Cork wallet with Indian pattern

The press-stud tab that holds this cork wallet shut

Your thumb finds the tab first. It drops from the centre of the flap, ends in a rounded tip and folds sideways onto a press stud set into the edge. One press and the flap lifts. On the closed wallet a zip pull also shows at the top edge, so you can tell at a glance which end opens.

Card slots, flat pockets and a zipped gusset for change

Inside, a smooth beige lining runs the full width. Down the middle sits a gusset closed with a zip, deep enough for coins to settle rather than scatter. Either side of it, flat pockets take notes, and a run of stacked slots holds cards. All that storage shows once it is closed: the wallet stands thick rather than slim, as the three-quarter photograph makes plain.

Indian-style geometry printed across both faces

Vertical bands climb the back exactly as they cross the flap: interlocking diamonds, crosses and tight chevrons, in terracotta, petrol blue, red, navy and dark green. The bands are narrow, so no single colour takes over and the eye keeps moving along them. Corners are rounded, and the stitch line follows them round without a break.

Cork you can still see and feel

Run a finger down from the flap edge and the surface changes twice: pattern, then plain material, then pattern again on the panel below. Those bare passages, and the inner flap folded behind them, are where you meet cork with its speckled grain, dark veining, paler flecks, slightly different from one angle to the next.

Specification

In a bag, next to everything else

A print this busy does the talking, so the bag it travels in can stay quiet: tan, black, anything unpatterned. It is wide enough to find by touch in a tote and small enough to carry on its own on a short errand. If you want to compare depths and fastenings before deciding, the full wallet line-up is worth a look.

Cards and coins need not share a pocket: smaller coin-only formats travel well beside a wallet this size.

Keeping printed cork as it is

Heat and soaking are the two things to avoid: no radiator, no long spell in a wet bag. Dust comes away with a soft cloth, barely damp, worked along the grain rather than against it. Dry it flat and in open air, and the bare strips keep the same tone as the printed ones.