A few years back I came across
a photograph of the very beautiful Penelope Cruz
wearing a suit, maybe Chanel, not sure, does not matter.
The fill yarns were removed at the base of the jacket,
allowing the warp yarns to act as a sort of fringe.
And although it sounds awful, it was impossibly chic.
I sent the photo to my favorite textile designer
at one of my domestic mills to discuss.

Architecturally
to build a contemporary upholstery textile
in this vein would require a completely modern
arrangement of diverse yarns, quantifiable performance
characteristics, visual dimensionality, technical
intelligence and most of all,
personality.

We decided on a diagonal twill base,
with dashes of a strict vertical pattern that would
run up the roll. We then incorporated a small
amount of chenille yarn that had a slight lift to it,
running horizontally,

But it still was not enough.

We needed something
that would give an added perception of depth.
Lucky for me, the mill had just created an exciting
new yarn that could replicate the appearance of metal chain.
I loved the yarn, but more importantly I loved
the reference since all the best French coats
have chain hand sewn into the inside base,
giving it weight and authority.
Structurally, by incorporating this new yarn to
run horizontally across surface would in no way inhibit or
diminish the wear, performance, or construction
of what was becoming a beautiful textile.

The pattern was complete.

The name PARISIAN EDITOR comes from
the innate style editors and muses of the 70"s and 80"s....
Carine Roitfeld, Betty Catroux. Maxime. Paloma.
And a personnel favorite, Lou Lou de la Falaise.
A billion words have been written about her magical Parisian panache
and I am not going to burden you with any more.
But it is safe to say that Parisians tell their story through
confidence and style and this textile does absolutely the same.