The cloth behind
the collection.

Virgin wool — fibre taken from a sheep's first shearing — is the backbone of the NØRVIK collection. First-clip wool is finer, stronger, and more even than subsequent clips, which is why it commands a premium and why we use nothing else.

We work with Super 120s through 180s grades depending on the application: the heavier weights for outerwear and tailoring that needs to hold its shape across decades; the lighter fresco weights for suits built to breathe through long days without losing their line.

Our outerwear pieces use double-faced wool — two layers woven simultaneously and bonded at the mill — which eliminates the need for lining. The cloth is the structure. This is more expensive to produce and far better to wear.

The Inner Mongolian plateau produces cashmere in a class of its own. The extreme temperature variation — from −40°C winters to +40°C summers — forces the Changthangi goat to grow an undercoat so fine and insulating that no manufactured fibre comes close.

We source Grade-A fibre at 14 to 15.5 microns — the range where cashmere stops feeling like luxury and starts feeling like a second skin. Anything above 16 microns begins to scratch; anything below 14 is rare enough that it commands prices that can't be justified at our edition sizes.

Our knitwear is constructed in 12-gauge — a weight that gives structure without stiffness, warmth without bulk. Where possible, pieces are knitted in a single panel: no side seams, no interruption to the silhouette.

Toscana shearling is the most demanding material in the collection. It is produced from the Comisana breed of sheep, raised in Tuscany, processed by tanneries whose methods have not materially changed in a century. The result is a hide with a distinctive long, silky wool face and a leather back that softens and darkens with wear.

Our shearling is naturally tanned and left undyed — the colour you see is the colour the animal produced. We do not correct it, bleach it, or dye it to a uniform standard. Each hide is slightly different. Each piece is singular.

The processing happens in the Alpine foothills, where the water chemistry and temperature are part of the result. Toscana shearling tanned anywhere else is a different material.

Silk appears in the collection in three forms: sand-washed twill for shirts and blouses, silk-crepe for evening pieces, and grosgrain facings on formal tailoring. Each serves a distinct purpose and is sourced from mills that have woven silk for couture houses for generations.

Sand-washing removes the sheen without removing the hand — the result is a silk that moves like water and behaves like a garment, rather than a fabric that requires constant management. French seams are used throughout: the construction is finished to a standard that cannot be seen from the outside.

The leather pieces in the collection — holdalls, belts, gloves — use full-grain leather exclusively. Full-grain retains the entire outer surface of the hide, which means it carries natural markings, develops a patina with use, and strengthens rather than weakens over time.

We use bridle leather for structured goods: a vegetable-tanned English hide that has been stuffed with tallow and grease during the tanning process, making it exceptionally dense and weather-resistant. For accessories, we use Italian nappa — a softer, silk-lined leather appropriate for pieces worn against the skin.