Every season we choose the colours before the shapes. A palette decides more than any single garment — it decides whether the pieces you already own still have a place when the new ones arrive.
Mulberry leads this autumn. It is a deep, slightly dusty red-violet that sits warmer than burgundy and cooler than plum. Against skin it flatters more tones than either, and against ink navy it does something quietly rich that black can never manage.
How the three behave
Ink navy is the base note, unchanged from the house palette because it should be — it is the colour everything else is measured against. Warm cream is the light, the tone that keeps the other two from turning heavy under grey November skies.
Colours read differently in the light they live in. Mulberry glows under warm evening light and turns almost brown under fluorescent office strips; cream warms at golden hour and cools to grey at noon. We photograph the collection in the light it is made for — low, late, forgiving — and we say so, because you deserve to know.
Wear the three together in unequal measure: cream as the field, ink as the frame, mulberry as the single deliberate note. Balanced evenly they compete; weighted properly they sing.
The palette is small on purpose. Three tones, chosen to outlast the season that named them.
