The Casentino Wool Store Jacket

LAUNCHING 12TH NOVEMBER AT 10:00AM (UK TIME)

The Arno is still a young river when it reaches Stia, a small town at the head of the Casentino valley where wool has been worked into cloth for more than six centuries. Casentino Wool dates back to the 14th century, when it was a coarse and dependable cloth for shepherds and anyone else whose working day carried on regardless of the weather.

We went out to Tessilnova and the farmland that surrounds it to shoot a campaign for our new Casentino Wool Jacket, and to understand how the cloth came to be what it is. We had been working on the jacket with Claudio and Sara for three years by then, which sounds like a long time until you set it against the seven centuries the cloth has spent keeping people warm in these hills. Our conversations with them kept drifting back to the old wool mill in Stia where Claudio's father learned to weave, so it seemed only right to go and see the work for ourselves, and they showed us around the family business with their dachshund in tow.

A hand holds open an old handwritten notebook with woven pattern samples, above a green-topped wooden desk.
A framed pink pinboard of Tessilnova cards, family photographs and a yellow-kitted football team photo.
A weaver with silver bracelets threads a single strand through rows of cream warp yarn on a loom at Tessilnova.
A handwritten paper tag reading “Casentino” hangs from a wire on a green metal machine at Tessilnova.
A large green machine folds a length of cream wool cloth into a stack on the factory floor at Tessilnova.
A hand-painted Tessilnova sign advertising Casentino cloth, cashmere, scarves and plaids on a factory wall.

Unlike many wool fabrics, Casentino Wool is nowhere near finished when it leaves the loom. It still has thirteen finishing stages ahead of it, and we followed the cloth through all of them. It is first needled and felted, which locks the fibres together until the weave closes and compacts. Next comes the raising, as a machine drags across the surface and pulls the loose hair upward until the fibres stand.

The cloth is then worked into the ricciolo, its signature looped and nubbled curl, which sits over the base cloth like a second skin. Much of this is still done by hand and judged by eye, by people who learned it from people who learned it before them, and the process has changed less over the centuries than you might expect.

Having seen it all in order, we understand the curl rather differently now, because it gives the cloth a double surface that does a real job. The looped nap and the dense layer beneath it hold warmth and still let the wearer breathe. Tuscan shepherds relied on all of that to get through mountain winters, whereas most of us will be asking it to get us to the local shop and back for a pint of milk, yet the cloth performs with just the same intent.

Cream wool cloth falls from above onto a neatly folded stack, resting on a worn green machine by a bright window.
A Tessilnova worker with long hair rolls a thick bolt of cream wool cloth along a slatted wooden table.
A seated worker writes on a roll of cream Casentino cloth with an orange marker.
Rows of textured red and green yarn cones on a metal frame, with strands running to the machinery below.
Bright orange-red wool cloth feeds through a vintage dark green machine and folds onto a wooden pallet.
A green Casentino Wool Jacket hangs on a chrome rail in front of shelves and rolls of wool at Tessilnova.
A man looks down in a green Casentino Wool Jacket and white T-shirt, standing against grey wooden panels.
A long factory floor at Tessilnova with a green cloth inspection machine and a loom threaded with red yarn.
Two open hands each hold a polished dark horn button, with four holes and natural streaks.
A man in a navy Casentino Wool Jacket and olive trousers leans against a yellow wall beside old factory spools.
Purple and green Casentino cloth on a green desk, with an antler-handled magnifying glass and letter opener.
A Lanificio di Stia sign above a wooden rack of cream, brown and red yarn cones, surrounded by framed pictures.
A close-up of a grey Casentino Wool Jacket showing the curled texture, collar and horn button on the chest pocket.
Tall stacks of paper yarn cones with green and orange bands on a worn wooden workbench against a two-tone wall.

As the sun went down, we went out to meet Lorenzo, the sheep farmer who supplies the wool that goes into our jackets, and walked his fields while the light turned the hills gold.

After parading the fields and taken in the golden hills, we were welcomed to Lorenzo’s home where we were met with a special batch of his home made delicacies, his personal batch of cheeses and cured meats that are prized by the locals, along with the loving Nonna Miranda who presented a rolling pin just as tall as herself and over 100 years old.


Fingers prints and markings from moments past, previous generations that have came and gone, there’s something special about this region; memory and heritage preserved to build a better future.


We shot the campaign inside the factory and out on the farmland around it, because the pictures from Tessilnova show where the cloth comes from and the ones from the fields show what it was always for.

Green farmland blurred by motion, with a line of dark trees and blue mountains under a pale sky.
Dark and pale sheep graze in long grass lit by low golden sunlight, with a thorny stem in the foreground.
A flock of sheep grazes on a hillside at golden hour, with a leaning telegraph pole and forested hills behind.
A man in a grey Casentino Wool Jacket strokes a large cream dog and a black and white dog in a sunlit field.
A man in a grey Casentino Wool Jacket walks across a sunlit grassy slope towards layered blue Tuscan hills.

Our Casentino Wool Store Jackets are made using authentic pure Casentino Wool, finished with real water buffalo horn buttons and come with a limited process booklet offering an in-depth look at the story behind the product, the fabric, and the people keeping it going.