Yara.

The tote enters Estúdio Igapó in the morning with a cloth-covered A5 notebook inside, a notepad, a five-meter XLR cable rolled up, a pair of closed-back headphones, an apple, and a small thermos of coffee with condensed milk. The open top lets you see the bulk without squeezing it. The handles take the weight without stretching, and the flat base lets you leave the bag on the floor next to the armchair without it tipping over. The 240-gram organic cotton is thicker than a promotional trade-fair tote, less thick than a technical backpack; it sits at the point where the fabric still folds but no longer creases.

The square format — thirty-eight by thirty-eight — fits under one arm without bumping the hip when walking. An A4 folder fits with room to spare; a hardcover book lying flat too; a one-liter bottle standing upright holds against the side seam. If you're carrying more gear than fits here — a small controller, a dynamic microphone with its stand, two long cables — [Yara's backpack](https://www.yagopartal.com/animal-kinhood/yara/) has interior pockets and padded straps that distribute the weight. The tote is for what you carry without thinking; the backpack, for what you carry because you've decided to.

Exact measurements, stitching detail on the handles, and fabric durability are in the **Material and structure** and **Size and measurements** tabs. **Origin, production and availability** tells you where the cotton comes from and how long it takes to leave the workshop. **Shipping and returns** covers the practical side.

The 100% certified organic cotton in this tote isn't a decorative label: it changes the feel and lifespan of the piece. The fibers are longer than conventional cotton, so the fabric survives more washes without fraying at the handles — which is where a cheap tote usually fails first. The 240-gram weave holds the weight of books and cables without giving at the base, and the natural cotton finish leaves the yellow with a warm, slightly earthy saturation, without the plasticky sheen of treated fabrics.

The print is applied to the front on the yellow base with inks that honor the original portrait. The creams of Yara's bomber, the white of the ribbed-knit sweater, the matte gold of the chain and the rings come through sharp against the yellow background because the character's palette — the mustard-cream-gold family of the portrait — shares warmth with the fabric's color. The yellow of the bag was chosen precisely because it talks to the golds in the portrait rather than fighting them. The two layers of yellow — fabric and jewelry — read together.

After six months of use with machine washing at thirty degrees, the cotton softens without losing structure and the print holds detail in the fine lines. It won't shrink if you avoid the dryer. It won't fade if you wash it inside out. The handles won't deform if you don't overload beyond a reasonable weight.