Giorgio Brato builds each Perfecto fully assembled before it enters the dye. The tinto in capo technique - garment-dyeing after construction - means every seam channel, every fold, every panel absorbs pigment at its own pace. In black, this process hides beneath darkness. In grey, it reveals itself. The leather surface shifts between warm stone and cooler ash across different panels, each tonal variation a record of how the dye settled against the vegetable-tanned grain. Hold the sleeve to the light: you are looking at a process, not a color.
The lamb leather carries a brushed finish that softens the Perfecto's motorcycle silhouette into something quieter. Run a thumb across the chest panel and feel the fine napped grain - matte, chalky, absorbing light rather than reflecting it. Silver-toned zippers cut bright lines against the muted surface. The notch lapel and asymmetric closure honor the biker archetype, but the hand-washed patina and ribbed wool cuffs extending past the leather sleeves pull it somewhere older, somewhere closer to an excavated artifact than a factory floor.
Brato's Bologna workshop applies the garment-dye and hand-finishing after the jacket is complete. The leather breathes and oxidizes with wear, acquiring deeper tonal variance through friction and natural aging. The grey you see today is the lightest this jacket will ever be.