The cell phone bag from Philipp Bree is somewhat reminiscent of the good old chest bag, only it comes across as a lot more elegant. On the one hand, this is due to the very slim cut. The unpretentious appearance, however, results primarily from the combination of fine, 1.5 mm thick cowhide and Philipp Bree's typical purist design language with its clear cut. The open-edged leather - as always in outstanding quality - and the absolutely precise workmanship do the rest. For protection, all edges are smoothed with the edge puller, dyed by hand, polished and finished.
The cell phone bag is purely functional and thus reduced to the essentials: There is a compartment for the cell phone - or other important things that you like to carry close to your body. A credit card or a handkerchief still fit in, depending on the cell phone model. The body is made of a single piece of vegetable-tanned leather, unlined and with stitching only where necessary (on the body) or (as with the strap) to extend durability. The strap is long enough to carry the cell phone bag across the torso. It can be shortened by a simple knot below the loop if needed. The cell phone bag is closed via a plug-in flap.

As a scion of the well-known bag manufacturer Bree, Philipp Bree grew up in a world of leather, bags and other beautiful and functional things (mostly, though not always, made of leather). He internalised his father’s basic idea of bringing the best materials into a reduced but meaningful form like no other. So it’s not surprising that he joined his father’s business. And although things couldn’t be better, Philipp broke away from the family business, founded his own brand in 2012 and started from scratch. In a kind of liberation, he wanted to be able to concentrate on what he considers most important: the materials. Because they fulfil his high functional and aesthetic demands in equal measure, the materials of his choice are vegetable-tanned leather, pure linen and solid brass. Bags and accessories made of these materials have a certain potential: to become long-lasting companions. Philipp Bree sees to it that the pieces of his collection can live up to their full potential because this is Philipp Bree’s actual demand, not only of bags but of most things surrounding us. They should function for a long time and, in his words, become “beloved objects”. They should turn into objects that belong to you. Items you like to have around. Things that live and change with you. Philipp Bree does not expect his bags and accessories to become “beloved objects” for everyone but that they have the potential to establish an emotional relationship. They will become more and more beautiful with time and use and show off signs of a distinct history: Signs of wear and weathering tell a story and distinguish the items unmistakably as belongings of their owner. Such results can only be achieved with the right material. This is why in Philipp Bree’s case, materials and production come first, followed by the form. Besides, he concentrates in his designs on the essentials, so clearly and straightforwardly that you hardly notice how downright well-thought-out they are.

Vegetable-tanned natural leather, linen from European long-fibre flax and brass fittings are the materials of choice. The details of origin and the list of manufacturers read like a walk through Europe: The fine calf suede for the lining and pockets is made by a Polish tannery. The sturdy cowhide comes from a Belgian tannery that has specialised in vegetable tanning since 1873. And the rawhides are sourced from Scandinavia. A Tuscan company produces the metal parts (all of which made of solid brass), and a Tuscan mill weaves the linen. Manufacturers with decades of experience, based in the Czech Republic and Poland, take care of the finishing process. They do not sew with just any thread but with a particularly tear-proof and abrasion-resistant yarn from an old spinning mill in the Breisgau region. Plus, the zips are also made in Germany. Philipp Bree brought designers from Munich, Berlin and London on board, giving them clear guidelines: A selection of identical materials had to be the basis of the designs. The collection’s design had to follow an overall colour concept. Consequently, all models’ visual and haptic compatibility should be a given.