MaterialsIssue 011March 2026
On the paper-touch finish
A forgotten Italian finishing technique that makes wool feel like folded paper.
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Paris · London · KyotoSpring / Summer 2026Étude Nº 04 — Walking in the CityParis · April
The New Collection — Film Nº 04
Walkingthroughfirst light.
A study in the ritual of getting dressed. Undyed linens, paper-touch wools, and knits made on a single loom in Biella. We made the collection with friends, in half-empty streets, at the hour before the city begins.
Fig. 01 — Photographed by Anja Richter
Étude Nº 04✦Linen · Paper Wool · Silk Charmeuse✦Cut in Puglia, Biella, Naples, Ehime✦An archive of useful things✦Walking in the City✦Spring / Summer 2026✦Étude Nº 04✦Linen · Paper Wool · Silk Charmeuse✦Cut in Puglia, Biella, Naples, Ehime✦An archive of useful things✦Walking in the City✦Spring / Summer 2026✦
Chapter 01 — The Campaign
A quiet study in the architecture of dressing.
Fig. 02 — Rue de Seine, 5:14 AM35mm, ektachrome
“We wanted the clothes to belong to the wearer before the photograph was taken.”
— Notes from the atelier
Photographed across four mornings in Paris. Silhouettes pulled loosely from archival working-wear, re-cut in our natural palette and finished by hand — sometimes imperfectly, always on purpose.
Read the storyChapter 02
07 Looks
Flatbed scanned · April 2026
The lookbook —
seven quiet rooms.
Look 01 — Linen trench, boneÉtude Nº 04
Look 02 — Paper wool, raw stoneÉtude Nº 04
“An old idea, done very slowly — a wardrobe that waits for you.”
— From the collection notes
Look 03 — Bias dress, sableÉtude Nº 04
Look 04 — Architect blazerÉtude Nº 04
Look 05 — Merino, oatÉtude Nº 04
Look 06 — Day study, ashÉtude Nº 04
Detail
Buttons hand-sewn. Edges left raw. Interlinings built slowly, by touch.
Each look is cut and constructed by a small team. We work in pieces rather than collections — adding, revising, retiring, season after season. Many of these garments are built to become softer, not newer, with wear.
Look 07 — FinaleÉtude Nº 04
Chapter 03 — The Collection
A short list of
useful things.
The collection is small on purpose. We add a piece when a previous one has been loved into the ground.
View everythingDispatch — Nº 12
Published April 2026
Notes on doing
less, slower.
We began Maison Vaux in 2014 with three pieces and a borrowed studio. Ten years on, the brief has barely moved. Make fewer things. Make them properly. Keep the people who make them close.
We have spent this past winter in Ehime and Biella, watching a cotton be woven slowly enough that the sound of the shuttle is the loudest noise in the room. The clothes this season come out of that quiet.
— Ana Vaux, founder
Ana Vaux, founder — Biella, March 2026Fig. 08
“The mill still runs at the pace of the 1930s. We decided to design at the same pace.”
12
Mills & ateliers we work with
Italy · Japan · France
2×
Collections per year
Quiet, purposeful drops
100%
Natural fibers
Mostly wool, linen, cotton, silk
0
Sample sales
Pieces are revised, never discounted
Chapter 05 — The Journal
Writing from
the atelier.
Materials
CampaignIssue 010February 2026
Four mornings in Paris
Notes and contact sheets from the Étude Nº 04 campaign. Photographed by Anja Richter.
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MakersIssue 009January 2026
Visiting the Biella loom
A conversation with the fourth-generation knitter who makes our merino pullovers.
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Correspondence
A letter,
four times a year.
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Ana Vaux
Founder — writing from Paris