SS26 — Issue No. 01

The
Edit

Three chapters. Twenty-one pieces. One geometry.

Photography — Studio NWTR Copenhagen · Milan · Tokyo
Chapter I

The Knit

Open-weave construction, held in two registers — ecru and black.

Open-knit polo in ecru, collar and placket detail

The Texture

Every loop is intentional.

The open-knit structure begins as a 3mm-gauge pattern drawn on paper. Six months later it becomes the torso of the polo — a textile that breathes, moves, and improves with age.

Worn from the terrace to the studio without a second thought.

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Ecru open-knit polo folded on linen with fountain pen and reading glasses
Plate 01

Open-Knit Polo — Ecru

Merino-blend open weave, folded on washed linen.

Ecru open-knit polo laid on marble beside white blossom and ribbon
Plate 02

The Same Polo, Marble

Photographed flat to read the transparency of the weave.

Black · Ecru Tipping
Black tipped polo folded across a grey velvet chesterfield with books
Plate 03

Tipped Polo — Black

Merino knit with ecru tipping at collar and cuffs. A study in contrast, photographed against grey velvet.

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Black tipped polo on a brass hanger against a dark wall
Macro study of the ecru tipping stripe at the cuff
Black tipped polo hung on concrete under a single light
Black tipped polo draped over a tan leather Barcelona chair

The Detail

Precision at the edge.

The ecru tipping stripe is 4mm wide — hand-finished on the last pass of the knit bed. It is the only seam that never moves.

Clothing should outlast the season that made it.
Studio NWTR — Design Note 04
Chapter II

The Coat

Structured wool, cut to hold its shape from October through March.

Brown wool coat folded on a glass table in a white gallery room
Plate 04

Wool Coat — Chestnut

Double-faced wool, folded once. Installed rather than styled.

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Chestnut wool coat laid on linen with dried pampas and coffee
Chestnut wool coat on marble with silk scarf and tortoiseshell sunglasses
Chestnut wool coat resting over a deep blue velvet wing chair

The Cloth

Weight is a kind of quiet.

Double-faced wool needs no lining, so the coat carries a single layer of cloth and nothing else. It hangs from the shoulder and stays there.

Photographed against velvet to read the nap in raking light.

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Long charcoal overcoat on a tailor's form in a concrete studio
Macro study of the horn button and lapel roll on the charcoal overcoat
Plate 05 — 06

Structured Overcoat — Charcoal

Full length, half-canvassed, finished on the form. The button is the only ornament the coat permits itself.

Navy coat collar detail, pleat rolling into the stand
Navy coat over a blue velvet ottoman with white roses and art books
Navy coat laid flat with a leather bag and ankle boots
Chapter III

The Jacket

Four silhouettes, each built for a different hour of the day.

Charcoal cocoon jacket on a form beside a white sculptural chair and stacked art books
Plate 07

Cocoon Jacket — Charcoal

A rounded shoulder and a dropped sleeve, photographed in the room it was designed for.

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Charcoal cocoon jacket on a plinth beside dried pampas grass
Macro study of the funnel collar and shoulder seam
Charcoal jacket hung on a concrete wall in hard afternoon light
Black technical jacket laid on marble with sunglasses, phone and keys

The Shell

Built for the walk between.

Crinkled technical cloth, taped at every seam, cut short enough to sit down in. It carries what a day actually requires and nothing more.

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Black technical jacket draped over a transparent ghost chair
Plate 08

Technical Jacket — Black

Black technical jacket on a form worn with a slim backpack
Plate 09

Worn With — Day Pack

Twenty-one pieces. One geometry.
NEWTRALS — SS26

Drop 01 — Available Now

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