Around 1990, Czechoslovakia developed one of the most visually striking desert camouflage patterns ever produced — a five-colour splatter of reddish-brown, pale orange, light pink, and pale green on a sandy base. Known in Czech as písečná bouře (sandstorm), the pattern was never officially adopted by the Czech Armed Forces, though official photographs do show it in use, and one model of boot was issued for a brief period.
Throughout the 1990s, AGRECO fabric products — jackets, field shirts, and trousers — appeared on the civilian and export market. They found their way into the hands of guerrillas and irregular forces worldwide; among the most striking usage photographs is one of Al-Gaddafi's female guards wearing the pattern. A colour variant with more green tones also exists, likely developed for European environments.
In person, AGRECO is easily one of the most beautiful camouflage patterns ever made.
The KLMK — Kamuflirovannyy Letniy Maskirovochnyy Kombinezon, Camouflaged Summer Disguise Coverall — names a garment form, not a pattern. Soviet lightweight oversuits in this format were printed with several different designs across three decades: a leaf pattern dating to around 1948, a blotch design introduced in 1960, and the stair-step birch pattern — solnechnye zaychiki, “sun bunnies” — which entered service in 1968. The birch design became so dominant in the KLMK format that the two names are now used interchangeably.
The original KLMK uniform was never produced to a single consistent standard. Manufactured across multiple Soviet-era factories over more than two decades, the pattern appeared in a wide range of color expressions — some the result of inconsistent dye batches and varying fabric stocks, others deliberate adaptations for different operational environments and issuing branches. Collectors and researchers have documented dozens of distinct variations, ranging from bright yellow-green to deep olive, from stark white to warm khaki, with the spaces between shapes shifting from near-black to medium green depending on the production run.
Two broad color families define the historical record. The first pairs white shapes against a medium green ground — produced as a reversible uniform from 1968 onward, with an anti-night vision treatment on the reverse side. Nicknamed solnechnye zaychiki (sun bunnies) for the dappled light effect the white shapes produce in woodland, it remains the most visually distinctive of the KLMK variants. The second and more prevalent family features yellow or yellow-green shapes on a dark olive field, the colorway most associated with KGB Border Guard units, MVD spetsnaz, and Internal Troops. Within this family, color expression varies considerably — from bright yellow-green to warmer khaki and tan tones — reflecting differences in factory output, fabric stock, and likely some degree of intentional adaptation for drier operational environments.
The pattern did not retire with the Soviet Union. Ex-Soviet republics continued issuing KLMK uniforms well into the post-Soviet era, and commercial production for civilian and paramilitary markets has continued to the present day — further expanding the range of colorways and print qualities in circulation. This extended production history makes definitive attribution difficult, and contributes to the breadth of variation seen across surviving examples.
We carry three colorways spanning both families. Solnechnye Zaychiki — sun bunnies, white on green — is the reversible woodland variant. Listvenny — leafy, yellow-green — follows the classic spetsnaz issue. Yantarny — amber, khaki on dark green — represents the warmer end of the yellow-on-green family. Each name is drawn from the Russian descriptive tradition around the pattern, chosen to reflect what you’re actually looking at rather than an arbitrary numbering system.
In 1957, the Österreichisches Bundesheer introduced the K4 “Peadot” — known formally as the Fleckenteppich, or “carpet of spots” — as the standard camouflage of the Austrian armed forces. Its five-colour painterly design was unlike anything else in Cold War military dress: organic, almost impressionistic, built for the alpine terrain of a neutral nation sitting between two superpowers. The pattern sits in a broader family of European dot-based designs, sharing visual logic with the German Flecktarn and Swiss Leibermuster lineage — tight clusters of irregular dots in olive, brown, and tan that break up the human silhouette at medium range without relying on large-scale blotch geometry.
The Austrian Army officially retired it in 1978. Their snipers didn’t. For years after the pattern was pulled from general issue, Austrian military marksmen continued using it in the field because nothing they were given worked as well. That’s the clearest possible endorsement a camouflage pattern can receive.
It remains one of the rarest Cold War patterns in circulation — produced in limited quantities, exported sparingly, and largely absent from the surplus market that kept other Warsaw Pact-era designs in common circulation. Collectors know it. Almost no one else does.
For most of the Cold War, the Marine Corps treated urban warfare as something to be avoided rather than mastered. Even the Battle of Mogadishu in 1993 produced no lasting institutional shift. What changed was General Charles Krulak. When he became Commandant in 1995, convinced that cities were the battlefields of the future, he created the Marine Corps Warfighting Laboratory and launched the Urban Warrior Project — and the Corps’ focus on MOUT training transformed almost overnight.
The problem the Lab inherited had no clean solution: the four-colour M81 Woodland pattern that equipped most of the force was poorly suited to concrete, asphalt, and the deep shadow geometry of built-up environments. Earlier attempts had already shown the limits of adaptation — around 1994, a two-colour reversible Urban-Woodland uniform had appeared in limited trial, documented in a single photograph from Natick Labs, then apparently discontinued. Grey-scale recolours of Woodland were tested at Camp Lejeune in 1998. The T-Block pattern came out of what those trials demonstrated: purpose-built rather than adapted, its medium grey, dark grey, and black rectangular blocks designed as a pattern-breaker against concrete and shadow. The experimental T-Block BDU appeared during the 1999 Urban Warrior exercises in Oakland and Alameda, California — and was never officially adopted.
The amber colorway — documented in historical uniforms from Soviet border guard and KGB-associated units, more common in photographs from the southern frontier than the standard birch. Whether that distribution reflects deliberate adaptation to drier terrain or simply the inconsistency of Soviet manufacturing at scale, remains up to debate. The knit fleece is a good home for it: substantial enough for real cold, clean enough for everyday wear
The Denison Smock is one of the most storied camouflage designs in military history — developed by the British Army in late 1941 and issued to Allied airborne forces, the Special Operations Executive, the SAS, and Commandos throughout the Second World War.
The 1st Pattern Denison features a yellowish-sand base with broad pea green and dark brown brushstrokes. What makes it unique among camouflage patterns is its production method: no two smocks were ever identical. Our recreation honours that tradition — each colorway in this collection is a distinct, documented interpretation of the original pattern.
In 1982, the 4/7 Royal Dragoon Guards in West Berlin scrapped the British Army's standard green and replaced it with something built for a city: large rectangular blocks of brick red, blue-grey, and off-white — every edge vertical or horizontal, inspired by WWI Royal Navy dazzle camouflage. Not just to conceal, but to deceive. All 18 of the Brigade's Chieftain tanks were painted identically so the Soviets couldn't count them. Read the full pattern history →
A single block of Berlin Brigade camouflage on a Chieftain tank is roughly the size of a person. Designed for armoured vehicles against the hard urban angles of a divided city — not the human form. When we adapted the pattern for wearable garments, we faced the same challenge military tailors have always faced: the pattern language had to be reinterpreted for a radically different surface area. Scale it down literally and you lose the pattern entirely. So what you're wearing isn't a miniaturised copy — it's a considered translation, the same way a map is a translation of terrain. The geometry is faithful. The palette is accurate. The scale is human.
Yes — we ship worldwide. Shipping costs and delivery timeframes vary by region. See our Shipping Policy for current estimates.
Our products are made on demand — produced specifically for your order. Most orders are processed within 2–10 business days, with delivery typically taking 10–20 business days depending on your location. See our [Shipping Policy] for regional estimates.
What is your return policy?
We accept returns on unworn, unwashed items within 30 days of delivery. See our Refund Policy for full details.
Yes. Every pattern in our catalog is researched before it goes into production. We document the origin, the issuing country, the era, and the colorway variations. The Patterns — A History covers the full record for each design we carry.
All pieces are made on demand by a specialist print-on-demand supplier. Fabric specs and fit information are listed on each individual product page, along with a size chart with measurements in both inches and centimetres.
Check the size chart on the product page — every item has one, with measurements taken directly from the garment. When in doubt, size up. If you have a specific question, contact us and we'll help you find the right fit.
