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Heavy knit cashmere, plush enough to feel rich in the hand, cut relaxed with dropped shoulders and three-quarter sleeves. The hem steps up at the front and falls longer at the back, which is what gives the shape its line. Cream shows the plush of the yarn better than any other shade in the line.

Heavy knit cashmere, plush enough to feel rich in the hand, cut relaxed with dropped shoulders and three-quarter sleeves. The hem steps up at the front and falls longer at the back, which is what gives the shape its line. Truffle is the warmest reading of a knit already built for it.

An everyday cardigan in Lisa Yang's standard knit cashmere, cut regular through the body to the hip. The buttons are made by hand and covered in the same cashmere, so they read as punctuation rather than hardware. Cream keeps it to the plainest possible layer.

Sculpted volume from a horizontal knit: the Mella is generous through the body, then drawn in at an hourglass waist so the cashmere breaks into deliberate drapes front and back. The fashion marks left by the knitting are kept as decoration rather than hidden. Black reduces it all to shadow.

Sculpted volume from a horizontal knit: the Mella is generous through the body, then drawn in at an hourglass waist so the cashmere breaks into deliberate drapes front and back. The fashion marks left by the knitting are kept as decoration rather than hidden. Dark oak gives the drapes somewhere to fall away to.

Knitted for structure rather than softness, the Aleya is dense enough in Lisa Yang's double-face cashmere to wear as a jacket. A neat collar sits above a two-way zip, with welt pockets and ribbed trims holding the hip-length shape. Dark fern is a green pulled almost to brown.

Knitted for structure rather than softness, the Aleya is dense enough in Lisa Yang's double-face cashmere to wear as a jacket. A neat collar sits above a two-way zip, with welt pockets and ribbed trims holding the hip-length shape. Deep plum reads as a wine red until the light catches it.

Knitted for structure rather than softness, the Aleya is dense enough in Lisa Yang's double-face cashmere to wear as a jacket. A neat collar sits above a two-way zip, with welt pockets and ribbed trims holding the hip-length shape. Oyster is the palest of the run, a grey-cream that shows the knit itself.

The Wren is knitted rather than cut, in a double-face cashmere with a compact hand that lets it hold a shape. It sits at mid waist on a soft elasticated band, then flares into a clean A-line with the panel seams doing the work. Dark oak makes a short skirt read as something more sober.

The Wren is knitted rather than cut, in a double-face cashmere with a compact hand that lets it hold a shape. It sits at mid waist on a soft elasticated band, then flares into a clean A-line with the panel seams doing the work. Deep plum is the one colour in the run with any heat in it.

The Wren is knitted rather than cut, in a double-face cashmere with a compact hand that lets it hold a shape. It sits at mid waist on a soft elasticated band, then flares into a clean A-line with the panel seams doing the work. Graphite is a grey with enough depth to sit next to black.

Lisa Yang knits her outerwear rather than tailoring it, and the Anni is the longest of them: a stand collar, one horn button at the waist, patch pockets set low on the front. The cashmere is worked dense enough to hold a cocoon shape through the body and drop straight to the knee. Black keeps the volume quiet.

Lisa Yang knits her outerwear rather than tailoring it, and the Anni is the longest of them: a stand collar, one horn button at the waist, patch pockets set low on the front. The cashmere is worked dense enough to hold a cocoon shape through the body and drop straight to the knee. Dark oak is a brown with the warmth taken down almost to black.

A heavy fisherman rib in cashmere, knitted on raglan lines so the shoulder falls soft and the body stays boxy and short. A two-way zip runs the full length into a funnel collar that stands on its own. Dark fern reads as a deep olive-brown against the depth of the rib.

A heavy fisherman rib in cashmere, knitted on raglan lines so the shoulder falls soft and the body stays boxy and short. A two-way zip runs the full length into a funnel collar that stands on its own. Sand shows every rib, which is the point of a knit this deep.

The archetype crewneck, knitted in a mid-weight cashmere that carries between seasons rather than belonging to one. A regular fit, full-length sleeves and a slightly cropped hem finished on ribbed trims — nothing added. Dark fern is a green pulled almost to brown, the quietest of the three.

The archetype crewneck, knitted in a mid-weight cashmere that carries between seasons rather than belonging to one. A regular fit, full-length sleeves and a slightly cropped hem finished on ribbed trims — nothing added. Sand is the version to wear when the point is the cashmere itself.

The archetype crewneck, knitted in a mid-weight cashmere that carries between seasons rather than belonging to one. A regular fit, full-length sleeves and a slightly cropped hem finished on ribbed trims — nothing added. Truffle warms the whole thing up without making it heavy.

A play on proportion: the Heidi is knitted heavy in cashmere and cut to cocoon, with an enveloping high neck, dropped shoulders and a hem that drops longer at the back than the front. The weight of the knit is what holds the shape. Cream lets the drop of the shoulder show properly.

A play on proportion: the Heidi is knitted heavy in cashmere and cut to cocoon, with an enveloping high neck, dropped shoulders and a hem that drops longer at the back than the front. The weight of the knit is what holds the shape. Graphite is the coldest of the three and the easiest to wear with tailoring.

A play on proportion: the Heidi is knitted heavy in cashmere and cut to cocoon, with an enveloping high neck, dropped shoulders and a hem that drops longer at the back than the front. The weight of the knit is what holds the shape. Truffle is a warm mid-brown that suits the weight of the yarn.

The Vivian is a knitted long-sleeve T-shirt and the first layer Lisa Yang builds everything else on, worked in a fine single rib of cashmere blended with cotton for lightness. It fits close to the hip, with full-length sleeves and a straight hem. Black is the one to buy first and stop thinking about.

The Vivian is a knitted long-sleeve T-shirt and the first layer Lisa Yang builds everything else on, worked in a fine single rib of cashmere blended with cotton for lightness. It fits close to the hip, with full-length sleeves and a straight hem. Deep walnut is the darkest of the three, near enough to black to layer under anything.

The Vivian is a knitted long-sleeve T-shirt and the first layer Lisa Yang builds everything else on, worked in a fine single rib of cashmere blended with cotton for lightness. It fits close to the hip, with full-length sleeves and a straight hem. Soft sky is the outlier of the run, a clear pale blue against all that neutral.