Wear with confidence.

01 · Navy / Ivory brushstroke

A reactive-dyed print that runs right through the cloth, a flat ribbed neck that keeps its shape, and twin-needle hems.

02 · Washed Caramel afterlight

Every piece is dyed and then sprayed by hand, so the wash lands differently on each one.

03 · Slate Grey altitude

Topographic lines knitted in tone-on-tone, diagonal panel seams and a woven sleeve panel set in by hand.

04 · Sand rendering

A pigment print with real brush texture, finished with a heavy screen-printed box graphic that stays crisp.

05 · Caramel off grid

A two-pass screen print, so the black sits dense on the caramel without cracking at the edges.

06 · Charcoal encore

Technical mesh inserted along a curved seam, which takes four more operations than a flat panel and is the reason it holds its shape.

07 · Charcoal jacquard quarter-zip

The diamond is knitted into the cloth, not stamped on it, and the placket and hem are trimmed in real leather.

08 · Washed Charcoal studio script

Washed in small lots so the clouding is different on every piece, then printed with a soft-hand ink you can barely feel.

09 · Charcoal Blue charcoal ribbed panel

Seven panels where most tees have two, each one cut so the rib lines meet exactly at the seam.

10 · Washed Charcoal cool wind

Stone-washed until it feels like a tee you have owned for years, then printed in two whites for depth.

11 · Grey Marl suede patch polo

Real suede on the placket and a leather patch stitched through, both of which darken and soften with wear.

12 · Ivory tangent

Bands printed in translucent layers so they overlap like glass, on a cloth woven dense enough to stay opaque.

13 · Slate Blue head start

Printed front and back in a soft cream that sinks into the washed cloth instead of sitting on top of it.

14 · Sand cloud wash

Dyed in small lots by hand, so the clouding is genuinely different on every single piece.

15 · Mid Grey lab 01

Three separate patches, each one embroidered and then stitched on, with the dashed lines printed to line them up.

16 · Black monochrome

Contrast white topstitching on the shoulders, armholes and hem, which only looks good if the stitch line is dead straight.

17 · Navy blue hour polo

The plaid is dyed into the yarn before knitting, so it will never wash out or crack.

18 · Navy unwritten polo

A waffle knitted deep enough to catch the light, and a collar built with a separate stand so it stays up.

19 · Olive outbound

A sherpa-lined collar, bound edges on the placket and cuffs, and contrast stitching that shows every seam is straight.

20 · Olive olive ribbed panel

Seven panels where most tees have two, each one cut so the rib lines meet exactly at the seam.

21 · Washed Brown mandala

A discharge print: the tan is bleached into the brown rather than laid on top, so the line stays fine and the hand stays soft.

22 · Washed Black splatter

Splattered and then garment-washed, so the pattern sits inside the cloth and softens with every wash.

23 · Charcoal pixel perfect

Four screens: two solids, a halftone and the type, each one registered to the pixel.

24 · Sage studded

Every stud is set by hand with a backing washer, so none of them pull through the cloth.

25 · Indigo Stone Wash long game

A raised puff print on a stone-washed ground: the hardest print to keep clean, and the one that lasts longest.

26 · Black unbothered

A two-layer back print, white over grey, so the word has depth instead of sitting flat.

27 · Black unfiltered

A photographic halftone screen print in six greys, which is what it takes to hold an X-ray on black cotton.

28 · Terracotta unhurried

Cloud-dyed by hand, then printed with fine annotation type that has to stay sharp on a soft ground.

29 · Bone the wanderer

A water-based print that sinks into the cloth instead of sitting on top of it, so the back stays soft and never cracks.

30 · Ivory / Indigo silent places

A six-screen ink wash: every indigo is laid down on its own pass, which is what keeps the mountains soft at the edge.

31 · Sage tailwind

Garment-dyed first and printed in seven passes after, which is the only way to hold cream and red on a ground this dark.

32 · Stone moonlit pine

Garment-dyed, then sublimated so the picture lives in the fibre: it cannot peel, crack or wash out.

33 · White good vibes

A six-colour screen print with a halftone photograph inside the letters, registered by hand on every piece.

34 · Lilac Wash overprint

Washed first and printed second, by hand, so the black lands somewhere different on every piece.

35 · White / Blue mystic cat

Sublimated onto an open mesh, where the ink has to land on the loops and not in the holes.

36 · White step forward

A nine-screen water-based print laid down wet on wet, which keeps an illustration this big soft enough to fall with the cloth.

37 · Sand ronin

Printed on a garment-dyed sand body, which needs an extra under-base to keep the cream in the illustration clean.

38 · Acid Sand wild urban

Every piece is acid-washed on its own and printed after, so the ground under the elephant is different each time.

39 · Powder Blue dreamer

A fine-mesh print, 305 threads to the inch, which is what it takes to hold the thin strings and the small birds.