Mora translates into “Mine”, and was started in 2009 as an extension of my passion to celebrate indigenous textiles. To encompass the rich diversity of mountains and hill regions, I have chosen one of a kind Saris, drapes and Shawls as my long and wide canvas. For this, I collaborate with spinners, weavers, and tailors in their homes to create designs that give rightful homage to their workmanship, and thus, eliminate the need to source commercially crafted textiles. The result is an eclectic mix of wearable textile art that celebrates the story of the makers, giving longevity to the craft.
Over these years, hundreds of weaving motifs and textures have been given tangible form using indigenous techniques, looms, fibres and natural dyes. There have been innovations, learnings and cross-community skill exchange in a pursuit to arrive at an appropriate creative solution, using collective shared knowledge accumulated during my grass-root interaction with remote communities. Now, Mora nurtures a community of indigenous artisans, translators, master- craftsmen, students and patrons, a cohesive unit that, working together co- dreams the continuation of ethnic lifestyle and knowledge.
Mora endeavours to empower the buyer with knowledge of making a right decision towards their relations with textile consumption. While the end is Artisan sustainability, the means to that end is Buyer’s sensitivity. Mora upholds this bridge of understanding through informative exchange on decade old Facebook’s community page. Mora’s facebook
page has grown into an organic community of more than 22000 people.
Mora envisions these artisans must be duly represented as Teachers.
Each mora is made as a prototype of design and truly one of a kind. Each weave is made one at a time with the weavers of the community whose homage it is represented as. They are made with Credit, Compensation, Collaboration and Consent of the artisan involved in the weaving of the weaves. You will observe not more than few pieces of each community in a collection. It is because the sentiment expressed is of ethnography through design. We are not a commercial design production house/ studio. The funds raised through the prototypes support the reverse pyramid model projects in North East India.