Sundazed (Autriche) laine de yak, damier

SUNDAZED & OUTSIDE SOCIETY

...The cinnamon-toned pullover, rendered in heavyweight yak wool and shaped with a raglan sleeve, constitutes a meticulously engineered rearticulation of utilitarian knitwear—one that discards decorative affectation in favor of textile intelligence and structural nuance. Its basketweave architecture orchestrates a deliberate sequence of raised and recessed planes, transforming the knit surface into a dynamic topography where modulation in stitch density translates into a rhythm of light, shadow, and thermal depth. This dimensional interplay is not superfluous ornamentation but an intrinsic function of its surface geometry, which amplifies thermal performance while facilitating visual depth. The yak fiber’s lofted composition—marked by its simultaneous coarseness and pliability—yields a tactile irregularity that foregrounds the garment’s earthy material identity, while its high insulation capacity elevates the piece beyond conventional winterwear into the realm of fiber-based thermal engineering. Every component, from the ribbed hem and crew neckline to the seamless integration of shoulder lines, operates not merely as structural reinforcement but as compositional inflection points, governing transitions in tension, elasticity, and density without rupturing the garment’s continuity. These textural transitions function as spatial punctuation within the garment’s architecture, reinforcing a systemic coherence that privileges spatial integrity over visual excess. Such an architectural treatment of knitwear parallels the technical philosophies of Eckhaus Latta, Pas De Calais, and Christian Wijnants—designers for whom knitwear functions not as a typology but as a material language, wherein construction logic, fiber behavior, and silhouette form a singular design lexicon. Within this framework, the pullover emerges as narrative textile—its physical construction articulating an internal logic wherein comfort, form, and conceptual clarity converge. The garment’s volumetric articulation—particularly within its sleeves and torso—evokes the pastoral-modernist silhouette vocabularies of Cecilie Bahnsen and Matthildur, wherein softness assumes a spatial role and insulation is not hidden but materialized. Thickness and weight are no longer inert properties; they are sculptural parameters that define the pullover’s physical and emotional presence. Chromatically, the raw cinnamon hue resists ornamental stylization and aligns the garment with the restrained, meditative tonalities favored by Filippa K, Ivan Grundahl, and Peter Do. In this context, color functions not as accent but as grounding device, reinforcing the garment’s elemental materiality and quiet formalism. Historically, the pullover reframes alpine and Nordic knitwear legacies through a post-minimalist lens—stripped of regional nostalgia yet retaining their functional ethos. There are discernible echoes of Bottega Veneta’s exploration of textural eccentricity under both Tomas Maier and Daniel Lee, particularly in the appropriation of exotic, rustic fibers to destabilize traditional knitwear hierarchies. The decision to use yak wool—a sustainable, region-specific fiber—grounds the piece in an ecological consciousness further cultivated by brands such as Kowtow, Apiece Apart, and Nanushka, where sustainability is not an appendage but a fundamental design principle. Here, artisanal process and ecological intelligence intersect, and construction discipline becomes an ethical expression. The raglan sleeve, traditionally affiliated with athleticwear and utilitarian garments, is repurposed within a high-fashion knitting gauge to deliver a sculpturally ergonomic silhouette. Its seamless shoulder transition enhances freedom of movement while contributing to the garment’s volumetric coherence, translating historical function into contemporary refinement. This recalibration of utility into elegance parallels the directional knitwear methodologies of Y/Project, Chanel’s Métiers d’Art, and Danielle Guizio—where ergonomics and visual complexity coexist within a unified construction logic. In this regard, the pullover participates in the knit experimentation explored by Molly Goddard—albeit without the frilled exuberance—instead privileging material gravity over decorative whimsy. Likewise, it evokes the tactile abstraction of Giambattista Valli’s restrained couture, where surface becomes a field of emotional expression rather than additive embellishment. The garment’s spatial control and chromatic quietude resonate with the humanist sensuality of Sofie D’Hoore, wherein intimacy and structure are symbiotic. The psychological register of the cinnamon tone deepens this affective reading—its grounded warmth suggesting not trend but inner stability, a tonality echoed in the atmospheric palettes of Dosa, Marques’Almeida, and Guizio. These designers eschew seasonality in favor of temporal fluidity, investing their garments with affective resonance that prioritizes emotional endurance over visual novelty. Thus, the pullover becomes a vessel for mood, memory, and tactility as much as it does for thermal function. Within the broader fashion continuum, this garment resists the centrifugal pull of trend-driven design and instead articulates a vocabulary rooted in material story, sculptural coherence, and ethical authorship. It does not aspire to spectacle but instead insists on structural integrity and conceptual clarity. The yak wool’s expressive irregularity—each slub a trace of geographic origin—manifests a visual and haptic honesty that privileges material truth over surface polish. In this mode, the pullover aligns with the material-first approaches of Lauren Manoogian and Studio Nicholson, whose fiber-centric architectures rely not on styling but on the gravitational presence of form and textile. The silhouette—calculated yet unfussy—prioritizes proportion, volume, and internal logic over externalized trend cue, aligning it with the philosophical frameworks of Maimoun and Cawley Studio, wherein garments extend rather than overwrite the character of their materials. Within these ecosystems, textiles are not neutral substrates but narrative vectors. The raglan sleeve, devoid of flourish, reinforces ergonomic flow and echoes the constructional priorities of Camiel Fortgens and Cristaseya, both of whom subvert traditional silhouettes through asymmetric seams and raw edge articulations. In similar fashion, Hed Mayner’s voluminous tailoring and Casey Casey’s sculptural utilitarianism inform the pullover’s emphasis on mass and spatial comfort as deliberate design outcomes. At the surface level, the garment achieves visual depth through construction alone. It avoids embellishment while sustaining textural complexity—a tension evocative of Julia Heuer’s pleated abstractions, though filtered here through a rural-modernist prism. This distillation of folk codes into intelligent design recalls the work of Renli Su and Meryll Rogge, where the rustic is elevated into intellectual form. The pullover never collapses into rusticity; rather, it reconfigures pastoral reference into spatial clarity. The oversized silhouette enwraps the body without consuming it, drawing heat and presence from its knit logic rather than from visual density. Color, again, becomes structural rather than superficial. The cinnamon hue operates as emotional architecture—neither seasonal nor ornamental, but chromatically situated to evoke grounding and meditative resonance. In its effect, it parallels the earthy avant-garde palettes of Rachel Comey and the chromatic restraint of Cawley, where tone reinforces the garment’s material and psychological gravitas. The pullover rejects visual overarticulation and instead achieves sculptural monumentality through proportion, density, and fiber fidelity. This is knitwear conceived not as product but as proposition—a spatial, emotional, and ecological architecture. It is engineered for resonance as much as for warmth, offering intimacy across every dimension of its form. The designers with whom it aligns—Manoogian, Fortgens, Mayner, Su, Rogge—share an ethos wherein garments are not aesthetic artifacts but living systems: expressions of material coherence, constructional intelligence, and ethical clarity. The pullover, within this lineage, sustains a rare equilibrium of ethos and execution. It is not merely worn; it is inhabited, enacting a material philosophy of quiet strength and enduring relevance.

Origin: Austria

Handmade (mint condition)
Color: Cinnamon
Size: M
Fabric: Knit
Composition: Wool

Measurements (cm)
Chest: 52
Length: 66
Shoulder: 38
Sleeve: 55

€ 35.11