About Lorenzi Como
Lorenzi Como was born in Como, where material is handled in silence and time is treated as part of the craft. We do not speak about luxury. We practice it—through choices that take longer, cost more attention, and remain legitimate when fashion moves on.
A Lorenzi object is made to live with you, to be worn often, and to stay correct.
We don’t build stories around seasons. We build objects around use.
A tie, for us, is not decoration. It is an instrument: it brings line to a shirt, balance to a jacket, and a quiet order to the upper body. It should belong to the man before it belongs to the image.
What matters is not novelty, but permanence—the ability of an object to remain right, year after year.
Everything begins with silk. We use a 100% seta cloth selected for behavior rather than shine—dense, stable, and precise in hand. Woven at 112 threads per centimeter, it has the tightness required to form a knot that holds without stiffness and a blade that falls cleanly without twisting.
This density is not a claim. It is the reason the tie feels controlled the moment you handle it. The silk has presence, not gloss. It gains depth through use rather than losing it.
Construction is discipline. A good tie is geometry: the right bias, the right proportions, the internal balance that lets it sit straight from morning to night. It must move with the body and return to line. It must hold its form without looking engineered.
The finishing is where our approach becomes unmistakable. Along the perimeter, we apply a hand stitch borrowed from bespoke tailoring: the micro-stitch seen on the lapels of a well-made jacket. In Italian it is impuntura a mano; internationally it is known as hand pick stitching or hand AMF stitching.
The stitch is visible but discreet. The spacing is controlled—typically around 3 to 5 millimeters—and the thread is chosen with restraint: silk or waxed cotton, most often tone-on-tone, and only occasionally in subtle contrast. It is not decoration. It is definition.
This is why it is a high process. It takes time—real time. It requires the hands of sarti, not machines. On silk, the risk is absolute: an error is irreversible. And because it is manual, each tie becomes slightly different—not in a way that changes the design, but in a way that confirms it was made by a person, not by a system.
A nuance matters: in the pure historical tradition of seven-fold ties, visible external stitching is uncommon. When hand pick stitching appears on such constructions in this house, it is never accidental. It is a declared choice—an intentional dialogue between the language of bespoke jackets and the world of silk ties.
Position
Lorenzi Como sits close to the source. Not as a claim, but as a method.
Como is not a reference point for us—it is the place where the work happens. That proximity allows restraint: fewer steps, fewer intermediaries, fewer reasons to compromise. We make pieces in small runs because the craft demands it, not because scarcity sells.
The result is a tie that holds its knot, keeps its line, accepts repetition, and improves through use rather than wearing out.
We make fewer things. We make them slowly. We make them to stay.
A Lorenzi Como tie is designed to be worn often, to remain correct in a wardrobe that becomes more demanding over time, and to feel as legitimate in years as it does on the day it arrives.
Here, the gesture is quiet. The materials are few. The intention is clear.
And the object is the proof.