The Story Behind HOMURA
I wasn’t trying to start a business. I was trying to reconnect with my roots.
Somehow, I found both in rugs.
Growing up with Iranian roots, textiles were part of the visual language around me. They were familiar without ever feeling ordinary. I associated them with family, identity and a culture I was not always physically close to, but could still recognise through colours, patterns and materials.
Years later, I encountered Moroccan rugs and felt an immediate sense of recognition. The aesthetic was different, but the emotion was familiar. Each piece seemed to reveal the personality of the person who had made it through unexpected combinations, imperfect lines and instinctive gestures.
That feeling stayed with me and eventually became HOMURA.
Choosing Curation Over Production
What interested me was never the idea of designing another collection and ordering hundreds of identical products.
I was drawn to the search itself: visiting cooperatives, meeting the women involved, unrolling rug after rug and waiting for the one that made me stop. I loved that the process could not be entirely planned or predicted.
HOMURA grew from this instinct for discovery.
We select vintage rugs as well as a limited number of recently woven pieces, through women-led associations and cooperatives. The selection is guided by feeling as much as aesthetics: an unusual colour combination, a certain texture, an irregular composition or the way a piece immediately changes the energy around it.
Even when a motif belongs to a shared weaving tradition, every artisan interprets it differently. The rhythm of the pattern, the proportions, the colour variations and the marks of time give each rug its own identity.
This is what makes the search so special.
Changing the Frame
I also wanted to change the way these rugs were perceived.
They are frequently placed within visual codes that feel overly traditional, exoticised or disconnected from the way a new generation actually lives. I wanted to remove that distance and show how naturally they can exist alongside contemporary furniture, fashion, architecture and culture.
With HOMURA, the rug becomes the starting point rather than the final addition.
Our imagery is expressive, unexpected and sometimes playful. We borrow the confidence and storytelling of fashion while remaining respectful of the people, techniques and places behind the pieces.
The objective is not to modernise the rugs themselves. They already have everything they need.
We simply change the frame around them.
A Female Perspective
Building HOMURA as a female founder has also shaped the way I approach the brand.
Much of the knowledge behind the rugs we select has been protected and transmitted by women. Working with women-led associations and cooperatives allows us to build relationships with structures that give these skills greater visibility and economic value.
For me, this creates a connection between women from different places and generations: those who preserve the craft, those who reinterpret how it is presented and those who eventually choose to live with it.
HOMURA became my way of bringing these worlds together.
More Than Something That Matches
I do not believe the most interesting homes are created by choosing objects that simply match.
They are created through personal discoveries, pieces that reveal something about the person who chose them.
A HOMURA rug can be bold, understated, graphic, imperfect, colourful or beautifully restrained. What matters is that it creates a reaction and gives the space a point of view.
The treasures were already there.
They did not need to be redesigned. They simply needed to be seen differently.
By a new generation, for a new generation.
With warmth,
Jess
The Story Behind HOMURA
I wasn’t trying to start a business. I was trying to reconnect with my roots.
Somehow, I found both in rugs.
Growing up with Iranian roots, textiles were part of the visual language around me. They were familiar without ever feeling ordinary. I associated them with family, identity and a culture I was not always physically close to, but could still recognise through colours, patterns and materials.
Years later, I encountered Moroccan rugs and felt an immediate sense of recognition. The aesthetic was different, but the emotion was familiar. Each piece seemed to reveal the personality of the person who had made it through unexpected combinations, imperfect lines and instinctive gestures.
That feeling stayed with me and eventually became HOMURA.
Choosing Curation Over Production
What interested me was never the idea of designing another collection and ordering hundreds of identical products.
I was drawn to the search itself: visiting cooperatives, meeting the women involved, unrolling rug after rug and waiting for the one that made me stop. I loved that the process could not be entirely planned or predicted.
HOMURA grew from this instinct for discovery.
We select vintage rugs as well as a limited number of recently woven pieces, through women-led associations and cooperatives. The selection is guided by feeling as much as aesthetics: an unusual colour combination, a certain texture, an irregular composition or the way a piece immediately changes the energy around it.
Even when a motif belongs to a shared weaving tradition, every artisan interprets it differently. The rhythm of the pattern, the proportions, the colour variations and the marks of time give each rug its own identity.
This is what makes the search so special.
Changing the Frame
I also wanted to change the way these rugs were perceived.
They are frequently placed within visual codes that feel overly traditional, exoticised or disconnected from the way a new generation actually lives. I wanted to remove that distance and show how naturally they can exist alongside contemporary furniture, fashion, architecture and culture.
With HOMURA, the rug becomes the starting point rather than the final addition.
Our imagery is expressive, unexpected and sometimes playful. We borrow the confidence and storytelling of fashion while remaining respectful of the people, techniques and places behind the pieces.
The objective is not to modernise the rugs themselves. They already have everything they need.
We simply change the frame around them.
A Female Perspective
Building HOMURA as a female founder has also shaped the way I approach the brand.
Much of the knowledge behind the rugs we select has been protected and transmitted by women. Working with women-led associations and cooperatives allows us to build relationships with structures that give these skills greater visibility and economic value.
For me, this creates a connection between women from different places and generations: those who preserve the craft, those who reinterpret how it is presented and those who eventually choose to live with it.
HOMURA became my way of bringing these worlds together.
More Than Something That Matches
I do not believe the most interesting homes are created by choosing objects that simply match.
They are created through personal discoveries, pieces that reveal something about the person who chose them.
A HOMURA rug can be bold, understated, graphic, imperfect, colourful or beautifully restrained. What matters is that it creates a reaction and gives the space a point of view.
The treasures were already there.
They did not need to be redesigned. They simply needed to be seen differently.
By a new generation, for a new generation.
With warmth,
Jess