Pergamino is Spanish for parchment. The collection starts from that single note: goatskin stretched, dried and varnished, which stays matt and warm to the hand. It keeps its veining, it takes the light without throwing it back, and no two panels are ever quite the same tone.

In 1930s Paris, the ensembliers clad whole walls in parchment and set it beside black lacquer. Pergamino takes up that dialogue between matt and gloss and sets it on the low, rounded volumes of seventies living rooms, the kind where you sit close to the floor and talk for hours.

The checkerboard returns from piece to piece: cowhide on Duna, ivory hide squares stitched one by one on Luna, parchment around the pedestal of Cena and the column of Fuste. Mother-of-pearl appears only at the centre of the lacquered tops, as an ellipse, a medallion or a rosette, like a light set down in the dark.

Most pieces stand on the same recessed black lacquer plinth. You barely see it. What you see is the line of shadow it leaves underneath, as if the piece were floating slightly above the floor.

Each piece is made to order by four crafts: cabinetmaking, lacquer, parchment cladding and upholstery. Edition of 8 + 4, numbered and signed by Clara and Alexis. The studio’s first collection, 2026.