Of soil, sea, evergreen
We do not design colours. We find them. Every hue in the OSSE catalogue is pulled directly from a place on the coast we make on — no colour-of-the-year, no trend forecast, no seasonal palette handed down from a studio in another hemisphere.
Six places, six colours
Bone is raw, undyed cotton — the colour the fibre arrives in, before any water or dye is spent. Ink is a north Pacific night: rain on the seawall, no moon. Cedar is the old-growth canopy on the coastal range, the forest the city forgets it lives inside.
Clay comes from the riverbank where the Fraser meets the salt. Fog is the marine layer that sits on English Bay until noon. And Pacific is the open water past the last island — deep, cold, calm.
Low-impact, or none at all
Bone is dyed with nothing whatsoever. The rest use low-impact dyes — no azo compounds, no heavy-metal mordants, no formaldehyde fixatives. A colour system is only honest if the making of it does not poison the place it came from.