Some objects tell their stories in whispers – subtle details in the weave of a fabric, the faded print of an heirloom textile or the intricate craftsmanship of an overlooked antique. Autumn Sonata, which specializes in bath and table textiles, exists to bring these lost narratives back to life. It was founded by Lilli Elias with a passion for history and a deep appreciation for forgotten materials. The brand reinterprets history from a modern perspective, reinventing source materials by reprinting patterns, adjusting colors and altering dimensions. Each design is a quiet homage to artisanry, a dialogue between past and present that prioritizes longevity over all that is fleeting. During our Q&A with Lilli, we discovered the inspiration behind her unique designs and how she continuously strives for sustainable, ethical craftsmanship.

Autumn Sonata reinterprets storied objects through a contemporary lens. What inspired you to create a brand that bridges historical restoration with design?

When I was in high school I was obsessed with 1920s garments, although I collected some Victoriana and clothing from the 1940s to the 1960s. California has a lovely community of sellers who would congregate for different events and I would spend every weekend digging around and going through the back rooms of these shops, fascinated by the people who had built their lives around these obscure lifestyles and objects. I wore my vintage, and sometimes antique, finds to school until they ripped. I spent many days with clothing pins holding my outfits together and often had to change clothes if they fell apart.

I have a degree in Archival Studies and spent time working in various archives, during which I encountered so many beautiful items that would simply never see the light of day again. I also have a history of collecting antique textiles and garments. One of my favorite archives was Lotusland in Santa Barbara, a beautiful property left in an estate by the lady who owned it so it could be made available to the public. A lot of her garments had been left there and she had made beautiful scrapbooks filled with ephemera, articles and fabrics she had clipped and she had beautiful jewelry commissioned by Cartier and other jewelry houses. It was a composite of her ‘eye’. I particularly loved looking at the shoes and hats and the clothing collected from the 40s, 50s and 60s. This is what actually drew me to archival work in the first place – being allowed to handle pieces unavailable to the public. At some point a bell went off in my head that I could focus on reviving these beautiful and forgotten textiles and objects using the tenets of archival studies that I had learned in school.

Many brands focus on heritage, but Autumn Sonata also highlights the uncovering process – finding forgotten heirlooms and giving them new life. Could you share a particularly memorable discovery that shaped the brand’s direction?

The brand is as inspired by my travels as it is by findings in the archive and antique markets. My first trip to Milan pushed me to start the brand. I was particularly amazed by the intricacy of the most simple and practical objects – gates, door knobs, doorways. The thought that goes into the small, practical things. When I travel I tend not to look at pictures of the destination before I go, I just show up and every time I go to a new city I am always amazed. Recently I spent time in Egypt and I was so surprised by the modernity of the ancient design in the museums – the hairpins, perfume bottles and beadwork were exquisite and the makers were clearly so ahead of their time. The durability of the design was also inspiring – it could still work today.

Beyond material choices, how does Autumn Sonata promote longevity in design, both aesthetically and functionally?

I aim for timeless designs that are neither too loud nor too bright. I absolutely love prints but tire of them often, so with Autumn Sonata I aim to offer subtle yet dynamic prints that have a sense of timelessness and ‘trendlessness’. I find that finding these prints is the most challenging aspect for me, but it’s very rewarding! I don’t have a favorite print in my collection – it jumps around. I’m very excited about the new prints I’m working on for the bedding collection as the palette is inspired by my time in Egypt and the colors I encountered there. The inspiration for my prints is global and spans hundreds of years. The Ester, for example, is inspired by bamboo from a tiny corner of a Katazome print I found in an old catalog. The original print itself was at least 200 years old and I had been looking for a unique take on a striped design. I love how this print is partly an optical illusion, resembling something else when you look at it and taking on different meanings.

All of my prints are found so I never want to take credit for them. They are other people's stories and I’m not a designer by nature – rather, I’m an aggregator. They tell the story of my travels, my point of view and the way I bring things together. I don’t see it as a reflection of myself but other people sometimes do. I suppose it’s for others to perceive your touch on a collection than you can yourself.

Your products are made in Portugal, a country known for its textile craftsmanship. Why did you choose Portugal for production, and how do you ensure ethical, high-quality manufacturing?

I choose to produce our products in Portugal simply because of the visibility of its work practices and reputation of its craftsmanship. Our mills are very open with their clients, welcoming them to walk the grounds each visit, helping to align with their sustainability goals, making recommendations that are grounded in research and experience. Many other brands that I highly respect also work with our mill. We work with organic cotton to ensure softness and durability for the customer but I am always conscious of the water consumption behind our products. The technology for truly sustainable production isn’t there yet but we always strive to make our pieces as environmentally-friendly as possible.

Your mill has cut energy use by 20 percent, invested in solar and biomass energy, and recycled 30 percent of its water. Why was it important to partner with a manufacturer prioritizing these sustainability efforts?

Producing any new goods is not particularly sustainable, especially when those products are being shipped globally, so working with a mill that is invested in prioritizing these efforts is important in order to reduce our footprint. Beyond sustainability, our mill is also very aligned with our approach to sustainability through creating high quality products that are built for longevity. My work in archival has also reinforced the importance of longevity. Simply put, I’ve seen a lot of things wasted and there’s so much waste when you start assessing the ephemera of one’s life and there’s so much beauty in these objects. It’s frustrating how so much made today is so ugly, led by trends and not made with longevity in mind. Looking at things from the past you can see there’s a durability of design which will be beautiful for eternity.

Can you share a particular space or item in your home that significantly contributes to your wellbeing?

My ceramics and spoon collection. At the moment we’re living among boxes and I only have all our kitchen things out because we love our spoons and ceramics and every night we have a beautiful set table amongst the chaos.

What is your most coveted item that you use day in and day out?

My tea sets – there’s perfection in certain teapots, they’re so beautiful and useful. I love the ritual around tea. Every day we have tea with the tea set that includes a pot, teacups, saucers and strainers. Everything is beautiful and was accumulated from my travels. They’re from Japan, Korea, LA, Mexico and Denmark, a truly global collection.

Discover a curated collection of Autumn Sonata’s bath towels available at the WLLW Shop.

Feature Image: Lilli Elias, Founder of Autumn Sonata, photo by Yeray Sabandar

Photography: Autumn Sonata, Casa Soleto, Sophie Fabbri