Weaves of Nagaland’s back strap loom, cotton woven by Tai Khampti tribe and patchwork
Spoken for

This shawl has two sides highlighting two different textile skills- weaving and stitching.

One side has the highlighted central panel of weaves of back strap loom of Nagaland contrasted using plain cotton woven in Arunachal Pradesh. When we see this cotton, there is nothing unique about it. But when we put a context of a community that never before wove cotton as plain yardage on their traditional loom, it adds a deeper layer of curiosity.

“Why did Ritika get these plain fabrics woven in Arunachal Pradesh, a territory that is remote and hard to access? She could have easily bought this fabric from mainland India.”

The fuel to Mora has never been about accessibility, practicality or efficiency.

If these factors had to supersede the journey of Mora, then I would have never chosen North East India as my centre focus. I would have remained in mainland India. I feel offended by the fact that North East India still does not receive good quality cotton yarn to weave with. The markets of North East India are still flooded with synthetic yarns or cheap quality cotton. So, I took cotton from Salem, Tamil Nadu and took it to the remotest regions in North East India. That required some madness! The yarn we took is mercerised Azo-free dyed cotton yarn. Weavers like working with it. So, I began to get plain varied colour yardages woven by Tai Khapti tribe of Arunachal Pradesh. Monetarily, of course it is pointless. But by measure of meaningfulness, it is one of one most exhilarating moments when I walk the lanes of the village where these fabrics get woven and each house on either side has a loom and each loom has these fabrics being woven.

These homes when seen together from bird’s eye view would have looked like a patchwork of different colours.

So I decided to add patchwork to the second side of this shawl to give a tactile form to this memory.

Together shades of blue reflect through the weaves and patchwork and tell me, “do not limit yourself with the safest, quickest or most accessible. Step forward and see the cerulean sky. Magic often remains unnoticed, if we only look at the obvious.”

Buyer Empowerments

Indigenous textile product that involves traditional handloom weaving of Nagaland, and stitching skills required for patchwork.
One of a kind wearable textile. Back strap weaves air set against throw shuttle weaves made with cotton. This is then highlighted with a strip lined patchwork. The double sided designs offers dynamic drapes and look meant to look like many different shawls in one shawl.
Weather/ Mood
Pleasant- okay for summers to nippy evenings. Especially good for keeping yourself warm on your hill station vacations.
Not fragile
Dry Clean only; Needs “Airing” in shadow, not direct sun. Do not wring.
Ready to wear
Mill spun mercerised cotton yarn with Azo-free dyeing used for Naga weaves and cotton plain panels. The dye source of patchwork’s block and screen prints is unknown.
Modern, “cool”, “favourite staple”, can double up as elegant formal or casual fun.
Weaves made by rural artisans at home in available time- supporting farming lifestyle.
In support of indigenous knowledge of Nagaland.
Exposure of weavers to good quality cotton in North East India.
Livelihood opportunities for trainee and unskilled new artisans.
No gender structures assumed while designing the product.
Cotton yarn sourced from Salem, Tamil Nadu.
Weaves made with North East Network, Nagaland.
Cotton fabrics woven in Arunachal under Nang Amlavati’s supervision.
Stitched by Gurmel Singh, Jalalabad, Punjab.
Tassels by Param, Bathinda, Punjab
Imperfections in the weaves reflect handmade
Irregularity in the dyes reflect natural process
Innocent spots in the textiles reflect being homemade
A work of nature cannot be sterile and error-free
A choice to still buy what we make is a step
Towards supporting original culture
Of people
Of nature
Of craft

A celebration of humanness.
Mora Collective 2024
designed by: MIDTOAN