Beyond military conquest, the successful consolidation of Tawantinsuyu likely depended on the exercise of soft power and ideological cooptation. The widespread distribution of Inca pottery suggests it played a key role in the imperial agenda. Archaeological evidence from across the Empire indicates that provincial potters were mobilized to generate the distinctive vessels associated with the state, which typically differed significantly from their local repertoires. How did these potters produce the new forms demanded by the Inca? Was any practicing potter capable of adapting their skills? Would new communities of practice have emerged to meet the new morphological and stylistic requirements? We address these questions in a study of Inca and local pottery from southern Ecuador via a focus on the chaînes opératoires involved in production. We incorporate analyses of archaeological materials recovered from survey and excavation work in Olleros in the parish of San Miguel de Porotos in Cañar province, as well as observations from both ethnographic and ethnoarchaeological studies from this region and elsewhere. The study reveals that the Inca-style pottery found at the site was produced locally by expert Cañari potters who combined their usual techniques in a different way to achieve the requisite Inca vessel forms. These specialists were likely mitmaqkuna resettled in this region by the Inca due to the abundance of high quality clays in the region.