Delhi: 2 weeks since blaze, Dilli Haat reopens
Around 130 traders returned to their place of work to start from scratch, unpacking goods and setting up their shops as the iconic Dilli Haat in INA reopened on Friday, two weeks after a major fire destroyed at least 30 stalls and damaged stock worth lakhs.
Though their number was lower than usual, visitors and tourists too flocked to the huge market complex, a part of which was still under renovation due to the blaze. Process is also underway to upgrade electrical connections at the market for safety purposes.
But while traders said they are relieved that work has resumed, there are still apprehensions about the safety measures introduced after the April 30 fire incident.
Siddharth Bhattacharya, a designer who works with Khadi fabric, said that he brought his own fire safety equipment. 'I bought my own fire extinguisher and fire resistant tarpaulin,' he said.
Visitors also had similar expectations. 'We have been coming to this market for years — this place has it all. We hope that fire safety arrangements are upgraded and there will be better amenities for shoppers,' said Amrit Sandhu, who was visiting the market with his family.
Another shopper said since the makeshift shops are not set up yet, shopping choices are limited.
Timings have also been changed at the market, as the tourism department, which runs Dilli Haat, has directed that shops will shut at 8pm instead of 10pm, said Bhattacharya.
Another shopkeeper Arvind Raj, who lost silver jewellery worth lakhs in the fire, said they hope that normalcy will return soon. 'We lost nearly 60kg of silver jewellery in the fire. We will start from scratch now.'
Meanwhile, renovation and electrical works are expected to be started soon, and a tender has been floated for the same. The move comes amid increasing concerns over fire safety in crowded public spaces.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Hindustan Times
17-05-2025
- Hindustan Times
Delhi: 2 weeks since blaze, Dilli Haat reopens
Around 130 traders returned to their place of work to start from scratch, unpacking goods and setting up their shops as the iconic Dilli Haat in INA reopened on Friday, two weeks after a major fire destroyed at least 30 stalls and damaged stock worth lakhs. Though their number was lower than usual, visitors and tourists too flocked to the huge market complex, a part of which was still under renovation due to the blaze. Process is also underway to upgrade electrical connections at the market for safety purposes. But while traders said they are relieved that work has resumed, there are still apprehensions about the safety measures introduced after the April 30 fire incident. Siddharth Bhattacharya, a designer who works with Khadi fabric, said that he brought his own fire safety equipment. 'I bought my own fire extinguisher and fire resistant tarpaulin,' he said. Visitors also had similar expectations. 'We have been coming to this market for years — this place has it all. We hope that fire safety arrangements are upgraded and there will be better amenities for shoppers,' said Amrit Sandhu, who was visiting the market with his family. Another shopper said since the makeshift shops are not set up yet, shopping choices are limited. Timings have also been changed at the market, as the tourism department, which runs Dilli Haat, has directed that shops will shut at 8pm instead of 10pm, said Bhattacharya. Another shopkeeper Arvind Raj, who lost silver jewellery worth lakhs in the fire, said they hope that normalcy will return soon. 'We lost nearly 60kg of silver jewellery in the fire. We will start from scratch now.' Meanwhile, renovation and electrical works are expected to be started soon, and a tender has been floated for the same. The move comes amid increasing concerns over fire safety in crowded public spaces.
Fibre2Fashion
15-05-2025
- Fibre2Fashion
Weaving a New Market for Indian Khadi in Africa: A Business Opportunity?
African countries, much like India, experience warm temperatures and tropical climates across vast regions. Khadi is exceptionally well-suited to such environments. The fabric's loose weave and airy texture allow excellent airflow, keeping the body cool in hot weather. It also absorbs moisture effectively, making it comfortable in humid conditions by wicking away sweat. In fact, Khadi's versatility means it 'keeps cool in summer and warm in winter,' 1 adapting to temperature fluctuations. This makes it ideal not only for Africa's sweltering daytime heat but also for cooler nights in desert or highland areas. By highlighting Khadi's natural climate responsiveness, promoters can position it as a superior alternative to synthetic fabrics that often trap heat. African consumers would appreciate clothing that breathes and provides comfort year-round, whether in the Sahel's dry heat or coastal West Africa's humidity. Moreover, Khadi's all-cotton (or sometimes silk/wool blend) composition has an inherent 'skin-friendly' quality. It is free from the chemical finishes of mass-produced textiles, reducing skin irritation in hot weather. For Africa's tropical belt, where lightweight and breathable attire is a daily necessity, Khadi offers a perfect solution. Emphasising this climate compatibility in marketing campaigns – for example, branding Khadi as 'the cool fabric for the African sun' – can create immediate resonance with consumers who know the challenges of dressing for the heat. In short, Khadi is not just culturally significant; it is practically built for Africa's weather. Raw Material Availability Africa is no stranger to cotton. Across the continent, numerous countries cultivate cotton as a key crop, providing a strong foundation for local Khadi production. In fact, about 1,000,000 smallholder farmers in 10 African countries (including Benin, Burkina Faso, Chad, Côte d'Ivoire, Cameroon, Mozambique, Nigeria, Tanzania, Uganda, and Zambia) produced nearly 630,000 tons of sustainable cotton in 2020. West Africa is a major contributor – Benin alone grew 316,000 tons in 2019, making it the region's largest cotton producer2. This abundant raw material supply means Africa could manufacture its own Khadi from 'farm to fabric', rather than relying on imported cloth. Integrating the cotton supply chain locally has multiple benefits. Firstly, it adds value within African economies: instead of exporting raw cotton at low prices and re-importing expensive finished textiles, countries can process cotton into Khadi cloth domestically, capturing more profit and creating jobs. For example, countries like Mali, Tanzania, or Uganda – which currently export most of their cotton lint – could channel some of that fibre into village-level Khadi weaving units. This would echo the ethos of self-reliance that Khadi embodies, but in an African context, empowering rural communities. Local cotton varieties (such as East Africa's organic cotton or Egypt's famous long-staple cotton) can lend their quality to African Khadi. Imagine 'Egyptian Khadi' made from silky Egyptian cotton, or West African Khadi using organic cotton from the Sahel – these could become premium, proudly local products. Existing initiatives like the Cotton Made in Africa (CmiA) programme already emphasise sustainably grown African cotton. Marrying these cotton initiatives with Khadi production could create a truly sustainable textile value chain. Stakeholders can be persuaded by data: Africa exports over 90 per cent of the raw cotton it produces, so there is huge room to divert a portion into local Khadi manufacturing, boosting local industry and reducing import dependency. Skill Development & Training While Khadi's production methods are specific, Africa boasts rich textile craftsmanship that can be harnessed with proper training. Handloom weaving has been practiced in Africa for centuries; archaeological evidence of looms goes back to ancient Egypt and medieval West Africa3. From the strip-weaving of Ghana's kente cloth to Ethiopia's traditional shawl weaving, the continent has a baseline of artisan skill. To introduce Khadi, these existing talents can be upgraded through focused training in hand-spinning cotton yarn (using a spinning wheel or charkha) and weaving fine Khadi fabric on simple looms. The goal is not to replace local traditions, but to add a new technique that generates income. Training programmes and knowledge exchange will be pivotal. Stakeholders should consider: Workshops and Courses : Set up Khadi training centres where master trainers (possibly experienced Khadi weavers from India or local experts trained abroad) teach African artisans the entire process – from carding cotton, spinning yarn, to weaving on a handloom. For example, the Uganda Industrial Research Institute already offers training in weaving that blends traditional craftsmanship with modern quality standards 4 . Similar programmes can be tailored for Khadi, emphasising both technique and design innovation. Trainees would learn not just how to make Khadi, but how to do so efficiently and consistently, meeting market demands. Train-the-Trainer and Exchanges : Governments could facilitate exchanges where African weaving community leaders visit India's Khadi institutions to learn best practices, or Indian Khadi experts are dispatched to African villages to conduct intensive training camps. Such partnerships might be supported under bilateral cooperation – for instance, India's technical cooperation programmes could sponsor Khadi training for African artisans. This ensures skills transfer on a large scale, 'training the trainers' who can then return to their communities and spread the knowledge. Incorporating Modern Entrepreneurship : Beyond the craft itself, training should include entrepreneurial skills – basic financial literacy, quality control, and market linkage. The Ugandan weaving programme, for instance, integrates guidance on pricing, marketing, and running a textiles business. African Khadi artisans would similarly benefit from learning how to form co-operatives, manage production timelines, and engage with fashion retailers. This prepares them not just to weave, but to thrive as small business owners, turning Khadi into a sustainable livelihood. Government bodies and NGOs can collaborate on these skill-development initiatives. In India's experience, Khadi production has uplifted countless rural spinners and weavers; the same can happen in Africa with the right support. Imagine rural women in Kenya or Mali spinning cotton into yarn during their free hours, just as Indian women have done with the charkha – creating an additional income stream for households. By highlighting these empowerment stories and offering structured training, stakeholders can be encouraged to invest in human capital. The result will be a cadre of African Khadi artisans whose craftsmanship meets international standards, ensuring the fabric's viability and reputation from the outset. Fusing Indian Khadi with African Aesthetics One key to winning African consumers' hearts is to blend Khadi into local culture and fashion. Rather than selling Khadi as just an Indian import, designers and artisans should create styles that resonate with African aesthetics and traditions. The beauty of Khadi is its versatility – while it carries an Indian heritage, it is essentially a blank canvas of hand-made fabric that can be adapted through colours, patterns, and garment designs. Collaborations between African and Indian designers can yield exciting fusion designs. A powerful example is the 'Khadi Resort' collection by South African designer Stephen van Eeden, unveiled at the India-South Africa Business Summit in 2018. Van Eeden 'focused on fusing the uniqueness of the Indian Khadi fabric with design elements true to his South African heritage,' using indigenous African motifs hand-printed on Khadi and free-flowing silhouettes suited to local tastes5. The collection incorporated symbols from African and Indian art and gave Khadi garments a relaxed, resort-wear vibe to appeal to modern consumers. This successful fusion showed how Khadi can be reimagined in an African context. Such cross-cultural design projects demonstrate to the market that Khadi outfits can be proudly African in look and feel. To culturally integrate Khadi, the following strategies can be considered: African Colour Palettes and Motifs : African fashion is known for vibrant colours and bold patterns. Khadi, often seen in subtle earthy tones, can be dyed and printed to match local preferences. Techniques like African wax print (Ankara) designs could be hand-block printed, or screen printed onto Khadi fabric, combining the popular aesthetics of West African prints with the texture of Khadi. Imagine a classic Khadi shirt adorned with a kente-inspired trim, or a Khadi dress in an East African kanga print – these would immediately connect with consumers. In fact, some Khadi producers already experiment with natural dyes and prints; this could extend to incorporating tribal patterns or symbols from various African cultures. Blending with Indigenous Textiles : Rather than competing with beloved traditional textiles, Khadi can complement them. For instance, in Nigeria, a Khadi garment could feature Aso-Oke (Yoruba handloom strip cloth) accents; in Ghana, Khadi could be used as a backing or lining for kente strips, making the final product lighter and more breathable. Designers can create hybrid products: e.g., a jacket with Khadi as the base fabric and African mudcloth (bogolanfini) patches as decoration, celebrating both traditions. This approach respects cultural pride and creates unique fashion statements. Modern Silhouettes for Youth : It is important to shed any perception that Khadi is only for traditional or older audiences. Designers should craft Khadi apparel that aligns with contemporary African urban fashion – from stylish summer dresses and unisex tunics to casual shirts and streetwear. The fabric's 'cool in summer' property is a selling point for youth fashion as well. By showcasing Khadi in hip, Instagram-worthy styles (think Khadi jumpsuits, printed Khadi T-shirts, or Khadi sneakers/accessories), marketers can position it as a 'cool' and culturally relevant choice for young Africans. Cultural integration also means storytelling. Marketing should connect Khadi's Indian freedom struggle roots with African narratives of freedom and self-reliance. Highlighting that Mahatma Gandhi developed his philosophy in South Africa and later promoted Khadi as a tool of independence ties the fabric to African history. It can be portrayed as a symbol of unity and liberation that spans continents – from Gandhi's India to Mandela's Africa. Such narratives, combined with appealing Afrocentric designs, will persuade consumers that Khadi is not foreign at all – it is a shared heritage and a forward-looking fashion statement at the same time. Market Creation Strategies: Building Awareness and Demand Introducing Khadi to Africa requires a multi-pronged market creation strategy. Stakeholders – from government bodies to fashion industry players – must collaborate on raising awareness, generating desire, and making Khadi accessible. Here are key strategies to establish a thriving market: Awareness Campaigns and Branding : Launch public campaigns to educate consumers about what Khadi is and why it is special. Emphasise its eco-friendly nature, hand-crafted uniqueness, and cultural significance. For instance, a slogan like 'Cool, Conscious, and Cultural – Discover Khadi' could be used. Social media and traditional media can showcase Khadi's journey from cotton boll to beautiful garment, highlighting the artisans behind it. India has already signalled a global Khadi push – the government's recent 'Make the World Wear Khadi' challenge invites advertisement professionals worldwide to devise campaigns positioning Khadi as a global brand6. African countries can piggyback on this momentum by partnering with local advertising agencies to create Africa-specific Khadi promotions, possibly leveraging pan-African media (TV features, radio jingles, billboards) that celebrate Khadi as Africa's 'fabric of freedom and sustainability.' Fashion Industry Collaborations : Enlist prominent African designers and fashion houses to incorporate Khadi into their collections. When top designers use a fabric, it gains credibility and buzz. Fashion shows in Lagos, Nairobi, Johannesburg, and Dakar could feature a Khadi segment or capsule collection, much like how Indian designers showcased modern Khadi ensembles in a special show titled Khadi – Transcending Boundaries7. Such high-profile showcases demonstrate Khadi's versatility to press and consumers. Additionally, collaborate with fashion weeks and trade fairs. For example, a Khadi Africa booth at major textile expos or an African Khadi fashion competition can spur creative uses of the fabric. These events generate media coverage and help seed the idea that Khadi is trendy and up-and-coming. Government and Diplomatic Initiatives : Governments can play a catalytic role. Indian embassies in African nations, in partnership with local ministries of trade or culture, could organise Khadi exhibitions. Such events tie Khadi to historical friendship and can be timed with national holidays or cultural festivals. African governments, on their part, might offer incentives for local entrepreneurs to start Khadi production – for example, providing soft loans for buying spinning wheels and looms, or allocating workspace for Khadi co-operatives. Given the focus on job creation, a 'Khadi for Employment' initiative could attract policy support, echoing how India's Khadi and Village Industries Commission (KVIC) boosts rural employment. Retail and Distribution Expansion : To succeed commercially, Khadi must be visible and available. Strategies include: Dedicated Khadi Stores : Set up flagship Khadi boutiques in major cities – perhaps as public-private ventures. These stores can offer a range of products: bolts of Khadi fabric for local tailors, ready-made apparel, home textiles (cushion covers, curtains) and artisanal products (handbags, scarves)—all made from Khadi. The store ambiance can educate visitors about Khadi's story. India has 'Khadi Bhavans' – Africa could have 'Khadi Houses' as cultural-commercial hubs. Integration into Existing Retail : Partner with established clothing retailers across Africa to carry a Khadi line. For instance, South African retail chains or Nigerian markets could allocate sections for Khadi clothing, marketed as premium eco-friendly wear. E-commerce is also crucial: enable online purchase of African-made Khadi via popular platforms, so that even those in remote areas or different countries can buy. Local Tailor Engagement : In many African regions, consumers often get clothes custom-tailored. Supplying local tailors and fashion artisans with Khadi fabric (at wholesale rates) can create grassroots demand. If tailors start recommending Khadi for its comfort and drape ('this fabric will keep you cool better than synthetics'), word-of-mouth will expand. Tailor workshops could be given small incentives or training to work with Khadi, ensuring they know its qualities and care (since handwoven fabric may require different handling than mill cloth). Leveraging Sustainability Trends : The timing for Khadi's introduction is excellent given the rising global and African awareness of sustainable fashion. Urban African consumers, especially the middle-class and millennials, are increasingly mindful of ethical and green products. Khadi's sustainability credentials – low carbon footprint, low water use, support for rural livelihoods – should be front and centre. Collaborate with environmental organisations to promote Khadi as the 'eco-chic' choice. For example, an awareness tie-in could be made during World Environment Day or Africa Environment Day, showcasing Khadi as a solution to fast fashion's waste problems. Finally, storytelling marketing will convert curiosity into conviction. Each Khadi garment can carry a tag explaining how it was handmade, possibly even naming the community or co-operative that wove it. This personal touch helps customers feel a direct connection to the artisans they are supporting. The narrative of Khadi – 'from Mahatma's spinning wheel to an African wardrobe' – is a compelling one. By implementing these strategies, stakeholders can ensure that Khadi's entry into Africa is not a short-lived experiment but the start of a long-term, growing market. The fabric needs to be positioned not as a niche import, but as a movement and a lifestyle, much as it is in India. With proper promotion and distribution, Khadi can become a recognisable brand across Africa, synonymous with comfort, craftsmanship, and conscience. Case Studies & Success Stories: Lessons from Global Handlooms Looking at other textile industries that successfully entered new markets provides inspiration and confidence for Khadi's prospects in Africa. History shows that when a fabric resonates culturally and offers practical benefits, it can transcend borders. Here are a few illuminating examples: Dutch Wax Prints in West Africa : Perhaps the most famous case is that of Dutch wax prints (also known as Ankara or African wax prints). In the 19th century, Dutch merchants brought machine-printed imitation batik cloth to West Africa – a fabric originally inspired by Indonesian batik motifs. West African consumers embraced these bright, colourful textiles, and over time local tastes influenced the patterns and colours. The foreign fabric became so integrated that today it is seen as quintessentially African. It is a powerful precedent of how a textile can be culturally adopted: the wax print was adapted to local preferences and now carries African names and meanings. For Khadi, this suggests that with the right adaptation and community embrace, an originally foreign textile can become a local staple. Just as wax prints are now part of West African identity, Khadi could become part of Africa's future textile heritage, especially if designs and branding are tailored to local cultures. Khadi's International Forays : Khadi itself has started gaining traction beyond India. In recent years, international fashion houses and ethical designers have embraced Khadi for its sustainability and unique texture. It has appeared on runways as a statement fabric, and celebrities have worn Khadi outfits to promote eco-fashion8. This global interest validates Khadi's appeal – it is not viewed merely as a homespun relic, but as a luxurious, story-rich material in the age of conscious consumerism. Local African Textiles Gaining Global Appeal : Africa has also exported its textile heritage successfully. Consider Ghana's kente cloth – once reserved for Ashanti royalty, kente's bright woven patterns are now worn globally as a symbol of African pride and used in everything from academic graduation stoles abroad to high-fashion pieces. Similarly, Mali's mudcloth (bogolan) and Nigeria's adire indigo dye have found markets in Western home décor and apparel due to their authentic, handcrafted appeal. These cases show that authenticity and a good story increase a fabric's market value. Khadi shares those traits: it is authentic, hand-crafted, and comes with a rich story of freedom and sustainability. If positioned well, Khadi-made-in-Africa could not only replace some imports on the continent but eventually become an export item itself – a reverse flow where Africa sends beautiful handwoven Khadi garments to boutiques in Europe, Asia, or America, much like it has with kente or mudcloth.
Time of India
01-05-2025
- Time of India
Crafted with Care, Lost to Flare: Fire Leaves Behind Devastated Artisans
New Delhi: "All we had were five cushions and a dream." That's how Aradhana remembers the humble beginnings of the business she built with her sisters, Dipika and Amita, at INA Dilli Haat. For the trio from Farrukhabad, Uttar Pradesh, their shop wasn't just a business — it was a tribute to the legacy of their late father who died in 2013. On Wednesday night, that dream turned to ashes. The fire that tore through Dilli Haat consumed not just the iconic marketplace but decades of memories, hard-won craftsmanship and generational heritage. "We had over 500 handcrafted zari pieces. Everything is gone, burnt to the ground," groaned Dipika. More than 35 shops were gutted in the blaze, many of them owned by artisans who had spent generations mastering and preserving traditional Indian crafts from Madhubani paintings and brasswork to Bhagalpuri and Banarasi silk saris and gemstone jewellery. Among the ruins were at least seven shops selling Kashmiri fabrics and one cherished papier-mâché craft store. For Khushboo, 30, and her family, Dilli Haat was another chance at life after the Kashmiri Pandit exodus from Srinagar in 1990. "I was barely a year old when my father was forced to flee Kashmir 30 years ago, leaving behind everything, including our home," said Khusboo. "Dilli Haat gave us a second life and we've lost that too. Now we have to do it all over again." Her father named their shop Khushboo Emporium after her. "We want compensation, but more than that, we need 2–3 years as rent-free period," she said, having lost good worth around Rs 1 crore in the fire. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Google Brain Co-Founder Andrew Ng, Recommends: Read These 5 Books And Turn Your Life Around Blinkist: Andrew Ng's Reading List Undo Aqib, 25, whose family has run a pashmina business for 80 years, contrasted how it took an entire month to craft a single pashmina shawl, but just minutes for the fire to destroy livelihoods. His father, Mohammad Maqbool Jaan, started the business after migrating to Delhi three decades ago. "He began with just 15 days of rent money. Now we pay Rs 1.5 lakh a month as rent. In Kashmir, 150 workers depend on us for their livelihood. What happens to them now?" On Thursday morning, under the scorching sun, hundreds of shopkeepers gathered outside the closed gates of Dilli Haat. Some sobbed quietly. Others demanded justice. Among them was Chote Lal Sharma of Bihar, his face showing burn injuries. "I have losses of Rs 15," he said dismally. "I ran into the flames to try and save some silk saris and burnt my face." Chikankari seller Ajay from Lucknow said, "We saw every single work of our artisans burn in front of our eyes. 500 artisans depend on us and a single sari takes three months to make." The fire, the stall owners claimed, was not an accident but a failure of responsibility. "The fire extinguishers were past their expiry date," one shopkeeper alleged. "When the first shop, No. 13, caught fire, the shopkeeper used the extinguisher but instead of putting the flames out, it worsened the situation. Within seconds, the blaze spread." Others pointed out the hazards, including blocked rear entry and exit gates. "There used to be a gate near the gol chakkar, but it's been closed down to accommodate stalls. When there's no space to enter, how will fire tenders come to help?" asked one stall owner. Devender Kumar, 61, said, "Meri umar yahan guzar gayi. But we are not valued, nor the artisans back home who create these beautiful things." His phone buzzed constantly. "All my workers are asking what will happen now. I don't have an answer." Madhubani artist Vijay Kumar said glumly, "This market is a tourism showpiece. But look at our condition — no insurance, no safety, no support." Delhi Police has registered a case under the Bharatiya Nyaya Sanhita's sections 287 (negligent conduct with respect to fire or combustible matter) and 125 (act endangering life or personal safety of others) at the Sarojini Nagar police station. Investigation is under way to ascertain the cause of the fire.
