There is no better feeling than hunting through rolls of deadstock fabric and finding something truly incredible. For me, this is where the journey of designing a garment begins.
I’ve always been drawn to natural fibres because of how they feel. Cotton, hemp and linen are breathable fibres that, when blended together, can create the perfect balance of softness, structure, breathability and durability. I love softness with texture rather than the suspicious smoothness of many synthetics or over-processed bamboos. The textured slub and subtle variations in weave bring character and are a beautiful reminder that these fibres have come from nature. It makes a garment interesting both visually and to touch.
I’m not completely shutting out synthetic fibres. As a swimwear designer, this would be impossible and small-minded. I strongly believe synthetic fibers serve a clear purpose. Rather than using synthetics as a shortcut or compromise on quality to cut costs, using them strategically can drastically improve some garments in terms of fit, feel and durability. Sourcing deadstock and recycled synthetics, while still prioritzing natural fibers, means we can do this responsibly.
This week we released a new Raye Set, made from a unique blend of 57% cotton, 39% linen and 4% polyurethane.
Made from a deadstock fabric originally woven in Japan, each fiber included serves a purpose. The cotton provides softness and breathability. The linen brings structure and that beautiful lived-in texture that makes it feel almost vintage. And then there is the small addition of polyurethane, just enough to introduce stretch, recovery and resilience. Woven in perfect balance for a garment designed to be worn over and over again.
In this particular garment, the polyurethane elevates the fabric from something beautiful in theory to something truly functional. It allows the set to hold its shape while still moving with the body. It creates a silhouette that feels intentional rather than fragile. The synthetic element allows the fibers to stretch and return to their original shape, ultimately increasing the number of wears of the garment, which I believe is one of the most crucial aspects of sutainable fashion.
Working predominantly with deadstock fabrics reverses the design process. Rather than creating materials to fit a design, I find myself responding to what already exists. It becomes a process of discovery with fabric dictating the direction of the design.
This is why the Raye Set feels special to me. If I had approached it with a fixed idea of fabric, I would have likely defaulted to one of our cotton blends and I know those fabrics make beautiful garments. But there’s something cool about discovering combinations you may never have intentionally created yourself. Trying something different and having it work so well is what makes designing with deadstock satisfying.
Linen wouldn't have occurred to me to include in a stretch weave for a set like this, but the addition of linen is truly what makes this set so special. The hand-feel is unlike anything, with a depth that I think is rare in modern fashion. It's slubby and lightly structured. It doesn’t collapse on the body, but it doesn’t feel rigid either. It feels elevated in this way, and I’m looking forward to exploring more silhouettes and designs with this fabric blend for this very reason.
Ultimately, I’ll always prioritise natural fibres for clothing. However, where a touch of synthetic genuinely improves the experience of wearing a garment, I’ll accept it.
The intention is always the same, to create good quality clothes that feel good and last. Every fibre is there for a reason, and this is what makes a garment worth coveting and keeping.
