Ninety centimetres of 16 momme mulberry twill, edges rolled and stitched by hand. Three designs drawn from the Indian and Persian work that French silk has borrowed from for three hundred years. You decide which one I make first.
All three are built on the same structure: a central field, four corner cartouches, and a border heavy enough to hold them. It is the layout of a 16th century Persian carpet, and the reason it has lasted five hundred years is that it still reads when the thing is folded into a triangle and knotted at the neck. Reserve whichever one you want. The design with the most reservations on 30 September is the one that gets produced.
Peacock feathers drawn open across a lapis field, with cream cartouches at the four corners and small flowers scattered through the fall of the barbs. It reads almost black across a room, then opens up entirely when you are close to it. The peacock has been India's emblem on French silk since at least 1985, when Hermès put one on their own India carré.
Reserve this one
Crocus flowers turning around a small gold bowl of saffron threads, on a madder red border the colour of the ground the French called fond rouge when they were still copying it from Gujarat. The warm one. It is also the only design here with a subject rather than a pattern, which is how a scarf earns a second look.
Reserve this one
Champa flowers in cream and gold on an ink ground so dark it takes a moment to find the edges. This is the quiet one, and the one that will go with the most in your wardrobe. Mughal court painters built their flowers as composites, half observed and half invented, working from European botanical prints. This does the same thing.
Reserve this oneThis is what I am quoting to mills, not a wish list.
The number is not arbitrary. It is the lowest point at which none of the three things that matter have to be compromised.
Twelve momme or lighter, sometimes polyester described as silk touch. Machine rolled or overlocked edges. Usually 65cm, because silk is sold by weight and smaller is cheaper.
Sixteen momme mulberry twill at a full 90cm, with edges rolled and stitched by hand. An artisan finishes two or three in an hour, and that hem is the first thing anyone who knows scarves will check.
The French houses that invented this format build the same object and charge a multiple of it. Much of that difference is the name on the label, and some of it is genuinely the silk.
Everything below is a commitment, not a hope. If any of it turns out not to be true, you get your money back without having to argue for it.
These three exist as artwork and a signed specification. Nothing has been printed yet. The first edition is fifty scarves and it only goes into production once fifty reservations exist — which is exactly why I am asking for your email today, and not your money.
A reservation is your email and the design you would pick. No card, no deposit, no charge. When the edition is confirmed you get one email inviting you to complete the order at the founding price of $95. Don't want it by then? Ignore the email. That is the whole cancellation policy.
Reservations close 30 September 2026. Production and hand finishing take six to eight weeks. Yours ships by 30 November. If that date slips by more than fourteen days you get an email offering a full refund before I ask you for anything else.
Sixteen momme, 100% mulberry, hand rolled and hand stitched edges. A 90cm square at this weight comes in around 55 to 60 grams. Weigh it. If it is light, or the hem turns out to be machine rolled, keep it and I will refund you in full.
I am one person, not a company. I am doing an MBA, working full time, and building this in the evenings because I could not find a silk square that carried Indian design without either flattening it into a generic paisley or charging me five hundred dollars for the privilege.
I would rather tell you that now than have you find out later. Everything on this page that sounds like a promise is one, and it is mine to keep. If something goes wrong, you will hear it from me directly.
Tell me which of the three you would want. It costs nothing today. You are locking the founding price of $95, against a retail price of $110, and if fifty people choose one design, that is the one I make. Two emails after this, ever: one when the edition is decided, one when yours is ready.
Indian printed cottons reached Marseille in the early 1600s and held their colour in a way European cloth could not. France banned them in 1686 to protect its own industry and broke the printing blocks three years later. The ban lifted in 1759, and Oberkampf founded his manufactory at Jouy-en-Josas the following year. Toile de Jouy exists because the ban on Indian cotton ended. The small floral repeat the world now calls Provençal is an Indian print that changed its name.
These are not borrowing from France. They are taking the same road back.
The design is Indian and Persian. The silk is printed in Hangzhou, which has made it for four thousand years — the one place with a longer claim to the cloth than Lyon has to the print. Neither is pretending to be French, and that is the entire point.
What these are and are not. Original designs, developed digitally and printed on silk. Not block printed, not tie dyed, not embroidered. No artisan cluster made them and I do not use any protected craft name to sell them. If you want the handmade article, buy it from the people whose it is.
Reservations close 30 September. The design with the most reservations is the one that gets made.
Reserve your place