Twenty-two looks, photographed over two days on the road above Ål.
In stores 4 September
01 / 08
Fall Winter 26 was drawn backward from the coat. Everything worn under it was drafted to sit flat beneath a shoulder seam, so the line holds at two layers or at five. Nothing here is finished in a colour we cannot repeat next year, because a coat should outlive the collection it came from.
Filmed in a single afternoon between Ål and the pass, in the order the collection is shown here.
Marit Løvold
Second unit, Eirik Sande
Jonas Rekdal
Stills and motion, one camera
Ines Haugerud
Assisted by Nora Fjeld
Ål, Norway
County road 243, 12 February
Every still on this page was photographed the same afternoon as the film, on the same road, in the same weather, by the same person. Nothing here is borrowed from another season, and nothing was shot again later in a studio.
Eight of the twenty-two looks, in the order they were walked, filmed and photographed.
Wool car coat, ribbed knit, leather trouser
Boiled wool shirt jacket, wide flannel trouser
Silk crepe dress, felted wool scarf
Double faced cashmere coat, cotton poplin shirt
Shearling bomber, tubular knit rollneck, raw denim
Waxed cotton parka, brushed lambswool crew
Long tailored coat, silk knit vest, wool trouser
Padded wool wrap, ribbed legging, felt boot
The remaining fourteen looks are in the lookbook, with the fabric, the composition and the price on every page.
The range is small on purpose. Two colours are the fleece as it arrives, two are dyed in Bergen, and one is mixed to a recipe we wrote in 2021 and have not changed since.
Undyed. The fleece as it comes off the animal.
Undyed. The second fleece, warmer, never identical twice.
Mineral dyed once, in Bergen, then rested a week.
Piece dyed twice so it holds through a wet winter.
The only colour we dye to a recipe. Five years unchanged.
We buy cloth before we draw the collection. Every mill below has run our yarn for at least three seasons, which is why the same grey comes back the same grey.
Every coat is cut in one workroom of nine people above the shop in Oslo. Buttons are horn, sewn on a shank so the front closes flat. Seams that take strain are felled rather than overlocked, which adds about forty minutes to a garment and is the reason the coats outlast the season they were bought in.
Wool is washed far more often than it needs to be. Below is what we do to our own samples between wears, and what the workroom will do for you if you would rather not do it yourself.
Two things will ruin any of this faster than wearing it will. The first is heat: a radiator, a tumble dryer or a hot iron sets a crease into wool that no amount of steam takes back out. The second is putting something away dirty, because moth larvae eat the salt and the skin left in the cloth rather than the fibre itself. If you send a garment to Oslo in September we will clean it, mend whatever needs mending and hold it in the workroom until you ask for it back. We charge for the repair and nothing for the holding.
We repair anything we made, for as long as we are here. A coat that comes back for a new lining is a better outcome for us than a coat replaced, and the workroom keeps cloth from every season for exactly this.
Send a photograph of the damage and the label inside the pocket. We will tell you the same week whether it is a repair or a remake.
Answered within five days
We email a label. The garment goes to the same workroom that cut it, and to the person whose initials are in the seam.
We pay postage inside Europe
Cleaned, pressed and repaired in cloth from the original bolt where we still hold it. Wear is left visible rather than hidden.
Four to six weeks
Measurements below are the garment laid flat, in centimetres, taken from the size M car coat. Knitwear is cut closer than the outerwear by roughly one size. Six of the eleven cloths are held in the workroom all year, so when a size sells through we cut it again rather than tell you to wait for spring.
Halden is carried by shops that keep the collection through the season rather than mark it down in November. Sizes below are held, not ordered in.
If your size has gone, write to us and we will tell you which shop still holds it rather than sell you the next size up.
Ask for the full collection. The lookbook carries all twenty-two looks with fabric, composition and wholesale price on every page.
Sigrid Amdal
Press office, Oslo
Tobias Renning
Sales director
One letter before each collection, sent the week the lookbook goes out. Nothing else, and never a discount code.
Our first lip collection. A true matte that holds through coffee, lunch, three phone calls and dinner, without turning your mouth into a dry riverbed.
Matte lipstick normally gets its finish by taking oil off your lip. It works, and it is also the reason your mouth feels like paper by three in the afternoon. We went at it from the other end.
Drying agents give you the flat finish and then keep going. The colour goes chalky, the edges creep, and by hour four you are picking at your own lip. Every matte we tested off the shelf did some version of this.
We built the matte into the wax structure instead, using candelilla and carnauba to hold a flat surface, then put castor oil and squalane back into the middle of the bullet. The finish comes from the surface of the film, not from drying you out.
Nineteen months, sixty one rejected batches, and a chemist in Passaic who now sees our number and lets it ring twice before answering. The eight shades you see here are the batches that survived.
Ninety seconds, six faces, one roll of lilac paper and far too much coffee. No retouching on any mouth in the film, because the finish was the entire point.
Pick a swatch to jump, or keep scrolling and the panel follows you down the range. Undertone, coat count and tested wear time are listed on every one, because the difference between two reds is usually the part nobody writes down.
Trouble
Wears like a full stop at the end of the outfit.
The one that empties off the tray first. It is your own lip with the contrast pushed up a single notch, which is why people buy two and leave one in a coat pocket for the rest of the winter.
Dusty rose with a grey backbone, so it never tips over into pink under bad restaurant light. It reads expensive across a table and it costs twenty eight dollars, which is the joke the whole shade was built around.
A blue red, which is the old trick that makes teeth look whiter. Wear it to things you did not plan on attending. It is the shade in the campaign film, the one on the carton, and the one nobody on the team argues about.
The classic took nine of the nineteen months, because a true neutral red has nowhere to hide. Too warm and it turns brick, too cool and it turns costume. This is the one your mother will ask about by name.
Hot pink that refuses to behave like a neutral. One coat is plenty, two is a decision you are making on purpose. It charges rent on your face, and every tester we gave it to renewed the lease.
Purple you can wear to work, which sounds like a compromise and is not one. Blot once for a stain, go twice for a statement, and skip the liner entirely if you want the edges soft.
Full plum, zero shimmer, no apology attached to it. This is the shade that made us add a ninth hour to the wear test, because it kept walking out of the eighth without a mark on the glass.
Nearly black in the tube, deep berry on the mouth, and the only one in the set that wants three thin coats. Two if you like it sheer and a little moody, which is how half the studio wears it.
Out of eight, this is the one you stopped on.
Cool undertone, 8 hours tested, two thin coats.
It follows you down the rest of the page
The brass case plus your first bullet. Eight shades, one matte finish, and a magnet that closes with a sound people comment on.
Refillable
Push the old one out, drop the new one in. Four seconds, no tools, and there is a prepaid envelope in every order: send the empty back and four dollars comes off the next one. Nine thousand four hundred have come back so far.
Ten dollars less
Solid brass, thirty eight grams, heavy enough that you notice when it is missing from your bag. Three initials engraved free.
Engraving free
Six liners built to sit under the eight. Creamy for about twenty seconds, then immovable. Every shade page tells you which one to reach for.
Six shades
All eight shades, one brushed case and the tray they arrive in, which is stiff enough to keep on a shelf. Forty two dollars under buying them one at a time, and the only discount we run all year.
Launch set
The step that makes a matte look good the next morning. Thick, unscented, and it works while you are asleep rather than asking anything of you.
Fragrance freeSample product range with fictional prices. Nothing on this page can be bought.
Shot on six people we already knew, in real daylight, at the end of a long afternoon rather than the start of one. What you are looking at is hour six, not hour zero.
Thirty seconds of the overnight mask, then blot all of it off. A matte film needs a smooth surface to sit on, not a wet one.
Draw the outer edge first and fill from the middle out, so the colour meets the line instead of crossing it. This is the step that buys you the last two hours.
Blot on the back of your hand and go again. Two thin coats beat one thick one every single time, on every shade in the set.
A stain. Sheer, soft edged, survives a coffee. This is how Bubblegum Tax is meant to be worn and how most people wear Milk Money on a weekday.
Full opacity and the tested wear time on the shade guide below. Six of the eight shades are built around exactly this.
Only Black Cherry asks for it. Anything darker than a plum needs the third pass to sit flat instead of patchy.
Every shade, its undertone, how many coats it wants and how long it survived on a real working day. Tap any name to send the studio panel back up to it.
| Shade | Undertone | Finish | Coats | Wear tested | Liner |
|---|---|---|---|---|---|
| Warm neutral | True matte | Two | 6 hours | Bare Minimum | |
| Cool | True matte | Two | 7 hours | Understudy | |
| Cool | True matte | Two | 8 hours | Hard Line | |
| Neutral | True matte | Two | 9 hours | Hard Line | |
| Cool | True matte | One | 7 hours | Overdraft | |
| Cool | True matte | Two | 8 hours | Nightshift | |
| Warm | True matte | Two | 9 hours | Deep End | |
| Cool | True matte | Three | 10 hours | Deep End |
Wear times are the median across forty two testers on a normal working day, food and drink included. Fictional data for a fictional brand.
Free shipping over sixty dollars, free returns on anything you swatch and change your mind about, and a refill reminder that turns up when you are roughly two thirds down the bullet.
Sample page, nothing here can be purchased
Sample stockists, all invented. Every counter listed would take walk in swatching and empty bullets back.
Every project earns its closing frame. Ready to roll on the next one?
Start a project→We reply within one business hour, weekdays.
Every project earns its closing frame. Ready to roll on the next one?
Start a project→We reply within one business hour, weekdays.
