The soul of Moutonière is artists and artisans creating beautiful objects for modern patrons. Our inaugural collection embodies each of these ideas.
- Artists. We identified four mid-career contemporary artists — artists with gallery representation, auction results, and an international following, but also very much still in the prime of their careers, exploring new ideas in their work — and commissioned from each of them an original painting. The only guidance was that the painting should include a sheep and at least one color from our house palette.
- Artisans. With the paintings in hand, we went to Como, Italy, and identified one of the last families doing traditional, artisan screen printing on silk. In their workshops, engravers created more than a dozen screens per painting, each screen representing one color. By stacking these screens, mixing colors carefully, and varying the application pressure, these artisans were able to realize the paintings in all their glory in silk — from the translucency of a bee's wing in a Duffy to the deadpan eyes of the girl and lamb in a Puckett. Finally each scarf's edges are hand-rolled and hand-sewn.
- Patrons. For our first collection, every piece was produced in a numbered, limited edition. Each scarf includes in its design an inlaid edition number in the corner. Our archives ensure that should a scarf come back 10, 20, or 30 years from now — perhaps by then the cherished possession of the daughter of today's collector — we will be able to connect that scarf to its original owner and the time and place of its sale.
The collection debuted at Paris Fashion Week in Fall 2024.
Art
Two Ewes by Andy Dixon


I'm a painter and artist originally from Vancouver, Canada, now living and working in Los Angeles. My process is akin to how a studio producer might treat a music sample: I plunder art history for familiar tropes and, by placing them in a new, modern context reinterpreted through my hand in my signature pastel palette, I turn the viewer's understanding of them on their head, evoking questions about how the art world is entangled with the idea of luxury.
For Two Ewes, the primary “sample” is from Aelbert Cuyp's A Barn Interior with a Four Horned Ram . I painted the two female animals, which, despite their prominence in the foreground, are conspicuously absent from the original title. I wanted the tones to feel rich and almost royal, harmonious with the material and craftsmanship of the product.
Lilac Lamb by C.M. Duffy


My art springs from the buds of daydreams rooted in a deep appreciation for nature. Usually, these inspirations bloom during hikes or brief walks, but in the spring of 2024, a broken foot confined me indoors. Limited to the view from my window, I was lucky to have a serviceberry tree with billowing white blooms across the street, sparking my creativity. This sight led me to explore other white blossoms that mimic sheep's wool. Discovering the Madame Lemoine lilac variety, I knew it was the perfect muse for my piece, Lilac Lamb, created for Moutonière. This work celebrates the playful vitality of spring through its bright colors and wondrous whimsy, offering a splash of exuberance for any time of year.
Art Nouveau Moutonière Sheep by Filipp Jenikäe


Patrick Puckett


I was born in Jackson, Mississippi, in 1979 and moved to Austin, Texas, in 2005. Recently, my wife and I returned to Jackson to raise our two children. Growing up pre-internet, I spent much of my childhood outdoors, exploring the woods around our home. Fascinated by the future, I collected NASA memorabilia and stayed up late watching Star Trek, which perhaps explains why many of my figures are set against a backdrop of nature, seemingly existing between the past and the future. As T.S. Eliot eloquently stated, “Time present and time past are both perhaps present in time future, and time future contained in time past.” The seventeen years I spent in Texas profoundly influenced my work. The climate in Austin, where east meets west, makes the wildflowers and succulents truly magical. The figures I paint, drawn from my imagination, embody the unapologetic confidence of the women in my and my wife's families. For this scarf, I envisioned a woman of the future, perhaps a farm owner or textile creator, surrounded by yet-to-exist flowers.