NUMERO BERLIN – Numéro Berlin

WEEKEND MUSIC TIP PT 94 – ALEWYA

Anna Klusmeier — Fri, 29 May 2026 09:18:51 +0000

Ethiopian rhythm, Arabic mysticism and the raw energy of London — this striking mix comes together in Alewya, singer, painter and multidisciplinary artist. The all-round talent releases her debut album „ZERO“ on 26th June, promising an enticing blend of hypnotic club music and R&B, exploring themes of cultural roots, family and passion.

After touring with Little Simz, releasing her own ColorsxStudios session and appearing at Boiler Room, one of her pre-released singles has been selected for the FIFA 26 soundtrack. “Maktoub,” another promising single from the album, drops today and builds even more anticipation for what’s to come.

We sat down with Alewya to talk about whether she follows football, what London symbolizes for her, and how she transitioned from graffiti to making music.

Leonie Kampen: How did your journey from painting and graffiti lead into music?

Alewya: It was natural, I started painting and graffiti and was led into animation, which then led me to adding music to them, but I realised that other people’s sounds took me out of what I was making. So I began to learn to produce.

LK: How do both practices correlate or influence each other?

A: I couldn’t say how, they just are both natural. Less thinking, the better.

LK: Is music a spiritual experience for you? If so, how does that spirituality influence your work?

A: It’s not a performance, I just listen.

LK: You are about to release your new album – What are your feelings?

A: Right now I am feeling tired, I’m dealing with a lot of things at once. I will be relieved, I know.

LK: Three years to finish one album – how did you know when it was finished?

A: There’s no rush, it was a feeling of completion.

LK: The album is titled “ZERO” — can you explain the meaning behind it? Does it relate to a “point zero” in any way?

A: I’ve read this book called Zero by Charles Seife, it’s about the history of zero. It came from India/Africa, into the Middle East and by the time it reached the West it caused chaos as the West had not prepared for the concept of nothing having value. In the book I read the sentence “zero is infinity’s twin”. I feel that.

LK: Your work often feels visually and conceptually rich — you’ve described a “city of symbols.” Is London part of that, and what symbols does it hold for you?

A: Every city has a language to me, the statues, the posters, the colours of the buildings, the advertisement styles, the news, the names of brands, of institutions, car stickers, shopping bags etc.

LK: Where do London and your Ethiopian and Egyptian heritage meet? If they do at all

A: They meet in me and who I am and what I create in this life.

LK: Your track Selah was featured on the FIFA 26 soundtrack — do you follow football at all?

A: I don’t follow it but it’s around me my whole life so I love the culture of people coming together!

LK: What has been your biggest achievement outside of music?

A: Buy my mother a car and make her proud.

ON OUR RADAR

Anna Klusmeier — Thu, 28 May 2026 12:24:06 +0000

SUCCESSFUL LOVING FOR PRIDE MONTH

With June approaching quickly, Diesel and Tinder have announced their creative partnership to celebrate this year’s Pride.

In collaboration with Germany’s most popular dating app, Diesel has created a capsule collection consisting of 17 different pieces. Classic Diesel design pieces such as clean shirts, jeans and underwear get a pretty hot edge through burnout devoré elements, teasing the skin with see-through fabric. Accessories include denim baseball hats and Diesel x Tinder charm keychains.

Diesel’s codes of fearless self-expression have been interpreted through Tinder’s lens of attraction, intimacy and connection. The capsule collection and corresponding campaign amplify the community’s message of freedom of expression, sexuality and individuality. Part of the campaign are Gigi Goode’s interviews with LGBTQIA+ community members. The artist, model and designer conducted candid and intimate interviews, exchanging thoughts on love and relationships. Both firms are donating a total of $200,000 to Outright International, enhancing equitable and sustainable income access for the LGBTQIA+ community.

As Glenn Martens, Creative Director of Diesel, states: “Working with Tinder on ‘For Successful Living’ felt like tapping into the same mindset. It’s not about idealizing love, but defending it and giving it a voice — one that creates space for all its forms and, above all, for something real.”

THE FIRST SWIM – FINALLY

“The Attico” has launched a beachwear summer collection that couldn’t scream Italian summer any more. Swimwear as well as ready-to-wear pieces are purposely designed to slip between private and public, stillness and movement, making them perfect companions for the spontaneity of a long summer day. Named “Il primo bagno” (Italian for “the first swim”), the collection captures exactly that feeling. The designs feel raw, instinctive and transformative, just like summer.

In the spotlight are zebra prints, bold stripes and washed blue-and-white patterns. Besides swimwear and ready-to-wear, accessories also play a central role in dressing you for summer: chunky platform sandals made from cork and other materials, as well as two bags suitable for a variety of different occasions: “Via dei Giardini” and “Via del Mare”. Dive in!

MYKITA: CANDY-COLOURED EYEWEAR

Known for its clean, precise aesthetic, MYKITA has built its reputation on rethinking how eyewear is designed and made. Founded in Berlin in 2003 by Moritz Krüger, the brand combines patented technologies with specialised handcraft to create durable, distinctive frames. All collections are handcrafted at the MYKITA HAUS in Berlin, where interdisciplinary collaboration and responsible production are central to the brand’s approach.

This season, MYKITA’s LITE POWDER collection introduces a fresh touch of colour. Alongside the soft candy-inspired shades Laurel Green, Horizon Blue and Dove Grey, the ultra-minimal powder-coated silhouettes now appear in Neon Pink. The vivid new shade debuts on AITA, a classic panto shape, and extends to TOSCA, an aviator frame, and SANTO, a geometric hexagon. Reduced in construction yet confident in presence, the frames bring a precise, contemporary edge to the collection.

Each model is handcrafted from circular stainless steel at the MYKITA HAUS in Berlin.

PISTACHIO DELICACIES

„LOEWE Perfumes“ launched their latest addition to their home scent candle series: a soft dream of pistachio. Each candle in the series is inspired by a single plant in its raw form, highlighting nature’s most essential and pure scents.

Native to Afghanistan, Iran, and Central Asia, the pistachio tree is praised for its distinctive, rich, and sweetly perfumed nuts. Melted into a signature glazed terracotta vessel in verdant green, made in Spain, the candle spreads a creamy, gourmand fragrance. Unlit, the scent reveals a milky, nutty accord. Once lit, it seduces with a more indulgently rounded and sweet aroma.

The collectible series is made from natural wax and cotton wicks, with an Anagram-stamped base. Altogether, this candle addition is a playful celebration of craft and botanical inspiration, displaying nature’s finest products.

SOFT POWER IN PINK

With Stylein, pink is currently being redefined through a new fashion lens. The color no longer reads as automatically playful or overly sweet, but instead appears clean, modern, and refined. Rooted in the brand’s Scandinavian minimalism, Stylein’s aesthetic is defined by understated silhouettes, fluid fabrics, and a calm monochrome sensibility that allows soft pink tones to feel unexpectedly grown-up.

Across recent collections, including Chanel and Stella McCartney, head-to-toe pink has taken on a more controlled, sculptural quality. Rather than reading as romantic, it is styled as something precise and self-assured — shifting the color into a space of strength and quiet elegance.

The key lies in styling: sharp cuts, minimal accessories, and monochrome compositions give the color a new kind of clarity. Pink, in this context, becomes less about softness in the traditional sense and more about control, confidence, and a quiet, sophisticated coolness.

INTERVIEW: THE RESTLESS MIND OF FABIAN KLUTH

Anna Klusmeier — Wed, 27 May 2026 09:09:11 +0000

Fabian arrives at the Numéro office that day pulling a small carry-on suitcase behind him, walking with the determined energy of someone who has decided there is no time to waste. He is in Berlin to record an episode of his podcast one.voice together with Numéro publisher Götz Offergeld – four more conversations with different guests are planned during his short stay in the city, he mentions casually. He already has all the equipment with him; setup will take five minutes, maximum.

At just eighteen years old, Kluth is already considered one of Germany’s youngest art collectors and recently staged an exhibition in Berlin featuring works from his collection one. The fact that he personally wrote email after email inviting our team to this event feels symbolic of his entire approach: persistent, direct, and completely unimpressed by any kind of rule.

It becomes obvious within the first few minutes that Fabian is exceptionally intelligent. While others spend years building an understanding of art, markets and cultural systems, he seems to have absorbed that knowledge in an astonishingly short amount of time – through books, conversations, YouTube tutorials and obsessive research. It all began during the pandemic with a work by Rosa Loy that he financed himself through student jobs. Today, he funds his collection through stocks and crypto investments and focuses primarily on contemporary artists engaging with themes such as gender, politics and the social structures shaping everyday life. But intelligence alone does not explain his momentum. It also takes vision and a willingness to simply begin before doubt has the chance to grow too large.

That is exactly what we speak about with Fabian Kluth in this conversation.

Ann-Kathrin Riedl: When the media writes about you, you are described as Germany’s youngest art collector. How did that come about? Did you grow up in an environment that was passionate about art?

Fabian Kluth: It really began during Covid. We were all sitting at home, locked in, and at some point you just get bored. I never really had much homework from school, so by Monday I already felt like I had finished everything I was supposed to do. Then there were still six days left in the week that somehow needed to be filled.

So I started getting into all kinds of things. I was reading a lot – Goethe, philosophy, mathematics, physics – and I started asking myself: what do I actually want to do after this pandemic?

At some point school announced that we all had to do internships. So I randomly applied to an architecture office in Cologne. I realized very quickly that I would never become an architect because I was catastrophically bad at the artistic side of it. But I became fascinated by the question of what drives people creatively. And once you start dealing with architecture, you automatically end up dealing with fashion and art too. It’s all connected somehow.

AKR: So you introduced yourself to the art world. But how did that lead to collecting?

FK: I could never produce art myself. I’m completely incapable of that. I got terrible grades in art at school too. But I love to own my own pieces.

AKR: I think it’s healthy to have that kind of self-awareness. How did things continue from there?

FK:I discovered artists on social media, especially in Leipzig. One of them was Rosa Loy, the wife of Neo Rauch. I became obsessed with her work. So I tagged her on Instagram and emailed her asking for previews. Everything was far too expensive for me, obviously, but eventually I found one piece hidden at the very end of a PDF that somehow seemed possible.

I realized that if I worked gastronomy jobs all summer long, I could maybe afford it. So at the end of summer vacation, in 35-degree heat, I took a bus to Leipzig with a huge tote bag and picked up my first artwork.

AKR: Tell me more about it. Was it love at first sight?

FK:Things that create friction. That’s still true today. It’s much more about themes.

And I don’t only collect paintings either. The exhibitions are very broad in terms of medium.

AKR: Which themes are important to you?

FK: The exhibitions are always about creating a reflection of our time. I think art should function as a mirror. It should confront us with ourselves.

I’m very interested in gender issues, environmental topics, consumer culture. Harry Nuriev, for example, is incredible. He did this exhibition with Dietrich & Schlechtriem where he created soaps with Balenciaga labels trapped inside them. I think that kind of critique of consumerism is brilliant.

Most of the artists in the collection are born in the 1990s or later. Some of them literally just graduated from art school or are still studying. I simply found them online, visited their studios and bought works directly.

AKR: Does the collection follow a commercial purpose at all?

FK:Not at all. Nothing is for sale.

At the exhibitions a lot of people immediately wanted to buy works. Which was actually great for the artists. One artist sold several pieces directly from his studio that evening because of the exposure.

But I don’t take commissions and I don’t want to. That’s not the point.

AKR: So how do you finance this passion today? Many people would probably assume that you’re a nepo baby.

FK: Absolutely not. But art isn’t necessarily as expensive as people think.

And honestly, Covid helped in that way too. I started learning about stocks and crypto – this was before the big AI boom. I invested in NVIDIA, Apple, Microsoft, Meta. It all developed relatively quickly. Today I make a lot of money through stocks and crypto.

AKR: The term “art collector” comes with a lot of associations – older men, wealth, status, establishment. What makes you so fascinating is that none of these clichés really apply to you. But do you sometimes feel that the way you’re portrayed is also a bit sensationalized?

FK:I actually hate the term collector. That’s why my project is called Platform and Vision and not “collection.”

Of course the stereotypes exist. But I’m not interested in profiling myself through art. I don’t need a Gerhard Richter hanging in my hallway just so visitors understand I can afford one.

AKR: The established art world is also considered quite closed-off – how did people there respond to you?

FK: In the beginning nobody took me seriously. They imagined some rich kid in Louboutins with daddy’s money.

But that was never me. I wear the same thing every day. Black shirt, same trousers, different shoes depending on the season. That’s it.

AKR: Is that because you want to eliminate the question of “What do I wear?” from your life by creating a uniform?

FK: Exactly. Like Steve Jobs with his Issey Miyake sweaters. I don’t want to stand in front of my closet every morning thinking about clothes. I want my energy elsewhere.

AKR: Which also removes a lot of the self-performance that defines our era.

FK: Especially now with social media, yes. But honestly, I also want the project to exist independently of me eventually. The interesting thing isn’t Fabian Kluth as a person. The interesting thing is the discussion around the work.

AKR: How do you position yourself in relation to the established art world?

FK: I don’t really care about conventions or norms. I do my own thing.

And honestly, criticism interests me more than praise. I need friction. I need tension.

AKR: You seem incredibly driven.

FK: If I want something, I go after it relentlessly.

There’s an artist I wanted work from for over a year. I called every Monday asking if there was something available. Every single Monday. At a certain point, he agreed. It’s persistence.

AKR: But where does that drive come from?

FK: That’s difficult to answer.

My parents never pressured me. Quite the opposite actually – very laissez-faire. But for me it feels natural. If I do something, I want it to work properly.

AKR: You give off a great sense of ease. Do you ever have to force yourself to do things, or does it all come naturally to you?

FK: Of course there are things you have to do. But generally I try to only do things I genuinely care about.

Look at today for example. I came to Berlin last night, didn’t sleep at all, tomorrow I’ll drive back at four in the morning, then I have appointments again immediately. But I just do it because I love it. Doing nothing stresses me more. I can’t lie on a couch for two hours. Impossible.

AKR: Is there anything in your life that calms you down?

FK: I have a horse. Laughs. Once a week I go there, clean the stable, put on rubber boots and walk around for two hours. That’s probably the calmest part of my week.

AKR: Alongside collecting and exhibitions, you also host the podcast one.voice, for which you’ve already spoken with people such as Johann König, Amir Kassaei, and most recently our publisher Götz Offergeld. How do you choose the people you speak with?

FK: I’ve always loved misfits.

I felt like all the existing art podcasts always invited the exact same people. I wasn’t interested in that. I wanted people with friction. Naturally I already had close contact to many artists because I collect their work.

AKR: Would you describe yourself more as an observer than a participant?

FK: In a club I’d probably sit at the bar watching people instead of dancing.

But eventually I’d still walk over and talk to them.

AKR: What would fulfillment mean to you?

FK: Definitely not repeating the same exhibition format for the next forty years. The vision is much bigger than that. I want to bring people together. That’s really the core idea behind everything.

And honestly, if tomorrow I wake up and decide I want to make a magazine instead, or open a clothing store, then I’ll do that.

AKR: With the same intensity.

FK: Exactly. Whenever I get excited about something, I start immediately. Perfectionism is basically fear in disguise. I don’t really care about perfection at first. I’ll just ask ChatGPT how to solve things.

AKR: What would your advice be to people who want to realize their ideas but keep getting stuck in overthinking?

FK: Honestly? You just have to fall on your face again and again. Fail repeatedly. Get up again. Continue.

You just have to analyze what you’re doing and how you can improve it. Not everything has to be radically disruptive immediately. Sometimes it’s enough to question existing systems and optimize them differently.

Germany especially has this fear of failure. But life is too short to spend it doing things you don’t care about. I don’t want to wake up every morning working on topics I feel nothing for. That’s the real nightmare to me.

Fabian´s podcast „one.voice“ featuring Götz Offergeld as an episode guest can be listened to here.

TO WATCH „TEENAGE SEX AND DEATH AT CAMP MIASMA“ BY JANE SCHOENBRUN

Anna Klusmeier — Wed, 27 May 2026 09:06:23 +0000

Opening the Un Certain Regard section at the Cannes Film Festival, Teenage Sex and Death at Camp Miasma marks Jane Schoenbrun’s return to the terrain: adolescence as horror mythology, movies as emotional habitat where there are endless fried chicken and candy. The film observes how identity is something performed through cultural debris rather than discovered naturally – the question of whether that has always been like that remains open. The film follows Kris, played by Hannah Einbinder, a filmmaker attempting to resurrect the long-abandoned Camp Miasma slasher franchise, where Little Dead butchers teenagers in the woods. Kris is eager to find Billy Presley, the Camp Miasma series’ original “final girl,” portrayed by Gillian Anderson. Billy is an eerie combination of sexiness, detachment and exhaustion.

Anderson is wonderfully in her element, eccentric, impeccably stylish, and sharp with a mischievous smile. Billy lives at Camp Miasma, where the final movie was shot. She moves through the film like the opposite (or alter ego) of Kris, whispering to her to stop intellectualizing herself into paralysis. Camp Miasma is simple, she says, it’s all about “flesh and fluid”.

It turns out Schoenbrun/Kris is not interested in reviving slasher iconography nostalgically. The genre becomes a framework through which to explore queer longing, aging, bodily alienation, and the strange violence of acute self-awareness. The film with its modernized trash aesthetics is on point. Fluorescent junk food, VHS textures, candy wrappers, processed colors: companions to teenage desires and fantasies.

Schoenbrun joyfully pushes the boundaries into the kitsch and grindhouse aesthetics making their second Cannes appearance very enjoyable and worth watching.
Oh and, that Arthur Conti: why is he so good at playing those mysterious freaks?

The film will be released theatrically in Germany in August.

DIGITAL PREMIERE „TOUCH“ BY JENN KANG AND JULIANN MCCANDLESS

Anna Klusmeier — Fri, 22 May 2026 11:45:40 +0000

Numéro Berlin is happy to announce the digital premiere of short movie „Touch“.

Synopsis for the experimental dance piece is the feeling of being stuck in the space between becoming someone and evolving or staying in place, forcefully reduced to immanence: „At birth, a woman exists between transcendence and immanence.“. Body and soul seem to split during this moment.

The fruitful collaboration between choreographer Juliann McCandless and photographer Jenn Kang reveals the underlying unity of the contraries through movement. The body does not remain as a simple object or a solitary entity, it holds memory, sensation and shared humanity. It becomes a vessel for a collective consciousness and has the whole community moving for the closing shot.

Portrayed is a somatic study of the internal and the external – a journey moving from a singular, isolated navigation of the self towards a mirrored integration with the collective. In a world that feels increasingly lonely, Jenn Kang and Juliann McCandless have just restored our hope in human community with this beautiful movie.

CREDITS

Jenn Kang, Juliann McCandless
Director

Juliann McCandless
Writer

Jenn Kang at Touch Publishing
Producer

Juliann McCandless
Julie Rust
Joshua Fernandez
Maggie Fox
Ivan Karpukhin
Daliana Lopez
Andre Michael
Noellie Nemoto
Autumn Strittmater
Olivia Bell
Dancers

Juliann McCandless
Choreographer

070 Shake, Johan Lenox
Original Score

Grant Duncan
Director of Photography

Amanda Grossman
Assistant Director

Juliana Bassi
Wardrobe

Danielle Haxton, Chelsea Orduño
Hair and Makeup

Amanda Grossman
Editor

Alex Foster
Gaffer

Sean Kang, Tristan Ngyuen
Production Assistants

WEEKEND MUSIC TIP PT 93 – VINCE STAPLES

Anna Klusmeier — Fri, 22 May 2026 09:00:59 +0000

Vince Staples, American rapper and actor, is teasing his new album „Cry Baby“ with a second single. The rapper first gained popularity through collaborations with Tyler, the Creator and the Odd Future collective. Since then, he has released six solo albums as well as features with Billie Eilish and Kendrick Lamar. Staples has participated in multiple film and television productions, most notably in „The Vince Staples Show“ on Netflix, where he plays a fictionalized version of himself.

„White Flag“ tells the story of a country in constant turmoil, accompanied by a striking music video. Staples paints a massive U.S. flag white, repeatedly chants „White flag, I don’t wanna fight no more“. He continues to pepper the now-white flag with holes, using an M4 assault rifle.

„White Flag“ expresses personal exhaustion, being tired of the continuous vicious cycles of violence and the painful desire to get out of the everlasting conflicts. The single paints a bleak portrait of a country exhausted by violence that shows no sign of ending.

It links to the first single „Blackberry Marmalade“, which was released with a corresponding music video displaying a shooting in an American diner from an first-person shooter perspective.

The full album will be released on June 5th, promising not only a textual change, but also intriguing changes in sound and musically. It will reflect the USA’s inner conflicts with sharp clarity and intention, or as Staples explains himself, „As the world burns, I have decided to release this album.“

We can expect a highly dynamic, politically confronting piece that perfectly captures the current tensions, absurdity, and emotional pressure on the States. Vince Staples does not only document the current Zeitgeist; this work is rather a personal struggle with ongoing issues.

ON OUR RADAR

Anna Klusmeier — Thu, 21 May 2026 16:32:00 +0000

DESIGN AS A CULTURAL DIALOGUE: GALERIE OM´S OPENING EVENT

Save the date: On upcoming Thursday, 28th May, Berlin gains a new, enticing gallery.
In the heart of the city’s art scene, at Potsdamer Straße 100, design enthusiasts are invited from 8pm onwards to check out the new Galerie OM.

Founded by Oscar Gröne and Moana Thies, the gallery promises a new approach to collectible design pieces and contemporary culture. They are expected to blend the sophistication of Paris, Milan and New York with Berlin’s underground creative energy. Conceived as a fully sensory environment, the gallery creates an immersive exchange between collectible objects, furniture, spatial design, and live experiences through exhibitions, happenings, and curated programming.

Their opening exhibition „Partie Une“ is curated by interior architect and creative director Julian Zacharias Eide and reflects the gallery’s vision of design as an experimental language perfectly. Through scenographic installations and carefully composed interiors, the exhibition beautifully explores materiality, spatial narratives and creative expression. Design is read as an atmosphere, as a cultural dialogue rather than a static display. Galerie OM works primarily on a commission basis, which enables them to focus on rare, character-driven works. This suits their darker, raw and slightly provocative aesthetic, making them a must-visit.

Galerie OM will focus on a curated program of event-driven pop-up exhibitions in Berlin and has future activations planned for Paris and Milan.

ABOUT THE FUTURE OF THE NIKE AIR´S

Nike introduces a new program to ensure the future of one iconic shoe: the Nike Airs. The program celebrates the cultural impact of Air Max and invites a group of global creatives to reimagine its future. The eight individual designers originate from eight different countries, uniting Beijing, London, Los Angeles, Mumbai, New York, Paris, Shanghai, and Tokyo through Nike headquarters. The designers are a diverse group of young, emerging creatives, including Diya Joukani (possibly known through her laid-back TikToks from the streets of Mumbai), Jose Wong, and Tasnim.

They will work closely with their Nike mentors and external collaborators to develop distinctive 3D-printed Air Max styles. By visiting Nike Air Manufacturing Innovation facilities, the Nike archive, and the Nike Sport Research Lab, the program functions as a deep dive into Air Max history, allowing the young designers to draw inspiration from the past and translate it into the present. The next Nike Airs will be designed by those who actually wear them—while building on the 40-year heritage of Air innovation.

Nike Air Works is created in partnership with Zellerfeld to reflect the designers’ individuality and celebrate their communities from around the world.

A first meeting was held on 11 May; all Nike Airs are expected to launch throughout the coming year.

DRYKORN: SUMMER TRENDS FOR BEAUTIFUL PEOPLE

The brand introduces their new summer assets: first off, matching sets. The corresponding fabrics and colours build stylish, complete looks for when encountering another outfit crisis. Relaxed cuts meet precise expression, ensuring comfort for warm days.

Other plans for the summer are “dark chocolate with coconut milk” — sounds delicious, but are actually the new trend colours for Drykorn’s collection. The delicate contrast runs through the matching sets as well as the rest of the collection, tying everything together in a subtle but distinct way.

MIU MIU LAUNCHES NEW UPCYCLED COLLECTION

Miuccia Prada has opened a new conversation between past and present with the newest collection. The pieces were sourced from vintage clothing experts all over the world before being restored and finally refashioned. Trousers became jackets, shirts transformed into dresses or apron tops — the possibilities are limitless. Throughout the process, the lives and experiences of previous owners are profoundly respected, while breathing new life into the old pieces.

Marks of ageing and the passing of time are celebrated rather than concealed, through reinvented silhouettes and newly interpreted garments, all while upholding Miu Miu’s key design elements and patterns. Finished by hand, every piece becomes a new and unique creation.

The face of the new campaign is multi-talented artist Suki Waterhouse, paying homage to the iconic fashion house’s archive.

The collection will be available in selected stores worldwide from now on.

SMELLS LIKE SUMMER – FUGAZZI´S NEW SCENTS

Founded by Bram Niessink in 2018 after an inspiring trip to Egypt and its century-old sophistication in scent oils, Fugazzi provides elevated scents ever since.
With temperatures far above 20 degrees coming up, it’s urgent to introduce the new summer scents.
First is „Angel Dust“, a subtle but catchy smell that will silently carry you through hot summer days. With base notes of musk, amber, and delicate resins, the scent creates a long-lasting warmth and an intense, elegant depth.
Fugazzi’s other new scent is „Pomegranoudh“, a skilfully blended composition of pomegranate and oud. Pomegranate is positioned upfront, though never sweet or over the top but softly inviting, accompanied by bergamot and red fruits.
The base note creates a soft background of vanilla, musk, and amber.

Two unique scents to make this summer yours!