The Museum
A study of material.
Every Scoliosy piece begins with fabric. These are the materials we return to — chosen for how they move, how they age, and how they feel against a body.
Chartreuse sateen
Acetate & silk blend · 110 g/m² · Lyon, France
A liquid drape with the barest sheen — the kind of fabric that catches low light and holds it. Woven in a fine satin weave so the surface reads as one continuous plane, breaking only where the body moves.
Pinstripe wool
98% wool, 2% elastane · 240 g/m² · Biella, Italy
A traditional tailoring cloth reworked for the way we actually dress now. Yarn-dyed on vintage looms so the stripes sit inside the weave rather than printed on top — they never fade, never break at the seam.
Tonal shearling
Lamb shearling, vegetable tanned · Toscana, Italy
Tanned by hand in small batches, left unshorn so the natural undercoat keeps its gradient — warm bronze at the tip, cooler grey beneath. Brushed, never dyed. What you see is what the animal grew.
Micro gingham, olive
100% cotton · 180 g/m² · Kyoto, Japan
A check small enough to read as texture from a distance and as pattern up close. Woven on Japanese shuttle looms where the thread count is doubled — what looks like a print is actually dyed yarn, stitch by stitch.
Brushed heather, blush
Merino & cotton blend · 320 g/m² · Prato, Italy
The flecks come from the yarn itself — dyed as loose fibre before it's spun, so every thread carries three or four shades of the same colour. Brushed twice for a hand that reads like cashmere but breathes like cotton.
Mélange jersey, sage
Cotton & linen slub · 260 g/m² · Porto, Portugal
A slub yarn — intentionally uneven, with thicker and thinner passes along its length — knitted loosely so the surface feels lived-in from the first wear. The sage reads differently in every light.
Heavy jersey, taupe
100% combed cotton · 380 g/m² · Porto, Portugal
The weight is the whole point. At 380 grams, this isn't a t-shirt fabric — it's structural. Garment-dyed after sewing so the colour settles into the seams and softens with every wash. Built to outlast a decade.
Micro gingham, cocoa
Cotton & wool blend · 220 g/m² · Kyoto, Japan
The same weave as N° 04 in a different palette — warm cocoa on ink black. Behaves almost like houndstooth from across a room and like gingham up close. A favourite for skirts because it never competes with whatever sits on top.
Silver fox, long pile
Modacrylic faux fur · 850 g/m² · Milano, Italy
A faux fur we spent months sourcing — most alternatives feel like carpet. This one is knitted on a long-pile jacquard machine that varies the fibre length across the surface, the way a real pelt does. Grey, silver, warm rust — all from the yarn, none from the dye.
Undyed cream twill
100% organic cotton, undyed · 290 g/m² · Aegean, Turkey
The colour is the cotton's own — no bleach, no dye, no optical brightener. Grown under the Aegean sun and woven in a diagonal twill that gives shape without stiffness. It will yellow very slightly over years, and that's the point.
Heavy jersey, stone
100% combed cotton · 380 g/m² · Porto, Portugal
Same construction as N° 07 in a green-grey we developed with the mill over four dye trials. It reads olive in daylight, charcoal at night — a colour that sits between categories, which is usually where the best colours live.
Graphite twill
100% cotton, piece-dyed · 310 g/m² · Aegean, Turkey
The diagonal ribs of a classic chino twill in a charcoal deep enough to pass for black indoors. Piece-dyed so the colour is fully saturated edge to edge. The structure holds a pleat, a cuff, a crease — whatever the pattern asks for.
Black sateen
Silk & acetate blend · 120 g/m² · Lyon, France
The partner to N° 01 — same weave, same mill, pulled to its darkest pole. A sateen that reads as flat black in shadow and reveals its shine only in direct light. The fabric behind almost every bow-tied skirt in the collection.
