Before a first collection exists, a house must decide what it refuses to make. An account of the standards written down at the very beginning of ODCORRECT.
Most houses are defined by what they release. We began by writing down what we would refuse to make. It is a shorter document, and a more useful one, because refusals are the only standards that survive commercial pressure.
The first refusal was volume. A house that measures itself in the number of pieces released each season will eventually release pieces it does not believe in. We would rather produce a small number of things and be answerable for each of them.
The second was decoration for its own sake. Nothing is added to an ODCORRECT piece to make it read as expensive. If a detail is present, it is doing work — structural, functional, or proportional. Luxury that must be announced is not yet luxury.
The third was the invisible compromise: the lining chosen because nobody checks, the finish applied because it photographs well, the deadline met by lowering a standard quietly. These are the decisions that hollow out a house from the inside, and they are almost never noticed until the reputation is already spent.
In place of those, we wrote down three commitments. Fewer products, made properly. Materials that age rather than degrade. Prices that reflect the work, not the marketing around it. They are unglamorous commitments, and they are difficult precisely because nobody would notice if we broke them once.
A house is not the sum of its collections. It is the sum of the decisions it kept making when no one was watching. That document is where ODCORRECT actually began — long before there was anything to sell.