Cashmere evokes high altitude plateaus, extreme seasons, gestures passed down from generation to generation. This rare wool, taken once a year from the undercoat of the Capra hircus goat, travels from the high winds of Central Asia to reach the most demanding workshops. Among them, Coulange 1918 defends a French reading of this subject which was believed to be reserved for other latitudes.
Entrusting cashmere to French workshops means subjecting a precious fiber to a discipline that only certain territories still master. The Coulange factory is not a subcontracting address: it is the extension of textile know-how maintained for more than a century. Each piece that comes out of it is not just assembled in France; it is thought about, cut, verified.
The temptation would be to multiply the colors, the cuts, the collections. Coulange 1918 takes the opposite path. The house offers a restricted wardrobe, protected from trends, where each piece has a clear function. This sobriety is not an exercise in style. It is the consequence of a simple idea: luxury does not need to stand out.
To speak of French cashmere is first of all to speak of a certain resistance. That of the workshops which refuse dispersion, that of the houses which prefer the gesture to the image. Coulange 1918 does not claim to reinvent cashmere. The house is content to respect him — and that is perhaps, in a world where everything is accelerating, the rarest proposition.