Weight
Weight changes the way an object hangs, holds its shape and occupies space. We consider it alongside construction, rather than treating a heavier fabric as an automatic measure of quality.
MATERIALS
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01 / Material
MATERIALS.
THE OBJECT COMES FIRST.
A design can only become part of an object when the object itself is worth keeping.
We choose materials, construction and decoration according to what each design requires.
A Study in Tartan / Cotton corduroy / Detail of the product render
02 / What we look for
The material is
part of the design.
Hand
The surface is part of the experience: brushed fleece, washed twill, fine corduroy ribs. Texture and the way a fabric feels belong to the design as much as colour does.
Structure
Fit, seams, panels and firmness determine the final silhouette. A soft crown and a structured front panel give the same image very different settings.
Decoration
Our current objects use embroidery. Scale, colour fields and line weight are considered with the fabric and the available surface. Any future technique must answer the same question: does it belong on this object?
03 / The materials
Different fibres.
Specific choices.
Organic cotton
Brushed fleece / Ribbed knitThe NUMINA hoodies and crew-neck sweatshirts use 100% organic ring-spun combed cotton in 350 gsm brushed fleece. Morpheus pairs that body with ribbed trims. Innocent Kitefall uses 100% organic cotton in a different construction: a ribbed beanie with a folded cuff.
Cotton
Twill / Chino / Corduroy / DenimOne fibre can produce distinct surfaces. Venetian Wraith uses washed cotton twill; Ulthar Waltz, chino cotton. Fine cotton corduroy gives A Study in Tartan its narrow ribs. Cotton denim gives Caught Fishing its panelled, fringed character.
Polyester & cotton
65% polyester / 35% cottonRush Hour uses this blend in a structured five-panel cap. Its broad front panel provides an uninterrupted setting for the city’s geometric fragments. The composition and the construction are two separate parts of the choice.
Acrylic & wool
80% acrylic / 20% woolDragon Painter uses an acrylic-and-wool blend in a structured, high-profile snapback. The tall crown and flat visor give the small embroidered scene an upright architectural setting.
04 / Material × method
From an idea
to a physical surface.
Myth → Thread → Fleece
Heavy cotton
× embroidery
The Moirai begins with the thread of life. The drawing becomes interwoven forms and a continuous red line; embroidery turns that line into actual thread. The substantial cotton fleece gives this small composition a quiet, grounded setting.
Explore The Moirai →Character → Colour → Texture
Corduroy
× a small scene
The dog supplies the character; the tartan supplies the colour. Fine corduroy supplies another rhythm around them. Its regular ribs remain visible around the irregular embroidered fragments, making the support part of the composition.
Explore A Study in Tartan →
City → Fragments → Panel
Structured cap
× small-format embroidery
A limited surface asks a city to become a symbol. Rush Hour compresses buildings, signs and movement into distinct colour fields. The broad front panel keeps the image together; the crown and curved visor give it its place on the head.
Explore Rush Hour →05 / Different objects. Different materials.
No single material.
One design principle.
A sweatshirt needs a different body from a soft cap. A structured snapback, a denim bucket hat and a knitted beanie each ask something different of their construction.
We choose the support for the object’s function and the design it will carry. As new categories arrive, that principle remains: the material follows the object.
06 / Know the object
Look closer before choosing.
Sweatshirts & hoodies
NUMINA / Stanley/Stella Changer 2.0 and Cruiser 2.0
- Weight & surface
- 350 gsm brushed fleece; 100% organic ring-spun combed cotton in the current pieces.
- Construction & fit
- Regular / medium unisex fit and set-in sleeves. Crew necks have ribbed trims; hoodies add a double-layered hood and pouch pocket. Compare the product size guide with a garment you own.
- Embroidery
- Small compositions leave the garment’s shape visible. Colour fields and line weight are adapted to remain readable in thread.
Headwear
URBS / Soft caps, structured caps, bucket hat and beanie
- Structure & panels
- Check crown height, panel construction and firmness. A relaxed dad hat, a tall snapback and a knitted beanie sit differently.
- Visor & fit
- Curved peaks, a flat visor, a fringed brim or a folded cuff change the outline. Some hats adjust, one has a fixed circumference, and the beanie stretches. Check each product’s stated range.
- Embroidery surface
- The image is scaled to the front panel or cuff. The surrounding fabric, seams and texture remain part of what you see.
07 / Transparency
We design the object.
We don’t pretend
to make the fabric.
Trencaditio develops the designs, selects blank garments and production partners, and chooses the relationship between the support and the decoration. Our current pieces are produced on demand through Fourthwall. We do not manufacture the fabrics or own the entire supply chain.
The product page is the reference for each object’s composition, construction and size guide. Materials can differ between categories and variants. Any certification belongs only to the specific product or material identified; it is never a promise about the whole collection.