National Handloom Day: Spotlighting the indigenous handlooms of India
On National Handloom Day today, we spotlight the diversity of indigenous textile traditions and speak to designers who use them in their designs.
A thread converges, takes shape, twists, tangles, sometimes unravels, breaks and then connects — that’s the beauty of handloom. On National Handloom Day, we highlight the diverse indigenous textiles found throughout the country and talk to Indian designers who expertly incorporate them into their creations.
In the West, the Tangaliya weave is practised by the Dangasia and Bharwad communities in Gujarat. It is known for its dot patterns, created using extra threads wrapped around warp threads. In Maharashtra, Vidarbha’s intricate Karvati Kinar weave holds special value for designer Shruti Sancheti, who feels a deep responsibility to help preserve it through her continued work with handloom. “This art form is incredibly valuable to me,” she says.
Designer Ateev Anand, founder of the brand re-ceremonial, works with five craft communities. The brand sources silk chiffons from Benaras, Himroo in recycled cotton from Aurangabad, fine cottons with Zari from Bengal, Herringbone with Zari in Maheshwar, and silk and post-consumer recycled cotton weaves from Karnataka.
He also tells us that he has observed North Eastern communities that weave on a blackstrap loom, especially in Nagaland. “It’s an exceptional skill and quite an exciting weave to design around since it is only as wide as the width of the person weaving it,” he says.
The loin loom weaving from Nagaland and Mizoram is also one of the most primitive forms of backstrap weaving, done exclusively by women. Intricate, geometric patterns represent tribal identity, myths, and social status. This is used to create shawls, stoles, skirts (puan), and bags.
{{/usCountry}}The loin loom weaving from Nagaland and Mizoram is also one of the most primitive forms of backstrap weaving, done exclusively by women. Intricate, geometric patterns represent tribal identity, myths, and social status. This is used to create shawls, stoles, skirts (puan), and bags.
{{/usCountry}}Up North, the Tharu tribal women of the Terai region practise the indigenous craft of weaving baskets and household items using sheep wool, natural dyes, and backstrap looms. Their patterns draw inspiration from local flora, fauna, and myths.
{{/usCountry}}Up North, the Tharu tribal women of the Terai region practise the indigenous craft of weaving baskets and household items using sheep wool, natural dyes, and backstrap looms. Their patterns draw inspiration from local flora, fauna, and myths.
{{/usCountry}}Down South, the ikat-dyed, oil-treated Telia Rumal fabric from Andhra Pradesh and Telangana features red, black, and white geometric and floral patterns. Designer Vaishali Shadangule also favours Karnataka’s Khun handloom. “There are thousands of uses I can have with it, and though it is still not fully up there, it is now quite well known,” she says, adding, "“Kesapat is a lesser-known weave from Assam which I love for its elegance and ability to make good use of natural materials that you would not think of.”
{{/usCountry}}Down South, the ikat-dyed, oil-treated Telia Rumal fabric from Andhra Pradesh and Telangana features red, black, and white geometric and floral patterns. Designer Vaishali Shadangule also favours Karnataka’s Khun handloom. “There are thousands of uses I can have with it, and though it is still not fully up there, it is now quite well known,” she says, adding, "“Kesapat is a lesser-known weave from Assam which I love for its elegance and ability to make good use of natural materials that you would not think of.”
{{/usCountry}}Every season, designer Anushree Parekh works with different weavers and printers, including classic block printing, handwoven ikats, and patolas from Rajkot. “I believe every part of the country, every small village, has some stunning art that prevails there,” she adds.
