VELLUM

The Image Is the Layout

• · Grid gaps were closed to 2px so the product images sit against one another and the grid reads as a continuous surface rather than a row of cards.
• · The image background was matched to the page background, so nothing marks where one image ends and the next begins. Images fill their frame rather than sitting inside it, which puts the weave and the nap at the largest size the screen allows.
• · Product name and price sit at opposite ends of one line. On a screen comparing 32 pieces, that lets the eye run down the prices in a single column instead of hunting through stacked text.

Colour in Exactly Two Places

• · The interface is otherwise achromatic. Oxblood appears only on the product name and the buy button, so the coloured thing on screen is always the next thing to press — no separate affordance is needed.
• · Filters are not left open in a sidebar, which would take width away from the images. Categories run along a sub-navigation and the rest fold behind a button on the right.
• · Every filter and sort lives in the query string, so any state is shareable as a link — a category, a line, a colour, a price order.

A Split Product Page

• · The page divides left and right: images scroll on one side while the panel follows on the other. Nothing important leaves the screen as you read down the images.
• · Sizes are laid open as a box grid rather than hidden in a dropdown, with sold-out sizes struck through and left in place, so the available range is legible without a click.
• · Shipping, repair and material care fold into an accordion, which keeps the first screen to only what a purchase decision needs.

Casting on a Cycle

• · Twelve models are assigned to products in rotation, so no face repeats more than three times and any two appearances sit twelve cards apart — exactly three rows down in a four-column grid.
• · Casting frames were produced by replacing only the person in a base frame, so twelve people read as one shoot in one studio.
• · Two base frames were used rather than one — a soft shawl-collar line and a sharp-shouldered raw-cut line — split across the casting so the silhouette never settles into a single note.

Closing the Gap Is the Decision

Space between images puts each piece inside a card; removing it lets the whole screen read as one length of cloth. For a house whose subject is material, the second is the right answer, and the text rows carry the breathing room instead.

The Catalogue Is a Glossary

Scraped Cashmere, Palimpsest Cable, Gesso Bouclé, Deckle Edge, Rag Paper Poplin, Marginalia Striped — every product name comes from the vocabulary of manuscript and binding, so scrolling the catalogue tells you what the house cares about.

A Mark Without Letters

The identity mark is three scrape lines rather than an initial. The strokes thin as they go, giving the blade a direction, and the form stays legible at favicon size.