Cycling meets self-expression in Canyon’s latest innovation: MyCanyon, a groundbreaking program that lets riders design their dream machine from the ground up. Through an immersive new platform, customers can choose custom colorways, components, and even exclusive artwork, turning high-performance bikes into one-of-a-kind statements.
Leading the charge is a collaboration with renowned Italian artist and designer Elena Salmistraro, whose debut frame design merges striking aesthetics with emotional storytelling. Based in Milan, her bold aesthetic and use of colour and texture are known globally, allowing Salmistraro to bring an art-world sensibility to the cycling sphere, setting the tone for what’s to come in Canyon’s custom future. Salmistraro conjures the magic of colour in her joyful reinterpretation of the Aeroad CFR, using a dynamic, kaleidoscopic concept that transforms the high-performance frame into a rolling piece of art. It’s a celebration of individuality, emotion, and motion — all brought to life on two wheels.
Schön! chats with Elena Salmistraro to discuss the collaboration, her approach to the task, and more.
How did the concept of speed, motion, and technology inspire your approach to designing the MyCanyon Opus bikes?
Speed, movement, and technology were the starting points of my approach to designing the MyCanyon Opus bikes. When I was invited to work on this project, I immediately envisioned a bicycle racing toward the sun, with light playing across its surfaces, creating ever-changing reflections and colours, just like in a kaleidoscope. To bring this vision to life, I worked on the frame’s surface, using gradient effects that mimic light reflections and give the colours a dynamic feel. The shades blend seamlessly, creating a sense of continuous motion, while small points of light enhance the idea of speed and freedom, essential elements of a bicycle.
Technology played a key role in this process, but I felt something was still missing: a human touch. That’s why I introduced subtle blue lines, reminiscent of fingerprints or water droplets, which break up and emphasize the composition. This detail is meant to symbolize the direct connection between the cyclist and the bike, like a personal signature that makes each experience unique.
What emotions or sensations were you hoping riders would feel when they see — and ride — a bike featuring your artwork?
I hoped that my work could evoke a sense of wonder and surprise in those who observe it, transforming the visual experience of the bicycle into something deeper, almost dreamlike. My goal was not simply to decorate a means of transportation but to create an image capable of captivating the viewer, a moment that could remain etched in their memory.
The cyclist has an intimate relationship with their bicycle: they choose it, know it, feel its weight, speed, and response to every movement. They share with it the effort, the wind on their face, the emotion of the journey. But an external observer does not have this direct connection; for them, the bicycle and the cyclist become one, a moving element that can turn into a visual icon.
I imagined the cyclist as a traveller of light, an almost mystical figure crossing space like a luminous trail, a supernova streaking through the darkness. My intention was to create an image that could fascinate and enchant the viewer, transforming a daily act—pedalling—into an extraordinary phenomenon, capable of leaving a trace, even if only for a moment, in the mind and imagination of those who witness it.
Customisation is at the heart of MyCanyon. How did you balance creating bold, personal designs while allowing each rider to still feel a sense of ownership and individuality?
The balance between personalization and series is a crucial theme in my work, especially when it comes to products intended for everyday use, like in the case of MyCanyon. The challenge lies in integrating the authorial aspect, the strength of the design, with the need to make each piece accessible and recognizable to the user. My goal is not only to create an aesthetically pleasing object but also a product that speaks on an emotional level, one that evokes a sense of belonging and connection with the user.
Art, in all its forms, has always been a means of connecting with something deep and universal. We listen to a certain type of music, read a book, or look at a painting because we feel that something in that language speaks to our sensitivity, to our subconscious, and makes us feel less alone in our emotions. The same principle applies to design. When I create, I try to embed in the object something that resonates with the user, that makes them feel involved, as if they are living a shared experience.
In the context of MyCanyon, I wanted each cyclist to feel that connection with the product, but at the same time, maintain the strength of the authorship that characterizes every creation. Personalization becomes a channel through which the individual can express their uniqueness, but always within a structure and vision that makes the design recognizable and distinctive. The goal is that, even while being part of a series, each cyclist perceives the object as a part of themselves, an extension of their identity, an object that becomes a vehicle for a shared emotion.
Art often tells a story — what’s the narrative behind your Opus design, and how does it connect with the idea of movement and adventure?
The design for Opus comes from a vision that combines the concepts of movement and adventure. The inspiration came one day while I was at my house on Lake Maggiore, a place often frequented by cyclists. That day, as I was observing the landscape, a bike passed in front of me, but with the reflection of the light on the water, I struggled to make out its outlines, as if it were almost a vision. In that moment, I had the impression of seeing a cyclist riding the light, as if they were travelling on something that didn’t fully belong to the physical world.
From that moment, the desire to tell that sensation grew, to transfer that vision into design. To do this, I wanted to incorporate the movement of the water, its waves, into the bike design. These undulating lines aren’t just a reference to the surrounding landscape but also a way to convey the sense of dynamism and transformation that accompanies every journey. In this case, the bike isn’t just a means of transportation; it becomes a symbol of exploration, freedom, and adventure.
In the end, the creative idea from the start was to tell an adventure, to capture in an object that fleeting moment of movement that slips by too quickly. The design isn’t just an aesthetic aspect but an expression of a sensory experience, an invitation to see the world from a different perspective, as if every journey, every movement, were an adventure to be lived and shared.
What was the design process like?
The design process was truly special. Although it was a long project, it was never heavy or stressful. On the contrary, it was a very enjoyable journey, where the lack of deadlines or obligations allowed me to fully focus on achieving the best possible result, without the pressure of meeting strict timelines. This made the entire process much freer and more creative, giving me the chance to explore all possibilities without hurry.
Working with Lukas and the Canyon team was equally stimulating. It was a real pleasure to collaborate with such open-minded people, always ready to challenge themselves and push boundaries. Every discussion with them brought new ideas, and the continuous exchange of opinions enriched the project, allowing me to see things from different perspectives.
The bike’s creation was a layered process. Each phase required particular attention, from color to finishing touches, and I really enjoyed working directly on the frame, almost like painting on a canvas. Every detail was carefully thought out and chosen, and each step was approached with the desire to create something truly special. The first prototype, which represents the heart of all the work for me, is kept in my studio as a symbol of this creative phase. It’s the tangible result of a journey that was both fascinating and engaging.
Your work is known for its vibrant colours and bold, eclectic patterns. How did you adapt your signature style to fit the sleek, high-tech canvas of the Aeroad CFR?
Adapting my style to the sleek, high-tech surface of the Aeroad CFR was a truly interesting process. When I start a new project, I usually begin with sketches, 3D models, and vector graphics to visualize my ideas. But in the case of the bike frame, I quickly realized that the space available was much more limited than I had expected. A frame, in fact, offers much less room to maneuver compared to a larger surface, and every choice has to be made with great care to avoid overloading the design and losing the core concept.
So, instead of continuing with my usual approach, I decided to treat the frame like a canvas. I worked on it at a 1:1 scale, drawing directly on the frame and defining every detail with precision, using stickers and other elements that helped me stay true to my vision. It was really fun because it allowed me to experiment with a completely new material and surface while still keeping my stylistic imprint.
The approach was a bit different from usual, but in the end, it was exactly what I enjoy doing: adapting my artistic language to new contexts, materials, and surfaces.
You’ve collaborated with other global brands — how did designing a custom bike compare to working on more traditional design projects?
Each project has its own identity, and fortunately, no two projects are ever the same. Every time, new stimuli, challenges, and variables emerge, making it unique. In the case of the bicycle, I followed a process similar to that of other, more traditional projects, although with some peculiarities. What primarily changes are the materials and forms, which in the case of a bicycle must not only be aesthetically pleasing but also perform well, be durable, and lightweight.
What fascinates me about this type of project, making it similar to jewelry design, is the attention to detail. In jewelry, as in bicycle design, every small detail contributes to the overall harmony of the final object, and personalization, which can be essential in both cases, requires a precision that goes beyond just the aesthetic aspect.
Learn more about MyCanyon at canyon.com.
