Between SEA & SKY
Between Sea & Sky is the first Vespertine silk scarf to be set in repeat, and is an homage to an ancient fable dating back over 2,600 years, known as Queqiao or The Bridge of Magpies.
The story goes that the daughter of heaven Vega, fell madly in love with a simple farmer boy Altair, until one day the two were banished to spend the rest of their lives on separate sides of the silver river.
Once a year, on the seventh night of the seventh moon, when their two stars shine brightest at either end of the Milky Way. It is said that all the magpies in the world take pity on them and flock to the heavens. Forming a bridge that reunites the two lovers, but only for a fleeting moment.
Rather than rejoice in the rush of a reunion, Between Sea & Sky instead captures the bittersweet moment of separation. As Altair leaves the heavens, and descends back down The Bridge of Magpies and returns to earth.
Available in the colourways Phthalo Parting, Midas Mirage and Moonlight Meeting.
Between Land & Sea
Based on an ancient Japanese fable known as Temple of the Ocean King. Between Land & Sea depicts the elusive giant oarfish racing along torrents of water, in what will be their final plight to warn humanity of impending disaster.
Measuring over fifteen metres in length, the giant oarfish is the world’s longest bony fish. Given their nearly unfathomable size, it isn’t too far fetched to wonder whether pirates and sailors of times gone by, may have mistook sickly giant oarfish that had come to the surface for the fearsome sea serpents of legends.
The fable tells of the Ocean King sending his sea monster messengers to earthly shores, in a final sacrifice and omen of impending natural disaster. For centuries giant oarfish appearing before natural disasters has been a well-documented occurrence. In the week before the 2011 Fukushima tsunami, there were twenty two confirmed sightings of beached giant oarfish found throughout the islands of Japan.
Nobody quite knows why these giants commit suicide in the days before disaster, but there is evidence to suggest that bottom-dwelling fish may be susceptible to movements in seismic fault lines and act in uncharacteristic ways in advance of an earthquake.
Available in the colourways Azure Alcove, Cardinal Coast and Obsidian Omen.
The Flowers of Time
Before there were sundials and the Roman clock, our ancestors looked to nature and the moving shadows to keep track of time.
Carl Linnaeus was a pivotal eighteenth-century biologist, best known for devising the taxonomic naming system in which all species are classified under to this day. Like many academics of the time, Linnaeus had a wandering imagination, and for a personal project he devised a plan to plant a garden where new flowers would bloom chronologically with each passing hour.
As he saw it, one could tell the time by simply walking into the flower clock garden, then smelling and seeing which flowers had most recently opened. Sadly, the flower clock never came to fruition, and given limited access to global horticulture at the time, there were flowers missing from his research. Eight of Linnaeus’ original flowers are incorporated into The Flowers of Time. With the remaining hours filled in with more recent discoveries of chronobiological flowers.
Bursting from the centre and surrounding the clock is the modest British honeysuckle. This twin flower is perhaps the most personal to Linnaeus’ as it was named Linnaea borealis in his honour. In keeping with the circadian theme, in each corner sits an animal representative which is known to be most active during their corresponding hours on the clock.
Available in the colourways Saxe Symphony and Plum Pernicious.
Unlike with human-made works, there is no consciousness dictating a creative philosophy within nature. Instead the patterns found throughout the natural kingdom arise organically through the interplay of nearly an infinite number of selection factors, and serve the sole purpose of enhancing the species ability to survive and reproduce.
One such example is the patterns of these moths’ wings, which mimic the characteristics of more intimidating animals in their ecosystems. Predators of the moths can easily mistake these markings for their mimic counterparts, even if this deception lasts just a moment, a millisecond can be all that is needed to make a quick getaway.
Odd Eyes visually represents the phenomenon of moth mimicry for the first time, re-imagining the markings through the eyes of their predators.
Available in the colourways Hibiscus Hypocrisy, Cobalt Copycat, Mustard Meridian and Iris Imitator.