On Instagram, kamulch creates extraordinary cityscapes using nothing more than a fountain pen. No digital corrections. No undo button. Just ink, paper, and an incredible amount of patience. The level of detail he achieves is almost unbelievable. Entire streets unfold through thousands of tiny, deliberate lines. It is mind blowing.

What resonates with me personally is the choice of tool. I also draw everything with a fountain pen. There is something about that constant flow of ink that feels alive. The line does not hesitate. It moves as you move. I choose my fountain pens carefully, depending on the thickness of the nib and the kind of line I want to create. And I always carry one with me. It is not just a pen, it is an extension of the hand.

Of course, what he does is another level entirely. The patience alone is extraordinary. To sit, observe, and build an entire world line by line requires discipline, focus, and devotion to craft. You can feel the hours inside each drawing.

And this is exactly the kind of work we should be filling our feeds with. Not gossip. Not endless drama about kings and queens and scandals. But craft. Skill. Dedication. The beauty of someone quietly perfecting their art.

In a world that moves too fast, watching ink flow steadily across paper is a reminder that mastery still exists. And that sometimes the most powerful thing you can do is slow down and draw.

It was a conscious decision rather than a forced one, although I do admit that my weekly trips to Singapore conveniently do not count as travelling in my head. If you can take a bus there, it feels more like commuting than wandering.

The book is Dior Scarves. Fashion Stories, published by Thames & Hudson, and it explores decades of scarf design from the house of Dior. It is one of the most beautiful books I own. The pages are exceptionally thin, almost tissue like, which somehow makes the experience more luxurious because there are so many of them. You turn one page and then another and another, and it feels endless. Scarves upon scarves, each one telling its own small visual story.

What I love most about this book is the sense of freedom in the designs. You quickly realise that a scarf does not need to be rigidly structured or overwhelmingly intricate to be impactful. It does not always need to be engineered with mathematical precision. Sometimes it is simply one flower, placed with confidence, and that is enough. Sometimes it is a bold sweep of colour or an expressive illustration that feels almost spontaneous.

Many of the designs appear hand painted or hand drawn, and that human touch is unmistakable. You can see the softness of the brush, the slight irregularities in the line, and the life inside the composition. There is warmth in it. There is personality. It does not feel overworked or digitally perfected.

As someone who spends her life thinking about prints and patterns, I find this deeply inspiring. It feels very close to what we believe in. Florals that are not shy. Patterns that are allowed to breathe. Motifs that carry emotion rather than just decoration.

This book is a reminder that flowers never go out of fashion, and neither do patterns. They evolve and reinterpret themselves, but they never disappear. They simply return in new colours, new scales, and new moods, ready to be loved all over again.