RUS: a case study by LAIN

RUS

Fashion

Website design, e-commerce, social carousel

2026

Quiet clothes,
loud letters.

RUS makes pieces meant to be worn every day and layered in more ways than one. The shop had to feel like a lookbook first and a catalogue second: photographs given room, the name unmistakable, and the price, size and cart close at hand once a piece has been chosen.

So the pages stay almost empty. Black, white and a warm paper, every photograph taken down to grey, and a single heavy typeface for the name that does the shouting so nothing else has to.

Four editions,
one grade.

The home page opens on a slider of editions, each a portrait with a paper card, a line of copy and the wordmark cut by the bottom edge. Scroll to turn through them. The two shot in colour arrive in colour and are taken down to grey; move the pointer over them and the colour comes back where you look.

Softness as a form of resistance. Dressed for the quiet hours.

Between movement and stillness. Clothes shaped for moments that ask for nothing but presence.

Less noise, more feeling. A study in restraint, softness, and the beauty of what remains unspoken.

Somewhere between here and elsewhere. Familiar forms softened into something distant, intimate, and undone.

Paper, ink,
and a photograph.

The brand is RUS's own, and the website is set to let it lead. Paper is a warm off-white and ink a soft black; everything else is photography. Small black squares mark the corners of a picture like registration marks, and the interface copy stays small: mono capitals for labels, a regular-weight sans for the rest.

RUS's wordmark is used flat on the pages, in ink on paper or paper on ink, and at full width where it can bleed off the bottom of a screen.

The wordmark on the pages: ink on paper

The wordmark on the pages: paper on ink

Nine slides,
four in motion.

The same pages, told as a carousel post: the edition slider, the dressing ritual, the collection, the category list and the product page, one slide after another. The four slides in motion play on their own while they are on screen.

Slide 1: the Durmiente and Pausa editions, in motion

Slide 2: the wordmark and the dressing ritual, in motion

Slide 3: the home page, piece by piece

Slide 4: the art of dressing, copy beside a portrait

Slide 5: the collection, in motion

Slide 6: the about page and the menu on black

Slide 7: the product categories, in motion

Slide 8: the product page

Slide 9: the closing sections of the about page

A shop that reads
like a lookbook.

Three pages, one rhythm: a full-bleed photograph and a paper card to open, text and pictures set on a loose grid, and a dark band where the collection takes over. Every page closes on the wordmark at full width, cut by the bottom of the screen.

Durmiente opens the page; the dressing ritual, the category list, the collection and the bestsellers follow.

Clothing for the quiet rhythm of everyday life, then the ritual, how the pieces adapt and how one is made.

The Uovo skirt: a gallery, a short description, sizes, quantity and the two buttons, with details folding open below.

The page,
section by section.

Every section keeps to the same few moves: a photograph with a corner mark, one short line of copy beside it, hairlines for lists. Pictures are different sizes and sit at different heights, so the page moves like a magazine spread rather than a grid of thumbnails.

The first screen: edition card, progress lines and the wordmark

The dressing ritual

The collection, with three pieces beside the edition

Designed to adapt, on black

How a piece becomes part of the ritual

The product page, the one place the pictures keep their colour

Three covers,
on black.

For the shots the pages leave the browser. Each cover cuts long pages into columns on a black ground, with the wordmark running off the bottom, shown whole.

Home

About

Product

See it in full.

The three pages on Dribbble.