The Making of Fall/Winter 2026
A collection begins long before there is anything to photograph. This is a record of where ours began — a swatch book on a table in Milan — and of the rooms it passed through on its way to becoming a coat and a suit.
It begins with the cloth
We went to Italy with a short list and no garments. The list said: a pinstripe for a suit, a coating for a coat, and nothing that would not still look right in ten winters. The mills' agents bring swatch books — pages of cloth with a number beside each, no names, no stories — and you choose with your hands before your eyes. Weight, drape, the way a fabric recovers when you close your fist around it.
The pinstripe we chose is a navy virgin wool at 370–380 grams, certified to the Responsible Wool Standard. The coating is heavier, 560 grams, 95% virgin wool with 5% cashmere for softness in the hand. Both come from Italian mills, and both will be cut and sewn in Italy.
The small decisions
A garment is mostly small decisions, and most of them are invisible when it is worn. Our buttons are corozo — the nut of the tagua palm, dense and slightly translucent, which takes a polish the way horn does and biodegrades the way plastic never will. They carry a DAÉIN detail on the face, which is the only place our name appears on any garment.
The blazer and coat linings are viscose certified by the Forest Stewardship Council. Trouser pocket bags are organic cotton. Even the care label is recycled polyester, because a label sewn into a garment for its whole life should be chosen as carefully as the rest of it. The page below is what those decisions looked like on the day they were made.
Pattern, then cloth, then thread
In the workshop the pattern is drawn full-size before a single length of cloth is cut. It looks like nothing — pencil lines on brown paper — and it is where the shoulder is decided, where the lapel will roll, how deep the trouser turn-up will fall. Then the first samples are sewn, and then someone has to put them on.
Fittings are the least glamorous part of the process and the most important. A coat that looks right on a hanger can sit badly on a body; a quarter-inch at the collar changes everything. We fitted, adjusted and fitted again until the garments moved the way we wanted them to — quietly.
Knitwear, in Portugal
Our knitwear is made in Portugal on flat-bed knitting machines — the kind that knit each panel to shape rather than cutting it from a roll, so nothing is wasted and the edges are finished as they are made. The yarns are chosen to the same standard as our cloth: merino, cashmere and alpaca, spun in Italy. Cones go on the machine; a cardigan comes off it, one panel at a time.
What arrives with the garment
The decisions do not stop at the hem. Each piece travels in a garment bag made from rPET — non-woven fabric spun from recycled bottles — on a hanger of natural lotus wood, with a hang tag of recycled paper tied on a cord of hemp. None of it is there to impress you. It is there because a garment made this carefully should not arrive wrapped in something that was not.
Fall/Winter 2026
Two silhouettes to begin — a double-breasted pinstripe suit and a camel coat — with knitwear to follow. Read more about how our garments are made, or see the first collection. If you would like to know when it opens, leave your address on the homepage and we will write to you — once, and quietly.