The Offer

Serpent's Invitation

The Offer Pocket Square in Gihon, puff — a snake curled around a bouquet of flowers picked from Eden, oil-painted on wood.

The Offer Pocket Square in Veil, unfolded — a snake curled around a bouquet of flowers picked from Eden, oil-painted on wood.

The Offer Pocket Square in Gethsemane, unfolded — a snake curled around a bouquet of flowers picked from Eden, oil-painted on wood.

The Offer Pocket Square in Passion, unfolded — a snake curled around a bouquet of flowers picked from Eden, oil-painted on wood.

The Offer Pocket Square in Gihon, unfolded — a snake curled around a bouquet of flowers picked from Eden, oil-painted on wood.

Man in brown double-breasted suit wearing Solid Wool Ties Tie in Belladonna and The Offer Pocket Square in Gihon.

The Offer

Serpent's Invitation

Be queer, lush and
decadent in Paradise

Our hand-painted design, The Offer, is a wink to the subversion of Paradise and an ode in flowers to Kristian Zahrtmann, who defied etiquette by portraying women as assertive, men as flamboyant and seductive.

Whorled Signature border

Our signature border of this Pocket Square, finished with a hand-rolled edge, is whorled with Trumpet Vine, Clivia, and Poppies in pink, white, and red.

Colors of Delight

To capture the true depth of our Veil, we work with the UK's oldest silk printer—an atelier as obsessed with detail as we are. The printed silk is then entirely hand-finished in France.

Our Journey of Design

We brought a concept and sketches to Paris-based artist Georgios Christidis. After tweaking the final details together, he oil-painted the motifs on wood in his beautiful, lush style.

Hand-painted chrysanthemum using oil paints on a wooden panel, designed for the Siege of Paris.

The panels are captured by state-of-the-art scanning, meticulously orchestrated into a silk design, and followed by extensive sampling with the printer to get the print and colors perfected.

On Paradise and Sin

While the serpent's meaning shifts throughout history, Zahrtmann (1843-1917) injected ecstatic colour, bold eroticism, and a 'semi-blasphemous' wit into his famous Adam. Rather than a symbol of evil, the snake becomes a stand-in for the viewer's unapologetic desire. Slithering up to trace his body, it mimics our own wandering eyes, turning the Fall of Man into a seductive celebration of male sensuality.