An ode to the Banjara spirit - our tribute to craft-modern, sculptural, and deeply rooted. From oxidised motifs to kinetic silhouettes, a play on tradition using engineered textures.
The Banjara woman carries metal as inheritance - around the neck, across the chest, along the ankles. It is strength, protection, and presence.
OXYNN absorbs these codes - oxidised surfaces, clustered reflections, weighted layering - and reinterprets them in a contemporary couture context.
The result is not costume, but a distilled language.
Tribal, yet precise. Ornate, yet restrained.
Mirror Work
Among Banjara women, mirrors signified more than adornment
In OXYNN, each mirror is set into metal - framed, edged, and absorbed into the surface. Oxidised, restrained, deliberate.
Bandhani
Bandhani begins with tension - a knot that holds form.
In OXYNN, thread gives way to cord. Each tie is hand-set in metal, layered into repetition until the surface gathers density.
The knot remains. Its language shifts.
Patola
Patola is discipline - grid, geometry, precision.
In OXYNN, that order is rebuilt in metallic cord. Motifs are cut, assembled, and locked into a measured jaal.
The structure stands. The garment follows.
the OXYNN Paisley
Paisley appears as a constructed form rather than a decorative motif.
Laser-cut metal, layered mesh, and translucent panels reinterpret the paisley at scale - fragmented, repeated, and embedded into the textile.
