Auralee: a case study by LAIN

Auralee

Fashion, e-commerce

Website design, responsive design

2026

Loud type,
quiet clothes.

Auralee's clothes are muted: soft wools, pale cottons, long coats in stone and olive. The website could not compete with them, so it does the opposite of what they do. The ground is a flat charcoal, the one colour is an acid lime, and the name is set so large that the edges of the screen cut it.

Everything else stays out of the way. Photographs run in black and white until a piece is for sale, labels sit in small brackets, and every page ends on the same line of three words and ten figures.

Backstage before a show: two models in jackets, and the name tags that go with them

Six arms,
one circle.

Beside the wordmark the label has a star. It is built from three bars that cross at sixty degrees, every end cut square, and it sits on the first screen, on the product cards and beside the statements. The notches between its arms are not an accident of the drawing: they all sit on one inner circle.

1. A circle through the tips and three axes, sixty degrees apart, set the six arms.
2. Each arm is a bar of one width, its end cut square across the axis.
3. Where two arms meet the corner falls on one inner circle, and the star is filled.

One lime
on charcoal.

A flat charcoal, a lime that is almost yellow, and two greys: a deep one for the giant words that sit behind a page and a lighter one for the names that are credited. Everything else is photography. The wordmark is a heavy, slightly wide grotesk with tight spacing, and it reads in lime on charcoal and in charcoal on lime.

The wordmark on charcoal and on lime, and the star on white and on charcoal

The wordmark in lime, and the three type sizes the design sets its headings and copy in

Quiet, material,
clarity.

The design closes every page on one picture: ten figures in a row under three words. This chapter walks that picture. The figures come in grey, the colour of what they wear rises one figure at a time, and the row ends standing whole on a ruled floor. Point at a figure and it steps forward into colour.

Ten figures walk in, grey on charcoal, the way the pages show them.

The colour of the fabric comes up, one figure after another.

The row stands on its floor, numbered, with nothing left to add.

A pale long coat over plaid trousers

A grey suit worn loose

A black coat over yellow shorts

A trench over a plaid suit

A black double-breasted jacket with shorts

A dark coat over a blue shirt

A red shirt and red trousers, a bag in hand

A trench with a green scarf

A grey suit and dark glasses

A pale yellow jacket

One ground,
four pages.

Four pages on the same charcoal. Home opens on a crowd and a name too big to fit, About sets its headline in a giant word cropped by the screen with a photograph laid over it, and the collaboration and campaign pages each take a single headline and stretch it across the width.

A crowd and the name, the label's story, four pieces to buy, a statement in lime and the line-up of ten figures.

A headline cropped by the screen, the label's values, the process in three photographs and a short form.

A two-line headline with a photograph set between its lines, the credits as a list and the sneaker told in four photographs.

One word across the width, a season introduced in lime and white, a grid of looks and the new pieces on offer.

The front pages,
cut apart.

Home and About one band at a time: a first screen that is mostly type, a statement with its key words in lime brackets, product cards that are only a photograph and a price, and a headline cropped by the page's edge.

The first screen: the name in lime across a photograph, a small portrait tucked into the letters

The label's story, with the star and a ghost word behind it

Four pieces, each a photograph, a name and a price

About: a headline too big for the page, a photograph laid over it, two short paragraphs below

A statement in white and lime, with a portrait beside it

Four words pulled apart across the page, and a form made of brackets

The process: a ghost word, two photographs and the story between them

Two campaign pages,
up close.

The collaboration and the season, each told with the same few moves: credits as a list of lime and grey, a photograph set between two lines of type, a headline that overlaps a picture on purpose, and a strip of looks that runs off the page.

The credits: roles in lime, names in grey

A season introduced in lines of lime and white

Formed to move: a strip of looks, the middle one large

A season composed: the headline runs over the photograph

Textile dialogue: the word and a photograph laid across it

Stillness moves: a group in the middle, two walkers at the edges

Available now: the new pieces on four cards

Clothes on
real people.

The site is only as good as its photographs, and the design uses them at full size: a runway under a colonnade, people leaning on a marble wall, a woman in a red dress on a white floor, a sneaker tucked under a coat. These are the pictures the pages are built around.

A black coat on the runway

A trench with a scarf

A pale jacket over a skirt

Three coats against a marble wall

A bucket hat and a tan parka

A red dress on a white floor

A group on the grass, seen from behind

A sneaker tucked under a coat

Lacing a shoe

Seated against the wall in a trench

A black dress, leaning on a white block

Everything fits
a phone.

The pages are drawn again for the phone rather than shrunk: the name still crosses the width, the cropped headline keeps its photograph, and the star stays where it was. This is the design's own responsive showcase, the home, about, collaboration and campaign pages laid out for a phone.

The responsive showcase: the pages as they sit on a phone

Three more covers.

The thumbnails for the other shots: each page held in a frame, with the label's giant ghost name behind it.

About page

Collaboration campaign page

Campaign ads page

See it in full.

The shots on Dribbble.

Website - Home Website - About Website - Collaboration campaign Website - Campaign ads Website - Mobile responsive