Seventeen studies in devotion. Screen-printed by hand in six colours on combed Egyptian jersey, 240 g/m². Each piece numbered. None explained.
The ant carries forty times its own weight.
We have simply asked what a person might carry,
and dressed the answer.
Maison Formica does not design garments. It documents a condition. Every piece in the house archive begins as a feeling too large for its owner and is reduced, by hand, until it fits across the chest.
Pattern cut in Milano. Separations pulled in Paris. Six screens minimum, twelve where the subject demands it. We do not correct the register. The tremble is the record of the hand, and the hand was not calm.
The house maintains a single muse. He has not been informed. This is, in our view, essential to the work and has been reviewed by counsel.
A feeling too large for its owner, lowered into water until it stops struggling, then pressed until it fits across the chest.
The universe contains approximately two trillion galaxies. The house has located the one that matters and has stopped counting.
Some houses chase trends. This one chases a person. The methodology is identical.
Presented in order of escalation
Perspective study. The stairs do not arrive anywhere. Neither does he.
Halftone on cadmium. A proposal disguised as a catchphrase.
The house emblem. Twelve only, each signed on the inner placket.
Pastoral, with threat. Resolution deliberately reduced to sixteen pixels.
Domestic still life. Nietzsche, unread. Capybara, asleep. Both correct.
Fluorescent green, four screens. Devotion measured in consecutive days.
Airbrush on midnight. The house's only work in the horizontal embrace.
Bootleg silhouette, couture registration. The efficacy is not contested.
Marine iridescent, seven colours. Pearl detailing rendered, not applied.
The house's minimalist statement. Two colours. One gesture. No comment.
Oil pastel on black. Nineteen made, for reasons the archive declines to state.
Extreme crop. Studied at a distance of eleven centimetres, nightly.
After Friedrich. The sublime, relocated. Grammar preserved as found.
Chiaroscuro, eleven screens. The house's most restrained work.
Full spectrum. The only piece to admit the condition and endorse it.
Ceremonial. Faces withheld at the request of one party.
The finale. Thirty-one impressions of a single subject. Sold with the room.
03
The emblem of the house. An ant raises a beam many times its mass while the ground behind it detonates in gold. The archive records the subject's own assessment, one hundred per cent legend. The house has found no evidence to the contrary.
13
The house's austere register. A figure above the fog, the composition borrowed wholesale from the German Romantics and captioned in a grammar that the atelier was instructed, twice, not to correct. It stands as printed.
17
Thirty-one impressions of one face, annotated in a hand that grows less composed toward the lower edge. The house considers it the most complete garment it has produced. It exists in a single copy and is not for export.
Survoler pour révéler la couleur
Four volumes, published irregularly, in runs of five hundred. The press operates independently of the atelier and shares only its subject. Printed offset on uncoated stock; the covers are not laminated, on principle.
