Patchwork and quilting: A traditional upcycling technique in India

by Maansi Sharma

Patchwork and quilting, a traditional craft that has been passed down through generations, is not only a beautiful form of artistic expression but also an effective upcycling method.

Originating from the necessity of making the most out of limited resources, this age-old practice involves repurposing fabric scraps and remnants to create stunning quilts and other textile creations.

In a world focused on sustainability and reducing waste, patchwork and quilting have gained renewed attention for their inherent upcycling nature. By breathing new life into discarded or unused textiles, these techniques offer a meaningful and eco-friendly way to transform remnants into functional and visually appealing pieces.

The textile skills of patchwork and quilting have been practised for generations in India. The creative fusion of diverse fabric remnants is used in these age-old methods to produce beautiful patterns and designs. They not only have a nice look, but they also provide a sustainable method of reusing and upcycling used textiles.

Patchwork and quilting are typically produced on a small scale and involve local artisans. This decentralised production model supports local economies and reduces the carbon footprint associated with large-scale manufacturing and transportation. By valuing handmade products, consumers are encouraged to make more conscious choices and support sustainable and responsible consumption.

History of patchwork and quilting in India

During the Mughal era, patchwork and quilting flourished as a form of artistic expression. The royal courts patronised these crafts, resulting in the development of intricate designs and exquisite craftsmanship. The quilts made during this period, known as 'razais', were filled with cotton, silk, or wool, and adorned with delicate embroidery.

Siddi Techniques: A Unique Contribution: The Siddis, an African-Indian community residing mainly in Gujarat and Karnataka, have made significant contributions to the art of patchwork and quilting in India. Known for their expertise in using geometric patterns and bold colors, Siddi quilts are recognised for their vibrant aesthetics. The Siddi women employ a technique called 'kawandi' to create quilts by stitching together layers of fabric using running stitches, creating an exquisite display of texture and design.

Use of patchwork and quilting today

In contemporary India, patchwork and quilting have found diverse applications and have been embraced by artisans, designers, and enthusiasts across various creative domains.

1. Home Decor: Patchwork quilts have gained popularity as statement pieces for home decor. They are used as bedspreads, throws, and wall hangings, adding a touch of colour, texture, and warmth to interiors. The intricate designs and vibrant patterns of patchwork quilts create a visually appealing focal point in any room.

2. Fashion and clothing: Patchwork and quilting techniques have made their way into the fashion industry in India. Designers incorporate patchwork elements into garments, such as jackets, dresses, skirts, and bags, adding a unique and artistic touch. Patchwork fabrics, with their contrasting colors and textures, create visually striking and one-of-a-kind fashion pieces.

3. Accessories and bags: Patchwork and quilting techniques are widely used to create accessories and bags. Artisans and designers craft vibrant patchwork handbags, backpacks, pouches, and clutches, often combining different fabrics and patterns to create eye-catching and functional pieces.

4. Social and community initiatives: Patchwork and quilting also play a significant role in social and community initiatives. Women's self-help groups, NGOs, and cooperative societies often teach patchwork and quilting skills to empower women and provide them with sustainable livelihood opportunities. These initiatives not only preserve the craft but also promote women's economic independence and social well-being.

5. Non-profit Organisations: Patchwork and quilting hold deep cultural significance in India. NGOs recognize the importance of preserving these traditional crafts and ensuring their continuity for future generations. Through their initiatives, these organizations contribute to the preservation of cultural heritage and the revival of dying art forms.

Many NGOs focus on reviving and supporting artisan communities that specialise in patchwork and quilting. NGOs actively collect textile waste, including discarded fabrics, old clothes, and scraps, and repurpose them through patchwork and quilting. By transforming waste into valuable products, they reduce the burden on landfills and contribute to a circular economy.

The future of patchwork and quilting in India

The importance of upcycling and sustainability are becoming more widely recognised, and this has tremendous implications for the future of patchwork and quilting. By fusing conventional methods with modern ideas and empowering artisanal communities

1. Revival and preservation of traditional crafts: Traditional crafts, such as patchwork and quilting, are receiving new attention in India as sustainable alternatives to mass-produced commodities. Traditional crafts are revived and promoted by groups like Dastkar and Craft Revival Trust to ensure their survival and usefulness in the modern world.

2. Environmental concerns and upcycling: As people become more conscious of the negative effects that textile waste has on the environment, there is a rising demand for upcycled goods. The use of fabric scraps in patchwork and quilting effectively reduces waste and encourages sustainability. The emphasis on upcycling is consistent with the circular economy's tenets of effective resource use.

3. Combining traditional patchwork and quilting techniques with modern design sensibilities: Craftspeople and designers are fusing traditional patchwork and quilting techniques with modern design sensibilities, creating inventive and one-of-a-kind goods. Patchwork and quilting are more appealing to consumers as a result of the blending of traditional and modern aesthetics.

 4. Skills development and empowerment: Efforts are being made to train and assist patchwork and quilting craftspeople, equipping them with opportunities for a sustainable way of life. In order to ensure the preservation of these crafts and the economic empowerment of artisans, skill development programmes are being developed by NGOs, government initiatives, and community organisations.

In India, traditional upcycling methods like patchwork and quilting have a long history and are still popular today. They bring a little bit of old-world elegance to modern surroundings and exemplify the beauty of sustainability and repurposing. Patchwork and quilting have a bright future in India as they discover new ways to express themselves in the fashion, home decor, and art industries. Adopting these crafts allows us to pay homage to our cultural heritage while also fostering a more sustainable and exciting future.

Kantha: A traditional way of preserving the environment

by Surbhi Kabra

The Kantha is a traditional needlework that uses old cloth pieces to give them a new form. It has been traditionally used for centuries in rural India.

One of the oldest needlework techniques, Kantha, was developed in India and is today practiced by millions of South Asian women. Before being reintroduced in the 1940s by the daughter-in-law of the renowned Bengali poet and Nobel laureate Rabindranath Tagore, this art form, which had its beginnings in the remote regions of Bengal, vanished in the early 19th century.

While the word Kantha does not have a derived meaning to it, it is believed that the word is rooted in the Sanskrit word Kontha, meaning rags. Being one of the oldest forms of embroidery originated in India, its emergence can be traced back to the pre-Vedic age (earlier than 1500 BCE).

However, the earliest written record date to 500 years ago. In the book Sri Sri Chaitanya Charitamrita, the poet Krishnadas Kaviraj mentions how the mother of Chaitanya sends him a homemade Kantha to his son in Puri through some devotees. The same Kantha is displayed at Gambhira in Puri.

Along with all the other traditional textiles, Kantha was inspired by the available material, daily requirements, climate, geography, and economic factors. Traditionally textile production was considered to be one of the most labor-intensive industries and hence the textiles were considered of high value.

Thus, recycling used clothes into rugs was a very logical step taken in the global lifetime of textiles. Given that this recycling process was more of a work from home, it was mainly of the women of the village to put together, cut, and sew the rags thus, the material was restored.

Sustainable Development Goal No. 12 (SDG No. 12) on responsible consumption and production can be linked to the Indian subcontinent's Kantha, a traditional embroidery method. By increasing resource efficiency, reducing waste, and promoting environmentally friendly behaviors, SDG 12 strives to ensure sustainable patterns of consumption and production.

• Kantha is a technique for creating new clothing, quilts, or household items by sewing together layers of old or abandoned textiles. Kantha encourages waste reduction and lessens the need for the extraction and development of new resources by reusing and upcycling these materials.

•  Sustainable textile practices: natural fibres like cotton or silk, which are biodegradable and have a smaller environmental impact than synthetic materials, are usually used in Kantha. Kantha promotes ethical textile manufacturing and consumption by utilizing sustainable textile practices.

•  Preservation of cultural heritage: the traditional craft of Kantha embroidery has been handed down through the generations. SDG 12 encourages the preservation of cultural history and traditional knowledge by assisting Kantha artisans and their craft. This fosters sustainable development by appreciating and fostering a variety of cultural expressions.

•  Craftsmen’s empowerment: many craftsmen, particularly women in rural regions, rely on kantha stitching as a source of income. SDG 12 encourages sustainable development by fostering equitable and inclusive economic growth through the creation of economic opportunities and the empowerment of artisans.

Typically, threads coming out from old cotton saris, dhotis lungis which had become incredibly soft through wear were used for making Kanthas.

In recent times Kantha is used more broadly to describe a particular stitch pattern. Ultimately and fundamentally the types of stitches are simple, straight, and running stitch which is usually used on the Kantha sari scarves.

With time the styles or the patterns changed and are known as ‘Nakshi Kantha.’ The word Nakshi is derived from the Bengali word, Naksha meaning artistic patterns. This pattern is highly influenced by the religion, the culture, and the lives of the women practising this art form.

This modest piece of textile gave new ground to the imaginations of the women, Kanthas represented religious beliefs, showcased cultural beliefs, displayed the themes and characters from mythology, the everyday lives of the artisans, their dreams, their hopes as well as their personal lives were demonstrated through this.

Even though there is no particular regularity in Nakshi Kantha, the designs usually have a lotus as their focal point surrounded by contemporary designs of birds, plants, fish, flowers, and other sites surrounding them.

The process of making a Kantha is prolonged as the fabrics are first cut to shape and layered to achieve the desired thickness. The layers are then spread at the ground and ironed. The artisans then stitch the edges of the cloth with some loose and large basting to hold the whole piece of fabric together. The finer Kantha is then started, which is started from one corner, and short and parallel lines are made to avoid any kind of deformation and creases in the fabric.

Now, more designers are seeing the value of incorporating fair trade practices into their work, and you can purchase ethically created Kantha products like those created at House of Wandering Silk.

 

Landfill, recycling and textile waste in India

By Nandini Chaudhry and Riya Karnani

India faces significant challenges when it comes to landfill, recycling and textile waste management. Female ragpickers are crucial for the smooth functioning of waste management in India’s capital but thousands of them face dire conditions and struggle for survival.

Amounts of methane and carbon dioxide in the atmosphere (two gases that contribute to climate change and a rise in the planet's temperature), are affected by landfills. However, we do have some influence over how much garbage we dump in our landfills for bulky waste and how much we burn in our facilities for turning waste into energy.

To cut emissions and lower greenhouse gas emissions, we can cut waste, reuse resources, and recycle waste.

By 2030, the United Nations aim for all people to have access to green spaces that are accessible, inclusive, and safe, especially women, children, the elderly, and people with disabilities.

One way to do this is textile recycling and upcycling, which involves both the reuse and reproduction of fibres from textile waste.

Students from Pearl Academy, India experimented with recycled cotton yarn by the method of outlining and detailing different pieces of waste in their chosen colour palette. They then took each of the outlines and composed them together to resemble almost a floral pattern as this is seen a lot on the clothing worn by female ragpickers.

Another sample was made out from deadstock yarn ensuring there is less going to waste from industry. The lifted stitches created a soft and comfortable surfaces. Something we could incorporate into a final design. With this sample they wanted to experiment with texture and colour and reflect what they saw from imagery of landfills.

The speckled yarn translates the colours they have taken from the landfill images and the lifted stitches represent the uneven structure. One more sample created out of the same fabric ladders by dropping stitches, creating areas in which elements can be woven into the designs. This is something the students would like to take through to a final design.

They also experimented with waste satin silk macrame cord, using a technique called braiding and weaving. They first braided the waste satin silk macrame cords and then weaved those braids to make a colourful surface which can be further used to make colourful clothing for these women.

The students also used tie dye cotton cloth polypropylene (face mask) Stitching absorbant cotton fabric on the inside and breathable fabric and polypropylene on the outside.

By 2030, it is a UNESCO goal to lower the negative per capita environmental effect of cities, particularly by giving special attention to air quality and municipal and other waste management. Experts believe India has a flawed waste disposal system, with no proper segregation of waste at the source and an informal recycling system.

The poor disposal of waste is linked to poverty, bad governance, poor standards of living and a low level of environmental awareness.

The waste segregation and recycling system works through an informal operation. Ragpickers collect waste and sell it onto dealers, who sell it on to recycling plants. This means there is no proper documentation of their recycling, and relying on ragpickers to help the recycling process is not thorough and leaves much waste unrecycled.

Only 43 million tonnes are collected, 31 millions of which goes to landfills and a mere 12 million undergoes treatment (recycling, etc).  The methane released from landfills has a great global warming potential, 23 times greater than the same amount of carbon dioxide.

Textile waste in India varies. On a domestic level, households often upcycle day-to-day clothing and textiles – e.g, turning sarees into cushion cases.

On a larger scale, Kishco Group deals with a lot of clothing and textile recycling. Some materials are converted to fibres like poly waste yarn and is used in other textile products. Used clothing comprising of wool, acrylic and cotton are converted into re-generated fibre by Kishco Group.

Female ragpickers are crucial for the smooth functioning of waste management in India’s capital but thousands of them face dire conditions and struggle for survival. They are exposed to harmful substances, earn poor wages and suffer from a lack of public services. Many of them suffer from health issues, from breathing difficulties and dysentery to diarrheal and dengue fever.

Women ragpickers face a lot of problems like back pain, shoulder pain and fatigue. The rag pickers work under tough and hazardous conditions. They work long hours without any protective gear.

Doctors say there is a high prevalence of anaemia, skin problems such as fungal and bacterial diseases and respiratory illnesses among the workers.

According to research rag pickers generally suffer from:

• respiratory problems (19%)
• eye problems (40%)
• dermatological problems (22%)
• injuries (60.5%)

Additionally the high prevalence of general health problems such as fever (78%), cough and cold (83.5%), diarrheal and dysentery (40%) were reported to be high. Road accidents and fall (23%), animal bite (16.5%) and frost bite (16.5%) significantly are higher among rag pickers.

In order to sustain the way of life for both present and future generations, Goal 12 calls for sustainable consumption and production practises. The triple global catastrophes of climate change, biodiversity loss, and pollution are all caused by unsustainable patterns of production and consumption.

The wellbeing of people and the accomplishment of the Sustainable Development Goals are threatened by these crises and the associated environmental deterioration. In order to increase resource efficiency, lessen waste and pollution, and create a new circular economy, governments and all citizens need to collaborate.

Two of targets of Sustainable Development Goal 12 are:

1. To minimise the negative effects on human health and the environment, by 2020, achieve environmentally sound management of chemicals and all wastes throughout their life cycles, in accordance with accepted international frameworks, and drastically reduce their release to air, water, and soil.
2. Reduce waste production by a significant amount by 2030 through practising trash avoidance, reduction, recycling, and reuse.

Personal protection equipment (often known as PPE) is clothing used to reduce exposure to risks that might result in significant workplace diseases and injuries. Contact with chemical, radioactive, physical, electrical, mechanical, or other job hazards may cause these wounds and illnesses.

Items like gloves, safety goggles, shoes, earplugs or muffs, hard hats, respirators, or coveralls, vests, and full body suits are examples of personal protection equipment.

All personal protective equipment must be designed and built safely, and it must be kept in a hygienic and dependable manner. It should be snug enough to encourage worker use. Fit issues with personal protective equipment might mean the difference between being safely covered and being dangerously exposed.

Employers are required to supply personal protective equipment to employees and oversee its correct usage in situations where engineering, work practise, and administrative controls are impractical or insufficiently protective.

The students from Pearl Academy studying fashion design took this problem and tried to create protective clothing. The following are the points that where considered in the process of making them.

• Light colour = show carbon contamination.
• Gloves made from elk leather & nomex = washable. Toxic workplace uniform, full protection

• Bright colour = easily visible. High visibility vest/clothing, hard hats, work boots, safety goggles.

The creation of protective clothing using upcycled cloths offers several benefits. Upcycling is the process of turning waste materials into new things that have value added. Upcycling can support sustainability initiatives and encourage a more ecologically friendly attitude to fashion and safety when used with protective equipment. 

Environmental sustainability: Upcycling helps to lessen the negative effects of clothes manufacture on the environment by reducing waste and the requirement for new raw materials. Utilising current materials and fabrics reduces the need for new resources like water, electricity, and chemicals. This helps reduce the damaging effects of the fashion industry on the environment and helps preserve natural resources.

Reduced textile waste: The textile sector produces a significant quantity of waste, including abandoned clothing and fabric remnants. These materials can be upcycled into protective apparel to extend their useful lives and keep them out of landfills. Upcycling decreases the overall amount of textile waste and encourages a more circular economy by reusing and redesigning them into new items.

Uniqueness and customisation: The design of protective gear can be made with creativity and personalization thanks to upcycling. Each piece can be distinctive by utilising various fabric patterns, hues, and textures. This element of upcycled apparel gives the protective gear more personality and character, making it more desirable to customers looking for personalised and one-of-a-kind things.

Cost-effectiveness: Recycled clothes might be less expensive than new safety equipment. Utilising old materials greatly lowers the production costs associated with buying new fabrics and resources. Protective gear may become more accessible and inexpensive because to its cost-effectiveness, especially for those with limited financial resources.

Community involvement and social impact: Upcycling efforts can open doors for regional craftspeople and communities. Upcycled protective clothing projects can support the socioeconomic growth of communities by utilising locally sourced materials and collaborating with small-scale manufacturers or artisans. This interaction empowers people and promotes social cohesiveness by supporting entrepreneurship, skill development, and innovation.

Recycled safety gear must still adhere to all applicable regulations and standards. The protective qualities or robustness of the clothes must not be compromised by the changing of the materials.

Producing protective garments from repurposed materials has various positive effects on the environment, the economy, and society. It promotes innovation, eliminates waste, increases sustainability, and can lower the cost and increase accessibility to protective gear. We can develop a more sustainable and accountable method of producing protective garments by adopting upcycling techniques.