Atola Papers has released the second in its series of Maker collaborations, and this one starts, quite literally, in the scrap pile. Titled Offcuts, the collection is made in partnership with Joshua India, a Jaipur-based block-printing studio, and it takes the discarded cotton under layers used during the block-printing process, the cloth that sits beneath the primary fabric and quietly soaks up runoff colour and pattern, and turns them into one-of-a-kind table linen.

These underlayers were never meant to be seen, otherwise that is. In a traditional block-printing workflow, they're a byproduct: functional, disposable, invisible. By pulling them out of the process and presenting them as finished objects, Offcuts inverts the usual hierarchy between a "final" piece and its waste. Each one carries an accumulation of colour and mark-making that no single printing run could deliberately produce — smudges, overlaps, ghost impressions of patterns that were meant for something else. The result is a set of thirteen numbered pieces (Offcut No. 01 through No. 13), each genuinely unrepeatable, alongside a flower-shaped placemat variant.

The brand describes itself as a home for "contemporary functional objects with character," and its name is a deliberate reference to Patola — the centuries-old double ikat weaving tradition from Gujarat, prized for the months of patience and precision each piece demands. That inheritance shows up in Atola's whole approach: rather than mass-producing a single house aesthetic, the label works collection by collection with different makers and craft traditions, treating each drop less like a product launch and more like a documented collaboration. The "Papers" half of the name nods to this, Atola positions itself not just as a shop but as a kind of ongoing editorial record of contemporary design and craft, reclaiming the word from traditional reportage.

Offcuts follows the brand's first Maker collaboration, Bobbles, and continues a pattern of collections built around a specific technique or material story rather than a generic seasonal theme. It's a small gesture, dressing a table in what used to be scrap and an argument again at what a craft process leaves behind, and asking whether it was ever really waste to begin with.

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