Latest news with #Tangaliya
Hindustan Times
07-08-2025
- Hindustan Times
National Handloom Day: Spotlighting the indigenous handlooms of India
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. Spotlighting the indigenous handlooms of India(Photos: Shruti Sancheti ) 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. 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. 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.'
Time of India
06-08-2025
- General
- Time of India
MSU to celebrate National Handloom Day with museum tour and weaving workshop
Vadodara: MS University's department of clothing and textiles will celebrate National Handloom Day on Thursday with two activities designed to connect students and visitors with India's rich handloom heritage. The first is a guided visit to the department's in-house textile art museum, which features a diverse collection of handloom and handcrafted fabrics from across the country. Open to all, the museum aims to promote awareness, appreciation, and preservation of India's textile traditions. As part of this initiative, students of the department, along with 130 invited students from Gujarat Public School, will tour the museum. The visit is intended to raise awareness about the significance of National Handloom Day and introduce both school and university students to India's varied handloom techniques, their regional roots, and their cultural and economic value. The second activity is a hands-on workshop for MSc students on Tangaliya and Sujni — two traditional weaving techniques of Gujarat. Tangaliya is an extra-weft weaving style known for its dotted patterns created by inserting contrasting threads, while Sujni is a double-cloth weaving method where two fabric layers are woven simultaneously to produce intricate, reversible designs. The workshop will provide practical exposure to these crafts, giving students a firsthand experience of the skill and cultural significance embedded in traditional weaving techniques.
Mint
27-07-2025
- Entertainment
- Mint
Celebration of traditional craft does not need a viral moment
Isha Ambani was recently seen in a sari-inspired gown, made by Roberto Cavalli using the traditional bandhani technique from Gujarat. Her look instantly became a topic of conversation on social media, with many netizens calling it a global celebration of Indian artistry. A similar reaction followed when actor Brad Pitt flaunted a shirt by homegrown label 11.11 in his new film, F1: The Movie. The shirt was crafted using Tangaliya, a 700-year-old weaving technique from Saurashtra, Gujarat, that requires artisans to hand-twist yarns, creating delicate bead-like patterns. While 11.11 had showcased the process in a detailed video earlier this year, the craft caught the attention of media outlets and digital platforms only after the American actor wore it on the big screen. Last month, the Prada and Kolhapuri chappal controversy took over the news cycle. During men's fashion week in Milan, Prada was called out by Indian media and government authorities for presenting 'sandals" that looked unmistakably inspired by, if not a direct copy of, the popular Kolhapuri chappal from Kolhapur in Maharashtra. Designers like Tarun Tahiliani and Malini Ramani have long used these traditional leather sandals in their runway shows, but it took a global fashion house to bring public attention to them. n the above three instances, one thing was common: Indian people started celebrating and talking about their traditional crafts, even if on social media, after it was presented on an international stage. This isn't something new, though. For decades, international brands have borrowed liberally from cultures of the Global South. Cultural appropriation is a serious issue, but it also raises a deeper, more uncomfortable question: Why do a lot of us continue to wait for the West's validation when it comes to celebrating our own traditional crafts? 'We need to rehab ourselves from this habit," says the founder of Diet Sabya, an independent Instagram account that criticises and celebrates Indian fashion, who prefers to stay anonymous. It's a sentiment echoed by academics too. Phyllida Jay, a UK-based anthropologist and author of books on Indian fashion, explains: 'The adoption of an Indian craft by a big luxury brand can make people in India reappraise an unsung craft and see it in a shiny new light. I've even had Indian designers tell me that their customers in India perceive more value in their work back home if they've shown at Paris fashion week or are stocked in a cool Milanese boutique. Sadly, there's still considerable power in the idea of foreign validation and branding in India." To call this a colonial hangover, after 77 years of independence, would be too simplistic. India is no longer a passive participant in global conversations—it is a cultural, social and economic power. With that rise comes a responsibility: to protect and champion our creative legacies on our own terms. The backlash around the Kolhapuri incident reflects this shift. The uproar prompted Prada to meet with the Maharashtra Chamber of Commerce, which represents 3,000 Kolhapuri sandal artisans, to explore possible collaborations. The issue, however, is far from resolved. 'The 2026 menswear show using direct, literal copies of Kolhapuris was a communications disaster. It was a massive, baffling oversight. Prada is now doing everything it can to counter the reputational damage. How they follow up with real engagement, true collaboration, and transparent communication in relation to the collections that result from their dialogue with Kolhapuri artisans will be key," says Jay. And India needs to keep a close eye and follow up on the matter, as it could become an important example of how international brands should ideally interact with Indian crafts. But, at the same time, it's also our responsibility to constantly value our vast textile and craft traditions and talk about them loudly, whether online or offline, without waiting for reason, a controversy or a trend. As the Diet Sabya founder puts it: 'Let's not act like Prada did something groundbreaking. Influencers will latch on to anything buzzy. If not Prada, then Saint Laurent. If not Kolhapuris, then Nehru jackets. It's not homage—it's content. Their interest is seasonal, algorithm-fed, and frankly, as fickle as fashion." In the book Inspired By India, Jay documents how Indian craft and design traditions have shaped European fashion for centuries. In the late 18th century, for instance, the Scottish town of Paisley became so successful at reproducing Kashmiri shawls at a lower cost that the buta motif from Kashmir is now globally famous as 'paisley". And it's not just in fashion. If people want to change how India's contribution to global culture is valued and treated, they first need to celebrate and appreciate traditional knowledge, and not wait for someone else to do it. 'Indian designers have always been about craft. Craft isn't just a moment—it's the backbone of our fashion," says the Diet Sabya founder. 'But it's not just the designers' responsibility. It's everyone's." Dress Sense is a monthly column on the clothes we wear every day. Sujata Assomull is a journalist, author and mindful fashion advocate.
India Today
12-07-2025
- Entertainment
- India Today
How Brad Pitt's Tangaliya shirt in ‘F1' movie spotlights a 700-year-old Indian craft
In the high-octane world of F1, a film that released in June, Brad Pitt's character Sonny Hayes strides onto the screen exuding a quiet confidence that belies his character's arc as a seasoned racer past his prime taking a shot at a reflective pause in the film, set against the backdrop of a sun-drenched pit lane, the weathered yet charismatic driver walks in, purposefully wearing a striking indigo shirt. Its subtle, bead-like patterns catch the light—a Tangaliya weave, handcrafted by artisans from from the sustainable Indian label 11.11/eleven by costume designer Julian Day, this isn't another wardrobe choice; rather it's a symbol of authenticity, resilience and a connection to something timeless, mirroring Sonny's own journey of rediscovery. Day, known for his work on Bohemian Rhapsody (2018), chose the shirt deliberately as he felt the palette was right for Pitt's choice reflects a broader trend in global cinema towards authentic, heritage-driven aesthetics, elevating a 700-year-old craft to a modern stage. The shirt's organic cotton, dyed with natural indigo through a 100 per cent fructose-based fermentation process, took eight artisans 9.2 hours to craft, embodying the slow, deliberate artistry. Tangaliya, also known as Daana weaving, is a handloom technique that originated in the Surendranagar and Kachchh districts of Gujarat's Saurashtra region, a land of arid plains and vibrant cultural craft, dating back to seven centuries, is defined by its intricate dot-like patterns, created by twisting contrasting threads around warp yarns to form raised, bead-like motifs visible on both sides of the fabric. The term Tangaliya derives from Tang, meaning the leg from heel to knee, referencing the traditional black chaniya with white dots worn by Bharwad women, a shepherd tells of a Bharwad man who married from the weaver community, defying social norms. Shunned by his family, he learned weaving, using wool from his sheep to create shawls with unique Dana patterns, giving rise to the Dangasia community, the primary practitioners of Tangaliya. This origin story underscores the craft's roots in resilience, love and cultural fusion, blending pastoral and artisanal Saurashtra region, with its stark landscapes and tight-knit communities, has long fostered crafts like Tangaliya, which was historically woven on pit looms in villages like Dedara, Vastadi and Godavari. Traditionally, Tangaliya used wool from local sheep, but today, artisans incorporate cotton, silk and viscose to meet modern demands. The process is labour-intensive: weavers use their fingers to sense the precise number of warp threads, twisting extra weft to create geometric patterns—dots, circles or parabolic designs—that mimic delicate embroidery. Motifs often draw from the environment, like peacocks or wells, reflecting the Dangasia's connection to their craft's sustainability is notable. Brands like 11.11/eleven eleven use indigenous organic cotton, such as kala, and eco-friendly dyes, thus minimising the environmental impact. This aligns with Tangaliya's traditional ethos of resourcefulness, as the Dangasia historically bartered woven goods for wool and grains, fostering a self-sustaining cultural significance is profound, tied to the Dangasia's identity and their worship of deities Shiva, Shakti and also Jodhalpir, a revered figure from 750 years ago. The craft, once on the brink of extinction due to industrialisation, was revitalised through efforts like that of the National Institute of Fashion Technology (NIFT) in Gandhinagar, which formed the Tangaliya Hastkala Association in initiative, involving 226 weavers from five villages, introduced skill-building workshops and design innovations, earning Tangaliya GI (Geographical Indication) status in 2009. Today, the craft is practised in Surendranagar's villages, with artisans adapting traditional techniques for contemporary products like dupattas, kurtis and home market for Tangaliya has grown, though it remains niche. Pitt's Tangaliya shirt gained global attention through F1, showcasing the craft's potential in high fashion. Other platforms, such as iTokri, Gaatha and Amazon's Garvi Gurjari, sell Tangaliya products, from shawls to unstitched kurti fabric. Lesser-known brands such as RaasLeelaTextile and HolyThread India also offer Tangaliya suits and shirts, catering to buyers seeking sustainable, handcrafted challenges persist: a 2022 study, 'Tangaliya Weaving: A Languishing Handicraft of Surendranagar District', by Amisha Shah of Zenodo (CERN, the European Organization for Nuclear Research) notes that only 12 per cent of Tangaliya artisans are under 30 years, indicating low interest among the youth, and 48 per cent of artisans do not wish for their children to learn this craft, threatening its future premium placed on Tangaliya products in the international market notwithstanding, the research revealed that the monthly income of 88 per cent of the weavers remained under a measly Rs 5,000, which adds to the economic challenges for survival of the craft. Machine-made alternatives flooding the market has not helped traditional weavers, many of whom have chosen to shift to other this, Tangaliya's global spotlight, amplified by Pitt's endorsement, signals hope. The craft's visibility in F1 has sparked interest, potentially opening new markets and reinforcing its cultural and economic value. Tradition, when woven with care, can race into the to India Today Magazine- Ends
The Hindu
11-07-2025
- Entertainment
- The Hindu
Meet the Tangaliya weavers behind Brad Pitt's shirt in F1
Spotting an international personality in Indian designer wear is not unprecedented. But it was more than just a fashion statement when Brad Pitt recently wore a handcrafted shirt — designed by Indian fashion label 11.11/eleven eleven — created in a traditional Tangaliya weave in his Formula One movie, FI. In a recent interview, celebrated couturier and stylist Julian Day, who was costumer designer for F1, said that the choice of the shirt was intentional and deliberate. The organic handloom indigo-hued cotton shirt, dyed naturally, was zeroed in to validate Brad's film persona, Sonny Hayes. Aside from the fact that only 100 weavers practise this craft today, why is Tangaliya so special? It is believed that around seven centuries ago, a man from the Bharwad faction of livestock herders in Surendranagar district in Saurashtra, wedded a woman from the weaver community, much against the consent of both their families. Nonetheless, it proved to be a marital union that propelled the meticulous and intricate Indian craftmanship. Their offspring came to be known as Dangasia, born of shepherds and weavers. They brought in the skill of Tangaliya or Daana weaving. Folks from the Dangasia community, inhabiting the villages of Vastadi, Dedadra, Godavari, and Wadhwan in Surendranagar district practise this craft. Despite its GI tag, limited awareness and being restricted to a specific region has kept the Tangaliya weave from getting its due recognition and just around a hundred weavers practise this craft today. Gheta wool is the base fabric on which designs are woven in a bead-work technique. The weaving is laborious and rigorous where every dot is made by sheathing a yarn around several threads, creating the motif on both sides of the material. Contrary to its look which resembles subtle embroidery, it is interlaced on the fabric. Ladwa (Indian mithai) and chaklo are the predominant, traditional patterns of Tangaliya. Other designs include mango trees, date palms, peacocks, bajra plants, and naughara (new house). The demanding and painstaking technique of daanas lent a geometric and graphic touch to the motifs. They are woven on silk and cotton fabrics as saris, blouses, cushion covers, jackets and dress material. The arduous, time-consuming but striking Tangaliya designs are Ramraj, Dhunslu, Lobdi, Gadia, and Charmalia. Ramraj is the most vibrant with extensive bead work done in maroon, pink, orange, green and yellow colours over a white background. Established by designers Mia Morikawa and Shani Himanshu, 11.11/eleven eleven is headquartered in Delhi and has a showroom in New York. This 15-year-old slow fashion brand rooted in indigenous practices, champions craftsmanship and thoughtful design through a system of small-batch, handmade production using organic cotton and natural dyes as an ethical and sustainable approach. About their creation, Shani, says, 'As global voices begin to embrace the beauty of indigenous knowledge systems, the recognition we receive today feels deeply personal; not just for the brand, but for the craftsman whose hands bring each garment to life.' In a unique step toward transparency and connection, the brand has introduced its proprietary 'Meet the Makers' technology: an NFC-enabled button embedded in every garment. With just a smartphone tap, wearers can trace the journey of their piece and meet the artisan community behind it. Ranjit Sinh Parmar, founder and CEO, Palaces of India, and luxury property Ambika Nivas Palace located in Surendranagar supports Tangaliya artisans and promotes this dying heritage by organising The Muli Textile Artisans Tour. An immersive cultural trip, it enables guests to experience weavers at work, understand their craft and encourage interactions, forging new avenues for their weaves. Pleased to see the shirt featured on the big screen, he says, 'It's a celebration of legacy, skill and culture. To see it worn by a Hollywood legend, on a global stage, is beyond inspiring.'
