Carabiners, Off-Cuts and a GORE-TEX Doll: julie’s ette Gets Dressed by GR10K

The Los Angeles band’s design imprint and Milan’s uniform-bred GR10K turn an architecture-school friendship into a membrane skirt, a patched foulard and one-off dolls.

The waistband on the black pleated skirt does not button. It cinches on an adjustable nylon cord and fastens with a hand-burnished carabiner, the kind of hardware more usually clipped to a pack strap than threaded through a waistband. It is the first piece named in a September 30 Instagram post from Milan’s GR10K announcing that its fall collection with ette, the design imprint of Los Angeles band julie, was available online, and it sets the tone for everything around it: familiar garment types rebuilt with the materials and closures of a company that grew out of uniform manufacturing.

Signal. What happened: GR10K and ette rel their first collide, ette’s first move into fashion, and GR10K followed up on Instagram by spotlighting three pieces from the capsule. Exact object: the GR10K x ette collection, led by the 3L Pleated Mini Skirt in Black (€175, or $203 on GR10K’s US storefront), the Dendritic Foulard in Charcoal (€75, or $87) and the GORE-TEX Amulet Doll in Dark Soil Grey (€55), alongside a run of one-of-one Second Chance Amulet Dolls at $70 each, a worker hoodie, a dress shirt, field trousers and a skinny scarf. When and where: online since September 28, 2026, through ette.design and gr10k.com, with a launch event at Dover Street Market Paris reported for October 3. Source: GR10K’s own product pages, ette’s diary entry of September 17 and GR10K’s Instagram post of September 30. Why it matters: rather than licensing a logo onto blanks, a band with two architecture-school members built a capsule with a Milan label whose fabric knowledge comes from gen of workwear production, and the dolls made from GR10K’s own off-cuts show how far the project leans on material over merchandise.

The skirt itself is cut from a 3-layer water-repellent membrane fabric, a laminated polyester and PU construction more often found in outer shells, then pleated to give that stiff textile some swing. It comes in two sizes, S-M and L-XL, both short at roughly 25 to 26 centimeters long, carries GR10K x ette branding at the front and is made in Italy. GR10K’s European store lists it at €175, while its American storefront shows $203.

The second piece in the post works in the opposite direction, softening rather than toughening. The Dendritic Foulard in Charcoal is a 75-centimeter square of workwear cotton poplin carrying two GR10K artworks that were printed separately and stitched on as patches, with white overlock stitching running around the edge so the finishing stays visible. GR10K gives it no fixed use: it can be wrapped, tied, worn around the body or hung as a textile, which is close to how it appears in the image GR10K posted, knotted over a model’s head and face. At €75, or $87 in the US, it was already showing as sold out on GR10K’s site on October 1.

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The third item is the strangest of the three and the most revealing. The GORE-TEX Amulet Doll in Dark Soil Grey is cut from deadstock GORE-TEX into an irregular, deliberately misshapen outline about 42 by 25 centimeters, with an integrated belt loop so it can be hooked or tied onto a bag or a garment, and GR10K and julie branding on the back. GR10K frames it as a soft amulet translated into a fabric normally reserved for protective outerwear. At €55 it was the cheapest way into the capsule, and it was already sold out on October 1. Alongside it, GR10K sells a Second Chance series of one-of-one dolls at $70 each, built from the brand’s own fabric remnants and production off-cuts, so no two match.

The material list reads like an inventory of GR10K’s stockroom. One Second Chance doll is cut from black 3-layer GORE-TEX, another from 2-layer GORE-TEX in Manhattan Grey, another from deadstock pinstripe GORE-TEX, and others from a resin-coated ripstop, deadstock waxed cotton canvas in military green, a baby blue poly-cotton workwear twill, and a plaid wool backed with a contrasting broadwool face. The listings are numbered from I through at least XII, and some had already sold out by October 1. Dark Soil Grey itself is a shade GR10K has used before on caps and bags.

The dolls are the plainest expression of a principle that runs through the whole capsule. Even the pieces with conventional names lean on surplus stock: the heavyweight worker hoodie and the skinny scarf both use surplus cotton waffle, and the scarf is stone washed and cut short enough to be worn as a scarf, a top or a skirt. Nothing about the range suggests tour merchandise. It reads more like a materials study that happens to be wearable.

 

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ette has told the origin story itself. In a diary entry dated September 17 on ette’s website, an unnamed narrator traces the collaboration back to the social world around the Southern California Institute of Architecture, known as SCI-Arc. The account opens in 2024, at a dinner Keyan Pourzand and the narrator hosted for the band Lowertown during a Los Angeles tour stop. Pourzand’s roommate at the time, Reed, ducked in, declined to stay and left again. The narrator later heard that he had spent the night celebrating the end of SCI-Arc finals with friends, among them Luigi Alberto Cippini.

Cippini had been a name in their circle long before they met him. The narrator recalls him being both admired and gently joked about for his abstract, uncompromising taste, and Pourzand attended a lecture Cippini gave at SCI-Arc that he later described as “more of a performance than a presentation,” built from brief unacknowledged video clips, obscured imagery and harsh noise. Cippini founded the Milan architecture practice Armature Globale in 2016, and he also serves as GR10K’s creative director. His ties to the label predate the band by years: Armature Globale’s 2018 exhibition Unapt Environments, staged over two days inside a chemical paint factory under decontamination a few streets from Fondazione Prada, showed prototypes developed with an engineering firm and with GR10K.

The two sides connected online and arranged a visit to Cippini’s Milan studio during julie’s 2025 European tour, a trip ette documents separately in its Milan entry. From there, Cippini and his intern walked the band to the headquarters of what the diary calls his best friend’s clothing brand, where they met Andrea and Anna, who complete the trio behind GR10K. The band tried on clothes and spent several hours talking through ideas for working together. What followed, by ette’s account, was months of brainstorming in a WhatsApp group chat and PDF presentations shared over video calls with weak connections and awkward time differences. By the time the clothes went on sale, the first meeting in Milan was almost a year and a half old.

The diary is candid about who does what. Anna, it says, comes from a background manufacturing military and police clothing, and her pragmatic approach sets the limits of what is possible, from technical materials to unorthodox fabrication methods. Andrea turns up on the calls as the eager source of ideas that, in the narrator’s telling, kept landing remarkably close to the band’s own sensibilities. The entry frames the result as a limited run that refines existing precedents through small gestures and details, built for durability and utility and meant to be worn with anything.

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Anna is Anna Grassi, GR10K’s founder and CEO, and the uniform background the diary describes traces to her family’s business. Grassi has said she likes to call herself a “factory girl,” and she built GR10K out of her years in the commercial department of the family workwear company, whose archive runs from train attendant uniforms to fireproof gear. That company, Grassi 1925, explains the brand’s name as a reference to code 10,000, the stock number of the first workwear piece it ever held.

Even the founding date depends on who is asked. Grassi 1925’s own site says it founded GR10K in 2017 as a benefit company within the group, while a 2024 WWD profile timed to Milan Men’s Fashion Week puts the brand’s establishment at 2019. Both accounts agree on how it grew: Grassi brought in architect Luigi Alberto Cippini and Andrea Slaviero as part of the team behind the label, and GR10K now sells through a showroom in Paris. Grassi has also said that while the family firm remains a source of aesthetic and conceptual inspiration, she set up a manufacturing network of her own, which she credits for the brand’s slow, organic growth.

GR10K’s materials are where that inheritance shows most clearly. The brand works heavily in technical and deadstock textiles, GORE-TEX among them, and its store runs a Second Chance material program alongside Replicated, a line of workwear garments and utility objects made in industrial fabrics and developed outside the seasonal calendar. Its online project archive lists nearly thirty entries, including four separate chapters with Salomon, a Dover Street Market Ginza project and a collide with WORKSOUT, with ette now sitting at the top of the list.

 

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On julie’s side, the architecture connection is not incidental. The Los Angeles trio of Keyan Pourzand on vocals and guitar, Alexandria Elizabeth on vocals and bass, and Dillon Lee on drums started out in Orange County and moved to Los Angeles in 2019 when Pourzand and Elizabeth enrolled in architecture school. Just before the pandemic they recorded “flutter,” a self-released single that passed 30 million Spotify streams by 2024, and followed it with the 2021 EP pushing daisies.

Their debut album, my anti-aircraft friend, arrived through Atlantic Records on September 13, 2024, and the band toured North America, Australia and Europe on the back of it through 2024 and 2025. julie have long presented themselves as an art collective as much as a group: Pourzand makes sculpture, Elizabeth writes and paints, Lee paints and illustrates, and the trio oversees its own artwork and packaging, down to the instruments it plays onstage.

ette is the formal container for that habit. Its website describes itself as a distribution system for fragments, objects and transmissions from julie, with a membership tier for mailed writings and ephemera (subscriptions are currently closed) and a run of numbered entries, the first four filed under Madrid, Barcelona, Milan and Zurich. The GR10K project is entry five, and it comes with a physical archive: ette’s shop lists an A6, 16-page booklet for issue 005, and the collaboration has been reported to include a printed zine with imagery and stickers.

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Beyond the three pieces GR10K singled out, the store lists a navy Waffle Surplus Heavyweight Worker Hoodie at €230, a charcoal Stone Washed Drawn Dress Shirt at €150 and black Stone Washed Worker Field Trousers at €155, alongside the waffle skinny scarf and the numbered dolls. Early announcements of the collaboration described a skirt, a scarf, a tunic, a zip-up sweater and trousers, with further pieces planned, and the stone-washed finishes and surplus fabrics carry the same workwear logic as the three hero pieces. Inside GR10K’s own system, the project still goes by the band’s name: the size guides on the store are labeled Julie Skirt and Julie Foulard, and the product photography files carry the band’s name too.

Physical retail follows the online release. Dover Street Market Paris is set to host a launch event for the collaboration on Saturday, October 3, five days after the collection went live on ette.design and gr10k.com. As of October 1, the Dendritic Foulard and the Dark Soil Grey doll were both sold out on GR10K’s store, the pleated skirt was still listed for sale, and the Second Chance dolls were being offered individually by number, each one a single piece that will not be made again.