It is already occurring, is it not? We find ourselves borrowing our grandmother's Kanjeevaram saree or our uncle's chikan kurta for special events. We are reluctant to return our mother's radiant Banarasi stole or our father's stylish achkan, hoping they remain oblivious to our intentions (though they likely will not!). Additionally, we are beginning to contemplate the creation of our collection of handloom treasures.

This is where the situation becomes intricate. An increasing number of weavers are partnering with large retail stores. Handloom fairs now offer lightweight fabrics that we are genuinely inclined to wear. There is a broader selection available than the five regional styles our families were familiar with. Furthermore, both online and offline, the potential for deception or confusion has increased.

Consequently, we sought advice from experts in handloom revival, advocates of indigenous textiles, and designers regarding their top tips for first-time purchasers of traditional textiles. Here is a compilation of their insights, along with some additional embellishments.

Moneywise. Indian textiles come in both affordable and premium varieties. There is no judgment in this regard. It is advisable to establish a budget and select the finest item within that range, rather than opting for several less expensive options. Designer Shruti Sancheti emphasizes the importance of prioritizing quality over quantity.

Break it up. A completely handwoven sari or jacket is priced higher than one that features a unique weave solely along the border. Therefore, if you find the options overwhelming, it is advisable to begin with a smaller item, such as a blouse or stole.

Engage all senses. A skillfully crafted imitation may deceive the observer; therefore, it is essential to consider the sound of the fabric, the rigidity of the creases, and the feel of the edges. "The intricacy of the weave and design, the material, the variety of colours, and the types of threads all influence its cost," states Sancheti. Counterfeits tend to be more vibrant, glossier, and appear more flawless than their handcrafted equivalents. It is advisable to make purchases in person when beginning your collection.

Pace yourself. Good collections are not born from birthday-month splurges. Aim to build up over a lifetime.

Stay connected. As you grow up and can afford more items, consider building a collection within a design you love. Reach out to weavers to commission more pieces based on what they sold you earlier. It’s a signature look of the best kind.

The wrap for all seasonsJamawar shawls

Virat Kohli opts for kurtas and athleisure wear, while Kareena Kapoor Khan incorporates them into her red-carpet ensembles and during vacations in quaint Swiss towns.

Jamawar pashmina shawls are crafted with such finesse that they provide warmth without adding bulk. These shawls are adorned with intricate paisley and floral designs, created using a labour-intensive tapestry technique known as kanni. In the weaving process, small wooden spools signify each knot, with artisans meticulously following a colour-coded pattern to gradually form designs in silk, muslin, or wool. The creation of a single shawl can span from several months to several years.

Most retailers typically offer one of two weaving styles. The Kashmiri style resembles inlay work, with motifs lying flat against the fabric, while the Banarasi style features an embossed texture, and the Tanchoi variant employs a more limited colour palette.

According to fashion designer Shruti Sancheti, this fabric is increasingly being utilized in various garments and even upholstery. Although shawls and saris continue to be in demand, “the silhouettes have evolved to be more contemporary, incorporating skirts, blazers, trousers, and dresses.”

Conduct a tactile assessment before making a purchase, advises Sancheti. Authentic jamawar is characterized by a smooth texture and a matte finish, whereas synthetic alternatives tend to have a glossy appearance. “Genuine weaves exhibit irregularities, in contrast to the uniformity found in machine-produced imitations.” This weave has been recognized with Geographical Indication protection since 2010, and vendors who offer authentic products will prominently display their certification.

Moreover, they will not compromise on pricing. “Genuine jamawar is priced at a minimum of ₹12,000-15,000 per metre,” states Sancheti. Consequently, a shawl may begin at ₹20,000, while a sari showcasing intricate craftsmanship can reach several lakh rupees. If you are interested in this weave, it is advisable to start with a stole or fabric suitable for a blouse or waistcoat, she suggests. “Strive to curate a wardrobe filled with authentic pieces rather than an abundance of machine-made jamawar.”

Her brand, Pinnacle, prominently features this weave. “We drew inspiration from museums and heirloom shawls for motifs, integrating them into modern designs.” She has adorned an entire achkan with swirling black paisley and incorporated it into peplum tops, capes, and wide-leg trousers.

Join the dotsBandhani and bandhej

Bandhani is universally adored. The vibrant dots exude joy, and the colours are striking. Typically crafted from lightweight cotton, it is more suitable for daily wear compared to heavier fabrics.

However, high-quality bandhani presents a unique challenge. The intricate tie-dye method that produces countless tiny dots on a single cotton or silk dupatta can require six to eight months to complete, involving meticulous calculations to ascertain the placement of each pinched dot. “Certain styles, like the double dot, involve tying one set of dots before dyeing, followed by another set tied adjacent to the first, which is then dyed again,” explains bandhani revivalist and designer Kamaldeep Kaur. “One particular style is referred to as the ‘eternal dot’, as it demands an immense amount of time to tie them all.”

Kamaldeep’s sustainable fashion brand, Neelgar, has dedicated two decades to discovering and supporting artisans, thereby establishing a reliable business model that provides them with consistent income. “We began with eight women approximately 18 years ago, and now we collaborate with around 3,500 women,” she notes. Within the craft itself, variations exist. “In Gujarat, the dots are round; in Rajasthan, they resemble rhombuses; while in Tamil Nadu, the few remaining artisans practice a simpler style with dots spaced further apart.”

The colour palette has evolved from the conventional vibrant greens, reds, yellows, and black to softer shades such as powder blue, dove grey, and mauve. Kamaldeep's innovative approach to the craft is evident in the new styles of dot placement. One collection features reversible designs: on one side, traditional bandhani, block prints, and wavy leheriya, while the other showcases a patchwork of various fabrics with distinct textures and patterns.

The cost of small, closely placed dots is higher than that of larger, simpler designs. Additionally, silk is more expensive than cotton. It is advisable to avoid souvenir shops that offer neon-coloured polyester stoles adorned with perfectly uniform dots, as these are often the result of screen printing. For inspiration, Kamaldeep suggests visiting the Calico Museum in Ahmedabad or the Crafts Museum in Delhi.

At Neelgar, the price for dress materials begins at ₹7,000 for three meters, stoles start at ₹9,000, and saris can reach up to ₹85,000. “Nupur Kanoi from Kolkata offers more modern clothing, while Abu Jani Sandeep Khosla specializes in luxurious bandhani suitable for weddings. In Jaipur, Nidhi Tholia excels in bandhani, creating exquisitely embroidered formal attire.”

Your first block partyAjrakh

It may be challenging to perceive block-prints as luxurious or refined, as they often evoke memories of our college days. However, Alia Bhatt and Rashmika Mandanna have been showcasing sophisticated interpretations of ajrakh in the form of saris. "Their influence has made it immensely popular," remarks Tanvi Bikhchandani, co-founder and CEO of the sustainable fashion brand Tamarind Chutney.

Few are aware of the intricate process involved in its creation. The Sindhi block-printing tradition is now primarily practised in Rajasthan and Gujarat, requiring a meticulous 16-step procedure that includes washing, dyeing, printing, re-washing, and re-dyeing to achieve its soft texture and intricate geometric patterns. Artisans continue to utilize natural dyes, such as indigo and madder, as noted by Bikhchandani. They hold their design blocks in high regard, passing them down through generations.

The craft is evolving. Previously limited to fine cotton, artisans are now experimenting with silk, silk-cotton blends, and modal fabrics. They are collaborating with other textile artisans, such as those specializing in bandhej and chanderi, and have introduced new motifs, including emojis, into their designs. "This expansion is enhancing Ajrakh's appeal within the premium market," states Charanya Shekar, co-founder and design head of Tamarind Chutney.

It is straightforward to distinguish authentic ajrakh from imitations—simply examine the fabric's reverse side. Most block prints exhibit a lighter impression on the back, whereas Ajrakh maintains a consistent appearance on both sides. Additionally, the fabric feels smooth and soft due to extensive washing, and its geometric patterns and symmetry are executed with precision. “This meticulous attention to detail and balance is a defining characteristic of the craft,” notes Shekar.

Furthermore, one should explore the depths of colour that natural dyes provide. Genuine ajrakh typically features rich, earthy tones such as deep green, mustard, red, and blue. “You will not encounter pastels or shades like purple in authentic ajrakh.” Fabrics made from silk or silk blends are priced higher than cotton, and unique block designs command a premium, while combinations like ajrakh-bandhani can further elevate the cost.

Tamarind Chutney procures fabric from three artisans located in Ajrakhpur, Gujarat. Their most popular item is a fitted skirt available in two variations of the fabric. The collection includes ajrakh jumpsuits, dresses, saris, tops, waistcoats, and even a bomber jacket, with prices ranging from ₹1,000 to ₹5,000.

Men, in particular, are embracing the resurgence of this fabric. “Some men often hesitate to purchase printed shirts,” observes Bikhchandani. “Ajrakh’s geometric designs and darker hues resonate with a wide array of tastes.” She recalls acquiring a simple stole in 2012 while in Ahmedabad. Shekar's initial purchase was silk fabric intended for a blouse. “The colours have remained vibrant, the styles are timeless, and we both continue to wear these items regularly,” Shekar adds.

Rising in the eastMekhala and body cloth

Each handmade item embodies a fragment of its creator. The backstrap loom textiles from Nagaland, Arunachal Pradesh, and Mizoram encompass even more significance. This portable device, constructed from wood or rope, features a strap that secures around the weaver's waist. The weaver, invariably a woman, utilizes her lower body to regulate the tension of the warp threads, crafting fabrics while simultaneously managing agricultural, familial, and communal responsibilities. “The unique and personal approach each woman employs in her weaving affects the final outcome of the fabric,” states Theyie Keditsu, a Kohima-based author and educator. Keditsu, known online as Mekhala Mama, is recognized for her initiatives to rekindle interest in the mekhala and other traditional weaves from the area.

The patterns throughout the region are notably unique. The colour palettes, motifs, and designs signify the specific tribe or community of origin. Historically, these textiles were simply referred to as body cloths. “Recently, we have begun to adopt terms like shawls, wraps, and mekhalas,” remarks Keditsu. Additionally, there have been other transformations. Previously, the fabrics were primarily in shades of white, black, red, or blue. Today, weavers are experimenting with a wide array of colours, utilizing more affordable polyester yarn, cotton, and lustrous synthetic silk, alongside the pricier Eri silk.

Utilize them as wraps or shawls, drape them akin to a sari, or showcase them like a dupatta. This craft operates without a lengthy chain of intermediaries. The finest curators, whom Keditsu refers to as the “gold standard,” are local women who have dedicated their lives to networking and sourcing from weavers while managing small enterprises. Stores such as Fusion Dimapur, Runway Nagaland, Chizami Weaves, Made in Nagaland, and ILandlo offer affordable textiles. “These shops maintain the traditional approach of allowing individual weavers to handle the design and weaving,” states Keditsu. Kintem specializes in more contemporary designs. For occasion wear, consider exploring Rhozhü Collection, Zhovi, ID Mekhala, The Mekhala Boutique, Weaving Threads 0424, and Ipseity. Konyak. Serious collectors, however, await the rare collections from Heirloom Naga.

The positive aspect is that a handwoven bodycloth is generally more affordable than other Indian handlooms. Cotton makhanas begin at ₹3,000, while polyester, silk, and fabric sets can reach up to ₹15,000. Some retailers also offer jackets, but selecting one can be challenging. “Backstrap loom fabric is denser, which imposes certain limitations on its use.”

If possible, examine the cloth before purchase. The fabric should feel consistently firm and tight. “If it is woven too loosely, the warp and weft may begin to separate, resulting in transparency in certain areas. Additionally, when you sit or stand, it may bunch up in spots.” It is also important to observe how each panel is joined. Although they are woven separately, they should exhibit similar tension, creating the sensation of a single piece of fabric.

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