可持续性是我们实践的基础

Every Iro Iro piece begins with what already exists. The studio works exclusively with reclaimed materials, including textile offcuts, surplus yarns, discarded garments, and production remnants that would otherwise be overlooked. No virgin fibres are introduced, and no plastics are used in the process.

These materials are transformed through handloom weaving and small-scale production into textiles, garments, and objects designed for longevity.

Production takes place across a network of independent makers and workshops in Rajasthan. Some pieces are woven and ready to ship, while others are produced in limited quantities or made to order. Tags and labels are printed using soot ink, made from an air pollutant that is captured and reused.

By working with circular processes and decentralised production, Iro Iro seeks to reduce waste while demonstrating alternative possibilities for contemporary textile manufacturing.

Craft is not a decorative addition to our work; it is the work itself. Iro Iro collaborates with handloom weavers, dyers, and textile artisans across Rajasthan whose knowledge has been developed over generations. Techniques such as rag weaving, pattu weaving, and natural dyeing continue to evolve through practice, adaptation, and experimentation.

The studio’s textiles are developed through ongoing dialogue between indigenous knowledge and contemporary design. Each weave is studied, refined, and documented, creating a growing textile language that connects material innovation with cultural continuity.

By supporting handloom production and traditional textile craft, Iro Iro contributes to the preservation of skills that remain essential to the future of sustainable fashion.

The work of Iro Iro is shaped by the people who make it. The studio collaborates with a network of weavers, dyers, tailors, and craftspeople across Rajasthan, many of whom have practised their craft for decades. Their knowledge informs every stage of production, from material selection and weaving techniques to finishing and construction.

By working within existing communities rather than centralised factories, production remains connected to local livelihoods, traditional knowledge, and regional economies. This approach supports year-round employment, fair compensation, and opportunities for younger generations to continue craft practices that might otherwise be lost.

Behind every textile is a chain of relationships built over time. We believe these relationships are as important to the value of an object as the materials from which it is made.

Decolonisation begins with recognising where knowledge comes from.

For generations, India’s textile traditions have shaped the way cloth is woven, dyed, repaired, and reused. Yet many of these practices have been undervalued within global fashion systems that prioritise scale, speed, and standardisation over local knowledge and craft.

Iro Iro works from the belief that traditional indigenous textile practices are not relics of the past but living systems of design, innovation, and environmental stewardship. The studio seeks to centre the makers, materials, and regions from which its work emerges, acknowledging craft not as labour alone, but as authorship.

For us, decolonisation is an ongoing practice of attribution, preservation, and respect. It means recognising the cultural value of handloom weaving, supporting the continuity of textile knowledge, and ensuring that the people and places behind the work remain visible within it.