How a collection
gets its name
Astronomers in Al-Andalus mapped the sky onto brass plates so a traveller could work out where they stood. Collection I borrows the instrument, not the mysticism: ten pieces, ten fixed points, one wardrobe you can navigate by.
Seville, March
A weight of silk satin heavy enough to fall like water, chosen against a wall in the Alcázar because that is where the light was worst.
Carmesí
The house red is matched to Spanish cochineal crimson — a dye that reads warm in candlelight and almost black at distance. We reserve it for evening.
The Mudéjar lattice
One interlocking shape, repeated. It appears raised across the cashmere knit, laid in gold thread inside a lapel, and struck into the reverse of the opera clasp.
Finished in London
Collars rolled, hems weighted, buttonholes cut by hand. It is the slowest part of the process and the only part we refuse to move.
“We wanted to build something in England that felt like it had come from somewhere warmer — and to be honest about the fact that we were only just beginning.”