Bal Harbour

P H OTO BY DY L A N D O N ; A L L I M AG E S C O U R T E S Y O F AQ UA Z Z U R A ith Aquazzura's latest designs, raffia, summer's favorite material, takes center stage. From boat shoes to soaring sandals, founder and Creative Director Edgardo Osorio intertwined this natural fiber, made of woven, dried palm fronds, with joyful hues and tropical motifs, all of which underscore his label's well-established spirit of la dolce vita. We tap in with the designer to take a deeper look into the process. Raffia has become synonymous with the idea of "summertime chic," but for you it carries a deeper significance. Can you tell us about sourcing raffia from Colombia? It began from a very personal place. Colombia is part of who I am, so I have always wanted Aquazzura to celebrate that connection in a meaningful way. When I started exploring raffia work, I was drawn not only to the beauty of the material, but also to the extraordinary artistry and heritage behind it. What mattered to me from the beginning was creating something that honored that craft while remaining true to the brand's identity. Our shoes are entirely made in Italy, and the Colombian contribution lives in the raffia embellishments—the birds, fish, palm trees, shells, and corals that bring these styles to life. These relationships are incredibly meaningful to me, because they are rooted in respect, dialogue, and a genuine appreciation for traditional craftsmanship. How collaborative is the design process? I always begin with a clear creative vision; every collection carries a precise emotion and story. But when you work with makers who have such extraordinary mastery of their craft, it would be foolish not to listen. I collaborate with a group of women from Indigenous communities in Colombia through a local nonprofit initiative, and their work brings a unique depth and soul to these creations. Their hands know things that drawings alone cannot Aquazzura's Edgardo Osorio turns to Colombia to bring a bit of its native flora—and whimsy— to his Spring/Summer collection. BY NICK REMSEN touch grass in focus "The process is incredibly inspiring because it allows each piece to carry both Italian precision and the beauty of handmade artistry." — EDGAR DO OSOR IO C O U R T E S Y O F AQ UA Z Z U R A EDGAR DO EDGAR DO OSOR IO W Creative Director Edgardo Osorio turned to raffia to embellish his S/S 26 collection, including Birdsong sandals, mini-bucket bag, and clutch, below. express. I may begin with an idea for an ornament, a mood, or a feeling I want to capture, and then the scale, texture, or expression of that element takes shape through dialogue. I find the process incredibly inspiring, because it allows each piece to carry both Italian precision and the beauty of handmade artistry. Building on that, is Colombia always in the back of your mind when you're designing? Colombia lives in my instinct, in my relationship with color, in my love of warmth, sensuality, movement, and joy. There is a certain energy I carry with me from growing up between different cultures—in London, Miami, and Colombia—and the latter is a huge part of that emotional vocabulary. It is not only about a festive spirit. It is about generosity, openness, and a way of living that embraces beauty and emotion very naturally. When I think about summer, I want to create something that feels alive, optimistic, and full of personality. Colombia gives me that emotional charge. What cultural or environmental aspects does working with these communities protect that a factory can't replicate? This is such an important question, because for me it goes far beyond using a natural material. You are supporting an entire ecosystem of knowledge, culture, and community that cannot be replicated by industrial production. These techniques are often passed down through generations, and by working with these makers, you help keep that heritage and practice alive. And, of course, there is the environmental aspect. The raffia work in this collection involves a process that is deeply connected to nature, where palm leaves are cut into very fine strips, sun-dried, naturally dyed, and carefully woven by hand. There is a sensitivity and a rhythm to that process that feels very different from mass production. A factory can produce volume, but it cannot reproduce identity, memory, or human touch. BALHAR B O U RSH O P S .CO M

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