BERLIN FASHION WEEK – SHOW SCHEDULE 

Berlin Fashion Week SS26 features the most stunning designs made by sustainable brands you need to check out. Founded in 2007, it is a grand Fashion Week that presents innovation, creativity, design and authentic connection.

The sustainable brands featured this season are inventive, imaginative and endearingly creative. Here they are, in all their glory…

MONDAY, JUNE 30

5:00 PM
VIKTORANISIMOV
The Feuerle Collection

On Monday, June 30, Ukrainian brand VIKTORANISIMOV debuted its collection for the first time at the SS26 Berlin Fashion Week. The collection took place at The Feuerle Collection, which is a private art museum that was formerly a Second World War telecommunications bunker. The designer behind the namesake brand, Viktor Anisimov, is known to create compelling, evolutionary looks with a military feel.

The collection itself is inspired by the brand’s recent work on a capsule wardrobe for President Volodymyr Zelenskyy, where it houses figures in uniform-style jackets and included “with minimal adaptation”. Including 36 looks, it houses a “figure in black, standing amid the ruins of a building destroyed by a missile”. The color of black that is chosen for this look is “a language of reality”. There is tension, hope, transformation, and beautiful complex emotions that are felt even more with the show’s accompanied original score by Ukrainian composer Vitalii Telesin. “font-In addition to this, the prime looks of the collection include wrap shirts, long tunics with open hems, crop tops, transformable shorts that, upon movement, turn into skirts, and more. It’s fashion that is conscious of human movement, touch, feeling, suffering, and also an acknowledgement that there is healing, and there is change.

6:00 PM
LAURA GERTE (BERLIN CONTEMPORARY)

Laura Gerte’s collection “Desire/Chaos” is linked with feminine intuition, beauty and complexity. A brand that is all about “confidence and sustainability”, it taps into the feminine world through its designs. Garments which mirror impulses of desire, impermanence, womanhood, pleasure, beauty, rage and more, it includes skin-tight mesh and florals of silk, “draped” T-shirts and “distressed” jersey. It’s fashion that emphasizes feminine brilliance but also complexity, frustration and intensity. Notably, the collection also includes the designer Laura Gerte’s signature feel, which is “thick piping, smocked silk, patchwork prints and trompe l’oeil”.

TUESDAY, JULY 1

11:00 AM – 1:00 PM
RAUM.BERLIN: JULIAN ZIGERLI

JULIAN ZIGERLI, an innovative Swiss brand, came to Berlin Fashion Week with an amazing fashion exhibition and a pop-up shop that features a collaborative collection titled “THE LIMIT DOES NOT EXIST” with ANDI FISCHER. The fashion exhibition, which is a part of Berlin Fashion Week’s Show Schedule, took place at RAUM.BERLIN alongside the brands DAGGER and IDEN. The pop-up shop, which is a part of the fashion week’s Side Events, took place on July 2-3 at Leipziger Strasse 60, 10117 Berlin (next to Julia Stoschek Foundation). Its collection features incredible “bold prints and vibrant pieces”.

Notably, the brand creates fashion that is “highly technical”, “easy to wear” and “functional”. It is innovative, unique and understands the beauty of designing timeless fashion that will be cherished forever. In other words, Julian Zigerli is a brand to keep an eye on!

1:00 PM
REBEKKA RUÉTZ

A brand that is all about progressive fashion, rebekka ruétz is guided by sustainability and quality, avante-garde design and beautiful boldness and minimalism. It is a brand that is unafraid to be itself and embraces imperfection. Its new collection at Berlin Fashion Week is one that is described as being “a journey toward a wild and free self”. It includes bold and beautiful colors that have unique symbolisms: raven black and peat brown representing rediscovery, and soft gold and a twinkling silver symbolizing inner growth. In addition to this, it also has authentic materials that symbolize something special: coffee leather which represents transformation, and vegan leather which reflects responsibility and awareness. Organic cotton and organic denim, to note, are the materials that “form the foundation of the collection”. It’s a timeless, liberating collection that allows the soul to think, observe inwardly, and reflect.

2:00 PM
PALMWINE ICECREAM

Founded by the amazing designer Kusi Kubi, PALMWINE IceCREAM is a sustainable fashion and accessories brand that embraces the following values: Reconstruct, Re-use, and Reduce. It is an innovative, eco-conscious brand that repurposes existing materials, dead-stock and craftsmanship. They not only strive to minimize environmental impact and [embrace] an inclusive approach to gender expression, their founder beautifully applies authenticity, Ghanaian culture, storytelling and craftsmanship into each design, which tells a story of resilience, beauty and love.

The brand’s newest collection, which is a tribute to the women in the designer’s personal life, focuses on womenswear. Pieces (such as ballerina corset and leather blazers) designed with love and care in collaboration with Ghanaian artisans, it features materials of deadstock cotton, organza, mesh and upcycled leather naturally dyed with tree bark. This collection, then, is an amazing one to look out for!

8:00 PM
BUZIGAHILL

BUZIGAHILL is a Kampala-based label founded by creative director and designer Bobby Kolade. It is making a comeback in the SS26 season of Berlin Fashion Week with the designer’s eleventh collection RTS11. It is a collection that is a continuation of the RETURN TO SENDER project, a powerful and defiant act that “represents BUZIGAHILL’S ability to participate in the global contexts of art, fashion and politics by creating critical and desirable products and reversing the MOVEMENT of waste”, as by the designer. The collection, then, is a powerful reflection of the brand’s values, which is redesigning second-hand garments from Europe, North America and Asia and bringing them back to the Global North. It embraces the power of authenticity, origin and refusal, refusing to “remain stuck at the end of the second-hand supply chain”, as additionally and beautifully by the designer.

WEDNESDAY, JULY 2

5:00 PM
DANNY REINKE
Uber Arena

Danny Reinke is a fashion label founded by Danny Reinke and Julien Kelch. A label with a core focus on sustainability, it produces elegant designs that embrace “a unique sense of personal style and body awareness”. With high-quality craftsmanship and the use of eco-friendly materials and practices, it is a brand that is unmatched when it comes to caring for the environment, approaching art in a way that is beautiful, timeless but also eco-conscious.

In addition to the brand presenting its newest collection “The Hunt”, it is also celebrating the premiere of The C4DR – Collection for Doctors, a non-profit collection opening the Danny Reinke show at the COLLECTIVEFOUR Space in the Uber Arena. It is a collection of the COLLECTIVEFOUR designers Danny Reinke, Marcel Ostertag, and Kilian Kerner, made for doctors in the fields of oncology and hematology. It includes five thoughtfully designed pieces (a hoodie jacket, a t-shirt, pants, a modular utility bag, and socks) made with care for doctors. Clothing that is functional, fashionable and easy-to-wear, and beautifully acknowledges and appreciates doctors who help save the world, because they matter, too.

7:00 PM
MARCEL OSTERTAG
Uber Arena

Marcel Ostertag, the innovative designer and founder of the namesake label, developed his fashion expertise at Central St. Martins College in London, UK. He started Marcel Ostertag with the inspiring “vision of having a sustainable production, high-quality materials and fair production conditions”.

The brand’s SS26 collection “PARADISE” – which will be presented at the COLLECTIVEFOUR Space in the Uber Arena alongside the respective shows of brands Danny Reinke and Kilian Kerner – is inspired by Baroque-era opulence, 70s-era glamour, and the vibrant energy of the 90s techno rave culture era (featuring electronic beats). Featuring incredible baroque detail, 70s-era silhouettes and the vibrant energy of the 90s, it is regarded as a collection that celebrates life, togetherness and joy. Because of the brand’s core focus on sustainability, 70% of the collection is created from dead-stock fabrics, which is amazing in itself.

BERLIN FASHION WEEK – SIDE EVENTS

MONDAY, JUNE 30

7:00 PM
VANESSA BAERNTHOL

Vanessa Baernthol is an incredible, eponymous fashion brand founded by fashion designer Vanessa Baernthol. Based in Berlin, it produces timeless designs and collections that reflect the designer’s “architectural approach to fashion and strong commitment to sustainable production. Past collections such as ‘REBUILT’ FW25 at Berlin Fashion Week was regarded as an amazing collection “that deconstructs and redefines layering as an artistic and functional practice”.

On Monday, June 30, it presented its newest SS26 collection titled “VENEER”, as part of Berlin Fashion Week’s Side Events.

TUESDAY, JULY 1
11:00 AM – 8:00 PM
HUMAN TOUCH READY-TO-WEAR DEBUT
NADAN / WILHELMSAUE 1

Human Touch, co-founded by creative directors Christina Albrecht and Juliet Seger-Banks, is a unique fashion brand that embraces paint-sewing, its signature technique that embraces the authenticity of design.

It’s a brand that “showcases the human labor that we all rely on to make our clothes: With hands covered in paint during the sewing process, the fingerprints of tailors, workers, machinists become visible on the garment”.

It is releasing its first ready-to-wear collection, “artefacts”, at Berlin Fashion Week SS26. A collection that houses twelve looks, it includes “original pieces manufactured entirely with the unique paint-sewing technique”. Additionally, it features structured silk organza, clean-cut cotton wovens and viscose-silk plissees described as “dreamy”. “artefacts” is indeed a unique, thrilling collection, one that embraces the art and authenticity of paint-sewing, and the beauty, production and engineering of design.

THURSDAY, JULY 3

1:00 PM
ESTHER PERBANDT

Esther Perbandt is an eponymous, premium fashion and jewelry brand founded by Esther Perbandt in 2004. A contemporary fashion designer, visionary, performer and “mistress of ceremonies”, she is a multi-talented designer that embraces the avante-garde style.

For her latest collection, “BLACK TAILORED SUMMER”, to be presented at Berlin Fashion Week via an exclusive sartorial installation, it is a culmination and pinnacle of the designer’s “five-year transformation from expressive showpieces to sophisticated, gender-neutral tailoring”. It is an innovative and unique collection that is inspired by heritage menswear and “softened by individuality”.

Design features include: a signature monochrome palette and a central design motif that “reimagines the typically hidden waistband as a visible, celebrated element”. A collection that embraces gender fluidity, elegance and sophistication, it features its lovely designs across nine models, accompanied by the large-format fashion photography of Sylwia Makris.

After the exclusive installation, the collection will be available for view and purchase at the Esther Perbandt store in Berlin-Mitte.

At Worthy Farm, iconic figures attending Glastonbury Festival wore pieces by the British Heritage Brand Barbour. These figures include: Adwoa Aboah, Lily Allen, Joseph Quinn, Lily James, Billie Piper, Gemma Chan and Dominic Cooper, Saffron Hocking, Lennon Gallagher and more.

For model, actress and festival style icon Adwoa Aboah, she marked her return to Glastonbury for the first time since becoming a mum, sporting the Barbour Transporter Oversized Casual Jacket in Navy with a pair of ripped jeans.

Actor Joseph Quinn, who was recently announced to play George Harrison in Sam Mendes’ highly anticipated Beatles biopic, was seen effortlessly sporting the Barbour Transporter Oversized Casual Jacket.

Long-time pals and actors Lily James, Billie Piper, Gemma Chan and Dominic Cooper were also reunited at the festival wearing iconic looks. Lily James oozed elegance in the Emlyn QuiltedBomber Jacket, Elsden Shorts and Wilton Wellington boots, and Billie Piper – who recently made headlines surrounding her return to Doctor Who – looked fabulous in the Transporter Oversized Casual Jacket in Sage and Wilton Wellingtons.

Couple Gemma Chan and Dominic Cooper wore looks that subtly paid tribute to Barbour’s celebrated heritage. Respectively, they wore the Suri Checked Showerproof Jacket paired with the Cary Shirt and Cary Shorts co-ord set and Evie Ankle Boots, and the Westmorland Ripstop Overshirt and Ridge Wellingtons.

Music artist Lily Allen was seen in the Classic Bedale Wax Jacket and Bede Wellies, and fashion model Lennon Gallagher was sporting his father’s festival legacy in the Bedale Stripe Casual Jacket and Nimbus Wellingtons. His partner, Izzy Richmond, was sporting the stylish Utility Spey Wax Jacket and Bede Wellington Boots.

Finally, actor and festival mainstay Saffron Hocking was seen in the beautiful Hayley Showerproof Jacket and Bede Wellington Boots.

To add on to the exciting news regarding Barbour’s presence at Glastonbury Festival, they once again teamed up with global charity Oxfam and brought back their Re-Loved initiative, which offers festivalgoers the chance to rent and buy a selection of pre-loved Barbour jackets and accessories. All proceeds of this support the important work of Oxfam.

Every Barbour Re-loved jacket that is available for hire has been attentively cleaned and repaired by the heritage brand’s experienced team in South Shields, northeast of England. Many of the jackets include upcycled materials from previous Glastonbury festival wear including T-shirts and merchandise. Re-loved bucket hats were also available at a price of £29, alongside a new offering of limited edition pin badges featuring the brandings of Barbour, Oxfam and Glastonbury for £7. These one-of-a-kind collector’s items are available only with the purchase of jackets, hats and welly toppers.

All Images: © Courtesy by Barbour

Colm Dillane, the U.S. fashion designer and multi-talented creative head of KidSuper, revealed his superhero piece at the Musée des Arts Décoratifs in the Louvre Museum in Paris during the KidSuper Spring/Summer 2026 fashion show on June 28. The art piece is said to interpret Mercedes-Benz’s brand new CLA “as a super-hero inspired art piece”. He is third of the five “Class of Creators” multi-collaboration partners who was invited to create a bold, inspiring and imaginative piece for Mercedes-Benz’s brand-new CLA.

For his piece, it features the amazing elements of turbine wings, “playful” balloon details, a front-mounted winch, a rally-style roof rack, a “nostalgic” slingshot said to be a reference to his childhood, and there are also patchwork-inspired features housing KidSuper’s famous “Kissing Face” motif.

In addition to this, the fashion piece includes signature design elements from the brand’s iconic landmark vehicles. The wheels, for example, “pay homage to the futuristic storytelling of the 1996 Mercedes-Benz F 200 concept car, while the side mirrors reference the iconic silhouette of the legendary Mercedes-Benz 200 SL. Colm’s CLA art piece”.

For this project, KidSuper also had a capsule collection that came out alongside the superhero art piece. This collection consists of jackets, shirts, trousers, a trench coat, and accessories such as hats, bags and a suitcase. They are made of materials such as cotton, canvas, poplin, jersey, wool and vegan leather. They also include the iconic Mercedes-Benz brand logo.

This iconic collaboration is an inspirational feat combining automotive design and art. It blends those two fields so seamlessly and shows that you can create art in any form.

KidSuper’s design, in partnership with Mercedes-Benz, is both a testament of this and an inspiration.

“Ugh, as if!”

Do you recognize these words, fellow reader?

Cher Horowitz (played by Alicia Silverstone) said these words in the 1995 Clueless film, written and directed by Amy Heckerling. A bright, funny film loosely based on Jane Austen’s 1815 novel Emma, it explores the thrilling life of main character Cher who, sincerely speaking, loves interfering in other people’s lives. From igniting a budding romance between two teachers and giving the new girl in school a makeover, Cher makes it her life’s work to do good for people. The greatest good she does, however, is for herself. And there’s nothing wrong with that, is there?

From wearing fabulous outfits and giving herself a makeover for the soul, Cher’s forms of beauty are expressed so effervescently in this dear, far-from-clueless film.

Let’s explore the forms of beauty Cher indulges in.

The Beauty of Fabulous Outfits

Cher loves her outfits. In fact, in the beginning of the film, she’s seen browsing through her fancy computer for a perfect outfit for school. This computer literally sports pieces of clothing she can match. In the end, after finding an outfit she’s satisfied with – an adorable, yellow plaid outfit with white Mary Jane shoes and knee-high socks – she smiles and wears it to school.

This fashion-based expression is a form of beauty for Cher. For some, doing a particular hobby can make them feel beautiful. For others, it could be makeup. For Cher, in this moment, it’s outfits. As she walks to school wearing this bright, colorful, and dazzling outfit that makes her stand out, she’s showing she doesn’t care and is confident. She’s got her hair all straight, her makeup is on point and she is proud.

This scene, though right at the very beginning, is a testament to how fashion can make one feel beautiful, and rightfully so.

Even at the (almost) end point of the film, when there’s just about 19 minutes left, Cher is seen strolling through her city wearing yet another fabulous outfit: a cropped, baby-blue sweater, plaid skirt, sheer jacket, white knee-high socks and cute shoes. In this scene, though she looks amazing, she is awfully sad compared to the beginning scene of the film. In the latter, where she’s all happy and confident with her yellow plaid outfit, here she looks devastated.

Heartbroken and confused, she’s at her most dejected point. Yet, even as she’s going through those emotions, she still cares about looking beautiful in this perfect outfit. Even her hair looks good, and that’s pretty admirable. To be heartbroken and sad but still staying true to what makes her feel good? That’s pretty great.

Usually, when people feel sad, they tend to underdress rather than overdress, wearing a comfort outfit and – perhaps – having a comfort meal and show. There’s nothing wrong with that, of course, and each form of comfort is valid and beautiful in its own way, but Cher’s form of comfort is special because it’s unlike what many people like to do, and it shows us we can dress up even if we’re feeling sad.

In fact, maybe we should.

We can do our hair, we can put on the finest clothes, and we can feel beautiful. Showing up for ourselves in our darkest moments can be our greatest asset. So, do you, like Cher!

The Beauty of Makeovers

Cher is an admirable person. Even as she lovingly cares about the external beauty of things – makeup, hair, dressing up – she cares about the internal just as much. Towards the end of the film, she decides to enter the new and exciting journey of makeover-ing her soul.

She begins by viewing the different ways in which her friends are good, realizing that everyone has something that makes them special. For her friend, Christian (played by Justin Walker), it’s seeing the beauty in things. “He always wants things to be beautiful and interesting,” says Cher. For her best friend Dionne Davenport (played by Stacey Dash) and boyfriend Murray (played by Donald Faison), it’s seeing the beauty in romance. Cher describes how cute and loving they are when it comes to caring for each other. And for her teacher Ms. Geist (played by Twink Caplan), she sees the beauty in the world and the environment. After having this realization, Cher helps Ms. Geist by becoming captain of the fictional Pismo Beach Disaster Relief. She starts donating items of hers, encouraging others to do the same, and finally sees life beyond the external side of things.

In other words, Cher’s version of beauty becomes even more honest, authentic, and special. Rather than matchmaking to do “good” for people, she does actual good and feels great about it.

At the same time, she’s still her bright, effervescent, and beautiful self. She hasn’t changed, she’s just evolved.

With this, Cher shows us that there’s more to beauty than just doing things externally. While staying true to yourself and doing you in whatever way that is (like Cher with her outfits) is admirable, it’s even more admirable to go beyond the self and care for others.

Doing that, matter-of-factly, makes you more beautiful. It shows that you’re willing to step up and do good for others, changing the world in small but meaningful ways. By taking part in the Pismo Beach Disaster Relief, Cher shows us that real beauty comes from doing things of real, important value.

And that’s why the Clueless film, though not obvious at first, takes on such an effervescent approach to beauty.

It shows that, yes, you can show up for yourself and feel good, but also do good, because that’s where everything really matters.

Highlight Image:
© Yunona Uritsky on Unsplash

Beneath the watchful gaze of centuries-old olive trees, my soul stirs with the quiet, intentional steps. The island, once guarded solely by its rugged cliffs and wild landscapes, now opens itself to those who wish to understand it. Here, in this Biosphere Reserve, a delicate balance must be maintained —a balance between preservation and experience, between the ancient and the present.

Everything seems to invite me to slow down and rediscover the rhythm of nature. Learning from local artisans, I immerse myself in the island’s heritage. I hear the sound of living in harmony with a place that is both timeless and ever-changing. This simple beauty calms me, leading to introspection.

Walking along the Camí de Cavalls, an ancient path that encircles the island, draws me into contemplation. The cliffs, kissed by the sun and shadowed by the clouds, become a canvas for the mind. The waters, ever-shifting and eternal, are like ink to the poet’s hand. In this place creativity is not a choice —it is the heartbeat of the island, as constant as the waves that crash upon its shores. I feel the awakening of the earth. Oxygenated.

It is then, when I decide to become artisan in my own right, learning from the men and women who have shaped the land with their hands and hearts. Each piece of pottery, each woven basket or hand-carved creation, each bite, becomes not a souvenir, but a beat of something deeper —a connection to a place and a time beyond themselves. It’s no coincidence; the eternal poetry of Menorca’s Talayotic culture resonates within me again and again, breathing cycles of life, death, and belonging.

I observe the sky. Designated Starlight Reserve and Destination due to its low light pollution, this experience encourages reflection on one’s place in the universe. The feeling of eternity is felt in how we are all connected through a cosmic dimension.

Isolation and solitude, themes often explored by Menorcan 18th-century playwright and poet Joan Ramis i Ramis, rise up deep within my soul, stripping away all my shields.

I do not want to leave. Mystery and beauty is still whispering —it is not merely about leaving no trace; it is about leaving the land better than I found it.

At SAL DE MENORCA, the salt whispers of peace, echoing the soul of Menorca itself —the sound of doing things right, with care. Here, amidst the fragile balance of nature, birds find refuge, and flora cling to the salt-rich soil, thriving in a world forgotten by haste. Sal de Menorca revives the ancient craft of the salinero, restoring not just a profession but a heritage. Sal de Menorca is not merely a mineral; it is a story of patience, resilience, and the quiet power that nourishes life… A poc a poc. saldemenorca.com 

Upon a quiet, hidden road lies SANT IGNASI, a luxury retreat where time unravels like mist over the fields. Amidst ancient oaks and stone-clad halls, time drifts slowly and the earth breathes softly. It used to be the summer house of an old aristocratic family from Menorca. Luxury is not spoken, but felt —in the touch of natural linens, the taste of local fare, and the gentle pulse of the landscape. A retreat for those who seek not splendor, but peace, where each moment is crafted with care and every detail remind us to earth’s embrace.

At KAILASH ARQUITECTURA, architect Mercedes Carretero and her sister, interior designer Carmen Carretero, weave Menorca’s soul into every space they design. Using wild olive wood, limestone, and hand-fired ceramics, their work echoes the island’s timeless harmony with nature. Each material carries a story —from ancient beams that once echoed music in the old theater to rainwater gathered in serene aljibes. Their spaces are sanctuaries where the beauty of imperfection and the rhythm of nature inspire peace and contemplation.

LET’S PAUSE embodies wild luxury, made by wise artisans. Woven from ancient hands and the wild essence, Let’s Pause honors the materials nature no longer uses. Esparto grass, agave, olive roots —these are not just fibers; they are the voice of the earth, shaped with care by those who listen. The craftsman’s hands tell their stories, without middlemen. Each piece is a testament to nature’s resilience and our need to preserve it.

Where the first light of day graces Menorca’s shores, SA PUNTA revives the soul of Menorca with every dish. Fish caught at sunrise find their way to your table, alongside with fresh, seasonal ingredients from the island. Matthew Meacham’s vision is one of preservation, where ancient crafts like breadmaking and herbal liqueurs find new life. Each meal is not just a taste of Menorca but a tribute to its history, culture, and the artisans who keep its traditions alive.

Every bite at AMAPOLA carries the earth’s bounty, where the deep, nutty flavor of local grains is kissed by the island’s sun and sea. With every toast, there is a symphony of warmth and rustic simplicity —the taste lingers like a forgotten memory. This bread, once at risk of vanishing, now lives on, a testament to tradition and taste, thanks to Josefina, slow fermentation sourdough.

In every glass of Gin iNNat, the island’s ancient herbs awaken —a fusion of juniper, pine, rosemary, and lemon, their essence captured in every drop. BINIARBOLLA herbal liqueurs are also a must. With each sip, the herbal notes dance on the palate —sharp and bold, yet softened by the island’s warmth. All liqueurs here achieve their flavor through maceration, not distillation. The production process is longer but gentler and more respectful towards the island’s botanical herbs.

ENSō ART GALLERY pulses with the deep passion of Lidia Piqué, where art is not simply a creation, but a balance of body, mind, and spirit. Within its walls, a Mosaic of Mediterranean Light and Oriental Shadow unfolds, as the paintings of artist Almudena Angoso Álvarez coexist with other works deeply rooted in Eastern culture. Together, they transform the gallery into a space where creativity transcends the material, bridging the artist’s inner world with the viewer’s emotions, reflecting the quiet power of balance and beauty.

With over 20 years of experience, ISABEL MARTIN SINTES is a passionate advocate for regenerative and creative tourism in Menorca. Her tours are designed not just to showcase the island’s beauty, but to inspire a deeper connection to its Biosphere Reserve values. Through her work, she fosters a sustainable approach that encourages visitors to engage with the local culture, biodiversity, and conservation efforts.

AGLAYA stands as a testament to living jewels that tell stories of Menorca. Every piece is carefully crafted, not just as an adornment but as a story woven into metal, wood, and nature’s finest materials. In this space, the boundaries between art and jewelry blur, and every piece, shaped by hand, becomes a reflection of the island’s untamed spirit. It is not just a shop, they organize workshops where you can learn how craftsmanship meets the timeless pulse of the land.

KINIRIA breathes new life into forgotten leather, transforming surplus materials from luxury brands into timeless, handcrafted bags. Each piece tells a story of simplicity, sustainability, and the beauty found in giving what’s old a new purpose— creating not just fashion, but a lasting connection between the past and present.

With three generations of expertise in woodworking, MUEBLES BOSCO BARBER offers more than furniture —it brings stories to life. Crafted from 100% solid, recycled wood, mainly teak, each piece blends Nordic influences with a Mediterranean touch. The timeless craftsmanship embodies the essence of Menorca’s quality of life.

On the sunlit hills of Menorca, an abandoned vineyard breathes once more. At ALBA MENORCA WINES, the earth was carefully oxygenated, worked by hand in a labor of love during 3 years. Regenerative agriculture nurtures the land, with sheep grazing and bees pollinating. Now, the vineyard landscape stands as the only sustainable vineyard to have won two gold medals worldwide —a triumph of nature’s rebirth and craftsmanship. Alba Menorca Wines are wind, sun, light, and stone. Calm, silence, balance, passion. They flow like the sea that surrounds us.

In the quiet heart of the port of Ciutadella, SON FINESTRA brings to life the beauty of nature through fashion. Handcrafted from the purest linen, each piece is woven with care, touched by skilled hands, and rooted in the island’s rich tradition. The fabric, light yet enduring, captures the essence of simplicity and elegance.

In the hands of master artisans, PEP MONJO shoes are born —crafted from the finest genuine leather, each pair is a testament to timeless tradition and skill. Every stitch, every curve speaks of dedication, where the touch of human hands transforms leather into the walk of the future. pepmonjo.com 

Inspired by the tranquility of Menorca, this artist CRISTINA VILA-HOMS creates ceramics as a meditative practice, shaping each piece by hand. Her work at CVH Ceràmica reflects a deep connection to the natural materials —like stoneware— allowing the energy of the clay to guide her process. Each vessel embodies simplicity and durability.

ARTEMISA beckons with whispers of forgotten craft and slow. A place where the wild beauty of the island meets the hands of artisans, where every flavor tells a story of the land. In this haven, guests drift into a timeless world, where connection to nature, art, and culture flow like the wind —free and unbound.

Coldplay, a word that carries meaning. It’s not just the name of a band, it’s the name of four incredible individuals that have been touching the world’s hearts since 1996. A band comprising the amazing members Chris Martin, Jonny Buckland, Guy Berryman, and Will Champion.

They have songs that carry meaning, kindness that carries value. And one of the best things about them is the effort they have been making for the sustainability of the world.

For their current world tour Music of the Spheres, a tour that’s been ongoing since 2022 and is set to end this September in 2025, they have been making feats in sustainability. From reducing CO2 emissions to creatively powering the stage in eco-friendly ways, this tour is something to take a look at and take notes from, because it teaches you that you can make art while also taking care of the world.

Here are some of the amazing ways Coldplay is leading a sustainable, eco-friendly tour:

Reducing CO2 Emissions

When making the announcement for the Music of the Spheres World Tour in 2021, Coldplay “pledged to reduce [their] direct carbon emissions (from show production, freight, band and crew travel) by at least 50%”.

In addition to working with partners and suppliers to decrease the impact of CO2 emissions, Coldplay partnered with DHL—the tour’s Official Logistics Partner—to reduce the impact of emissions from freight and transportation.

And you know what’s amazing? From the tour’s first two years, the band happily reported that direct CO2e emissions were significantly reduced by 59%, which is 59% less than their previous stadium tour in 2016-17, “on a show-by-show comparison”.

Kinetic Energy

In addition to reducing direct CO2e emissions, Coldplay’s tour is powering the stage in eco-friendly ways.

One of the impressive ways the band is doing this is via kinetic energy. Isn’t that cool?

They’re using kinetic dance floors which have been placed in specific locations around the stadium. When the fans jump up and down and dance, that physical action is converted into energy that helps power the show.

Not only this, but another form of kinetic energy the tour has is the installation of electricity-generating power bikes “so that fans can actively charge our show batteries”.

LED Wristbands

The LED wristbands fans wear at the show are actually reusable and made from 100% compostable, plant-based materials. The production of these wristbands has not only been reduced by about 80% through collection, sterilization and recharging them after each concert, but they also had an 86% average return and re-use rate.

Supporting Amazing Causes

For this tour, Coldplay has financially supported environmental organizations such as ClientEarth, The Ocean Cleanup, One Tree Planted, Climeworks, Project Seagrass and more.

Reforestation

To reduce their carbon footprint even more, Coldplay has supported several nature projects around the world, with a focus on reforestation, rewilding, conservation and soil regeneration.

By partnering with One Tree Planted, the band has been planting one tree for every ticket sold and via the proceeds of all their individual tee sales, according to One Tree Planted’s website.

In addition to this, by working with One Tree Planted, Coldplay has aided 21 planting projects across 17 countries.

Reducing CO2 emissions, powering the stage with kinetic energy, reusing LED wristbands, planting trees and supporting reforestation projects are just some of the many sustainability efforts Coldplay has implemented at the Music of the Spheres World Tour.

Not only are they an amazing band with incredible musical talent, they have a kind heart that cares for the world, one that encourages us to look out for and care for it, too.

To learn more about Coldplay’s eco-friendly tour, check out their Tour Emissions Update 2024 and Sustainability page.

Bringing together over 250 confirmed national and international brands, MOMAD is consolidating its role as Southern Europe’s leading professional fashion event, spotlighting conscious fashion, responsible manufacturing, and artisan craftsmanship.

Now held in Hall 10, the show aligns with other key lifestyle events—Bisutex, Madridjoya, and Intergift—creating a powerful ecosystem of fashion, jewellery, and giftware exhibitions. This strategic synergy enhances networking potential, broadens cross-sector opportunities, and supports a more integrated, sustainable value chain.

A Showcase of Eco-Conscious and Ethical Brands

MOMAD will present collections for both Spring/Summer and Autumn/Winter seasons, offering a comprehensive view of trends with an emphasis on sustainable fashion, eco-friendly footwear, and low-impact accessories. Leading brands like Vilagallo, Surkana, Nuñez de Arenas, Matilde Cano, and Carla Ruiz will showcase their commitment to quality, transparency, and environmental care—catering to a new generation of consumers who value origin, durability, and social impact.

The footwear and accessories sector will see increased visibility this year, featuring eco-conscious innovators such as Gioseppo, Calzados Victoria, Star Love, Juncal Aguirre, Corina, Igor, Exe Shoes, and MLV Shoes, along with trend-forward names like Moo Chuu, Top 3, and Basq Sneakers.

Strengthening Sustainable Trade Worldwide

Through its International Buyer Programme, MOMAD aims to strengthen global business relations, particularly with strategic regions like Latin America. This edition includes a collaboration with Bogotá Fashion Week, introducing a curated selection of Colombian sustainable fashion brands to the European market and reinforcing MOMAD’s position as a global hub for ethical fashion business.

From 11 to 13 September, MOMAD will transform IFEMA MADRID into a vibrant marketplace for sustainable fashion, where professionals can explore forward-thinking collections, forge new business alliances, and engage with leaders driving the shift towards a more responsible and inclusive industry.

Don’t miss the opportunity to be part of the change.

With projects like the Floating Glass Museum, Organic Cities, Vertical City, and Desert Cities, Luca Curci Architects is setting new standards for sustainable architecture and urban planning. Their commitment to eco-conscious innovation, renewable energy, and harmonious integration with nature positions them as leaders in shaping the future of architectural design.

As the world shifts towards green, energy-efficient solutions, these projects serve as beacons of sustainable development, proving that architecture can be both visionary and environmentally responsible.Among their most visionary designs is the Floating Glass Museum, a revolutionary concept where art and nature merge, transforming water into a living canvas for contemporary expression.

Floating Glass Museum: A Harmony of Water, Art, and Sustainability

Inspired by Venice’s rich cultural heritage and the intricate craft of glassmaking, the Floating Glass Museum is a testament to the balance between tradition and modernity. Designed by an international team of architects and designers, with the support of artificial intelligence, the museum embodies a pioneering approach to sustainable architecture.

Through the meticulous selection of materials and a deep respect for its surroundings, the Floating Glass Museum is set to become a sanctuary of glass artistry and contemporary experimentation. The structure itself will minimize environmental impact, incorporating eco-friendly materials, renewable energy solutions, and innovative floating technology that ensures stability while preserving aquatic ecosystems.

This museum will not only celebrate the history of glassmaking but also serve as an interactive space where visitors can experience the fusion of traditional craftsmanship and cutting-edge sustainable design.

Organic Cities: Rethinking Urban Sustainability

With the growing need for self-sufficient, nature-integrated urban spaces, Luca Curci Architects presents Organic Cities—an ambitious vision of green urbanism. Designed to mimic natural ecosystems, these cities prioritize renewable energy, green roofs, vertical gardens, and sustainable materials, ensuring a zero-carbon footprint.

By redefining how cities interact with nature, Organic Cities promote community-driven spaces, pedestrian-friendly layouts, and advanced waste management systems. This project stands as a blueprint for the future of sustainable living, where architecture coexists harmoniously with the environment.

Vertical City: The Future of High-Density Sustainable Living

The Vertical City project addresses the challenges of overpopulation and urban sprawl by creating self-sustaining vertical metropolises. These futuristic skyscrapers are designed with integrated green spaces, renewable energy sources, and efficient water management systems to support thousands of residents while minimizing land use.

By building upwards rather than outwards, Vertical City reduces the ecological footprint of urban expansion, offering a sustainable alternative to traditional city planning. This concept embodies energy-efficient living, smart infrastructure, and a new paradigm in sustainable urban design.

Desert Cities: Sustainable Habitats in Extreme Environments

As climate change continues to reshape global landscapes, Desert Cities provide an innovative solution for inhabiting arid regions. Luca Curci Architects envisions self-sufficient cities in desert environments, designed to harvest solar energy, optimize water conservation, and utilize climate-responsive architecture.

These eco-friendly structures incorporate passive cooling techniques, shaded walkways, and underground water reservoirs, ensuring minimal environmental disruption while providing comfortable, sustainable living conditions. Desert Cities stand as a visionary approach to climate-resilient architecture, proving that sustainable design can thrive even in the most challenging ecosystems.

In my mind, I travel along what was once one of the longest trade routes of the ancient world, stretching more than 3,000 kilometres, starting in the deep south of Yunnan and ending in Tibet. I follow old paths now revitalised by the development of luxurious boutique hotels along the Lux* Tea Horse Road, writing new stories. Every stone seems banal, yet it is a witness of time and a small part of what revitalises the mosaic of this unique route, yesterday and today: the exchange between minorities, local cultures, and nature.

I LIJIANG (丽江市)

I smell, I taste

The car stops. My pulse flutters, because in the distance, like a sleeping dragon, the Yulong (Jade Dragon) guards over the city and the the bygone history of traders who travelled over 500 kilometres south from the tea mountains to bring tea to Lhasa, while Tibetan medicine, herbs and furs came here from the north.

Arriving in Lijiang, you can feel the spirit of a bustling city. A place that was a crossroads on both the south-western Silk Road and the Tea Horse Road and thus to this day, symbolises a melting pot for many cultural influences. Naxi, an ethnic minor- ity in China, is omnipresent here.

I can feel this cultural presence as I wander through the streets of the old town of Dayan and walk devotedly through a labyrinth, immersed in new experiences. The ornate wood carvings, whose majestic presence adorns the courtyard (called zhi), catch my eye again and again.

So too do the bold and vibrant colours I encounter on the street, with complex Naxi patterns depicting flowers, animals or abstract designs, often placed on the sleeves, hem or along the collar. Many a times, the seemingly accessible language code of the Dongba script, one of the few hieroglyphic scripts in the world, wakes me up, as if it tries to pull me out of a daydream, because even if I completely surrender to the diversity of Naxi culture, there is still an underlying tension within me that I have not yet reached my goal.

Something is missing. Finally, my destiny leads me to the trough of past gold: tea. Here, in a side street in the middle of the old town, time stands still, as if the dynasties of the past will live on forever. In Lijjiang’s oldest teahouse, tea is not only sold by tea master He Xiao Jun, but also served in multi-stage infusions. I taste my way through the different types of fermentation, feeling the increasing astringency dancing on my tongue like soap bubbles. He Xiao Jun’s hand lovingly takes the teapot, water flows and the Pu’er tea aroma stremas effortlessly into the decorative vessel placed in front of me.

This tea is powerful, edgy, wild. Thanks to its substance, obtained from the broad-leaved Assamica tea variety, its origin from the south of Yunnan and the fer- mentation process, produced is a tea that intoxicates me. A moment in time engulfed in harmony, with silence and devotion. The magical moment oscillates intrinsically and lingers for a long time. I take it in and let go.

II SANGUSHUIA (三股水)

I hear

The 5,596-metre-high Yulong 玉龙雪山 (Jade Dragon) Mountain slowly slips away on the horizon. My next retreat is further north along the Tea Horse Road. Heading over evergreen hills, the yellow-red evening light kisses the traditional tiled roofs of Sangushui village. Fate has me firmly in its grip as I am lucky enough to meet Rong Gui, one of the last people to walk the Tea Horse Road. He walked his first route at the age of 4 with his grandfather and his last in 1988, reaching the Himalayas at an altitude of over 6,000 metres, according to Rong Gui. Even though the strongest horse was always at the lead, mule losses still occurred. The load was always safe, he adds with a subtle smile.

I listen to him for a long time, far into the silent night that surrounds us. My thoughts are with him, they cling to his words, and I fly with ease over the mountain peaks, val- leys, and rivers that will accompany me for quite some time, long into the future. Mind and body in congruence.

III SHANGRI-LA (香格里拉市)

I feel

I plunge deeper into the mountains towards the north. My breathing becomes heavy, my heartbeat quickens. I can feel the ascent; the air is getting thinner. Overcoming the deep gorges and high passes on the Tibet-Qinghai Plateau requires strength. It would take me months on a mule. Ahead of me lies the destination of Zhongdian (中中), the first major settlement in ethnic Tibet and the next important trading post after Lijiang at the time. My path leads through deep gorges that cut through the steep slopes, as if an obsidian blade had sliced through the mountain range. Beyond the horizon, the world seems to end.

I begin to understand why the town of Zhongdian was renamed Shangri-La by the local authorities some time ago, after the legendary place in James Hilton’s novel Lost Horizon. Perhaps because, in the story, it seemed like a kind of salvation to reach the guardianship of this city. Perhaps because after such an arduous ascent, anything else would be regarded as a peaceful and harmo- nious experience.

A well-preserved old Tibetan house catches my attention. I read: “Studio for thangka painting.” It has always been my dream to try out Buddhist iconography. The thangka master greets me warmly, and I feel a certain affinity with his work at first glance. My gaze wanders fluidly over the scroll paintings. Two-thousand- year-old stories fill the room. They tell of Buddha, the art of medicine, of geography, and are contemporary witnesses to the daily life of the Tibetans.

I sit at a large wooden table, the light shines gently on the scroll paper, and my pointed brush slowly dips into the natural colours obtained from plants and minerals. My mind guides my hand. My hand guides the tip of the brush.

IV BENZILAN (奔子栏)

I See

My mind and body are in unity, and I decide to travel further north along the Tea Horse Road. I am eager for positive energy; the region is one of the most biodiverse on earth, thanks to the three parallel rivers: the Yangtze, Mekong, and Nujiang. On the way, I venture deeper into the Tibetan forests and towards the 3,400-metre-long cool, clear streams, which are fed by the melting snow. Along the path, a variety of mush- room species defiantly stand in my way. Porcini and chanterelles are easy to identify. With a little help, I discover some Tibetan boletus and sulphur mushrooms.

Again and again, I come across small piles of stones; whether they serve as markers for orientation or simply pave the way remains uncertain. The last warm rays of the sun break through the dense canopy of leaves on the trees. Could the Tibetan blessing ritual, celebrated in the morn- ing, have an effect? Is it the harmony I feel within myself at this moment, or is it the incredibly impressive landscape that resonates with me and triggers a change greater than the sum of the experiences I have had with all my senses during my journey into the depths of the Tea Horse Road?

Countless kilometres lie ahead of me, heading north-west, following the Tea Horse Road to its end, deep into the Tibetan plateau. Every metre travelled lies behind me, clear and pure; every metre still to come presents an adventure yet to be conquered. At this intersection lies the ultimate trans- formative experience, rich in cultural diver- sity—in every moment, with all my senses.

L – Luxiders Magazine

JDC – Jacopo Di Cera

L: Your works “Fino alla fine del Mare” and “Il rumore dell’assenza” evoke powerful traces of photomaterism, emotion, brokenness and memory. Tell us more about them and what other themes come to mind when picturing these works?

JDC: “Fino alla fine del Mare” is a work born from the urgency of migration. It’s composed of close-up images of migrant boats abandoned on the shores of Lampedusa—objects that have carried lives, fears, hopes. Through the language of photomaterism, I integrate fragments of real material—salt, rust, wood—to transform documentary traces into abstract compositions. In this way, matter becomes testimony, and abstraction becomes memory.
“Il rumore dell’assenza” speaks of another kind of trauma: the devastating earthquake in Amatrice. The works are fragile, fractured, intentionally incomplete—each piece an echo of what was lost, and of what remains in silence. Both projects explore themes of rupture, survival, and the invisible residues of human presence.

L: The eco focused piece “Retreat” is not only a piece of art that ensures zero environmental impact with it being presented across 40 completely sustainable, upcycled monitors, it’s also a digital, infinite video loop of the events surrounding the tragic decline or “retreat”—if you will—of one of the world’s dearest glaciers, Brenva Glacier of Mont Blanc. Please describe the narrative and the motivation behind. 

JDC: The narrative unfolds vertically, like a glacier itself. 40 monitors, stacked and aligned like ice layers, show the slow collapse of the Brenva Glacier—a visual symphony where ice turns to water in endless loop. The structure itself becomes a metaphor: every monitor sold removes a segment, just as each year melts away a piece of the glacier. The motivation was to translate scientific data into an emotional language, to let people feel the loss, not just know it. It’s an elegy in pixels.

L: “Retreat” contains themes of sustainable awareness, tragic decline in association with the Brenva Glacier, and a sense of nostalgia. Is nostalgia always a recurring theme in your works?

JDC: Yes and No.—nostalgia is a lens that sometime is filtering the reality once I observe the world. But not in a romantic sense. It’s the nostalgia of what’s vanishing while we watch. A nostalgia for the future we’re losing. Retreat generates this kind of emotion. In my other social research, the lens are different: in “Sospesi,” in my zenithal photographs of summer and winter’s breath, there are more than 10 years of works so the “oldest” one are creating this kind of effect differently to the most recent. But I think it is a natural evolution of what a historical photo can generate vs a contemporary one.

L: If you had to share with the world words of wisdom when it comes to caring for the environment, what would those words be?

JDC: Don’t wait until something disappears to realize it was sacred. Learn to see the invisible before it’s gone.

L: In addition to sustainability being a powerful and inspiring part of your artworks, are there other mediums of art (such as film or literature) that also inspire you to create for sustainability?

JDC: Absolutely. Literature like the writings Italo Calvino’s Invisible Cities remind me of the fragility of worlds, both real and imagined. Films like Leviathan or Anthropocene offer sensory experiences of ecological tension. But the more inspiring content is the reality.

L: What is one word that comes to mind when creating an artwork that brings together the worlds of art and nature?

JDC: Interdependence.

L: If you had to share with the world another set of words of wisdom when it comes to caring for the environment, what would they be?

JDC: Protect what we can not recreate. Not only for us but for all the generation will follow.