Milo Kolb

Category: Accessories

Competitions: International

The swag bag is a statement bag, designed for carrying capacity and styling versatility. It follows the archetype of a classic luxury bag, but it has a distinct appearance due to intentional design distinctions. The base has a separate panel and seven brass feet which raises the bag from the ground. This creates a distinguished appearance, as elevation has always been associated with luxury. The flap is the centerpiece; its sweeping curves and points express the bag's sharp and serious attitude. This is also amplified by the bag's rigidity, thick handles, and gussets that escape from the bag's architectural stance. The swag bag carries my philosophy that a luxury and distinct bag should be designed as a sculpture minimal in surface details but expressive in form. The swag bag is made from Walpier Buttero which is prized for its appearance, durability, and graceful patina. It is fully saddle stitched with linen thread to achieve the french slant, but this appearance can also be achieved with specialized sewing machines for mass production. The piping in the seams helps the bag keep its form, protects the edges, and is commonly seen in high end leather bags. The handles are rolled around a thick leather core and reinforced for durability and a rigid stance. They are the ideal length for shoulder or hand carry and the right thickness for optimal comfort. The front of the bag features a horse collar fastener which has a premium aesthetic and feel. It is also a nod to equestrian tradition and culture which quietly indicates luxury. The swag bag is not only a distinct functional sculpture but also built from a long lineage of leather craft traditions. The bag is a culmination of techniques and practices informed by American, Japanese, Italian, and French leathercraft traditions. I find it important to learn many different approaches to the same craft to have a well-informed personal practice. I find traditional leatherworking to be sustainable and ethical which can be scaled for mass production with careful design intent and decisions.

Category: Footwear

Competitions: International

The Patina Monsters are designed and inspired by 1920s hunting boots. I find it interesting that there was a time when tall boots were considered masculine and worn for the most demanding outdoor tasks, built for longevity and repair. I also love the unique design details common through the 1910s and '20s, and I have wanted to incorporate the triple wingtip design into a pair of boots for a while, adding my own spin. My design solution was simple: add a swoop like a lace-to-toe boot, but instead of having it emerge from the derby curve, make it come out of the counter. This visually grounds the boot, especially since these details are in a contrasting color. I did not want the derby curve to interfere with this detail, but play off it, so I made it extend out of the backstay in a sweeping motion. This reinforces the visual distinction between the top and bottom of the boot while adding a pocket of negative space on the vamp. In this "neutral zone," the curves play off each other but remain distinct. I also made the facings curve at a similar radius as lace-to-toe boots and reinforced this unusual decision by keeping the stitching around the eyelets and vamp seam from interacting. Moving to the upper, I designed an oversized teardrop shape from which the buckles emerge, harmonizing with the almond-shaped pockets. These are visually strong elements that contrast the lower boot while echoing its dynamic nature. To create visual continuity, I added decorative stitching from the backstay point, forming a reflected shape that balances the back stay. Decorative loop top stitching further up the shaft bridges the top and lower portions, while dividing the shaft into two distinct zones so the boot pocket and buckle patch read as intentional anchors rather than floating elements. For leather, I chose Guidi culatta, selected for exceptional and unpredictable aging characteristics. The shell, grain side, and flesh-out sections each develop differently over time, only getting better with age. I expected a strong tea-core effect in the brown top grain and the reverse side darkening significantly. The unstructured toe box would collapse and roll with wear, growing more personal with every use. This is a boot designed to become more itself and visually distinct over time. The bottom construction follows the cowboy boot traditional approach for its durability and elegance. The beveled waist and thick leather sole are a careful balance between dress and work. Edge finishing is natural; the wax adds protection while still allowing for natural darkening with wear. These boots are a visual expression of my design sensibility, my construction preferences, and a considered speculation about what will patina best. They are built to be worn hard, repaired when needed, and offer a statement on design values. The antithesis of disposability, which is currently the standard for the footwear industry. This project was an investigation on historical design approaches which are sustainable and rooted in tradition. With my design work, I actively question the current industry approaches, research historical approaches, and imagine a future where historical design solutions could be employed to meet the demands of the present. I believe sustainability and ethical production is possible in the footwear industry through standardization, mass production, and automation. The first step to a sustainable future is designing for graceful aging and wear, for footwear to get better with age.