Author Archive

The Golden Silk of Christian Peau

Among our arrivals for fall came a real treat—fresh silk pieces from the indomitable Christian Peau studio in Japan. 

A newer addition to our family of beauty, designer Junji Koike continues to impress us with his incredible skill. Much like Junji himself, these pieces deserve a higher level of attention and reverence. What makes a Christian Peau piece most phenomenal are the subtle details. The tight gathering of a skirt that hangs just right against the hips, distressed ties at the neck that can be fashioned into a bow, hidden drawstrings that reshape the silhouette all comprise the foundational notes of Junji’s visual symphony.

The Christian Peau studio prefers to use a fabric called Golden Silk, a textile made by wild silkworms native to Southeast Asia. When woven flat, as you see in Christian Peau, it is particularly shiny, vivid and strong. It has a high sericin content, which glues the silk threads together to form the silkworm’s cocoons. As the sericin dries, it can harden and evolve. While this element adds structure to Golden Silk (a much needed counterweight that keeps the garments from being too gossamer and fiddly), it is a historically difficult fiber to dye. Rather than shy away from the challenge, Junji embraces it with vigor to create his unique textures and finishes.

We had the pleasure of hosting Junji this past August in Workshop. He is as emphatic and delightful as you would expect from someone who designs like this—a thoughtful, high-taste artist with just the right amount of playful curiosity and charm. He was joined by his daughter Hana, who you may see featured frequently on the brand’s instagram. Both of them traveled from Kobe, Japan to visit with us. We were lucky to experience a traditional Japanese tea ceremony led by Hana, and to have the opportunity to know the two of them more deeply. We hope you enjoy this newest collection and we look forward to sharing the brilliance of this one-of-a-kind studio with all of you into the future.

Toogood FW24: The Urbanist’s Adventure

The newest delivery from UK-based Toogood takes us into the wild.

The last few years have seen the blurring of lines between formal and casual, vocation and lifestyle, urban and rural. This blend has relaxed previously rigid norms and flung open the door for creativity, practicality, and, for Faye and Erica Toogood, adventure. The Fall/Winter 2024 delivery of the sisters’ namesake line is their 21st collection—a number associated with continuity, maturity and flow. In Toogood’s case, their evolution took them into the wild. No longer content to simply see the landscape, Faye and Erica wanted to experience it… and ultimately thread that exposure back into their designs.

Toogood | Draughtsman Soft Cotton Shirt in Arctic Check & The Wayfinder Organic Cotton Coat
Toogood | Wistman’s Wood National Nature Reserve

This Toogood collection tows the line between leisure and pursuit. Utilitarian details, such as deep pockets and snappy buttons, contrast against oversized silhouettes and textured layers. Distressed blue and brown Woodland dyes read like well-worn denim in both a shirt and pant style. True to the Toogood ethos, the pieces honor the artisan origins of their inspiration—find in this collection Botanist tops, Forager trousers and camo-printed Hunter scarves.

Through Toogood, we discover the wardrobe of an adventurer, defined largely by sporty shapes and lightweight fabrics made to move through the forest. One of the most distinctive pieces is the Wayfinder coat, a parka-style rendered in vibrant blue and brown camouflage. In pulling on the pieces—complemented well by a hiking boot and a canteen—the imagination is set free into Erica and Faye’s great beyond.

Toogood | The Draughtman Soft Cotton Shirt in Arctic Check

“An urbanist finds themself on the side of a mountain, deep in woodland, under a big sky. Take a closer look at the print on their shirt and you’ll see it’s a forager’s map, pointing out which plants are safe to eat. Their coat is hand-painted camouflage. They are wearing layers of textured wool and technical ripstop – performance wear, ancient and modern. They tend a fire, tie knots and [thread] together a daisy chain.”

– Faye Toogood

Introducing Karen Liberman

Every one of us has a piece of jewelry with significant personal meaning. The ring that commemorates lasting love, the sparkly earrings we bought ourselves after our first real paycheck, the pearl necklace handed down from generation to generation… For Melbourne-based designer Karen Liberman, her piece of significance is a carved filigree bracelet gifted by her mother. First acquired by her spice-trading grandfather, the bangle was bartered in exchange for tea and sugar. Where it was before that… only the imagination can tell. This is where Karen Liberman’s fascination with gold is born: the long, magical and sometimes hidden histories of heirloom jewelry.

Born in Tel Aviv to Moroccan and Polish parents, Karen Liberman maintains a strong connection to her North African and Mediterranean roots. Though her influences lie across history, Ancient Etruscan motifs are particularly strong throughout Karen Liberman’s jewelry. Like other favorite designers in our cases, such as Denise Betesh and Tovi Farber, Karen favors the ancestral practice of granulation.

An attention—intensive process, granulation is the act of fusing tiny gold spheres for ornamentation. These minute rounds join other historical carving techniques to create layers of delicate texture across the 18K gold settings.

Though the entire collection is stunning, we would be remiss not to mention two particular standouts. One is a traditionally set trilogy ring featuring a fiery cognac diamond flanked by two teal diamonds—a rare, natural blue varietal. The other highlight is an antique roman coin pendant studded with a ring of inset brown diamonds. A traveller and collector at heart, Karen Liberman works alongside professional numismatists to source the authentic coins in her jewelry.