Ten colours, and why each one is in the range. Written for the people who want to know what they are actually looking at before it arrives.
Ecru
Undyed, or near enough. Warmer than white and considerably more forgiving — white is unforgiving about everything, including the person wearing it. It carries The Plain Hour and The Interval on its own, and turns up again as tipping on The Pavilion, the yoke of The Deck Chair and the chest band on The Long Field.
Navy
The whole of The Pavilion. Deep enough to read as almost-black at night, blue enough to read as blue in daylight. Navy is what you wear when black would be too much and grey would be too little.
Pale blue
The lower half of The Deck Chair. A soft, chalky blue rather than a bright one — the lightest colour in the range and the easiest to wear in heat.
Oatmeal
The Weather Report. Not a flat colour at all — a slubby, broken surface that goes warm under a bulb and cool by a window. Photographs never quite catch it, which is part of why we made it.
Camel
Only on The Smoke Room, and only at the edges — collar, cuffs, placket, hem. A warm tan against cold charcoal. The smallest amount of colour in the range and the one people notice first.
Terracotta
The Awning. A warm, brick-leaning orange with nothing fluorescent about it, saved from being plain by a banded cream and rust hem. The one people hesitate over and then wear constantly.
Charcoal
Grey with the lights off. In The Smoke Room it fills the whole shirt, ribbed top to bottom. Sharper than mid-grey, softer than black, and the easiest here to wear under a jacket.
Brown
The placket on The Interval, and nothing else. Deep and slightly reddish against the ecru. One line of it, running down the front.
Olive
Twice: ribbed and striped in The Long Field, smooth and cabled in The Orchard. Green that has been rained on — muted, slightly grey, closer to army surplus than to anything tropical. The most useful colour in menswear that most people never buy.
Black
The Last Train. Three buttons and nothing else. Black knitwear can flatten in photographs and in person; the fine vertical texture here gives it somewhere to catch light.
All ten, side by side: shop the collection.
A note on screens: every monitor and phone renders colour differently, and knitted texture makes it harder still. If a shade matters to you, write to us before ordering and we will describe it honestly rather than optimistically.