Glen Norah in Harare, Zimbabwe originally built for Harare’s 1960s tobacco-factory workers, is the township where my grandmother bought her first home at 21 years old, a two roomed cottaged. Over 6 decades she expanded the house “brick by borrowed brick” to not only a home for  her children but into a refuge for cousins between jobs, neighbours, funerals, and strangers in passing need. Her home functioned as a living gift economy, proving that walls can be instruments of generosity. 1925 Glen Norah is the address of that house.

It is within this community I first encountered the lamb, as Catholic iconography at St Patrick’s Church Glen Norah Parish. In Christian theology the Agnus Dei (Lamb of God) embodies innocence and willing sacrifice, but its semantic range extends further: across Abrahamic and African cosmologies the lamb signals renewal, protection, and communal feast. Thus, when transposed onto the brand’s visual identity, the lamb functions as a semiotic shorthand for the house’s ethic of shelter.

In David Hammons’s “Dakar Raffle” (2004) live sheep became lottery prizes, turning the lamb into a currency of care that circulates outside market logic. The brand’s tagline, “Diamond Water · Paradox of Praxis” extends that. Adam Smith’s diamond–water paradox asks why essential water is cheap while useless diamonds are valuable; Francis Alÿs’s Paradox of Praxis #1 (1997) shows a ton of ice (solid water) pushed through Mexico City until it disappears, labour invested in an object that vanishes. By fusing these references, “Diamond Water · Paradox of Praxis” frames fragrance as diamond water, a liquid no one needs for survival, yet one breath can unlock grief healed, courage sparked, or the memory of a home. Its true cost is carried in emotion, not in coin. The same way my grandmother’s hospitality accrued value beyond money.

Together, the lamb and the tagline articulate 1925 Glen Norah’s proposition, feeling as wealth.