A New Embroidery Collection, Made in Kashmir

As you’ve seen throughout the last few weeks, Kashmir is home to a wealth of creative craft traditions. I’m delighted to share another collection with you. This new collection celebrates the art of crewel embroidery. It was created in partnership with Aid to Artisans/ Creative Learning, Rangustra enterprise, and the Nooraari Crafts Producer Company. The designer is Hemangini Rathore Singh. The end goal was not only to create a beautiful export-ready collection but also to build market employment opportunities to help keep this ancient art alive for future generations of Kashmiri artists. This colorful collection was inspired by the hues and motifs which remind us of summer, working with both cotton and silk that allow the fine embroidery work to shine. Read the full interview below!

Please tell us a bit more about the production process.  

The Noorari cluster practices the craft of crewel embroidery. A base fabric is first chosen to complement the delicacy of the needlework. Once the fabric is chosen, the designs are transferred using tracing sketches made by the local drawing master. After the yarn has been selected (or dyed to order), it’s converted into small spools for ease of use. From there the embroiderers (locally called zalakdoz) start the embroidery process. They typically sit with their knees up, stretching the fabric between their legs while moving their hook needle quickly and with precision to make chain stitches. Once the embroidery is finished, the pieces are washed and dried before they are handed over for final tailoring. 

What is something that buyers should know about the sourcing of these materials that often goes unnoticed?

Since this project is based in a state that has faced both political disturbances and natural calamities for decades, sourcing chains were broken down and loosely scattered for most of the raw materials that were needed. With Rangsutra’s assistance, however, the artisans were able to overcome many of those logistical challenges. They have also been given a chance to research and establish their own sourcing channels now that they have an opportunity to sell their craft on a global platform.

Tell us about the impact these collections can have on these artists. 

For the artisan communities of Noorari, craft is more than just a way of earning a living. It is a reflection of their identity and their way of life. Before this project, they worked for extremely low wages, selling their crafts to middlemen who would resell their pieces at much higher prices. Inadequate wages forced some to abandon their craft and take up day jobs to support their families.

This project has resulted in new market linkages as well as opportunities to manufacture and sell their pieces for what they are actually worth. Artisans were trained in product development, tailoring, production, quality control, and project management. ATA organized workshops that educated them about trends in design as well as consumer behavior. Their pieces were introduced to international markets to diversify their sales channels and bring volume to their business.

They gained back their faith in being able to sustain their livelihoods while practicing their traditional crafts which is an immeasurable but significant shift for the future of the clusters. What they need now are orders for their products from the right clientele, people who see the value and appreciate the uniqueness of their products.  

What are some of the main challenges these artists are facing today?

For the longest time, the challenge for the Kashmiri artisans has been, getting a fair price for their product. Things changed for the Noorari cluster when they got their first-ever order from Fabindia. The incentive of work at fair wages attracted more artisans to the project that was set up to empower them.

What are a few challenges that you have been able to overcome?

The key challenge at first was to gain the confidence of the artisans. The artisan communities of Kashmir had seen outsiders come in and make promises with no tangible impact for decades. Repeated, in-person efforts at both the community and individual level were made to mobilize them to participate in the project.

The next step was to invest in skill assessment and advancement to ensure the artist’s skills met the standards of the international market. Stipends were offered to incentivize artisans to attend training sessions at Noorari.

Then we had to translate this exercise into orders that would generate income for these artisans now. Brands like Fabindia and Rangsutra retail stepped in and placed orders at Noorari which helped the cluster sustain itself and grow.

When it came to production and sampling, the lack of adequate dyeing and stitching units became bottlenecks in the process. Rangsutra stepped in and helped with both, dyeing the base fabrics and carrying out the stitching back at its Delhi sampling unit.

This cluster is located in a state that has been the heart of conflict for years. Broken supply chains, lack of adequate infrastructure and a general climate of instability had been holding back the potential of these clusters for years. Despite all that, the artisans of Kashmir have thrived and have largely held on to their craft. They are the embodiment of the resilient human spirit and they deserve an opportunity to share their skill and culture with the rest of the world.

This collection has been made possible by the “Art-X Kashmir - Export Linkage for Four Artisan Clusters in Jammu & Kashmir” project funded by the Project Implementation Unit of Industries and Commerce Department of the Government of Jammu & Kashmir under the World Bank funded Jhelum & Tawi Flood Recovery Project (JTFRP).

To place an order please contact annie@aowhandmade.com and she will introduce you to this enterprise.

Photographer: Arif Irshad