Key Takeaways

Using the process of gasification, Avani Society has been harnessing energy from pine needles (sourced and collected locally), which can be utilized for electricity and power generation to meet human needs. The first power plant set up by the organization in region was in 2011 which contributed in its capacity to local power generation needs.

Later Avani Society reoriented its focus from energy production to using the raw material for producing high quality Biochar which has the following benefits:

Contributes to sustainable agriculture by the virtue of its benefits to soil ecology thus leading to increased agricultural productivity which in turn forms the infrastructure for climate resilient agriculture.

Carbon sequestration through biochar (removes carbon dioxide from the air and stores it in the soil), and looking at the avenues in global carbon markets through the medium of carbon credits, thus turning it into a revenue generation opportunity. This unique combination of environmental benefits and economic opportunity can be availed via carbon credits generated from biochar which are fully certifiable.

Ground water recharge through biochar especially considering the fast depleting ground water levels across the globe.

Gaurav’s research on pine needles being a bio composite material is also taking the shape of looking at the material as an alternative for packaging industries in shifting from plastic to an eco-friendlier raw material.

As Gaurav highlighted during the session, his research has recently attracted big corporations like TATA, Lancôme and Renault which are showing interest in exploring eco-friendly raw materials like pine needles in the production process of their business models. Thus proving that this material has tremendous scope of demand in the future.

Through his groundbreaking research work into the material potential of pine needles, Gaurav emphasizes on the need to introduce more eco-friendly raw materials into the global market so that these materials can be used to cater to producing tailored solutions for region specific issues and challenges. A tremendous support from the Government of India can also be observed in the present time where through instruments like policies and programs the govt in encouraging more research and innovation into finding solutions for sustainable development.

Nupur’s Pirul Handicrafts has a completely different focus with the use of same raw material. The enterprise engages in handicraft production through the medium of using locally sourced pine needles to craft home décor items and accessories. It provides employment to over hundred women in the Khetikhan village in Uttarakhand and also teaches them the skill of crafting products using pine needles.

Pirul Handicrafts as an initiative has had tremendous ripple effect benefits like community building, skill development and enhancement, employment generation, and women empowerment thus strengthening the social and environmental ecosystem of the local region. The enterprise meets both national and international demand for their products, with a major part of international supply going to Europe.

Nupur emphasized on rural supply chain being a major challenge for the business as factors like transpiration in mountain regions with difficult terrains and geographical distances affect the effective functioning. She feels that optimizing the supply chain can help the organization expand an scale up in the future.

The post From forest floor to future – Pine needles for material innovation and climate resilience first appeared on .

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Sonal Baid of Maayu, Goa-based organic innerwear brand
In conversation with Surucchi Khubchandani, Curator, CD CraftxClimate Series

Key Takeaways

While we often discuss the health risks of chemical exposure in sanitary products, everyday innerwear may be just as harmful.

Synthetic dyes and chemicals in fabrics are linked to health concerns ranging from skin allergies to more serious conditions like PCOS, PCOD, and even cancer, due to prolonged exposure to carcinogenic substances in textiles.

Sonal Baid, founder of Maayu, an organic intimate wear brand, highlights the vital link between lifestyle choices, particularly clothing, and health. She emphasizes that awareness of this connection can drive consumers to make more conscious choices and push producers to adopt greener, more organic methods.

Maayu’s products are made from 100% organic, GOTS-certified cotton, free from harmful chemicals like bleach, fertilizers, and pesticides. They are also compostable within one to three months, depending on soil quality.

The brand integrates traditional craft techniques, such as the use of organic kala cotton, hand block printing, plant-based dyes (especially Indigo), crochet details, and tie-dye, helping to uplift local artisan economies.

Incorporating craft into everyday products promotes both environmental and cultural sustainability. Sonal encourages new brands to explore local crafts as part of their product design process, especially if slow and conscious fashion is a priority.

For conscious consumers, reducing post-consumer waste is crucial. Sonal advises opting for dye-free, natural fibers and using natural detergents to reduce the impact of harmful chemicals on water systems.

A key issue is the lack of uniform standards and regulations in India’s textile production, particularly regarding dyeing practices. This gap, along with low consumer awareness, has led to widespread use of carcinogenic chemicals in everyday clothing, affecting human health.

CraftxClimate

Creative Dignity’s “CraftxClimate” initiative aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions. Join us as we explore climate-resilient growth paths for handmade businesses together! Our exciting lineup of conversations and masterclasses with industry experts focuses on crafting a sustainable future. 

The post How Sustainable is your Underwear? first appeared on .

The post How Sustainable is your Underwear? appeared first on .

Speakers

Sonika Bhasin, a media professional, sustainability enthusiast and influencer

Gauri Gupta, co-founder, Arani Ecosteps, a brand offering non-toxic, low-waste personal and home care products.

Moderator: Bhakti Tirthani, a design thinker and communication consultant, Creative Dignity

Leading a low-waste lifestyle through intentional consumption choices, waste reduction and sustainable practices is a powerful strategy to combat climate change. Cultivating mindfulness, fostering community engagement and prioritizing positive change are essential for driving this transformative shift. During this session, we spotlighted the efforts of two sustainability advocates to inspire CD members to take action and explore practical ways to reduce their environmental impact as well as lessons for eco-friendly branding. Key takeaways include:

Parenting with Sustainability Ethos

Sonika embarked on a low waste wagon after she became a parent and is committed to bringing her up child with the same values. She uses the positive force of Instagram through her account @sonikabhasin with a follower base of 76 thousand to share experiences and tips to encourage as many people as possible to shift towards a more mindful way of life.

She says that raising children with values of sustainability can happen through leading by example and practicing an environmentally aware lifestyle in our homes. This could encompass composting, proper waste management, sending household materials for recycling, reducing new purchases, avoiding fast fashion, supporting local producers, using public transport or walking instead of driving, and more. Small steps can make a big impact on the environment.

Proactive parenting could mean activities like hosting seminars and talks at our children’s schools to educate others on waste management and environmentally conscious living.

Making Small Changes in Lifestyle

Promoting an eco-friendly lifestyle involves seeking sustainable alternatives to environmentally harmful products and practices, such as disposables and plastics. By discovering emerging sustainable brands, which can be found on social media platforms like Instagram and Facebook, individuals can take a step towards sustainability. By sharing information about these brands and products with friends and family, individuals can further promote environmental action. Making simple changes like cooking at home instead of ordering out, dining out mindfully and minimizing the use of fast commerce options for shopping, can help reduce waste production and energy consumption in everyday life.

Recognition of our privileges in the changing climate scenario is necessary as these privileges put us in a position of responsibility to mend our lifestyles and think on a community level and not on a personal level.

Environmentally Conscious Brands

The market for environmentally conscious goods and brands has experienced significant growth in recent years, with expectations for further expansion. As awareness among consumers increases, there is a growing interest in sustainable alternatives, placing a greater responsibility on eco-friendly brands to ensure their products are manufactured in a manner that respects the environment and its limitations.

Gauri Gupta of Arani Ecosteps shared some concerns and guidelines the brand has followed in its entrepreneurial journey as a growing pro-environment brand. Arani Ecosteps’ focus is on novel formulations and materials to reimagines home products as dehydrated, concentrated solids in effort to reduce plastic packaging and carbon emissions. She shared that it is crucial to first identify the environmental issue at hand, understand its impact, and develop innovative solutions.

These guiding questions can shape the brand’s mission and vision.

For environmentally conscious brands, it is essential to establish core principles and values that prioritise environmental sustainability while also offering user-friendly, high-quality, and cost-effective products for their target audience. Conducting thorough research and providing detailed information about the product creation process, including raw materials, product qualities, environmental benefits, and addressing consumer inquiries, can help build trust and credibility with customers over time.

By making this information easily accessible on the brand’s website, Instagram page, and YouTube channels, brands can cultivate a loyal customer base. Simplifying product-related information through the use of illustrations, videos, and clear explanations can enhance consumer understanding and engagement, fostering a stronger connection between the brand and its audience.

Consumers Command the Power

Corporations thrive on the trust and support of consumers, who have the ability to drive significant change through their purchasing decisions. By becoming more conscious of the impact of their choices, consumers can play a pivotal role in addressing the climate crisis by shifting towards sustainable brands. Recognising the urgency of the climate crisis, consumers have the opportunity to take action and contribute to positive change by embracing their role as responsible global citizens.

CraftxClimate

Creative Dignity’s “CraftxClimate” initiative aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions. Join us as we explore climate-resilient growth paths for handmade businesses together! Our exciting lineup of conversations and masterclasses with industry experts focuses on crafting a sustainable future.

The post Leading a Low-Waste Life: Everyday Sustainable Consumption first appeared on .

The post Leading a Low-Waste Life: Everyday Sustainable Consumption appeared first on .

Speakers

Ghatit Laheru, Director, Khamir
Madan Meena, Director of Adivasi Academy, Chotta Udaipur and Trustee, Bhasha Research and Publication Centre, Vadodara
Nilesh Priyadarshi, Founder, Kaarigar Clinic
Moderator: Surucchi Khubchandani, Curator, ‘CraftxClimate’ Series by Creative Dignity

In the webinar “100 Mile Economies: Case Studies from Gujarat,” we explored the potential and challenges of building place-based, self-sustaining value chains today. We focused on how age-old traditions and the symbiotic relationships among production communities—ranging from farmers, ginners, and spinners to weavers and dyers—can be preserved and revitalized via market opportunities and material transactions.

This exploration is crucial against the backdrop of modern supply chains, characterized by increased physical distances between raw materials, processing units, production facilities, packaging, and markets. Moreover, there is often a disconnect between traditionally rooted skills and contemporary opportunities, leading many generational artisans to migrate to cities. This migration distances them from their organically nurtured skills, eroding the dignity and pride associated with their crafts.

In understanding this narrative, Ela Bhatt’s Anubandh has been referred, whose ethos is following connectedness between a region, its-micro-climate, land, living systems, people and market. Potential of local-hyper activity is well recognised in the global and local food universe, celebrated and consumed as the farm to table, or farm to family coinage. Globally discourse around soil to stitch and new textile economies like Rebecca Burgess talk about them through Fibreshed. However, its translation in the handloom and handicraft sector today needs much more work in terms of operation, logistics and market.

The role of civil society organizations like Khamir in Kutch as catalytic entities is vital for resource and skill mapping, leading to the reinitiation of indigenous materials within a bio-region. By revitalizing kala cotton and desi oon (indigenous wool), Ghatit Laheru, Director of Khamir, highlighted not only the potential for social and economic progress within the community but also the ecological restoration of the region’s land systems. The revival of the native value chain included reintroducing essential processes such as natural dyeing, establishing a yarn bank, and bringing spinning activities to Kutch from Saurashtra. This revitalization led to higher wages for weavers working with kala cotton and increased demand for this breathable fabric within the Indian design community.

The learnings were thereafter applied to wool value chain which is a heritage material, a coalescence of the pastoralist lifestyle of Maldharis (an umbrella name for all pastoralists in Kutch) and the arid micro-climate. Patanwadi, the local sheep of Kutch is treasured breed and prized for its wool and sturdiness, whose wool is produced with minimal environmental impact, requiring fewer resources and promoting biodiversity.

Another similar initiative, though smaller in scale, but agile in its aim and intent is the recent Kasota loin loom revival in a lesser known Chotta Udaipur district, 110 kms ahead from the city of Vadodara. Started as a revival attempt by Bhasha Academy under the leadership of Madan Meena, it has shaped into something bigger that has been able to catalyse reverse migration and re-connection of the weaver community with their generational craft. It is a site of gender stewardship with women becoming first-generation weavers along with activation of a hyper-local economy encompassing re-introducing farming of indigenous cotton, plant-based dyes, spinning, weaving, hand-stitching to local sales at premise of Bhasha Academy, Vadodara.

Ratanbhai Vankar, the pioneering weaver of this project who returned to his ancestral weaving profession, recently won the Indian National Trust for Art and Cultural Heritage (INTACH) Martand Singh Memorial Award. In a period of 4 years, the project is self-sustainable and providing income to 10 artisans and farmers.

Nilesh Priyadarshi, Founder, Kaarigar Clinic shared the product development journey of The Local Gift Box, an initiative shaped during the Covid-induced lockdown to create a sovereign supply chain amidst raw material shortages and market disruptions in Kutch. It was showcased on KBC and Shark Tank India 2.

Additional reference material:

Khamir’s Wool Value Chain

The Renewed Thread of Kasota Weaving

Spotlight on Kasota Weaver Ratan Vankar

Pabiben Rabari and The Karigars Hall of Fame

CraftxClimate

Creative Dignity’s “CraftxClimate” initiative aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions. Join us as we explore climate-resilient growth paths for handmade businesses together! Our exciting lineup of conversations and masterclasses with industry experts focuses on crafting a sustainable future.

The post 100 Mile Economies : Case-studies from Gujarat first appeared on .

The post 100 Mile Economies : Case-studies from Gujarat appeared first on .

This ‘CraftxClimate’ discussion has been developed in collaboration with Fashion Revolution India as part of Fashion Revolution Week | 20 April 2024

Speakers –
Himanshu Shani, co-founder, 11.11/Eleven Eleven and
Ateev Anand, Wear Teev and Re-ceremonial
Moderator – Bhavya Goenka, Founder & Designer, Iro Iro

Context and Takeaways

Regenerative fashion refers to clothing made in ways that support circularity — either through the used economy by upcycling materials otherwise discarded or through the soil-to-soil cycle of regenerative agriculture. ¹

The fashion industry in India has immense potential to pivot towards regenerative design and sustainable practices. The decisions made at the design and development stage have huge impacts on a product’s environmental footprint throughout its entire lifecycle – from the raw materials used, to how it is manufactured, the length of time it is kept in use and what happens to it when it is no longer desired by its owner or cannot be used any more. In fact, as much as 80% of a product’s impact is determined at the design stage. ²  

By designing products for circularity now, designers play a key role in catalysing the development, commercialisation and scaling up of healthy business models, new infrastructure and innovation.

Designers must approach design with an investigative mindset, questioning every aspect from material sourcing to end-of-life, and collaborate with artisans to build scalable solutions. Aesthetics and customer trust are crucial in driving the shift towards a more conscious and circular economy. The speakers for this session, Himanshu Shani and Ateev Anand discuss the importance of questioning and reevaluating current practices in design and production to incorporate regenerative aspects. They talk about exploring the different perspectives of regenerative design from the producer and consumer sides as a designer besides the importance of questioning consumption practices.

Investigative Approach to Achieving Sustainability

Ateev emphasizes the importance of adopting an investigative approach when working with materials. He illustrates this point with an experiment involving the creation of products, such as socks, using a blend of recycled materials: 70% post-consumer textiles and 30% recycled polyester from PET bottles. However, during this endeavour, he encountered challenges related to microplastics within this material mix. Consequently, Ateev made a transition towards more sustainable solutions, opting for 100% cotton yarn instead.

Drawing from 22 years of design expertise, Himanshu underscores the crucial journey of fortifying the seed-to-stitch narrative. His holistic approach to sustainability is a testament to this commitment, starting with meticulous examinations of material origins, notably focusing on cotton. Progress extends to interventions spanning natural dyeing, filament choices, and labelling practices.

Reclaimed Accessories by 11.11 : Patched laptop sleeve made with made out of the left over scrap fabrics

Handmade of book with a kantha cover and papers made from recycled from fabric scraps of undyed cotton, indigo, red and charcoal.

Despite strides made, Himanshu acknowledges the barrier synthetic materials pose to apparel biodegradability. Over the past decade, his brand’s pursuit has been developing 100% sustainable solutions. He emphasizes that transferring knowledge based on best practices across production clusters is pivotal for scalability. For Himanshu, it’s not just a strategy; it’s the indispensable route toward realizing the harmonious blend of crafts and fashion for regeneration.

Tracebility

11:11/Eleven Eleven in a pioneering move has embedded NFC chips for tracebility in their products. It ensures each product’s status is known in real-time, promoting transparency and accountability in the production chain. The implementation of RFID technology like NFC chips allows consumers to connect with the makers behind the products, fostering a deeper appreciation for craftsmanship and promoting transparency.

Product is the King

Both speakers along with the moderator agreed that aesthetics play a crucial role in driving consumer interest to eco-friendly products and promoting a positive shopping experience.

Challenges and Nuances of Certification

Certification in the industry is fraught with challenges eg. its affordability, access or value for a farmer already growing organic cotton or lack of policy mandates in domestic material market for compliances.

Brands can become catalyst in this dialogue through product presentation and storytelling for gaining customer trust and support for sustainability initiatives. Visual narrative plays a significant role in conveying authenticity over certifications.

Future of Fashion

The future of fashion is shifting towards a more informed consumer who values sustainability and individuality, contrasting with the current focus on external perceptions. The evolving priorities of younger consumers is shifting towards value-driven and sustainable fashion choices, emphasizing personal values over trends and body type. There is a vast potential for growth and innovation in the Indian fashion industry.

An advice for aspiring designers is to prioritize discipline and product-oriented thinking in a saturated market, emphasizing the need for meaningful and purposeful design.

More about Speakers and Moderator

Himanshu Shani has long been at the forefront of the sustainability conversation in India. His 15 years old, New Delhi-based brand 11.11 /eleven eleven (with co entrepreneur Mia Morikawa) is a testament to design being a pathway for social and ecological regeneration, with consumer connect, commercial viability, traceability and design distinction intact.

Ateev Anand has been dedicated to understanding and establishing circular practices in textile consumption through his brand re- launched in 2020. In 2022, he launched Re-ceremonial at GenNext Lakmé Fashion Week. This is a line of high-end ceremonial clothing crafted entirely from climate positive textiles and plant dyes.

Bhaavya Goenka is founder of Iro Iro, a zero-waste upcycling studio based in Jaipur that leads with a people-environment mindset. Bhaavya is also the regional ambassador of Fashion Revolution India representing the textile-abundant city of Jaipur.

1. https://www.madetrade.com/blogs/magazine/what-is-regenerative-fashion ︎
2. Textile 2030 Roadmap
   https://wrap.org.uk/sites/default/files/2022-04/WRAP-textiles-2030-circularity-roadmap-20220331.pdf ︎

CraftxClimate

Creative Dignity’s “CraftxClimate” initiative aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions. Join us as we explore climate-resilient growth paths for handmade businesses together! Our exciting lineup of conversations and masterclasses with industry experts focuses on crafting a sustainable future. 

The post Design for Regeneration first appeared on .

The post Design for Regeneration appeared first on .

Context

According to the United Nations Industrial Development Organisation (UNIDO), water stewardship involves the socially equitable, environmentally sustainable, and economically beneficial use of water. In 2021, a collaborative project transpired in Kaladera, Rajasthan initiated by Bindaas Unlimited, a social enterprise that makes contemporary textile prints in natural colours with rural artisans in Rajasthan, Gujarat and U.P. since 1993.

Kaladera as a cluster is proficient in mud resist printing and natural dyeing. It is 42 kms from Jaipur in Chomu Tehsil. This is particularly crucial in an area where water tables have suffered due to historical groundwater exploitation by a Coca-Cola plant a decade ago.

The discussion spotlighted key elements of water stewardship, including site and catchment-based actions, and understanding water use and governance. The featured initiative contributes to Sustainable Development Goal 6 (Clean Water and Sanitation), Goal 12 (Sustainable Production and Consumption), and Goal 17 (Partnership for the Goals).

Key Takeaways

Need assessment for water recharge

The speakers who are active stakeholders in the textile value chain of Kaladera shared that they are one of the largest producers of natural dyeing and hand block printing textiles in India in terms of quantity. Cognisant of the fact that pre-preparation of cloth for dyeing and printing is a highly water intensive process and an average washing facility consumes 10 to 15 thousand litres of water daily for pre-preparation of textiles, Meeta was eager for last decade to create a low-impact production model. This is coupled with the fact that water table in this region in the last three decades has gone down from 50 meters to almost 750 meters.

Collaborative action

As a producer working with artisan communities in Kaladera, Meeta Mastani, the founder of Bindass Unlimited took a pro-active step by joining hands with the BBCP Rainwater Foundation, Manthan Kotri, Chaubundi Studio and the artisan community to set up Rainwater Harvesting Tank and Water Recharge Well on community land (60 family units as beneficiaries) and private studio land of Chaubundi family in Kaladera. The financial investment was also shared by these stakeholders.

The project was divided into developing 2 systems

Recharge well:

The recharge well dug in the ground receives all water from the wash tanks connected through pipes after a simple 2-point filtration to eliminate mud from mud-dyeing process plus washing natural dyed fabric. On an average, a total of 7.3M L of water every year is re-used and saved.

Rainwater harvesting:

Pipe connected with tin rooftop direct and stores 100,000 litres of water in a storage tank which can be used for multiple purposes including drinking, washing, dyeing, farming, gardening etc. Re-directs 800,000 Liters x year to the ground, otherwise lost in runoff along the surface. Overflow from this tank is directed to the recharge well.

Steps for setting-up the tank tank (for more details, refer recording):

1. Identifying the adequate space for water recharge and rain water tank installation on site

2. Identifying catchment areas for rain water collection eg. tin-shed roof, direction and angle of land slope, average precipitation level study    

3. Sensitising the community and other stakeholders about the need and solution for their engagement and governance

4. Calculating tank sizes based on water that needs to be stored and how the overflowing water can recharge ground water

5. In Kaladera’s case,15-foot hole was dug in the earth, with cemented sides and non-cemented bottom that stores and recharges water

Cost and maintenance

Financial liabilities include both construction and maintenance costs with cleaning. This solution is applicable in processes like mud-resist and natural dyeing. For synthetic dye discharge, this solution would need a different water treatment filter, used in systems like ETP and ZLD.

Tank construction: INR 5-6/litre. 1Lac litre should cost INR 5-6 Lacs

Water recharge well: 2.5L/well (constructed 3 years ago). Manthan Kotri can be contacted for updated cost. Details at end of the document.

Recharge Well: Channel needs to be cleaned regularly for mud removal for 25-30 years of lifetime. A minimum of 2 people can easily clean a tank. The extracted mud can be re-used. 

Lifetime of the facility

Storage tank: 50-60 years

Manthan Kotri suggests including social cost for regular community sensitisation and mobilization activities in the water conservation project for operational success.

Limitations of community-model due to limited participation

The conversation revealed that while the individual water recharge and rainwater system were functional due to supervision of Bindaas Unlimited and Chaubundi Studio, the community facilities are non-operational with limited participation by the artisan community members of Kaladera to adopt cleaning activities of the tank.

The artisan communities in Kaladera have shown lack of ownership and interest despite Meeta and Krishnakumar’s continual efforts to mobilize their actions towards minimal maintenance of infrastructure. This is combined with lack of acknowledge of water related scarcity and need of conservation for present and future generation. Despite the substantial future benefits, ecological concerns often take a backseat to the immediate focus on economic sustenance in the routine of daily life. Meeta shared that simple maintenance and repair tasks in village take 5x time when compared to city.

Various suggestions were explored to enhance operational efficiency among the artisan community of the public infrastructure set-up in Kaladera. These include suggestions by the participating audience. These included implementing a rotation system for cleaning responsibilities, monetizing cleaning activities through community-appointed personnel, leveraging religious and spiritual narratives to promote water conservation, and showcasing the positive impact of water recharge and harvesting systems on private land through community-led programs.

Contact details

Tejaram Mali of Manthan Sansthan Kotri can be contacted at manthankotri98@gmail.com

Meeta Mastani of Bindaas Unlimited can be reached at mastaninazar@gmail.com

CraftxClimate

Creative Dignity’s “CraftxClimate” initiative aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions. Join us as we explore climate-resilient growth paths for handmade businesses together! Our exciting lineup of conversations and masterclasses with industry experts focuses on crafting a sustainable future. 

The post Small Village, Big Impact: Water Conservation Wisdom from Kaladera, Rajasthan  first appeared on .

The post Small Village, Big Impact: Water Conservation Wisdom from Kaladera, Rajasthan  appeared first on .

‘Lost and Found’ is a collaborative project under Creative Dignity’s ‘CraftxClimate’ initiative with curators Rajesh Kulkarni and Raju Sutar to position crafts as a model to mitigate climate crisis.  Focused on two pottery production regions of Warak (Maharashtra) and Kutch (Gujarat), they have collaborated with indigenous communities to systematically and scientifically study the clay compositions to cope with the evolving environmental conditions and potential of the local economy.

The presentation brought out multiple facets of the impact of climate change on indigenous pottery communities in India, the challenges and opportunities within these respective clusters, with a focus on supporting local potters and preserving traditional pottery practices as well as the importance of positioning the learnings of this initiative in different biomes.

A visual capsule of ‘Lost and Found’ is also exhibited at the Indian Ceramic Triennale, Delhi.

Below are key takeaways:

United by Calamity and Craft

A history of natural calamities i.e. Nisarga Cyclone in Warak and earthquake in Kutch and attitude of community resilience in its wake unites these two regions, which are geographically miles apart. The artists also during their research found historical connections between Warak and Kutch. The historical evidence of Kutch pottery is found in Kelashi, a coastal port in Warak region, dating 2000 years back.

Warak, a small village situated in Indapur, near Konkan region has small but resilient pottery community mainly led by women. Rajesh, who lives in Indapur, shared that though pottery is a generational craft for communities, migration by local population, especially men due to urbanisation over years has led to shrinkage of this craft practice.

Women of Warak

Catastrophe and Material Innovation

The Nisarga Cyclone of 2020, a rare and sporadic phenomenon in the region, resulted in significant material loss. However, the aftermath of the cyclone brought about a resurgence in Warak pottery, with a surge in demand for corner roof ridge tiles (dhapas).

During numerous site visits, Rajesh and Raju observed compromised firing techniques and inadequate material mixes within the community, leading to increased breakage during the firing process. “60 percent of efforts go into drying and firing the product. Breakage due to poor soil mix and technical firing limitations results in financial loss,” shared Rajesh.

Intervention by Creative Dignity shed light on the environmental and urbanization challenges affecting not only Warak but also other pottery clusters across the country. Under the guidance of Anand Damle, CEO of Damle Clay Structurals, a comprehensive documentation and analysis of soil mixes, including experiments such as soil particle analysis and plasticity index, were conducted in Warak, Kutch, Tuna, and Fatehgarh. The study acknowledged the diverse geological soil compositions of the Indian peninsula, ranging from the Indo-Gangetic plains to arid clay in Western India, laterite soil in the Western Ghats, and the Deccan’s black cotton soil. Rajesh and Raju affirmed that clay composition, cultural influences, and skill levels determine the nature of products produced in each region.

On visitation it was learnt that Kutch, though rich in craftsmanship, was facing soil accessibility issue due to port construction, depletion of natural resources as well as use of hazard industrial waste (post-consumer garments, plastic) as fuel with health repercussions.   

Soil Mix:

The soil mix of different regions like Kutch, Tuna and Warak was mixed in various proportions to create more refined and workable raw material mixes, finishes and textures. This was a successful experiment and presents a future pathway for scaling to fulfil regional demand and strengthen local economy. The idea of creating a database through documentation of scientific soils properties based on agriculture and geology for larger solution-making was also underlined.

“We are losing natural raw material rapidly due to environment transitions and development projects eg. in Fatehgarh, Tuna, Warak. Mimicking physical properties of original soil through scientific interventions can inform solution-making in future”, said Rajesh.

Collaboration to Community Adoption

Kiln and Firing Solutions:

Through their research, the duo approached Khamir, a platform for the crafts, heritage and cultural ecology in Kutch to learn about energy efficient kilns developed by RuTAG (Rural Technology Action Group) IIT Delhi and its community adaptation. Through a prototype kiln in Warak designed through Khamir’s assistance, the breakage has reduced, a validation to the process.

Ghatit Laheru from Khamir shed light on the successful adoption of energy-efficient kilns by the potter community in Kutch. The simplicity and effectiveness of the kilns’ design played a significant role in their widespread acceptance. Initially introduced with just one or two kilns in each village, the number has now grown to over 14 operational kilns. This transition has led to a remarkable reduction in fuel dependency, by up to 40 percent. Laheru further emphasized the importance of the younger generation taking up responsibility for these clusters, ensuring their continued success and sustainability.

Gender Stewardship:

Within the community of Warak, a unique dynamic has emerged where a mother- and daughter-in-law duo have become revered local authorities in the intricate art of kiln firing. Their expertise has been sought for community development. In the wake of significant male migration to urban centers like Mumbai and Pune, the responsibility of pottery production has fallen upon the capable shoulders of the women within the households of Warak. Balancing the demands of farming, household chores, and the craft of pottery, these women exemplify resilience and adaptability. Their unwavering commitment to managing both domestic responsibilities and the consistent production of ridge roof tiles not only sustains the craft ecosystem but also fosters stability within the community.

Low-Tech Solutions:

The curators shared that adoption will become a reality when solutions offered are low-tech and easy to adapt. For example, Ranju Bhai in Kutch, who production line is consistent, only needs shelter assistance to store his wares. Another example is training initiative with women of Warak, which will be a success if it is designed as per their schedule.

Circular Economy and Sustainable Architecture:

Discussions also emphasized the necessity of situating this initiative within various biomes. The imperative for sustainable architecture underscores the need for utilizing local terracotta materials as filler, thereby reducing reliance on cement. Emphasizing the preservation of a circular economy, minimizing carbon footprint, and recognizing the pivotal role of their efforts in the architectural sector were highlighted as essential. Presently, Warak exclusively caters to the local market. However, expanding to broader markets may necessitate mechanization and economies of scale, potentially placing ecological strain—a dimension the project team acknowledges and aims to navigate with utmost sensitivity.

Way Forward:

Rajesh noted children’s interest in learning the craft and its positive impact on preserving the generational cultural heritage. Meera of Creative Dignity suggested sharing Rajesh’s pottery curriculum with other potters and clusters like Satara and Kolhapur. Pottery as a sustainable livelihood practice and its adoption as a green material which is an example of circular design application will only be viable if it receives the right pricing and continued access to material.

About Rajesh Kulkarni & Raju Sutar:

Rajesh Kulkarni takes pride in calling himself a potter and is based out of Indapur in the Konkan region of Maharashtra. Indapur is 3kms away from Warak. He is practicing pottery for more than 3 decades under his brand Aakar Pot Art. Raju Sutar is a Pune-based artist and has showcased at Kochi-Muzris Biennale, Documenta 13 in Germany, Florence Biennale and more. He believes in adopting a multi-faceted approach towards cultural heritage.

Additional Reading

RuTag Newsletter

CraftxClimate

Creative Dignity’s “CraftxClimate” initiative aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions.

The post Lost & Found : Calamity, Innovation & Beyond… first appeared on .

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The session was titled ‘Roots of Resilience: Indigenous Knowledge Systems in Sustaining Craft Traditions’ and the conversation mapped three distinct bio-regions inhabited by indigenous communities and discussed the role impact champions and dynamic social enterprises play in igniting resilience, relevance and cultural healing within these communities to cope with modern economies.

The panel was moderated by Surucchi Khubchandani, curator, CraftxClimate, Creative Dignity with speakers Madan Meena, Trustee, Bhasha Research and Publication Centre, Vadodara and Director of Adivasi Academy, Gujarat; Kavya Saxena, Social Entrepreneur, Craftpotli and Rural Content Creator and Tejashwini Yalawar, Kosala Livelihood and Social Foundation, a Hindalco Initiative by Aditya Birla Group.

This blog post highlights the context and some of the key takeaways from this discussion.

Relationship between Indigenous Systems and Ecology

The speakers represented three bio-regions and the matrix of respective communities, geographies, regional assets and material cultures. The concept of Geographical Indications (GIs) by the Government of India institutionalises this place-based material and cultural context.

Madan Meena shared that the idea of indigeneity is embedded in history, politics and identity. More than 100 nomadic communities and their sub-castes practice their own languages which is preserved in these zones much like the concept of GI and the indigenous craft belonging to the said region.

Bio-regions are also understood as ethno-culture zones. Indian folklorist Komal Kothari gave this word to different zones and in Rajasthan, these zones are divided by food, ecology, culture, languages, musical traditions even grasses. Bio-zones are models of sustainability and if we delve in history, these have helped in preserving cultures, ecology through generations.

To illustrate this point, Madan provided insights into the practices of the tribal Kuchbandhia women, a sub-caste within the broader Kanjar community residing across western and central India. Their traditional craft involves crafting a unique brush, known as “kuchi,” using the roots of the Khus-Khus plant abundantly found in neglected landscapes. These brushes play a crucial role in the craft economy, example for Kaithun weavers in Kota and weavers in Benaras, where they are indispensable for applying starch (mandi) to prepare yarn for warping. In the initial process, the roots of the Khus-Khus plant are skillfully utilized to fashion the brush, while the stems are repurposed to create reeds used in the loom. However, the use of natural materials in the latter has undergone a transformation, with wire reeds replacing the traditional plant-based reeds.

Kuchbandhia Women

Brush made by Kuchbandhia community used by a Kaithun weaver from Kota

Reed made of khus-khus plant

Another panelist, Kavya Saxena, a social entrepreneur originally from an urban-corporate background, made a pivotal decision to relocate to Koraput, a forest range in Southern Odisha in August 2021. Odisha, she mentioned has highest number of Particularly Vulnerable Tribal Groups (PVTG) out of which 6 are in Koraput. And against this fragile climate, she underscored the importance of sensitising to the varied geography, regional assets, and diverse communities as a foundational prerequisite for envisioning and implementing business solutions within the bio-region.

Bridging Extractive and Regenerative Models through Craft

The third speaker, Tejashwini Yalawar spoke about a unique transformative model she drives, a social enterprise ‘Kosala Social and Livelihood Foundation’ incubated by Hindalco, an Aditya Birla Group company. Hindalco, a mining organisation in many Indian states including Chhattisgarh initiated ‘Sustainable Mining Charter’ in 2017 to necessitate a holistic approach to sustainability that encompasses a variety of areas, like sustainable mining practices, energy conservation, recycling, socio-economic development of the communities around mining locations.

Under economic development, Kosala formalises the reeling and weaving cluster, working with the indigenous Dewangan community. Tejashwini highlighted the challenges of entering a native ecosystem to cut through the middlemen culture, trust-deficit as well as re-introducing indigenous techniques like thigh reeling, natural dyeing. Employing equity through engaging the local community as employees to lead artisans’ onboarding and driving operations as well as building fair wage and social security elements within the working model are some tools used by Kosala.

Thigh reeling

Natural dyeing

Scaling Tribal Economies

In her venture based in Koraput, Kavya established a new value chain using the surplus wild turmeric abundant in the Adivasi habitat. Hand pounded and naturally sun-dried by the Kondha women from Koraput, it transforms into bathing bars, providing a circular economic solution that empowers the Kondha women, fostering financial independence within their community.

While Kavya achieved success with regular and bulk orders from organizations like the UN, she faced a dilemma when contemplating scaling up production. The challenge lay in harmonizing the expansion with the Adivasi lifestyle, characterized by seasonal engagements, including spending summers in the forests and cultivating seasonal agro-forest produce, an anti-thesis of monocultured farming practices. Addressing this conundrum, Kavya advocated for a non-disruptive business approach, suggesting strategies such as demand forecasting and diversification of products based on other locally grown resources like coffee or even coffee waste.

This approach extends beyond turmeric, as exemplified by the iconic Kapdaganda shawls of the Dongria Kondha tribes, boasting a Geographical Indication (GI) tag. The shawls’ motifs intricately narrate the biodiversity and non-invasive characteristics of the region. Kavya emphasized on the necessity of respecting circular economic principles when devising economic models in indigenous regions.

Kavya underscored the importance of finding a delicate balance between scalability and preserving native knowledge.

Understanding Crafts in alignment with SDG Goals

Several global creative economy models presented at International Crafts Summit Jajpur by participating speakers from cultural cities across the globe underlined development in alignment with Sustainable Development Goal (SDGs). Craft is uniquely positioned to address more than 11 SDG goals including SDG 1 – Poverty Reduction, SDG 8 – Decent Work and Economic Growth, 12 – Sustainable Production and Consumption, 13 – Climate Action, 17 – Partnerships for Goals.

Madan Meena spoke about changes in economic policies and new development models that neglect the cultural, economic and ecological sustainability of a region and its communities. Access to essential resources has become restricted for the Adivasi and nomadic communities due to stringent forest and wildlife legislations. Additionally, the reluctance of the younger generation to engage in these traditional crafts, primarily driven by a lack of opportunities in native regions, has contributed to the decline of material cultural products like the brush and reeds made by the Kuchbandhia community. He shared that most skill development agencies powered by corporates are focussed on skilling young workforce as sanitary workers, plumbers, electricians from the Adivasi communities, what is essentially happening is de-skilling and de-linking them from their bio-regions to create a labour force for factories. Skill mapping of bio-regions is crucial as there lies a pathway for equitable growth models positioned to all SDGs.

Tejashwini from Kosala, brought attention to the dynamic shift in social impact assessment parameters within a corporate framework. This transformation emphasizes key performance indicators (KPIs) that prioritize social inclusivity, environmental impact, and women’s empowerment over conventional revenue-centric metrics. Hindalco’s no-net loss exit policy, re-introduction of native butterflies and birds are few of such initiatives.

Biodiversity management – flora and fauna rehabilitation post mining

Re-introduction of native butterflies

In her insightful perspective, Tejashwini highlighted the significance of evaluating success through metrics such as the number of artisans engaged, the total hours of engagement, and the percentage of wage improvement for reelers and weavers. In this evolving paradigm, the emphasis is on holistic development and empowerment, valuing not just financial gains but also the social and environmental impact of the corporate initiatives.

Kavya’s dealing with UN agency for bulk orders helped integrate SDG parameters within business, sustainable packaging being one area. She recollected engaging Tripti, a Kondha tribe boy who ideated using coconut husk as a sturdy material conducive for international shipping. Her haldi bars shipments are packed with 100% sustainable materials like grass, agro-waste, ropes while the bar to avoid oil leaching use a bees wax cover. This case study has been included in TISS modules as a best practice.

Craft Potli’s haldi soap bars

Haldi bars shipments packed with 100% sustainable materials

Product packaging with storytelling

Kavya Saxena

Kavya Saxena is a social entrepreneur and rural content creator, making a significant impact through her enterprise, Craft Potli. With a commitment to uplifting tribal communities across India, Kavya embarked on a transformative journey by leaving her corporate and city life a couple of years ago. Currently rooted in a remote forest belt of Koraput, Odisha, she channels her creativity and energy by engaging with marginalized groups and promoting indigenous craftsmanship.

Tejashwini Yalawar

Tejashwini Yalawar is the marketing lead at Kosala Livelihood and Social Foundation. This is part of sustainability initiative by Hindalco, Aditya Birla Group and is dedicated to revitalizing the craft of Kosa silk in Chhattisgarh through promoting indigenous practices. The kosala products are sold through their website – kosala.com.
With a decade of experience in the crafts sector, Tejashwini has contributed to design projects with notable organizations, including Development Commissioner Handicrafts, Fair Trade Forum India, Sabala Handicrafts, and Karnataka Handloom Council besides others.

Madan Meena

Madan Meena is a researcher and an artist who has worked extensively to preserve the tangible and intangible cultural heritage of nomadic and tribal communities of the north and western India. He holds positions at several cultural organisations. He is the trustee of Bhasha Research and Publication Centre, Vadodara, Director of Adivasi Academy, Gujarat; executive Member of Kota Heritage Society and Executive Board Member of Gramin Shiksha Kendra-Sawai Madhopur.

CraftxClimate

Creative Talks – a Creative Dignity initiative is a series of exciting conversations about the handmade sector, connecting key thinkers with each other, and you. You’ll hear from artisans, designers, enterprises, philanthropists, and individuals all of whom bring their unique perspectives on what it takes to harness the massive potential of craft. 

The “CraftxClimate” series aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions.

The post Roots of Resilience: Indigenous Knowledge Systems in Sustaining Craft Traditions first appeared on .

The post Roots of Resilience: Indigenous Knowledge Systems in Sustaining Craft Traditions appeared first on .

The Panelists:

Apurva Kothari, Founder, No Nasties
Pragati Tripathi, COO, Flourish
Moderator: Shruti Singh, Country Head, Fashion Revolution India

Storytelling for Impact

Importance of Storytelling: In the context of climate action, evolving consumer expectations make storytelling essential to create a differentiative and authentic brand voice.

Integration with Product: Impact-focused messages need to be simplified to capture attention and integrated with the product to resonate with consumers.

Example. The No Nasties website homepage adopts a product-centric approach, strategically placing data underlining carbon-positive action within sub-sections. This design aims to cultivate a holistic consumer experience, providing visitors access to information and option to engage.

A screenshot of the No Nasties homepage

The brand’s carbon negative approach

Key impact from the brand as listed on the homepage

Pragati Tripathi highlighted the role of storytelling in establishing trust with customers and shifting gears to gauge consumer interest. She cited an instance of increased sales of a brand after the story behind its products was amplified.

Meet the Makers section on the Flourish website

Sustainable Brand Communications

Simplification: Apurva emphasized the need to reduce confusion and simplify communication, using trust logos and clear labelling as examples.

Evolution in Communication Strategy: Pragati shared that Flourish had initially used a glossary page on their website to define technical terms, but now believes that customers value not just the value but also the values of a brand.

Greenwashing Concerns: Shruti advised brands to consult experts and industry partners to avoid greenwashing and to focus on one key message initially, expanding gradually as they grow.

Brand Message Consistency

Memorable Messaging: Design your impact message as your elevator pitch. Having a concise and memorable brand message is important. Identify a key message or credential and communicate it consistently across all platforms.

Data and Numbers: Numbers can be used as a visual tool to communicate a bigger message with fewer words. Eg. 0% Waste 100% Circular in the case of No Nasties.

Communication and Community Building

Strategic Channel Selection: Apurva Kothari suggested adopting leveled approach to communication, starting with platforms where the audience is already engaged, low-cost mediums such as WhatsApp and email. YouTube is a great medium for visual storytelling especially for brands that work with handloom, khadi etc.

Optimise the channel you choose. Eg. Instagram is a visual channel and following 70:30 rule
(visual:text) while pushing material will help.

Community Building: Build a community before expanding to other cost-intensive channels like Facebook or Instagram. LinkedIn can also be used as a knowledge-focussed tool to build community, B2B alignment besides offline channels like meet-and-greets, open days etc. inviting consumers to directly engage with the brand ethos.

Acquisition Strategies

Budget Allocation: Allocating budgets for exhibitions, pop-ups, and influencer collaborations.

Snippets from Flourish Hearth – connecting Flourish makers and the audience offline!

Navigating Algorithm Changes: Apurva stressed the need to allocate acquisition money, especially considering algorithm changes and increased online traffic. Eg. Instagram and Facebook are effective for customer acquisition.

Metrics and Strategies for Teams

Guiding Metrics: According to Apurva, a clever step that communication teams adopt to relay impact is identifying a guiding principle or a north star. For communication team at No Nasties, they use their mission of planting a million trees as a key metric, with 140,000 already achieved.

No Nasties’ Mission Million

Comprehensive Data Collection: Pragati mentioned collecting and auditing data related to gender ratio, wages, artisan numbers, and carbon emissions.

Commitment to transparency : Flourish

Commitment to transparency in action

Structured Processes: Strategies include identifying appropriate channels, keywords, and creating a monthly content plan with a review process. Lastly, don’t hesitate adopting customer analysis tools like Google Analytics, Microsoft Clarity.

Reach the Speakers:

Apurva Kothari – apurva@nonasties.in

Pragati Tripathi – pragati@flourish.shop

Creative Talks – CraftxClimate

Creative Talks – a Creative Dignity initiative is a series of exciting conversations about the handmade sector, connecting key thinkers with each other, and you. You’ll hear from artisans, designers, enterprises, philanthropists, and individuals all of whom bring their unique perspectives on what it takes to harness the massive potential of craft. 

The “CraftxClimate” series aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions.

The post The Art of Communicating Impact for Artisanal Brands first appeared on .

The post The Art of Communicating Impact for Artisanal Brands appeared first on .

An Interactive Masterclass with Vijaya Krishnappa, Co-founder, Kosha.
Kosha is an innovative platform specializing in traceability, authenticity, and supply chain solutions uniquely crafted for the artisanal business sector.

Plus Enterprise Case Study: Abhilasha Bahuguna, Looms of Ladakh and North-Eastern Handicraft & Handloom Development Organisation (NEHHDC) on reasons for adopting digital resources for business and tracking environmental and social impact.

Curated by Surucchi Khubchandani, Crafts & Sustainability Consultant

Why Traceability and Authenticity in the Handmade Sector

Traceability in supply chains critical due to ethical, environmental, and authenticity concerns

Quality Assurance: Traceability ensures that the materials used in handmade products meet quality standards. Knowing the origin and history of each component allows for better control over the production process, helping maintain consistent quality.

Ethical Sourcing: Many clients and consumers today are concerned about the ethical and sustainability credentials of the products. Traceability allows for transparency in the sourcing of materials, ensuring that they are ethically and sustainably produced.

Preventing Counterfeiting: Handmade products are susceptible to counterfeiting, especially if they gain popularity. Traceability measures, such as unique identifiers or tracking systems, can help in distinguishing genuine products from counterfeit ones, protecting both consumers and the brand.

Storytelling and Marketing: Social, environmental and material records are not only necessary to be able to prove transparency and track improvements but is also vital in the story-telling of brands, products and fibres. Consumers are more likely to connect emotionally with products that have an authentic and traceable narrative.

Brand Reputation: Handmade products often carry a certain level of prestige and uniqueness. If a business can demonstrate that its products are genuinely handmade and that the materials are sourced responsibly, it enhances the brand’s reputation for authenticity and craftsmanship.

Image Credit : Photo by Dibakar Roy on Unsplash

Technology as a Solution

Decentralised Systems: Textile industry is highly decentralised from farm to fabric stage. Solutions such as the use of additive tracers at the raw material stage, the use of inherent tracers like chemical fingerprints unique to different regions where cotton is grown, and the use of identity tags like RFID, NFC, or QR codes can provide product information and enhance traceability.

Handloom Solutions: Kosha provides a portable device ‘Hasta’ to weavers which when fixed on a loom, captures information and analyses movement of loom to classify the loom as handloom. This solution leverages various technologies including IoT, AI/ML, Block Chain and cloud computing.

Handicraft Authenticity Technology: KOSHA has developed a wearable watch, Hasta. When worn on the wrist by artisans who are involved in crafts other than handlooms (block printing, embroidery, etc), the device captures information and analyses gestures of the artisans to classify the craft as handmade or not.

Cost: The one-time cost of Hasta for a single loom is around ₹6,500 with an annual cost of ₹3,500.

HASTA, an Iot device – Kosha’s real-time technology-based authentication solution.
Image Credit : Kosha Instagram

1^st Case Study:
Looms of Ladakh on Enterprise Resource Planning (ERP)

Abhilasha Bahuguna discussed how her brand, Looms of Ladakh, has utilized Kosha’s ERP technology, Kosha Trace, to streamline its production and supply chain besides pilots with RFID tagging.

Enterprise Resource Planning (ERP) software is helping Looms of Ladakh manage its decentralised production led by herder communities in Leh, Trishul, Kargil. ERP enables live product tracking, timely payments, better waste management as well as scale production.

Abhilasha brought attention to the hurdles encountered in implementing the software at the decentralized village level, notably the gradual acceptance by the older generation, resulting in a 70% implementation rate.

Traceability mechanisms such can provide data on skewed livestock ratio vis-à-vis its environmental impact, promote cruelty-free practices. She also suggested exploring niche traceable fiber with an ecosystem approach for global positioning which will in turn also secure future of youth of the region.

She discussed the potential of RFID (radio frequency identification) tagging in the fashion industry and the importance of regenerative practices due to environmental stress on pasture land.

Image Credit: Looms of Ladakh

ERP in Action
Image Credit : Looms of Ladakh

2^nd Case Study:
North-Eastern Handicraft & Handloom Development Organisation (NEHHDC)

North-eastern states of India are a hub of handloom and handicraft products production. North-Eastern Handicraft & Handloom Development Organisation (NEHHDC), the nodal body from the region was facing difficulty in proving authenticity of their handcrafted products to the export houses and international buyers.

Kshitij Hazarika, Head of Production and Quality Control at HEHHDC, highlighted that the adoption of technology by 10,000 artisans in the region, facilitated by Kosha, has alleviated authentication concerns. This advancement has enabled them to successfully supply their products to countries such as Germany, France, and the USA.

Tech-adaption by clusters has also reduced dependency on middlemen. NEHHDC will soon be starting a pilot to create a traceable cocoon to product chain for its Muga and Eri silk clusters.

Reach the Speakers:

Vijaya Krishnappa, Kosha – vijaya.k@kosha.ai

Abhilasha Bahuguna, Looms of Ladakh – abhilashabahuguna9@gmail.com; loomsofladakh@gmail.com

Creative Talks – a Creative Dignity initiative is a series of exciting conversations about the handmade sector, connecting key thinkers with each other, and you. You’ll hear from artisans, designers, enterprises, philanthropists, and individuals all of whom bring their unique perspectives on what it takes to harness the massive potential of craft. 

The “CraftxClimate” series aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions.

The post Talking Traceability with Kosha first appeared on .

The post Talking Traceability with Kosha appeared first on .

Speakers

Monisha Ahmed, co-founder of Ladakh Arts and Media Organisation, Leh

Rituraj Dewan, co-founder, 7Weaves, Assam

Brij Ballabh Udaiwal, Sanganer-based fifth-generation block printing artisan-entrepreneur

Moderator: Surucchi Khubchandani, Crafts Consultant

1. Traditional Knowledge and Sustainable Practices

The cultural heritage of artisan communities has long co-existed with the well-being of their environment, recognizing the critical role of biodiversity conservation.

New sustainable enterprises should harness the unique aspects of their regions and the wisdom of tradition for a fair and balanced development.

Human economies need not result in degradation of either environment or human well-being.

2. Economic Progress and Ecological Balance

The craft industry, dependent on local resources, faces challenges from climate changes and human interventions that threaten biodiversity. Eg. Muga silk cultivation is facing threat due to adverse effects of new monoculture plantation culture in the forest region of Assam.

Loharghat forest region and forest villages

A glimse of the forest

Development initiatives are more than often delinked from regenerative capacity of the ecosystem. Monoculture farming, alterations in livestock management practices, and the establishment of energy plants in pristine environment zones present enduring risks of ecological imbalance.

Installing fences and solar power plants in Ladakh is shrinking grazing areas for native species like wild ass, which play a vital role in fertilizing the land and supporting pashmina goat and sheep grazing.

Immediate climate driven impacts are also apparent. Rise in temperature and erratic rains in Assam is reducing the number of Eri silk cycles annually posing livelihood challenges for silk rearers.

Eri Silk comes from the caterpillar of Samia Cynthia Ricini, found in forest villages of Assam

Weaving of the silk – 7 Weaves, Assam

Economies of Scale: When the craft production scales up, so does its exertion on natural resources which stresses the regional ecology. The block printing cluster of Sanganer, Rajasthan is a case in point.

Brij Ballabh Udaiwal, a Sanganer-based fifth generation artisan shared that majority of screen printing and hand block printing enterprises use synthetic or a combination of synthetic and azo-free dyes. Unsafe disposal of effluents and toxic water has led to aquatic disruption as well as adverse effect on artisans and public health as they consume agriculture produce grown using polluted water. Ground water scarcity is another growing concern.

Printing units in Sanganer

The dyes and colors used by the printing units

Ariel view of Natva Village Dam with discharged effluents get deposited

3. Sustainability and Value Creation

Global markets increasingly demand adherence to environmental and social standards (ESG), necessitating micro, small, and medium enterprises to align with these expectations to access international markets.

Within the country, National Green Tribunal (NGT) is imposing restrictions on businesses with high-carbon footprint.

Example, 7Weaves, an Assam based social enterprise works with Eri silk, one of the most consciously produced fibres of the world. Through the matrix of material sustainability, ESG compliance and biodiversity conservation, it has been successful in creating a global market for itself.

Natural Dyes from plant species such as Himalayan Melastome, Bamboo Leaf, Myrobalan, Turmeric from immediate forest surroundings

7Weaves, has been successful in creating a global market for itself.

Translating climate-positive actions into the global sustainability language, such as ESG compliance, can not only boost global appeal of crafts but also catalyze the preservation of both cultural and biological diversity.

4. Inclusive Decision-Making, Partnerships, and Knowledge Sharing

Prioritizing a bottom-line development approach is essential, and decision-makers must consider the needs of marginalized communities. For instance, ensuring education and healthcare for nomadic Pashmina pastoralists in Changthang, Eastern Ladakh, can improve their quality of life, prevent migration and preserve cultural sustainability.

Livestock and landscape, Changthang, Ladakh
Image: Monisha Ahmed

Changpas migration
Image: Monisha Ahmed

Encouraging practices like mosaic plantation to support native ecosystems, such as muga, eri silk, bamboo, and regional flora and fauna conservation is beneficial.

Fostering diverse resource bases in the region is crucial than fixating on a single material. For instance, in the Changthang region, alongside pashmina silk, investing into native resources like wool and yak hair is vital. This approach helps rectify grazing imbalances, sustain traditional skills, and preserve the rich tapestry of native cultures.

Civil Society Organizations (CSOs) with effective models, such as adopting natural dyes and water recycling systems, should facilitate connections between communities, resource institutions, knowledge centers, financial resources, and the government.

Pilots – We need a knowledge bank on achieving climate-resilient value chains as well as models and solutions that can be picked up, multiplied, and scaled by other stakeholders.

Further reading:

Changes in local climate impact Kachchh’s traditional crafts and craftspeople

Achieving, Assessing and Communicating Sustainability, A manual towards branding the Vietnamese handicraft sector

Responsible Wool Standard 2.1, Textile Exchange

Sanganer Textile and Dye Industries Causing Serious Environmental Pollution – (ijtsrd.com)

The Climate Dictionary by UNEP

Reach the Panelists:

Monisha Ahmed – ahmed.monisha@gmail.com

Rituraj Dewan – rituraj@7weaves.com

Brij Ballabh Udaiwal – shilpi.brij@gmail.com

Creative Talks – CraftxClimate

Creative Talks – a Creative Dignity initiative is a series of exciting conversations about the handmade sector, connecting key thinkers with each other, and you. You’ll hear from artisans, designers, enterprises, philanthropists, and individuals all of whom bring their unique perspectives on what it takes to harness the massive potential of craft. 

The “CraftxClimate” series aims to position the crafts sector at the forefront of UN SDG 12 ‘Responsible Production and Consumption’ through issue identification, knowledge sharing, capacity building, and advocating sustainable solutions.

The post Biodiversity and Crafts: A Conservation Connection first appeared on .

The post Biodiversity and Crafts: A Conservation Connection appeared first on .