All woven together

When Kochi-based designer Sreejith Jeevan put up an Instagram post about the need for variations in Kerala handloom, many commented that it should remain as is, untouched. And perhaps, unevolved. But Jeevan believes that even though we need to preserve tradition, for the weavers to earn and for the craft to sustain, variations are needed to keep it relevant – to the craftsperson and to the consumer.This thought has taken roots in the Indian fashion and textile design circles, where many designers and entrepreneurs are working to keep the traditions not only ticking, but staying ahead of time.
Take for instance, how Palak Shah of Ekaya Banaras and Sanjay Gupta of Raw Mango have added a different colour story to Banarasi to create a fresh new aesthetic. Designer Payal Khandwala crafts her own version of Indian modern, using Banarasi weaves. Anushé Pirani works with Indian handloom, khadi in ikat, bagru, Kashmiri thread embroidery to create contemporary ready-to-wear styles. Richana Khumanthem of Manipur runs an eponymous label that uses Northeastern fabrics in fresh cuts. Rina Singh of Eka believes in tweaking the crafts. She says, “As designers, we cannot re-invent crafts, they have been there for years. But what needs to be understood is that if they continue to do what they have been doing there is nothing new that would be created.”
The tweaks are subtle but significant. For instance, Kolkata-based Ron Dutta of Fatherland worked with jamdani for his sarees. He explains, “We worked with the weavers, but the motifs or alignments used might not classify as jamdanis.”
A TWEAK IN TIME
The grand doyenne of Indian textile tradition, Ritu Kumar, is heartened to see the current interest and experimentation with handloom in India. She notes that it’s only in India that even now that there’s a living tradition of weaves and textile – “which in other countries have been relegated to museums”. Jeevan agrees, and adds, “One of the biggest reasons crafts stay relevant is that tradition and modernity have found common ground.”
As someone who has been working and researching textiles for years, Kumar suggests not intervening with the process of handloom (unless you are a textile designer) but the form and the way it is used. “One of the biggest push to handloom is the popularity of bohemian style with its asymmetric cuts that plays to the strength of our weaves,” she says. Jeevan notes that design is the way to upgrade crafts. “No one will buy crafts to ‘protect’ or ‘preserve’ or ‘save’. Crafts will survive when it is relevant.”
SEEKING RELEVANCE
Shah says that everything needs to be evolved based on what the market demands. “The key idea of working on traditional crafts is to stay close to the roots. It has to be evolution – and not a sudden change.” For instance, you can update colours, density of the fabric you are working with, and add new motifs. In the process, you also teach the weavers newer skills. “It has to be a measured evolution. You can’t go from grade A to Z, just move to A++,” she says.
For young designers working with their native textiles, it’s also a fight for preserving their identity. Designer and illustrator Easternlight Zimik (from Manipur) started working with traditional textiles when he realised how important identity is after his experience outside his state. His illustrated series #textiletalk has started a conversation on Northeastern weaves. “When designers use indigenous craft or textiles, there’s a need to understand the value or sentiment of the story. For many tribes of Northeast, each textile represents something they value vitally, and defines their uniqueness,” he notes.
Pirani feels that fashion schools should focus on these crafts as a part of the course along with modern aspects of fashion. Jeevan notes that handlooms too follow trends – not the fast fashion kinds but enough to bring freshness. He says, “Style can co-exist with tradition; it’s not a crime to make that tweak as long as craftsmen and customer find a connection.” And that connection is happening.

Join the tribe: Manipuri designer Easternlight Zimik interprets tribal motifs from his area in a modern avatar for his #tribaltalk illustrated series

DRESS UP: Richana Khumanthem of Manipur uses her local weaves and dyes to create everyday basics
(From L to R)
-Shawl we dance: Kullu-based weaver co-op Bhuttico designs special patterns in collaboration with Pero’s Aneeth Arora
- Bag it: Subr Studio used Toda embroidery for a quirky bag

OLD is the new ‘new’: (left to right) Palak Shah of Ekaya Banaras collaborates with Masaba Gupta to create younger silk sarees; and Rangsutra uses traditional Kashmiri embroidery in boho styles