Necktie Sculpture — 64 editorial placements since 2022, alongside the slower journals our four full-time sculptors and conservator publish on process, materials, and care. Filed by year, by hand, by us.
A working record of named publications that have covered the studio since launch — GQ, Esquire, the Financial Times’ How To Spend It, Monocle, Wallpaper*, and others. Grouped by year and ordered by issue, not by traffic.
Pitches and editorial enquiries: [email protected]
Three essays from the past season: one on materials, one on process, one from the conservator who handles the 25-year restoration guarantee. Filed in-house, not syndicated.
Essay 047
Our conservator pulls twelve swatches from the library on the fourth floor and explains why a mill in Como and a mill in Kyoto are not interchangeable — even when they look identical under raking light.
Read the essay →
Essay 046
A walk-through of how a single Origami tie spends a full working week in one pair of hands — and why the seventh piece of every run is always the most expensive one to make.
Read the essay →
Essay 045
Inside the workshop where the in-house conservator restores ties shipped back from collectors in Berlin, Seoul, and São Paulo — the actual policy text, written without legal insulation.
Read the essay →“The necktie has been a costume for a hundred years. Caleb Voss treats it like sculpture, numbers it like a print, and charges like an oil painter — and, against every instinct, the work holds.”
A short letter from the fourth floor before each new drop: what we’re making, why this run is this run, and a single photograph from the bench. No promotions, no referral codes, no partner blasts.
