A New Wool Collection, Made in Kashmir

This week, I am delighted to show you the last of the four new collections from Kashmir and this one is all about wool. It’s a collection of scarves and stoles, designed by US-based consultant and designer, Stacy Spivak. The collection was facilitated by Aid to Artisans/ Creative Learning to help create market opportunities for artists in Kashmir, India while working with Rangsutra and the Bandipora Weavers Producer Company.

Stacy worked with the artists to update their traditional striped and color-blocked patterns with a chic, earthy palette. We are featuring a line of accessories (scarves and stoles) but these fabrics can also be ordered by the yard and made into custom designs such as lumbar pillows, easy bed throws, and more.

Read the full interview with Rangsutra below!

Please tell us a bit about the true supply chain and the process behind weaving these woolen textiles.

Bandipora is a weaving cluster that specializes in the production of handwoven woolen textiles. It is a traditional skill that dates back to a time when Kashmir was a hub for handwoven tweed and woolen textiles.

The merino yarn used in this collection is locally sourced from within the state of Kashmir. The process starts by converting the sourced yarn, which comes in the form of cones, into hanks for dyeing. Dyeing is done by hand in Srinagar. After the yarn is dyed, the weaver drafts the required designs and selects colors before the loom is set as per the specifications of the design brief.

On completion of the process of handweaving, the fabric is washed and finished in Srinagar. In this case, the finished fabric was then sent to Rangsutra for converting the yardage into a line of shrugs, capes, and tunics. High-quality seams and finishes were added to make the product ready for the global market.

What is something that buyers should know about the sourcing of these materials which 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? And what makes this collection unique?

For the artisan communities of Bandipora, 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 of 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. That is what these collections and global collaboration can do for them. The intent is to make the locally made product global in its reach, to sustain an entire community that wants to thrive through its craft.

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

For the longest time, the challenge for Kashmiri artisans has been getting a fair price for their product. For the Bandipora cluster, a minimum wage was set for weavers who had taken up jobs like carpentry to support their families in the absence of decent weaving wages. This facilitated connecting more artisans to the project. Rangsutra is actively working on creating market linkages for this cluster right now so that more work can be generated for these weavers.

When it came to production and sampling, the lack of adequate dyeing units became a bottleneck for the cluster. The dyeing units set up by the state government were not up to par and a private dyeing facility charged double of what should be the fair price because of their monopoly in Srinagar. Rangsutra is working with the weavers to improve the sourcing chain and bring them reliable, cost-effective options

The cluster of Bandipora also needed infrastructure support in terms of setting up looms for their weaving. Existing looms were repaired and new looms were set.

What does the current collection consist of?

The collection from Bandipora is a handwoven wool collection of capes, shrugs, and wraps. They are designed with engineered stripes and color blocking that is cut in a way that uplifts the weave without undermining the continuity of the stripes and checks.

As one who manages these projects, please give us a bit more insights into the artisan sector in India - what is working and what has been particularly challenging. How have you seen the sector change over the years?

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. Existing infrastructure was assessed and looms were fixed in Bandipora to make them production ready.

Then we had to translate this exercise into orders that would generate income for these artisans now. For Bandipora, the first round of sampling for ATA has been successfully completed and efforts to create new market linkages that bring in orders continue.

Anything else you want to tell me about both cluster groups to help promote their work?

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