1. Can you introduce TANORA and tell us about its origins and mission?
The idea came in 2014 when my business partner and I visited Australia. We were on a trip, but both of us had grown up in Madagascar, often around workshops where raffia handicrafts were a big part of daily life. Raffia has always been embedded in our culture; we grew up with it.
When we arrived in Australia, we immediately fell in love with the country, its outdoor culture, the beach, the sun, the summer vibes. Raffia has that same connection with summer, so the bridge came quite naturally. We thought it would be a great idea to create a brand that brought together those two worlds.
It took us two years to prepare everything, and in 2016 we set up the label in Sydney. By pure coincidence, we lived next to Zimmermann’s headquarters, and they became our very first client. We just walked in and dropped some samples, saying, “We just arrived, if you’re interested, let us know.” They gave it a try, and since then, we’ve continued working with them on their raffia range. That’s how it all started.
2. Why did you choose Madagascar as the production base for TANORA, and how has that decision shaped your brand’s identity?
We are both from Madagascar, from the capital, where most workshops and artisans are, and from the northwest, where the raffia itself grows. I’ve always been deeply connected to the island. Even though I chose to live in Australia, it was very important for us to maintain a strong, tangible link to Madagascar.
Raffia handicraft is an essential part of Madagascar’s heritage and cultural identity. We wanted to continue that legacy, but with a modern touch, bringing contemporary, design-driven pieces to Australia while respecting the traditional roots of the craft.
3. What makes raffia such a unique and sustainable material for fashion and homewares?
Raffia has many strengths. It comes from a palm tree, contrary to popular belief, it’s not a grass. The raffia palm is native to Madagascar, and about 80% of the world’s raffia comes from here. So, when people talk about high-quality raffia, they’re usually referring to Malagasy raffia, it’s like vanilla in that way.
What makes it sustainable is that the palm trees are only pruned, never cut down. There’s a specific period, from May to October, when it’s permitted to collect the leaves. These leaves have to be at least 1.2 meters long to be harvested, there are regulations to ensure sustainability and tree health. The rest of the year, no pruning is allowed.
It’s a completely green process. No trees are cut, no animals involved. It’s one of the most sustainable materials currently used in fashion, which is probably why raffia is seeing a surge in popularity right now.
4. How do you ensure ethical and environmentally responsible production practices throughout your supply chain?
One of our core values is staying a human size atelier. We don’t want to grow into a massive factory. At the moment, we employ about 90% women, and ideally, we’d like to cap the team at around 150 to 200 artisans. This scale allows us to maintain close relationships, offer better training, ensure quality control, and create a supportive environment.
We also emphasize traceability. All our partners are long-term collaborators. One key challenge in Madagascar is accessing raw materials directly from the source, especially raffia. So now, we’re working on a new sourcing hub closer to the farmers, to eventually be able to say: “This bag comes from this tree.” It’s a difficult goal, but we’re committed to making it happen this year.
5. TANORA blends Australian minimalism with Malagasy craftsmanship. How do you balance these influences in your designs?
Our main inspiration comes from the “Japandi” movement, which fuses Japanese and Scandinavian design, a minimalist approach with a neutral, earthy color palette. This aligns with our sustainable practices, too. We use only natural dyes like coffee, tea, turmeric, so no chemical processing, and the result is always a gentle, quiet aesthetic.
That concept of “quiet luxury” resonates with us personally as well. Both my business partner and I are quiet, introspective people. Our designs reflect that personality, clean lines, subtle details, but we always incorporate an element of Malagasy heritage. Whether it's through French bobbin lace, macramé, braiding, or specific stitches, we currently use over 150 stitch variations in our designs. It’s about fusing traditions with timeless elegance.
6. What role do local artisans and communities play in TANORA’s story?
They are everything. They’re not just part of our story, they are the story. TANORA simply wouldn’t exist without them. Most of our artisans are single mothers, women who are looking after their children on their own. Raffia work focuses on skill rather than tools, you only need a hook and the fiber, so we offer them the flexibility to work from home if needed.
We know every artisan by name and their situation. That closeness is vital to us. It’s not just about the product; it’s about community. We always try to highlight them on our website and Instagram, because they are the true heart of TANORA.
7. How does TANORA contribute to the preservation of traditional Malagasy handicrafts?
We build that preservation into our collection design. Each season, we ensure our collections include a mix of traditional techniques: French bobbin lace, macramé, various braiding methods, and local cultural symbols, like our traveler tree charms.
A lot of these artisanal techniques are at risk of disappearing. So we don’t just produce, we train. As we work, we’re also teaching the next generation. That transmission of knowledge is a key part of our mission.
8. What challenges have you encountered working in Madagascar, and how have you overcome them?
Madagascar is a land of opportunity, rich in resources, talent, and heritage. It’s the third-largest employment sector for handicrafts, after agriculture and tourism. In fact, 58% of craft exports are raffia-based, and since 2021, those exports have nearly tripled, reaching a value of around $80 million.
However, challenges remain, especially in infrastructure. Transport, road conditions, and shipping costs can be tough due to the island’s geographic isolation. But improvements are underway, including a new highway between the port and the capital, which will be a game changer. The Emirates flight also helps open new doors. Slowly but surely, things are improving.
9. Are you looking to expand your footprint in the Middle East, especially through partnerships with Gulf-based retailers or investors?
The Middle East has always been in the back of our minds. The climate is ideal, raffia is tied to summer, and the region enjoys that season all year round. Unlike in Europe or the US where our products are seasonal, in the Gulf, it’s always relevant.
We also believe that Gulf consumers appreciate handcrafted, bespoke luxury. We’ve already done bespoke ranges for resorts in Australia and have collaborated with brands like Stella McCartney, Zimmerman, and Alemais. We’re definitely open to partnerships, exclusive capsule collections, retail distributors, or concept store collaborations.
10. Finally, what message would you like to share with our readers about TANORA’s values and the opportunities in sustainable luxury?
TANORA is about bridging tradition and design, community and fashion, sustainability and storytelling. If your readers are seeking pieces with soul and craftsmanship with conscience, we invite them to walk this journey with us, and with Madagascar, with love.
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