Weaving stories: Meet the south Indian voice in Ladakh’s artistic dialogue

CHENNAI: The Himalayan Knot is a heritage textiles programme by Royal Enfield and sa Ladakh that brings together Himalayan communities, conservation specialists, craftspeople, artisans, and fashion designers to conserve pastoral lands, safeguard living heritage, and preserve local livelihoods. It focuses on immersive, sustainable land art, engaging deeply with the landscape and fostering a dialogue with the culture and traditions of Ladakh. Through this residency programme held in June, textile artists developed -conscious, textile-based land art projects using traditional weaving practices of the local communities in Ladakh. For this year’s programme, the only participant selected from South India was Aditi Jain, a textile designer and craft facilitator from Chennai.

 “Through this programme, the creative practitioners aimed to focus on the Ladakh landscape and create land art — art that is made on or from the land. I applied for this residency to explore the textile traditions of the Himalayas, from Ladakh to the Northeast, collaborating with designers to develop products. Fifteen participants worldwide participated in this programme, along with local designers and artists who showcased their works,” says Aditi, who works with the Gandhigram Khadi and VIPC Trust in Tamil Nadu. She curated two temporary land art installations that are designed to be deconstructed and can travel with the exhibit.

“One of my works is called Open Weave. In Ladakh, communities weave their stories onto the loom. Some believe the threads represent family: the warp is the man, the weft the woman, and their woven fabric, is the child. Others see the warp as a mother and the weft as her growing child. In Buddhism, the loom is a sacred shrine, with the warp symbolising a path to liberation. Historically, some communities believed women should not weave, fearing bad luck, while others insisted they must weave to stay focused. Men typically wove simple fabrics, while women created intricate patterns and were judged on their skill. Today, women weave freely and openly, but I wanted to explore new meanings for the warp and weft without any strings attached.”

“The warp is stretched between trees, set against Ladakh’s majestic landscape. The weft consists of naturally dyed wool scraps from Lehvallée’s collection of handwoven fabrics. This living artwork invites the community to add their threads, weaving their stories and interpretations into the fabric,” shares Aditi, the textile designer.

 Aditi reminisces about her time with the women weavers, describing it as a warm and enriching experience. “I learned so much from this residency programme and had a great time spending time with other designers from across the globe. Another piece of mine is, titled Up and Down: A Personal Journey Woven in Experience. The project’s focus on connection and intertwined experiences resonates deeply with the essence of weaving. Arriving in Ladakh, I experienced cool summers contrasted with the warmth of its people. The ever-changing weather — wind, sun, rain, and snow — mirrored the complexity of my own emotions. Ladakh’s landscape is like a dynamic tapestry; the mountains shift from distant to near, changing colours with the sunlight. Winding paths and the mix of old and new reflect the twists and turns of life. In this artwork, the warp symbolises my constant presence, a traveller on a set course, while the weft represents my experiences — the unpredictable weather, the winding paths, and the vibrant culture. Together, they weave the story of my journey, enriched by each encounter. Just as a knot binds multiple strands, my journey in Ladakh unified various aspects of my life. For this piece, I used a cotton warp, wool scrap fabric and yarn from Lehvallée, along with willow sticks, dried plants, and rocks collected throughout my time in Ladakh. This artwork invites reflection on personal journeys and how experiences form the fabric of our lives,” Aditi says.