About Our Pieces

Marina Anouilh is, at heart, a curated platform for designers and ateliers whose work has, for years, been collected and worn by a small circle of women who know where to look. The story began with The Concept Store, a Gstaad address that became known for one thing: pieces you could not find elsewhere. Over the seasons, Marina built that selection by travelling — to Marrakesh, where the velvet jackets and Mughal embroidery come from; to Mongolia, where the yak coats are spun and woven by the families who still keep the herds; to Madagascar, where Sophie Digard crochets her shawls one stitch at a time; to India, where Idarica Gazzoni dyes her cottons by hand; to Spain, where the linen-silk blends are woven in small mills.

Today, Marina Anouilh brings together a chosen family of creators — among them Riccardo Bianco Levrin, Eric Bergère, Michino Paris, Bamyan, Olivia Dar, Meher Kakalia, Sophie Digard, and a small number of one-of-a-kind ateliers — under a single editorial eye. What unites them is a way of working: handcraft, natural materials, small batches, multicultural influence, and a refusal of the fast-fashion cycle. The result is not a brand in the traditional sense; it is a wardrobe, slowly assembled, where each piece carries the trace of the hand that made it.

Read the full story on our About Marina Anouilh page.

“Through Marina’s eye and her qualified team, our selection is made from interesting materials and style accents you won’t find somewhere else.” That sentence sums up the discipline behind the curation. Behind it lies a way of working that is rare in 2026: direct sourcing from ateliers rather than wholesalers, small production runs measured in dozens of pieces rather than thousands, and a refusal of synthetic fibres in favour of habotai silk, shantung, linen, yak wool, cotton, and natural velvets.

Each piece is designed to last not a season but decades. The Stephanie Yak Coat will outlive the trend cycle; the Lotus Silk Dress will be worn to a wedding in 2026 and a dinner in 2034. That permanence is the quiet luxury at the centre of Marina Anouilh.

Our pieces are crafted across a network of artisanal ateliers in Morocco, Mongolia, India, Italy, France, Madagascar, and Switzerland. Each material has a story, each garment carries the trace of the hands that made it.

Sabra (sometimes called “cactus silk”) is a fibre extracted from the leaves of the agave plant, spun by hand and woven on traditional looms in the Atlas Mountains. It has the lustre of silk, the strength of cotton, and a slightly irregular texture that only handmade weaving leaves behind.

Suzani is a centuries-old embroidery tradition from Central Asia — specifically from the cities of Bukhara, Samarkand, and Tashkent, in present-day Uzbekistan. The word itself comes from the Persian “suzan”, meaning needle. Historically, a Suzani was part of a bride’s dowry: hand-stitched by the women of her family over months, sometimes years, in preparation for her wedding. The motifs are symbolic — pomegranates for fertility, suns for protection, vines for longevity — worked in chain stitch and satin stitch on cotton or silk ground, often in a palette of indigo, madder red, saffron yellow, and ivory.

At Marina Anouilh, Suzani embroidery appears in pieces such as the Gaia New Suzani Embroidered Jacket and the Laura Kaftan in Cream Indira. Each is hand-stitched by the artisan communities who have kept the tradition alive, and each carries the small irregularities that mark a piece made by hand rather than by machine.

Mongolian yak undercoat is shed naturally every spring. Nomadic herders comb the animals (no shearing), spin the fibre into yarn — the result is one of the warmest, lightest, and most sustainable wools on earth. Our Stephanie Yak Long Coat is woven from 100% yak, no blends.

Velvet is the autumn-winter material par excellence — its weight, its depth of colour, its ability to catch and hold light make it irreplaceable for the months between October and March. At Marina Anouilh, velvet appears in Marrakesh-style hand-embroidered jackets, in fitted boleros, in skirts and trousers, in jewel tones (emerald, plum, midnight, deep teal) that read as both bohemian and formal.

Three pairings we recommend: a silk dress (Lotus, Britania) under a Marrakesh velvet jacket for a winter dinner or alpine evening, denim for the day; a velvet shirt with black pants and a shawl for the theatre or a restaurant; a velvet bolero over a ceremony dress for an evening church wedding. Velvet rewards layering and resists the cold.

Care: brush gently in the direction of the pile to revive the nap; dry-clean rather than hand-wash (water marks velvet permanently); store on a padded hanger rather than folded, away from direct light. Treated this way, a velvet piece keeps its lustre for decades.