Clothing

Gianna Giani founded Furling on Tuscan leather-working, and the Asha bomber shows the range of it. Dark ebony suede is cut to a short blouson with flap patch pockets and a zip front, and the collar is a spotted long-hair pelt in tobacco and black. The suede is brushed soft enough to read as cloth.

Most of what Furling makes is shearling; the Moon bomber is leather all through. It is cut full in the body from supple black nappa, with a stand collar, a concealed placket, epaulette tabs at the shoulder and an elasticated hem that draws the volume in. The finish is low-sheen, the line soft.

Gianna Giani built Furling on plain shearling coats, and the Emma is the most straightforward of them. Caramel shearling is worked fleece out on a long, straight body, with a small point collar, welt pockets and a single row of buttons down the front. The colour sits between tobacco and toffee, depending on the light.

Furling puts its print on the hide itself, not on cloth. The Mara coat is long and double-breasted, cut from short-pile leather printed leopard in black over a warm brown ground, with notch lapels, flap pockets and a self-tie belt at the waist. A trench line, in a material that is anything but sober.

Agnona's cashmere double face is a modern reading of classic zibelline coating: a double cloth with a smooth finish over a full, warm hand. Here it is cut as a single-breasted coat in ebony, a dark brown that holds more warmth than black. The front closes on horn buttons carrying the Agnona logo.

Agnona cuts its Milano pants from a fluid wool, a mono-stretch worsted in the spirit of grain de poudre with a little elastomer for drape. The surface is faintly textured and semi-matte. A flat front runs into a straight leg, with side pockets set into the seams. In ebony, a warm dark brown that reads almost black.

Agnona cuts its Milano pants from a fluid wool, a mono-stretch worsted in the spirit of grain de poudre with a little elastomer for drape. The surface is faintly textured and semi-matte. A flat front runs into a straight leg, with side pockets set into the seams. Black here is flat and even, with no shine at all.

A midi skirt cut on the bias in a silk twill with a floral print. The print combines texture and subtle reflections across the silk ground. The bias cut opens wide at the flared hem and keeps the drape fluid. A side invisible zip with a logo-engraved metal puller closes the skirt, lined in crepe de chine to the knee under a bound waistband.

Agnona lets the cloth carry the decoration. This straight midi skirt is cut from a wool organza in near-black ebony, its surface scattered with tonal cloqué blooms and threaded all over with fine bronze beading. The waistband sits high and plain, so the light comes off the surface alone.

Agnona builds its knitwear around the fibre first, and this cardigan is pure cashmere in a gauge-5 knit. Tonal florals are embroidered along both sleeves, raised against the plain ground, while horn buttons run down a deep V front. Ribbed cuffs and hem steady a softly dropped shoulder, the whole in a pale grege.

Boat neck sweater in pure cashmere, embroidered across the front with pure wool florals. Pure cashmere provides exceptional softness and natural warmth. A gauge 5 plain knit gives a dense, even ground for the embroidery, which runs across the entire front. A boat neck silhouette with long sleeves creates a clean, open proportion.

A high neck coat in B-Jersey double face. The cloth is a double weave in a cashmere and wool blend, a family reinterpreted by Agnona and developed in two weights, of which this is the heavier. The coat has a high neck with a zip closure and falls to 84 cm. An Agnona metal logo is applied.

A high neck coat in B-Jersey double face. The cloth is a double weave in a cashmere and wool blend, a family reinterpreted by Agnona and developed in two weights, of which this is the heavier. The coat has a high neck with a zip closure and falls to 84 cm. In black the weave reads as one flat, matte surface.

Agnona spins its cocoon bouclé from cashmere, silk and wool, and the yarn arrives flecked dark brown against cream. The sweater is cropped to sit at the high waist, with a wide boat neck and long sleeves gathered into ribbed cuffs. Dense and light at once, it reads as texture before colour.

Agnona knits this skirt from a cocoon cashmere and silk bouclé, cut in an A-line flare with an elasticated waistband. The yarn is flecked dark brown through cream, dense enough to hold the panelled flare without weight. It falls to mid-calf, the hem left plain so the texture carries the line.

A high neck cardigan jacket in matt cashmere double face. Special finishes give the pure cashmere a compact, cloth-like matte surface, with brightness developed after pressing and decatizing. A stand collar tops the jacket, closed at the front with a single horn button carrying the Agnona logo and a gold trim. Patch pockets are finished with French bartacks at the opening, and the construction is double throughout.

Agnona presses and decatizes its matt cashmere double face until the surface turns compact and cloth-like. This coat takes it plain: a round neck, no lapel, and a clean front that closes without breaking the line. The double cloth needs no lining, so the shape comes off the shoulder and falls straight to the hem.

Agnona treats print as texture rather than pattern. An animal marking is worked here in smoke brown and black over a blush ground, then pressed into fine sunburst pleats that break the image as the skirt moves. A plain dark waistband holds it flat at the top and lets the hem do the work.

Blumarine cuts its black suiting plain here: a flat-front pair with a pressed centre crease, close through the thigh and released to a straight leg at the hem. The cloth is a matte wool-blend, the fly concealed and the waistband clean. Quiet company for the house's more decorated pieces.

The Ben is Avenue Montaigne's pull-on pant, cut straight and ankle length with side pockets and a deep turned-back cuff. Its flannel carries no wool: a lightweight stretch cloth, soft to the hand and made for autumn and winter, pressed with a crease down the front. The brown is a deep chocolate that sits happily with camel and grey.

The Ben is Avenue Montaigne's pull-on pant, cut straight and ankle length with side pockets and a deep turned-back cuff. Here it comes in the house's Drapey fabric, a lightweight, fluid stretch cloth that falls from a smooth elastic waistband to a pressed crease. In black it reads as a tailored pant, with no fly or fastening to break the line.

Blumarine cuts this skirt from crisp black taffeta, gathered at the waist into a full bubble that turns under at the hem. A wide sash of the same cloth wraps the waistband and knots at the hip into a large, loose bow, its tails falling past the hemline. All the volume sits below a flat, fitted waist.

Thom Browne cuts a down-filled vest short and finishes it in navy ripstop. A two-way zip with a T-pull runs up to a stand collar lined with a snap-in rib-knit collar, the welt pockets close with hidden zips, and the ribbed hem, tipped in white stripes, attaches with a zip and snaps. Unfasten the hem and it sits higher still, at the waist.

The New Myra is Raquel Diniz in an evening mood: a sleeveless fuchsia velvet dress with a draped high neck, patterned with drifts of ivory dots beneath a red dotted yoke. The hem dips to a sharp point, bordered in black velvet and finished with a deep knotted fringe. Cut close through the body, it saves all its movement for the hem.