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From the House
Ikat is dyed before it is woven. The threads are bound in sections, dipped, unbound and set on the loom, so the pattern already exists in the yarn before there is any cloth to speak of. Everything else about the technique follows from that one decision.
The Ruby Raga Collar Kurta takes it into workwear, a maroon ikat with a structured collar that reads as a shirt from across a room. The Ikat Tote carries the same language into a bag that fits a fourteen-inch laptop.
The soft, feathered edge on an ikat motif is not a printing error. It is the signature of the method, and a sharp-edged ikat is usually a print pretending to be one.
To make ikat, a dyer measures out the warp threads, works out where every element of the finished design will fall, and then binds those sections tightly so dye cannot reach them. The bundle goes into the dye. It comes out, dries, gets unbound and rebound in a different arrangement, and goes back in for the next colour. Only when all of that is finished does the weaving begin, and by then the design is locked into the thread with no way to correct it.
Because the threads shift slightly as the weaver works, the motif blurs at its edges. That blur is the tell. Gujarat holds the most demanding version of this, the double ikat Patola of Patan, where warp and weft are both resist-dyed and have to meet each other exactly on the loom. A Patola sari can take months and is priced accordingly. Our pieces are single ikat, which is the same principle at a scale you can actually wear on a Wednesday.
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