Fernando Soriano Iglesias, design director of Radley, on bringing Spanish Pride to British fashion (EXCLUSIVE)

Fernando Soriano Iglesias is an observer. A self-confessed sponge, he soaks up everything – from the interplay of architecture in London’s Mayfair, where Radley is based, to the textures and materials of the new collection he shows Attitude in the showroom. Each bag is a miniature construction, created with the obsessive care of someone who sees design beauty in ultra-high definition. As design director of accessories brand Radley, Iglesias is pioneering a new era of the British heritage brand with a laser-focused attention to detail – and a healthy injection of Spanish chic.

Attitude: Where does your story begin?

Fernando: I am originally from a town about 20 kilometres outside Santander, in the north of Spain. I moved to Madrid to study at the IED design school. From a young age, I was deeply inspired by the worlds of design, architecture, art history and interiors. I am a very visual person. I always wanted to be an architect, above all else, but I discovered that I was more partial to letters than sciences. I realised that I was great at subjects like philosophy and history of art. So, I went on to study both industrial design and fashion design. It may not be classed as architecture, but it is architecture. That’s why I love bags: they are 3D constructions with volume, space and textures.

You started out at the prestigious Loewe in Madrid. How did that early period shape your path?

When I graduated in the early 2000s, Loewe had launched a nationwide design competition, which I won. Imagine — I had graduated, and suddenly, in September, I was in an internship at Loewe. After I completed the internship in the ready-to-wear department, the newly appointed Stuart Vevers offered me a permanent job in accessories.

And that’s where it all started. It opened up a completely new world to me. I learned so much — not only about craftsmanship and design, but about what it means to collaborate on a global level. It left a real mark on me and shaped how I approach my work to this day.

What do you think defines Spanish design sensibility? Does it continue in your work today?

Spanish design has a unique warmth to it, from its use of rich, earthy tones to its exceptional leather craftsmanship. That warmth and appreciation for heritage lives in my own design language. I think my Mediterranean culture is something that is embedded in me. It comes out naturally: the warmth, the colour, the proportions, the attention to detail. I really value artisanal skill and the richness that comes from cultural storytelling through materials.

You’ve shaped accessories for some of the most recognisable brands across Europe. What are the typical “Soriano” design hallmarks of collections you’ve worked on?

I’m very details-orientated. I love playing with proportions, working with rich textures and curating a refined colour palette. For me, rather than trend-driven designs, it’s about craftsmanship and creating pieces that truly stand the test of time.

How has living and working in London, Madrid, the Netherlands and Portugal shaped your aesthetic and understanding of fashion languages — both global and local?

Having lived and worked in several cities, I’ve had the chance to collaborate with international teams from many backgrounds. That exposure really enriches the creative process – every culture brings something new. The architecture, the climate, the art, even the street style of a city – all of it influences my perspective and adds depth to the design.

What is your first step when approaching a new season or collection? What does that process look like?

My process always starts with research – exploring ideas, experimenting with materials, leathers and textures. Then we start establishing colours; one colour or image could set the tone of the collection. I find inspiration everywhere: in architecture, art and just unexpected details I come across in daily life. As a team, we love to brainstorm and open a dialogue about the story behind each collection. That’s how we define our palette, our volumes and ultimately shape the final designs.

You’ve held positions in very different brand cultures. What are the components that allow design or creativity to flourish in those environments?

I thrive in a team environment. I believe the best work happens when everyone feels free to contribute and express their creativity. I’m passionate, determined and always motivated by a shared pursuit of excellence. Building a strong, collaborative team culture is incredibly important.

What does the Radley brand mean to you as a platform for creative reinvention?

For me, Radley represents British heritage and craftsmanship. It’s also a company that genuinely cares about people. That’s incredibly motivating; it brings out the best in us as a team. There’s a real sense of empathy and mutual respect, and that is reflected in the quality of what we create. One of the biggest challenges is shifting brand perception, finding the right balance between celebrating our heritage and staying culturally relevant. It’s about honouring the craftsmanship and storytelling, while bringing in fresh contemporary energy.

This is an excerpt from a feature appearing in the Attitude 366 issue.