Staud levels up: from accessories to homewares, defining a lifestyle
Forget fleeting trends; Staud has quietly cultivated a distinct aesthetic so recognizable, it practically conjures an image. The brand, now venturing into homewares after a decade of stratospheric growth, isn't just selling products—it's selling a vibe. A vibe that resonates with the “Staud girl,” a creature of effortless cool who favors surf tees over rigid dress codes and corpinnat over conventional cocktails.
The birth of a home archetype
The launch of Staud Home, featuring ceramics, leather goods, and textiles, feels less like a diversification and more like a natural extension of a carefully constructed identity. Sarah Staudinger, co-founder, articulated this precisely to Vogue: a desire to fill a void for their customer, offering pieces that seamlessly blend function and decor. It’s about the patina on a coaster, the unexpected reuse of a key tray as an ashtray—objects imbued with a quiet, lived-in charm.
But this isn't about sterile minimalism. Staudinger, whose personal style is famously fluid—a mix of vintage finds and high-fashion staples—embraces the “urge to mix things when something feels stale.” The same ethos informs her approach to interior design: rearranging furniture, shifting vases, creating a dynamic, ever-evolving space.
The flea market find that sparked it all? A quirky sheep sculpture, initially dismissed by her husband, but ultimately transforming the energy of their living room. It’s a testament to the brand's philosophy—the familiar and the unexpected colliding to create something unique.
Beyond function: a collection of quiet joy
The inaugural collection is a curated selection of everyday objects, each bearing the Staud mark. Irregular ceramic wall art, leather vases with a signature weave, and practical items like bookends and placemats—all intentionally imperfect. “Nothing in your home or in fashion should feel too perfect,” Staudinger insists. “It’s boring and lacks personality.” The color palette for the leather pieces draws directly from Staud’s handbag collection, offering chic neutrals punctuated by pops of color, reflecting the harmonious blend of form and function that defines the brand.
One particularly intriguing element is “Henry,” a ceramic face—a subtle, smiling visage inspired by the brand’s ceramic studio creations. It's not a shouty happy face; it's a knowing nod, evoking emotion without being overt. Staudinger describes it as “the Staud version of the ubiquitous yellow happy face,