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Mint
7 days ago
- General
- Mint
The second edition of Weave the Future puts native cotton in the spotlight
At the Crafts Museum in New Delhi, three long island tables come into view. They feature an assortment of natural dyes, snatches of fabric and samples of indigenous cotton varieties. On one of the tables, there's an assortment of tools. Usually popular imagination does not go beyond the charkha or the loom in this context. However, there is a wide variety of equipment which has been used for centuries in the processing and weaving of indigenous cotton. Some of these such as manual ginning tools, sizing brushes and hand winders can be seen in the three-table installation Cotton 0.0. The three-table installation is based on grassroot insights by the likes of Kora Design Collaborative, a design and research practice headquartered in Hyderabad and Visakhapatnam, which works in the textile and craft installation is uniquely titled Cotton 0.0 as it is all about going back to the roots and a natural way of showcases the journey of 12 native varieties of cotton seeds from harvesting to processing and finally weaving. Underlying these exhibits is a story of intangible heritage, inherited knowledge, and can see the mapping of stakeholders and also experience the palette of dyes used in the process. Cotton 0.0 is part of the second edition of Weave the Future, being organised by the Development Commissioner for Handlooms (DCHL), the Union ministry of textiles, to commemorate National Handloom Day (7 August). It spotlights regenerative textile practices and the future of indigenous cotton in the context of pressing concerns such as climate change and overconsumption. Panel discussions outline possible ways forward of creating sustainable and viable economic models for farmers and weavers through dialogues with grassroot implementers like Kora and Khamir—a platform for the craft, heritage and cultural ecology in Kutch, which launched the Kala cotton initiative in 2010. The journey from the farms and the weaving clusters to the design board and finally the market can be seen through showcases by brands like Dhi Earth, Lafaani and Indigene. The event's focus on native cotton is part of the overall resurgence in various varieties across India. The usage of Kala, Punasa, Konda Patti and Gavran Kapus cotton is seeping into the design language at major fashion labels such as Anavila and Anita Dongre as well. Being pest-resilient, rain-fed and sturdy, indigenous cotton offers a way forward in the face of water scarcity and climatic vagaries. Indeed, today, several pockets of India are seeing persistent droughts and water scarcity. It is in such areas that grassroot organisations such as Khamir are attempting to revive 'old world cotton". They are doing this by getting certifications for the cotton and supporting weaver-ginners-spinners clusters while also maintaining ecological balance in the region. Through the Kala Cotton Initiative, Khamir has also tried to create awareness with design labels, especially those working with denim, about the strength and flexibility of the fibre. For Satish Poludar, founder, Kora Design Collaborative, it is also important for people to understand the diversity that desi cotton offers in terms of its texture, fibre length and strength. It is a thought echoed by Shubhi Sachan, founder Material Library of India for DC Handloom, ministry of textiles. 'Today, we are aware that saffron from Kashmir would have a different quality from saffron produced elsewhere in the country. Then why do we expect cotton to have a homogenous quality?" she asks. 'If the soil is right, the seed will flourish, producing a fibre length, which is best suited for the region. Not every region requires the same kind of length." If the installation helmed by Kora Design Collective jolts you out of a stupor, the one by Lafaani, an artisanal circular clothing brand, is meditative. It shows how inherited craft skills can be merged with modern sensibilities. True to the theme of the event, the work, What if Every Thread Remembered, makes indigenous cotton both its subject and material. A light cotton panel, woven by an artisan cluster in Bengal, has been embellished with floral dyes using a drip-dry technique. These hues coalesce to form abstract landscapes to give a sense of the expanse of artistry and craft in the country. The eco-printed panel with hand-appliqued dried flowers—sourced from an organisation in Mumbai that upcycles discarded blooms—also alludes to the cultural memory that comes with the handmade. 'All of the patches in the panel are joined together with Kantha stitches—a technique which was born out of resourcefulness. It stands as a symbol for the strength of craft in the country," says Rashmick Bose, co-founder, Lafaani. The brand was founded in early 2022 by Bose and Drishti Modi, who met while pursuing environmental science at the TERI School of Advanced Studies in New Delhi. Modi picked up on the complexities of regenerative cotton farming while working on a project for the United Nations in Andhra Pradesh in 2018. When they founded Lafaani, they were clear that collaboration with grassroot initiatives reviving these practices would be at the core of their design label. Currently, they work regularly with eight artisan clusters on innovation and experimentation. 'We are also engaging with an additional five clusters and grassroot organisations that are reviving the Akola 7 cotton variety in Maharashtra," says acknowledges that it might be tough for growers of prevalent hybrid varieties to make the transition to certain desi cotton types like brown cotton. However, if a palpable shift has been made in parts of Kutch and Andhra Pradesh, the models can be replicated for different varieties elsewhere as well, while keeping the regional complexities in mind. 'We are collaborating with Kandu, which works at the grassroot level with growers of organic brown cotton in Karnataka. We are doing our bit on the design front. Slowly, market acceptance will come about. Our role is to create products around indigenous cotton that are aesthetically pleasing and desirable so that people make that initial shift and then look deeper into stories of sustainability," she adds. Weave the Future 2.0 is at the Crafts Museum, New Delhi, till 17 August.
The Hindu
07-08-2025
- General
- The Hindu
Weave the Future 2.0: A textile journey from seed to stitch
On National Handloom Day, August 7, the Crafts Museum in New Delhi opened its doors to a textile exhibition that looks beyond fabric and the Future 2.0 – The Regenerative Edition, organised by the Ministry of Textiles, turns our attention to the origin of textiles — from soil and seed to handloom and stitch — and the systems that sustain them. Scheduled till August 17, the exhibition brings together over 30 brands, artisans, designers, and grassroots organisations working with indigenous cotton and regenerative practices. Rather than showcasing just finished products, it invites visitors to explore the entire journey of textile-making where tradition, ecology, and design come together to shape a sustainable future. While the first edition of Weave the Future focussed on upcycling, this year goes further into its roots. 'It felt like the natural next step was to go beyond reuse and begin asking: What are the systems behind what we consume? Can we heal them, not just extend their life?' says Dr M Beena, Director-Commissioner (Handlooms), who led the curatorial vision. This shift toward regeneration, she explains, is both philosophical and practical. 'It's about nurturing soil, knowledge, culture, and dignity across the textile chain. It offered a way to reconnect the dots between the land, the maker, and the wearer.' A living narrative Set across the Crafts Museum's village complex, the exhibition unfolds like a narrative. From spinning tools and traditional gins to modern garments and sound installations, each object is chosen not for its form, but for the story it tells about the deeper life of textiles. The story begins with a 'seed altar', an impactful installation that features indigenous cotton varieties, soil samples, and preservation tools. 'As simple as it may seem, the cotton seed carries the weight of history, land, violence, trade, and hope,' Dr Beena adds. Another highlight includes the Cotton 2.0 by Kora Design Collaborative, which traces the complete processing journey of 12 native cotton varieties — from harvest to handloom. Textile and fashion designer Sonam Khetan's soundscape installation documents disappearing natural sounds, while Lafaani's eco-printed textile panels, created with dried flowers and temple offerings, reflect on memory and the sacredness of the handmade. 'We wanted this edition to be experiential, not just educational,' says Dr Beena. 'Art creates a pause. It allows you to feel before you understand. The installations are invitations: to sit, to listen, to touch, and to slow down.' Bridging the system The exhibition consciously avoids a one-sided view of sustainability. It brings together farmers, weavers, policy enablers, and design studios, highlighting the role each plays in the larger textile ecosystem. Participating initiatives range from grassroots groups like Khamir and OOO Farms to responsible fashion brands such as Dhi Earth, Indigene, and 11.11. 'We made sure each participant could speak for themselves, through material, words and presence,' says Dr Beena. 'Rather than flattening differences, we chose to honour them as part of a shared ecosystem.' Workshops running alongside the exhibition include a natural dye lab, interactive demos on cotton processing, and film-led conversations on climate change and community resilience. All are designed to spark dialogue and deepen public understanding of where textiles truly begin. Reviving indigenous cotton At the heart of Weave the Future 2.0 is a quiet revolution: the revival of indigenous cotton. Varieties such as Kala cotton, Punasa cotton, Gavran Kapus, and Kondapatti make up just 2–3% of India's cotton cultivation today, but they hold enormous ecological and cultural value. 'These cotton varieties are hardier, need fewer chemical inputs, and are better suited to local climates,' says Dr Beena. 'They also support decentralised, community-led processing systems that preserve livelihoods and knowledge.' The exhibition argues for a return to these climate-resilient varieties and the traditional techniques — hand spinning, hand weaving and low-energy tools–that support circular, people-first economies. Beyond the museum While the exhibition runs only for 10 days, its goals are long-term. Plans are underway for open-source educational materials, curriculum pilots in design schools, and policy roundtables connecting cotton growers with sustainability frameworks. 'We see this exhibition as a seed planted,' says Dr Beena. 'What moved me most was the gap between people's willingness to make better choices and how hard the system makes it. This is about making invisible efforts visible and bridging that gap.'
Hindustan Times
07-08-2025
- Entertainment
- Hindustan Times
National Handloom Day: This exhibition in Delhi's Crafts Museum weaves a tribute to spotlight Indian handloom
The warp and weft of weaving that gives birth to Indian handloom makes one take pride in the rich textile culture of our country. Showcasing the history and versatility of Indian textiles is the exhibition, Weave the Future 2.0, which opens in the Capital today, to celebrate National Handloom Day (August 7). Textile exhibits and some immersive installations make this exhibition a worthwhile viewing experience. Themed on The Regenerative Edition, this year's show will celebrate a return to nature-aligned practices in Indian textiles. For this, over 30 grassroots initiatives, brands are participating. There are also exhibits by those who are dedicated towards building circular, low-impact textile systems anchored in indigenous knowledge and ecological responsibility. Textile designers and brands that have nature-aligned practices in Indian textiles are showcasing their works at this exhibition. Looking forward to celebrating National Handloom Day with people who are passionate about climate, community and regeneration, Indira Varma, a fashion and textile designer from DHI Earth, shares, 'We are showcasing our latest range of smart casuals for both men and women as well as some corporate wear sarees and stoles. Each piece is handcrafted with eco-friendly block prints and naturally dyed handlooms by skilled artisan communities.' Celebrating handloom, sustainability, and circular craft practices will be 23°N 69°E, which is presenting a collection of hand block printed and hand painted garments made using organic cotton. 'We would also showcase textile waste artworks created using leftover fabric scraps from our studio in Delhi,' says Anas Sheikh, a practicing textile artist and founder of this clothing brand, adding, 'This exhibition is a reminder of why crafts matter and how traditions, when nurtured with care and intention, can shape a more thoughtful and regenerative future.' Alongside some intriguing installations, textiles are displayed at this showcase. There will also be on display some intriguing installations namely Soundscape by Sonam Khetan, Cotton 2.0 by Kora Design Collaborative, 'What if every thread remembered?' by Lafaani, and 11.11. These projects serve as a reflection of the exhibition's ethos, where textiles are not just products but living narratives of culture, ecology, and collective imagination. The rich legacy of Indian textiles is on display at this exhibition. Dr M Beena, Director Commissioner (Handlooms), adds: 'This exhibition stands as a testament to the resilience, beauty, and profound cultural significance of India's handloom traditions. On National Handloom Day, we are honoured to create a platform that not only honours our weavers and our heritage but also sparks vital conversations around sustainability, circularity, and regenerative practices. This initiative represents our collective commitment towards shaping a future where handlooms are not merely celebrated as a craft, but as a living system of knowledge, community, and ecological harmony.' Weave The Future 2.0 exhibition is organised at Crafts Museum in Delhi's Pragati Maidan. Catch It Live What: Weave the Future 2.0 Where: National Crafts Museum & Hastkala Academy, Bhairon Road, Pragati Maidan When: August 7 to 17 Timing: 10.30am to 6.30pm Nearest Metro Station: Supreme Court on the Blue Line For more, follow HT City Delhi Junction
