Polène Expands Its World with Longue Vue

Since its founding in 2016, Polène has built its reputation through restraint. Sculptural bags shaped in its Paris studio and realised by artisans in Ubrique established a language that feels recognisable without being loud. With Longue Vue, the house steps beyond leather goods into publishing, extending that same sensibility into print. 

Released on 4 March, the annual magazine is conceived less as a catalogue than as a reflection on time, craft and observation. Its first issue, titled Play of Perspectives, moves between microscopic detail and wider cultural context, tracing the creative territory the brand has quietly occupied for nearly a decade. 

The publication gathers voices that echo this approach. Philosopher Emanuele Coccia contributes an introduction that frames perspectives as a way of understanding the present through the past. Elsewhere, writer Aude Walker responds to the word chute, a term that shifts between meaning of fall, ending and offcut, linking literature to the transformation of leftover leather within Polène Plèi collection. Across its pages, artists, photographers and designers respond to the same theme from different positions, producing something that feels closer to a notebook than a manifesto. 

The magazine also draws attention to the people behind the material itself. A conversation around Ubrique, the Andalusian town where Polène’s leather goods are produced, anchors the project in the reality of making. Elsewhere, artisans speak about their attachment to the patacabra, the traditional tool that continues to shape the brand’s approach to construction. These moments give the publication weight. It does not drift into abstraction. 

Alongside the magazine, Polène introduces Leather Stationery, a companion project that translates the editorial idea into objects. First presented through a workshop-style pop-up at Rue Montmartre in Paris, the concept places leather in dialogue with paper through notebook covers, postcards and small accessories designed to be handled rather than simply displayed. Visitors encounter artisans assembling pieces in real time, reinforcing the connection between page and process. 

The installation travels next to London, New York, and Tokyo, adapting itself to each city while maintaining the same focus on perspective. In London, the project sits naturally within the house’s Regent Street space, where materials such as compressed leather fragments already form part of the architectural language of the store. It becomes less a temporary activation than a continuation of the environment Polène has been building. 

What Longue Vue ultimately suggests is a shift in how the brand sees itself. Rather than expanding through scale, Polène expands through attention. Publishing allows the house to slow its rhythm, to frame its references more clearly and to share the thinking that has always existed behind the objects. It is a quiet move, but a deliberate one. 

In an industry that often treats print as nostalgia, Polène approaches it as material. Something to hold, to revisit and to carry forward.