Season One · 1981–1990
Five people want something, not considering the consequence. Five moths circling the flame Abi Fisher built — each taking something. Her talent. Her labour. Her name. Her love. Only one didn't get burnt. It is not Abi.
The more successfully she built the boutique, the more valuable she made it to the operation. Her talent was the cover. Her work was the vehicle.
London / Kalgoorlie, Western Australia. Fashion as the institutional frame. Deception as design — lies stitched into relationships, branding, and ambition. Nine episodes. 1981–1990.
Production Design · Season One
Velvet Requiem · Ready for Production
Setting
London / Kalgoorlie
Years
1981–1990
Theme
Theft, betrayal, survival
Format
9 × 50 min
The Premise
Fashion designer Abigail Fisher builds a boutique on Savile Row from nothing into something genuinely extraordinary. Unknown to her, a diamond smuggling and money laundering operation has been constructed inside it — layer by layer — by the people she trusts most. By the time she can see the smoke, the walls have been burning for years.
The Cost
Abigail loses the boutique, the marriage, and London. She gains strategic clarity and the knowledge of what she is capable of surviving. The season closes in Kalgoorlie, Western Australia. What she carries forward into Season Two has been forged in the specific fire of having built something real and watched it be used against her.
Protagonist
Abigail Fisher
Age 31 at series open · Born 1950
Intelligent, guarded, emotionally magnetic. Design instinct that will later become forensic precision. Loses the boutique, the marriage, and London. Gains strategic clarity and the knowledge of what she is capable of surviving.
Antagonist S1–S3
Liam Carrington
Age 32 at series open · The Knight
Abigail's husband. Moves in an L-shape — unpredictable, jumping over others. Charming, calculating. Dangerous not because he plans carefully but because he does not understand his own danger.
Partner
Thomas Keller
Age 33 at series open
Slow, deliberate, very few words. Ham radio operator. Cuts bread with knife and fork into strips. Furniture at precise angles. Diabetes, managed but present. Love as ground — the man who stays.
Mentor
Manon Davis
Age 34 at series open · Suggested: Olivia Colman
Abigail's best friend. Horn-rimmed glasses. Five pairs of the same yellow sandals. Her letters never give direct advice — she puts a shape down and walks away from it. Paper has a longer memory than any bastard in a good suit.
Stylist
Lorenzo Ferreira
Age 28 at series open · Suggested: Aron Piper
The boutique stylist. Three registers: Lorenzo (professional), Lo (family mode), Loretta (entirely private). The moth-embroidered handkerchief in his breast pocket. The velvet swatches that travel with him.
Daughter
Olivia Carrington
Age 9 at series open · Born 1972
Fierce, impulsive, perceptive. Mirror and wound. Her arc across the anthology carries some of the most precise emotional writing of the series.
EP101
The Moths
The boutique opens. The moths circle. One will not burn.
EP102
The Fitting
What is being built alongside the boutique begins to take shape.
EP103
The Pattern
Abigail begins to see the outline of something she cannot yet name.
EP104
The Lining
What is hidden inside the thing that was made to be beautiful.
EP105
The Seam
The first visible tear. What was stitched together begins to separate.
EP106
The Alteration
Abigail attempts to correct what she now understands. The system pushes back.
EP107
The Cut
The operation is exposed. The people who built it inside her work move to contain the damage.
EP108
The Flame
The boutique burns. Not literally. What Abigail built is gone. What remains is her.
EP109
Burning
Kalgoorlie. The moth that did not burn lands somewhere open. The next move is hers.
Selected Dialogue
Safe is a moving target.
Abigail Fisher — EP101
Paper has a longer memory than any bastard in a good suit.
Manon Davis — EP201
Beware of what you want. Because that's what you'll get.
Series tagline
Henry Fisher
There she goes, saddling the wild horse again.
Abigail Fisher
But this time, I'm not falling off.