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The House
Twenty-two hands, four cities, and the small daily arguments that decide what leaves the studio.
18 September 2025 · 5 min read
Our workrooms are deliberately small. A run rarely exceeds forty pieces, and several of our archive silhouettes exist in fewer than twelve. This is not scarcity as a marketing device — it is the number of garments that a room of this size can finish without lowering its standard.
Each morning begins with the same review: yesterday's finished pieces laid flat under daylight, examined by the embroiderer, the draper and the finisher together. Anything that cannot survive that table is unpicked.
"We make in small runs because the alternative is to make decisions we would not be able to explain."
Our karigars work in traditions that predate the house by generations. Our contribution is restraint — asking for less ornament, placed more precisely, so the skill is legible rather than overwhelming.
The result is a slower calendar and a smaller catalogue. We consider both to be features.
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