the city. I mean, there was always the odd person walking around with a Mammut or Jack Wolfskin jacket, but it’s not normally young, cool, hip people. North Face became popular within the last 10 years.

DT: They might be popular, but it’s not fashion.

DS: Also in the last years, you can certainly see the trend that high fashion brands are doing ski wear. Like Moncler, but also Balmain, Balenciaga, and Jil Sander. But it’s outrageously expensive.

DT: Also, how is the performance aspect of it?

DS: That’s the question. Maybe there are some which are performance-based or on a good quality level, but I think most of them are more kind of for show. They just have that look, but they’re not really made for skiing. Like, you look good when you’re up in a ski resort or here in London or Paris in the street, but I doubt that all of it really holds up.

CH: ELHO is literally building clothes for Olympic athletes. It’s for a really, really high level of performance. Andri Ragettli is a world champion freestyle skier and Zoe van Essen is a 17-year-old upcoming talent. If they qualify, they will be wearing ELHO at the 2026 Winter Olympics. As our brand ambassadors and professional testimonials, they test drive our products and give feedback on what they need to perform at their peak. For example, our fabrics have a really high water column of 15,000 to 20,000 millimeters.

DT: What does that mean?

CH: It indicates the level of water resistance. Usually, 10 is okay, 15 is super, and we also have 20,000. That will keep you dry in heavy rains. It’s not water repellent, it’s waterproof.

DS: Andri is one of the best athletes in freestyle and slopestyle – I read a statistic that he’s the one in the history of slopestyle who has been on a podium the most out of all athletes. He’s amazing and he likes ELHO, too. The look is important to him, but it’s not just the look that he likes. For him, it needs to have that quality level. He’s very, very critical – it needs to be good, he needs to be able to perform. He needs it to work in all weather, all conditions, and for all his movements and everything. So for us, that is, of course, the ultimate test, because he goes skiing and is out there every day. If they last with him and with that heavy duty usage, then they’re good.

DT: And they’re fly. He certainly got Rihanna and Rocky’s attention in his BASQUIAT x ELHO full look at the X Games. I get asked about my Basquiat jacket all the time, it has such high recognition power. Do you want to quickly talk that collab?

DS: When I moved to New York in my early 20s, I started working at this nightclub called Area, in the art department. That was the hot spot, it was an amazing time. I met a lot of interesting people there and Jean Michel Basquiat was a regular. We actually put a big couch in the men’s bathroom for him to hang out. He really is still one of my absolute favorite artists. I think it’s just amazing, his work feels so contemporary still, after all that time.

DT: That’s interesting because I was talking to some 20-somethings the other day and to them, Andy Warhol feels like art history while Basquiat is still totally now.

DS: I sometimes think maybe Basquiat is a bit like the James Dean of the young generation. He fits that kind of New York coolness, street style, the diversity factor. And he’s a brilliant artist, with crossover with music, he was also a DJ, and he was into fashion, he was really way ahead of his time with that mix. The output he had, he did so much great work, with his own kind of symbolism and his own expression and everything. He developed a whole language. And even today, every time you see a Basquiat, it doesn’t feel nostalgic, it really feels contemporary.

DT: Right. Interesting with the whole crossover thing because now, it’s kind of like Pharrell or A$AP Rocky, we’re in an era where there’s a lot of crossover.

DS: Yeah, I think now it became more mainstream to do that, but back then that was really unique. It wasn’t a trend. He was just being himself. He walked a Comme des Garçons show, he was always very stylish, but he had his own unique style, barefoot with a suit, painting on the suits… He really was totally unique.

DT: Apropos unique and painting on a suit: I was really excited to talk to you because of this new collaboration with André. More specifically, because of this capsule of ten jackets that were live painted by him. I think it’s taking artist collabs to a whole new level because these are one-of-a-kind. How did that come about?

DS: I was thinking who our second art collaboration could be with, that it has to be something quite bold, quite striking. And it shouldn’t look like Basquiat, but it should also have that kind of contemporary art and street style vibe. That was important. And there are not that many artists known for doing that.
I’ve known André for a long time and we like each other a lot. I think there is this joy and happiness to his character, Mr. A. It’s fun. But when you look into it more, you can get more layers, there’s more depth to it. For example, it’s a happy face and a happy color – it’s nice even for people who have no idea who André is, it’s poppy and eye-catching. But also for us, ELHO has a history of colors, colors were always in the DNA. So, working with André was great, with his signature pink and Mr. A’s cheeky wink.

André Saraiva: Donald is an old friend of mine. We met back in the days when he was the art director of French Vogue and stayed friends ever since. We love to reminisce about our fun days in Paris, but we also like to talk about future projects and share our visions. So when he invited me to collaborate on ELHO, I was very enthusiastic. Since he knows me so well, he gave me carte blanche, and I sprayed directly onto the pink bomber jackets they specially made for our collaboration.

DS: We wanted to do something special with André and we had the idea that that’s what a graffiti artist does: he live paints. I mean, that’s what they’re good at compared to maybe a traditional painter who can rework a painting for months and months… A graffiti artist does it very quick. It’s more like Chinese ink drawings or something like that. It’s about doing it fast and running away, historically. So I thought it would be nice to do have him spray directly on 10 jackets, where he can just improvise and do whatever he wants on them.
So we flew to his atelier in Lisbon and had a great afternoon with him and his girlfriend, it was just fun. And I really love all these jackets because each one is so different. Just watching him do that, it really shows you the strength and the power of graffiti. If you make a mistake, it’s there, that’s it. To watch that is so beautiful, that sort of concentration and precision. A traditional artist can paint over and over again, they can change it or correct it. But here it is what it is, whatever he paints in these three, four, five minutes, that’s it. I love that and I really feel it fits us, because Freestyle is our second name. We are actually registered as ELHO Freestyle. For us, Freestyle is very much of a state of mind. And I think these 10 jackets are kind of the ultimate expression of freestyle, on a jacket. I love that and that it’s handmade and it’s special.

AS: In graffiti, freestyle means you don’t follow the strict rules of an alphabet or the straight lines of a letter. You just follow your instinct and let it guide you into making an abstract painting.

DT: I think it’s really exciting because that makes each one of them a unique work of art. It puts it in a whole different category and a whole different level. What is the impulse or the message behind your art and this collaboration?

AS: My practice of art has always been about painting on all surfaces. I come from graffiti, that’s what we do. We paint on everything, as if the world were an infinite canvas. I try to go through life with a wink and a smile, like my alter ego Mr. A. For me, it’s about reaching more people and spreading Mr. A’s cheeky approach to the world. Clothes should make you feel good and happy, and serve as protection from the grey outside world.

DS: We also documented each one of them being painted. He did one upside down and one of Mr. A freezing. It was all very spontaneous, also putting other symbols on it like hearts and other elements. I like it, it was a great moment, to be there and that energy and the friendship and the celebration and doing something different. I think it’s not something fashion houses would usually do.

DT: I love that because I’m really interested in this idea of building a wardrobe like building an art collection, thinking of buying in terms of investment pieces, collector’s items that are one-of-a-kind. It’s a more responsible way to consume and you’re getting something of unique value that you can cherish throughout your life, so it’s sustainable in that sense. What are your thoughts on that?

DS: I like that a lot. What we do is these pieces are supposed to last long and it’s performance quality so when you buy a jacket from ELHO, you’re going to have it for many years.

DT: Claudia, I know prioritizing sustainability has always been important to you. Do you want to speak to the sustainable elements in your work?

CH: Yeah, so besides durability and longevity which is one aspect, we also try to maximize the use of bio-based materials. For example, we use Italian recycled wool for our fleece pieces and our wool and cashmere blend beanies. Wool is a natural high-performance fiber. It keeps you warm, breathes incredibly well, and thanks to its natural water-repellent qualities, it even handles light rain effortlessly. Our new Astro down jacket is filled with recycled down and feathers from old duvets and cushions. Of course, these are animal products, but we are reusing what already exists instead of letting it go to waste and driving new production. In any case, we don’t use new feathers, no animals are harmed in our process.
Same with the fabric. If we can’t do 100% bio-based, we’ll do combinations. For example, the ski jackets are like 40% out of corn. For us, it’s also important that we dye on a natural base. We can’t achieve the super extreme neon colors that ELHO was known for back in the day without using toxic dyes. So our new neon is bright and – most importantly, non-toxic. In total, we try to do our best to get there.

DT: So, one year into the brand, what do you consider success and what are you excited about next?

DS: I think success is the good moments when we get excited feedback. That’s when we feel we’re on the right track; when we hear from people who like it, it makes us happy. It’s a really nice feeling that we are getting somewhere, that we are reaching a niche, because we believe in that niche and we believe in that crossover between fashion and performance, and that there is a room for it. When people see it the same way, that is really great.

CH: It is really great to see our products in the cities and in the mountains. It’s nice to see that it worked out, that people do wear it all year long. It’s really nice to see that people have adopted the concept and are now using outdoor for fashion.

AS: I’m always looking for new and high-performance gear. I’ve always had a soft spot for cool performance wear, it goes back to my early hip-hop days. The new ELHO is high-tech and fresh. It will keep you warm and stylish. I love the neon pink bomber jacket with the black Mr. A on the back. It combines my two favorite things: Mr. A and pink.

DS: In terms of what’s next, this is just our second winter. In the first winter, we decided to focus on Germany, Switzerland and Austria. But now we are already doing a bit more – we are in a shop in Stockholm which is the best outdoor concept store in Scandinavia. And we can ship to all of Europe with our online shop. The next step would be to ship throughout the whole world. But these things take time. In December we will start selling at the new multibrand concept store Chapters in Milano. Which is great because Milan will be the center of winter sports with the 2026 Winter Olympics in Italy. So we’re very excited about that.
We’re also talking with people in the US, we’re talking with people in Korea, we’re talking with people in Japan. But we can’t do everything at once. The day only has 24 hours and you cannot just start a country, it has certain demands, you need to also promote and advertise it there and stuff. But Japan and China are certainly markets which we are very, very interested in. So when the moment is right, then… we will expand.

CH: We are producing in Asia and would love to sell there, too. They also have huge mountains and a ski culture, not to mention the logistical advantage of producing local and selling local.

DT: Sounds great. Good luck with everything and thank you for your time!
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STRAIGHT TO THE HEART – GUERLAIN CELEBRATES A CENTURY OF LOVE https://www.numeroberlin.de/2025/11/straight-to-the-heart-guerlain-celebrates-a-century-of-love/ Sat, 15 Nov 2025 18:49:15 +0000 https://www.numeroberlin.de/?p=65715

What fits the so-called City of Love better than an exhibition about love?
An exhibition about love and scent.

This year, Maison Guerlain transforms its historic boutique on the Champs-Élysées into a three-floor sensory journey titled “Straight to the Heart” – a celebration of love in all its forms, curated for Art Basel Paris and on view until 16 November 2025. It is a show about desire, memory, heartbreak, touch, ecstasy, and all the invisible feelings that bind us to one another. But above all, it is a celebration of a legend: 100 years of Shalimar, Guerlain’s mythical fragrance.

Founded in 1828, Guerlain has always existed at the intersection of perfume and art. Louise Bourgeois wore Shalimar, her mother wore it, too. Photographs show her holding the bottle like an extension of her inner world. The brand’s bond with artists is generations deep and this exhibition places that history centre stage. More than thirty artists take part, spanning eras and continents: Pablo Picasso, Niki de Saint Phalle, David Hockney, Ren Hang, Louise Bourgeois, Robert Mapplethorpe, Marina Abramović, RongRong & inri, and many more. Together, they explore what love means today – its softness and violence, its mysticism and its intimacy, its ability to destroy, resurrect, provoke, soothe.

In the words of The Little Prince, “What is essential is invisible to the eye.” Guerlain takes the line literally. Several artists were invited to create their own scent of love, working with Guerlain’s in-house team of perfumers. The result is a fragrance journey woven through the exhibition: a landscape of emotions that ranges from sweet and tender to unsettling, erotic, melancholic.

All of it anchored by Shalimar, created in 1925 by Jacques Guerlain and inspired by the love story of Mumtaz Mahal and Shah Jahan, the emperor who built the Taj Mahal in memory of his late wife. Shalimar — “the abode of love” in Sanskrit — has survived a century without losing its mystery. In France, the perfume – just like the house of Guerlain itself – is akin to a national treasure, found in the bathroom of every French woman with a sense of elegance.

To mark its centenary, Guerlain releases Shalimar L’Essence, an intensified reinterpretation by Perfume Creative Director Delphine Jelk. While the 1925 original introduced perfumery’s first ambery accord, L’Essence concentrates its key elements: Jelk boosts the signature vanilla by pairing Jacques Guerlain’s historic ethylvanillin with a handcrafted Madagascar vanilla tincture, giving the scent a denser, more textured character. A crisp dose of bergamot sharpens the opening, leading into a floral core of rose absolute and iris, before settling into a deeper, slightly leathery amber. The flacon has been updated as well, with a new gold-toned Art Deco–inspired logo that connects Shalimar’s heritage with a more contemporary graphic identity.

With the launch of Shalimar L’Essence, Guerlain opens a new chapter in the fragrance’s legendary story. This reinvention does not seek to rewrite the past but to distill its very soul: an icon renewed through precision, intensity, and contemporary craftsmanship. L’Essence magnifies what has made Shalimar endure for a century — its sensual tension, its bold signature, its unmistakable trail — and reframes it for a new generation of perfume lovers. It is both a tribute and a transformation: a deeper, more concentrated expression of the myth, designed to carry Shalimar’s spirit into the next hundred years.

The exhibition in Paris also serves to celebrate this remarkable history. Among the participating artists is Omar Ba – a creator whose work cuts directly into the contradictions of love, identity, culture and nature. His piece for Guerlain, developed specifically for this exhibition, explores the fragile moment when a woman leaves home to begin a new life, balancing joy and sorrow in a single gesture. In the following conversation, Omar Ba reflects on his process, the scent created around his work, and why love remains the most political – and most human – subject of all.

Omar Ba, Orbite
Ann-Kathrin Riedl: You created the artwork downstairs specifically for this collaboration. Can you describe the process, how it all came together?

Omar Ba: I wanted to explore relationships between a man and a woman, about love and marriage. I focused on the woman, the moment she leaves her home to share her life with her husband, adorned with her ritual ornaments. It speaks about transition, protection, and the strength of women standing at the threshold of change. I worked with flowers and vegetation, reflecting love for nature and for those around us. For me, love carries duality: it is not only happiness but also suffering – and I wanted to balance this in the work.

AK: It’s the moment when you actively decide to leave something behind and start something new. Because love is also a decision.

OB: It is a strong decision, sometimes not an easy one. There are always things that are undisputed, things we cannot control, and things we learn over time – and that shape us. In fact, love builds us. It allows us to grow, but we have to be careful. You cannot know what is going to happen.

AK: What are the core themes of your art, of your work in general?

OB: Most of the time, I work on the relationship between the North and the South, African culture, the African history in relation to Europe, and natural ecology.

AK: Can you see a connection between all these topics?

OB: Yes. When we talk about politics or social issues, it always comes back to fundamental human questions. And love is the fundamental human theme. We all know that even in times of violence or oppression, there are moments when people stop and speak about love. Love must always exist, because that is what gives life its essence.

Most of the subjects I teach – about politics, about nature – are also a way of listening to my community, to myself, to the being that I am. It’s also about animism. Animism is spiritual: when you feel that every living being has a soul, a spirit.

AK: What role does perfume play in that? Downstairs there is a scent connected to your artwork. How did it feel to have one of your paintings translated into a fragrance?

OB: There are certain materials like earth and flowers that I paint. The perfume was built behind the bright blue in the painting, and also behind the flowers, the earth, fertility, and humidity.

AK: Do you have a special relationship with the House of Guerlain?

OB: Guerlain has supported me for many years. And its a perfect match since I love perfumes and have been collecting them for a long time.

AK: How does it feel to create something in collaboration with a brand compared to when you create just for yourself?

OB: A collaboration with a brand is much more complicated. You have to take certain criteria into account. At the same time, it is very interesting because it opens your work to the public and pushes you out of your comfort zone.

AK: Sometimes restrictions give even more freedom. When you have a specific theme, it can open up your ideas even more.

OB: Exactly. Also, when I make a collaboration like this, there is a deadline – and that is good for me. I need it.

AK: What would you tell the woman you painted if you were next to her?

OB: I would tell her to be prepared for everything and to stay true to herself.

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FOR THE ‘ICONIC FROM THE FIRST STEP’ CAMPAIGN BY UGG: IN CONVERSATION WITH AWENG CHUOL https://www.numeroberlin.de/2025/11/for-the-iconic-from-the-first-step-campaign-by-ugg-in-conversation-with-aweng-chuol/ Thu, 13 Nov 2025 13:00:19 +0000 https://www.numeroberlin.de/?p=65714

Aweng Chuol on identity, activism, and what it really means to be iconic

“You can’t show up half of yourself and do a good job.”

Born in Venice Beach, UGG has grown into a global cultural icon. Its Autumn/Winter 2025 campaign, Iconic From the First Step, brings together a diverse mix of models, musicians, actors, and designers to explore creativity, collaboration, and community. Among them is Aweng Chuol, whose journey in the international fashion scene mirrors the campaign’s spirit. We spoke with her about identity, activism, and what it really means to be iconic.

 

Alexandra Schmidt: Looking back on your own path, which early experiences or memories set the course that led you to where you are today?

Aweng Chuol: One of my earliest memories that really shaped who I am was deciding to leave my hometown, Western Sydney, and step into the world of fashion. I had just finished high school and honestly thought I had other plans for my life, but it all worked out exceptionally well.

Can you recall a moment when you realized you were capable of more than you had expected?

There have been many moments like that, but one that really stands out is my very first fashion circuit, which I did on my own. That’s when I realized I was way more capable than I’d ever given myself credit for.

The word “iconic” is used so often in fashion that it can start to lose meaning. What does being iconic mean to you, beyond just image or fame?

For me, being iconic is about devotion. Devotion to your craft, to yourself. It’s about who you want to remember yourself as, long before the lights and cameras ever come on.

Beyond your work as a model and actor, you’re also an activist, using your voice for mental health awareness and LGBTQIA+ rights, especially for young people with refugee backgrounds. How does it feel to carry that responsibility and be seen as a symbol of hope?

It is a privilege to be able to hold the responsibility of speaking out on issues affecting communities I’m from, especially now with everything going on in the world; it feels so important. We have to keep our communities.

Your activism feels very personal and emotional. What gives you the strength to keep showing up even when the world feels heavy?

I think about future generations. They still need us to fight. And I think about those who came before me. I’ve always looked up to Waris Dirie and her work. I hope that the younger generation also have someone they look up to for activism & learning more about what is happening in our current world.

You’ve lived and worked across several continents, surrounded by different cultures and perspectives. How has that shaped your sense of belonging?

It’s taught me a lot about how important human connection is and how nuanced perspectives and experiences can be. I’ve become more understanding of people, and my sense of belonging has become more fluid. Home is wherever I feel understood, surrounded by the people who make me feel that way.

“For me, being iconic is about devotion. Devotion to your craft, to yourself.”
UGG celebrates not just its iconic designs but also the people behind them. Who has played that kind of role in your life?

I’ve been lucky to have an amazing group of friends who’ve shaped who I am. I honestly don’t know where I’d be without them. The person who has always pushed me the most & made sure I knew that the world has not ended yet is my cousin Juju. She has always stood by me through all my mistakes and wins. 

The fashion world can be loud, fast-paced, and demanding. How do you stay connected to yourself amid all that noise?

Rituals are key. I meditate a lot, I spend time with friends who aren’t immersed in fashion, and I focus on taking care of my mental, spiritual, and physical health. You can’t show up half of yourself and do a good job. As I get older, I realize more and more that balance and control are what keep me connected.

UGG is about feeling good inside and out. What helps you create those moments of ease in your own life?

I dance in the rain, meditate, do movie marathons, and keep busy with hobbies. I surround myself with friends and loved ones and get massages. I’m a Venusian, double Libra with a Taurus moon, so self-care is definitely important when things get intense.

 

 

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