For approaching two decades, our work has been driven by a willingness to question convention and the systems surrounding the things we make. 

From the beginning, we've asked deliberately provocative questions. What happens when an existing object becomes the starting point for design? Can waste become a resource? Can responsibility drive creativity rather than restrict it? And ultimately, do we need to make as much as we do?

Those questions have taken our work from an independent fashion label into a broader multidisciplinary creative studio, while retaining the curiosity and hands-on approach that defined our beginnings.

We've worked across collections, products, materials, installations, film and culture, alongside an extraordinary network of collaborators, manufacturers, makers and global organisations.

What connects our work is not a single aesthetic or predetermined answer, but a way of thinking: research deeply, understand what already exists, experiment intelligently and make with purpose. 

Radical ideas and experimentation provide the starting point, but we're equally interested in where those ideas can lead — from provocation and prototype through to desirable products, viable opportunities and solutions capable of creating meaningful impact.

Our story began with a fascination for objects that had already lived a life. Military garments, equipment and parachutes became an early source of research — not simply for their aesthetic, but for their extraordinary concentration of material intelligence, functionality and purpose. Every pocket had a reason, every fastening solved a problem and every material had been selected to perform.

Original military parachutes became particularly important. One parachute, bought for £30, was transformed into eight outerwear pieces and presented at London Fashion Week. It was a deceptively simple experiment that contained the beginnings of an entirely different approach to design: rather than starting with new material and a blank sheet of paper, start with what already exists.

The resulting garments retained the evidence of their previous lives. Original panels, seams, colours and markings informed every piece, while the constraints of the material became creative opportunities rather than limitations. RÆMADE IN ENGLAND became both a description of the process and an early statement of intent.

What started as an instinctive way of making quickly developed into something much bigger: a belief that responsibility could be a catalyst for creativity, and that some of the most interesting answers emerge when we begin by questioning the conventional ones.

Before making something new, understand what is already there.

What began as an instinctive way of working developed into three principles that continue to guide how we think, design and make: RÆMADE, RÆDUCED and RÆCYCLED.

They aren't labels applied to finished products. They're different ways of approaching a problem from the beginning — challenging us to look first at what already exists, question what is really needed and make more intelligent use of the resources available to us.

Experimentation is fundamental to how we work. Rather than beginning with a predetermined solution, we move through research, materials, deconstruction, drawing, prototyping, making and testing — allowing the process itself to reveal opportunities.

Working physically is particularly important. Taking something apart teaches us how it was made. Building a prototype exposes problems that cannot always be seen on paper. Testing an idea creates knowledge that can be applied, challenged and developed further.

The outcomes can be radically different. An experiment might become a one-of-one RÆMADE piece, a collection, a material innovation or a product capable of being produced at scale. With RÆFOUND, experimentation led in the opposite direction: recognising that sometimes the most responsible design intervention is almost no intervention at all.

For us, experimentation isn't an end in itself. It's a way to learn, prove ideas and create opportunity. The ambition is to understand how a radical thought or small-scale prototype can develop into something desirable, viable and capable of creating meaningful impact.

Think radically. Test physically. Learn constantly.

Around RÆBURN is an evolving community of designers, makers, artists, photographers, filmmakers, engineers, material specialists, students, collaborators and friends — each bringing different knowledge, experience and perspectives into our work.

That openness is fundamental to how we operate. Collaboration allows an idea to be challenged and interpreted in ways we might never reach alone, while craft provides the practical knowledge to turn those ideas into something real. Creativity connects the two — creating the possibility to imagine things differently.

But community, for us, goes further than collaboration. We believe in sharing what we learn. Our studio operates with a deliberate transparency. Through regular public tours, talks and education, we open the doors to our archive, materials, methods and works in progress — sharing not only finished outcomes, but the questions, experiments, successes and failures behind them.

The ambition is not to prescribe a single answer. It is to inspire new thinkers: people willing to question established systems, explore different possibilities and consider how creativity might respond to the environmental and social challenges around us.

For us, craft, creativity and community are interconnected. Craft gives us the ability to understand and make. Creativity allows us to imagine something different. Community allows knowledge to circulate, perspectives to collide and ideas to travel further.

The more we share, the more we learn.

Alongside this sits the RÆBURN archive: approaching two decades of our own garments, products, materials, prototypes, collaborations and experiments. Together, the two create an extraordinary working resource, allowing original artefacts and RÆBURN pieces to sit side by side and continually inform one another.

For us, an archive isn't about nostalgia. It's a resource for what comes next. 

A construction detail discovered in an original garment can unlock a new product; a material explored years ago can become relevant in an entirely different context; and an unrealised prototype can provide the starting point for another experiment. The archive allows us to look backwards in order to keep moving forwards.

We're also incredibly proud that many pieces from our earlier RÆBURN collections are now held by the Victoria and Albert Museum, making an important part of our history accessible to the public, including through the V&A East Storehouse in East London.

The archive continues to grow with every project, creating an evolving record of what we've researched, questioned, made and learned.

Past, present and future remain in constant conversation.

Today, RÆBURN operates from the Design District on Greenwich Peninsula in London, bringing our design studio, RÆMADE atelier and archive together within a wider creative community.

The space has been shaped around the way we work. Materials, artefacts, prototypes and works in progress remain visible and accessible, allowing ideas to move naturally between research, conversation, design and making. We prototype extensively, often beginning within our own studio so that ideas can be tested physically, challenged and refined through the process of making.

From there, we work with the people and places best suited to bring each project to life. That might mean continuing within the RÆMADE atelier, working with specialist manufacturers here in London, or looking further afield when a particular material, process or expertise demands it. Our philosophy has always been simple: make the highest-quality product in the right place to make it.

This approach allows us to remain deliberately small and hands-on while operating on a much wider scale. Through our network of makers, manufacturers, specialists and collaborators, ideas that begin around a table in London can develop into products, projects and partnerships around the world.

The studio is therefore both our physical home and the starting point for something much bigger: a place to think, prototype and refine, before the strongest ideas travel further.

We've learned through making and experimentation, through ideas that succeeded and others that failed, and through working with people whose expertise has continually challenged us to think differently.

But responsible design has never been a destination. Materials evolve, technologies advance, systems change and new challenges emerge. Our role isn't to repeat what has worked before, but to take everything we've learned and use it to ask better questions about what comes next.

We want to continue making exceptional products, experimenting with materials and processes, challenging established systems and working with people who bring different perspectives to the table. 

Just as importantly, we want to understand how the strongest ideas can travel further — from experiment to opportunity, from prototype to product, and from radical thinking to meaningful impact.

The questions remain deliberately difficult. What should we make? What shouldn't we make? How can we use what already exists more intelligently? How can creativity respond to the environmental and social challenges around us? And how can a small studio contribute to change on a much bigger scale?

We don't expect the answers to remain the same. What matters is that we continue to question, experiment, make and learn — using everything we've built so far as the foundation for what comes next.