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When Design Director Fernando Soriano Iglesias stepped into Radley, he saw a blank canvas, rich in heritage and huge potential. What he brought was not just varied experience, but a sensibility shaped by proportion, texture, and silhouette - a new vision for the brand.

"For me, Radley felt like a chance to start from scratch while still being grounded in heritage. That freedom, that creative openness, is rare. It's one of the most exciting design moments I’ve ever had. I didn’t grow up with the brand, so I came in with fresh eyes. I saw craftsmanship, legacy, and a lot of potential that hadn’t been fully explored." 

His creative process doesn’t start with trends; it starts with leather. “It’s the hand-feel, the smell, the warmth,” he says. “Sometimes the leather tells you what it wants to be - you start imagining the volume and construction.” 

Texture is Fernando’s language. The materials come first, guiding the proportions, structure, and emotional tone of each design. “Nappa signals slouch and softness, heavy canvas brings structure, crinkled patent adds edge.”

His influences come from beyond fashion: art, architecture and design. Influences like Gaudí, Tàpies, and Francis Bacon inform his sense of form and tension. His appreciation for beautiful things began with the cherished pieces his late uncle had collected over the years back home in Santander, Northern Spain.

These inspirations become clear when he explains the architectural exactness in his work, “Compared to garment design, handbags are 3D. You’re creating something palpable, that you can grab on to. When you’re working on a bag, even a millimetre can change everything, how it sits, how it moves, how it's perceived. Proportion is everything in design."

Colour is another cornerstone. One defining moment came while sourcing leather in India, “I remember digging through thousands of hides in India, trying to find the one shade that made everything click,” he continues, “And I found it. It was the perfect teal. Deep, rich, warm”. That teal became the foundation of a richer, more nuanced colour library, which was the key to elevating the Radley palette from safe to striking.

But this isn't about abandoning the brand’s roots. Instead, he’s reframing them. Radley’s British identity, established in London in 1998, is now part of a broader narrative – celebrated in new branding, found across the collection.

At the heart of it all is craft and community. Many of Radley’s suppliers and artisans have been part of the brand since day one, some spanning three generations. "Radley was born in London, but it’s also deeply connected to India through craftsmanship.

That blend, British heritage with Indian skill, is something really special." he speaks of them not as vendors, but as partners, essential to the brand’s story and status as an icon of accessible luxury.

"The craftspeople we work with are incredibly skilled. The challenge was keeping things accessible, but now the product looks and feels elevated. We had people say, 'This looks too expensive to be Radley'. And that was the point. We’ve kept the price the same, but it feels completely different."

For him, design is not just visual, it’s emotional. He sketches to the soundtracks of Hans Zimmer and Philip Glass, creating an atmosphere of collaboration and artistic exploration. “Over the past year, I’ve learned so much - not just about designing beautiful bags, but about what truly makes Radley special: the people behind it. I’ve come to understand the heart of the brand, the craftsmanship, the creativity, and above all, the power of a strong team.”

In his hands, Radley is being redefined. With a quiet confidence and respect for the past, he’s building something that feels both familiar and entirely new. A brand rooted in craftsmanship, and ultimately, designed to be felt as much as seen.