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Nani 1.0 taught me how much possibility could exist within discarded materials. It began with the simple idea of transforming textile scraps into yarn and grew into a series of experiments with weaving, knitting, crochet, fabric, polythene and other forms of waste. The final material was vibrant, tactile and expressive, but once I began looking at it as a material for production rather than purely as an experiment, I realised that there were a few things that needed to evolve

If Nani began with a question about what to do with materials that had already been discarded, the next question was much more practical: how do you actually transform them into something useful? My immediate instinct was to turn the fabric scraps into yarn. I have been knitting for years, so yarn is one of the most intuitive textile forms for me to think through. When I look at a piece of fabric, I naturally start thinking about how it could be cut, twisted, joined or transf

Nani began as an exploration of waste, but the more I worked on it, the more it became a question about responsibility. As designers, we spend much of our time thinking about how something should look, feel and function. We think about the person who will use it, the material we will make it from and the story we want it to tell. But there is another question that is just as important: what happens to it when that story is over? Every object we design enters a larger system.

The nani project is our ongoing quest to give discarded fabrics a second life. Over the past 3 years, we’ve experimented with various fabric upcycling and manipulation techniques to create what we now love as the nani yarn. Each part of the process is completely done by hand, to be an homage to how my nani always knit her love into our sweaters. We believe we can only truly respect a material, if we’re mindful about how we use it. This project started with a simple question;

As my craft research documentation in college, i chose to study the beautiful craft of Kantha embroidery. This study was undertaken by visiting the Bhirbum district of West Bengal, India, specifically Bolpur, Nanoor, and Mahidapur, and spending time with the craftswomen to understand their craft and the stories behind it. Additionally, a second part of the study was conducted in Kolkata, which involved interviewing Kantha and Bengali culture revivalists, people working in gov

Kantha’s etymological roots lie in the sanskrit word, “Kontha,” which translates to rags. Being one of the oldest crafts of india, Kantha originated in rural Bengal as a means of upcycling worn out cotton sarees and dhotis that could not be worn anymore, to create quilts, wraps, and swaddles to keep warm in the cold weather. As it became more ornate, it evolved into a means for women to create a symbol of their love and warmth for their partner, or children to keep with them

Sadulram ji is a craftsperson practicing ply split braiding in Dhova village, slightly outside Khuri, which lies approximately 50 km outside Jaisalmer, Rajasthan. Their family was extremely warm and welcoming to us, eager to help and share their lifestyle. Sadulram ji works at his farm from 9 am till evening, only in the monsoon though which lasts approximately 3 months. Agricultural stability around the year is not possible due to the Thar region’s water table comprising of

As one shifts to study the more recent history of ply split braiding and tangs, it is impossible to overlook the decline and growing sparcity of the craft. Peter Collingwood talks about two main reasons for its limited distribution. One being its late arrival in the academic landscape, and the second being its limited practicality. The technique and material of ply split braiding usually produce thick, narrow, heavy fabrics, unsuitable for fine uses. Additionally, its slow pr

Ply split braiding’s history reminds one of Tim Ingold’s “Textility of making” wherein he challenges Aristotle’s idea of hylomorphism, which suggests that creation is form imposed on material. He suggests that materials are an active part of the process of creation. They help the maker determine the technique, requiring improvisation based on their qualities. For instance, goat hair, camel hair, hand-spun cotton and locally available dyes don’t merely “sit there” waiting to b

In the heart of Rajasthan’s arid landscapes, camels are more than just beasts of burden. They carry stories, traditions, and social signals through the way they are adorned. The practice of decorating camels is a rich cultural expression that blends craft, animal care, and identity. How a camel is dressed speaks volumes about its owner’s social standing and pride. This post explores the deep meaning behind camel ornamentation, focusing on traditional elements like the gorband

When we look at Ply split braiding's history, the camel's involvement is unmistakable. The Camel belt, or "Tang" (तंग) was the key use of this craft across the pastoral communities Rajasthan and Gujarat. Its so interesting, and heart-warming to see an entire craft centered around the bond between the human and their camel; something made purely out of love for the animal. This implies the existence of a deep emotional bond, as one would have with their family member, as oppos

The Neev weighted jacket Neev is an academic project done in collaboration with developmental specialists at Wellmom Antenatal, and MKW Hospital, Delhi. Dr. Rashmi Bawa is an occupational therapist and a neuro paedriatrics specialist with over 25 years of experience with children combatting Sensory processing disorders. This project focuses on designing a range of adaptive accessories to help individuals with Sensory Processing Disorder (SPD) manage their symptoms effectively

Adaptive design is a crucial approach in various fields, including architecture, fashion, technology, and healthcare. It focuses on creating solutions that accommodate diverse needs, ensuring inclusivity and functionality for individuals with varying abilities. Unlike traditional design, which often follows a one-size-fits-all approach, adaptive design prioritizes flexibility, user comfort, and accessibility. It recognizes that human needs are diverse and constantly changing,

Social discrimination against individuals struggling with Sensory Processing Disorder (SPD) is a pervasive issue rooted in a lack of awareness and understanding. People with SPD often face challenges in processing sensory information, which can manifest as unusual behaviors that society may misinterpret as disruptive, uncooperative, or inappropriate. These individuals frequently encounter exclusion, judgment, and even ridicule in social, educational, and professional settings

This questionnaire gives essential insights into the specific needs of the person and creates an IIP - Individual Intervention Plan, to address the sensory issues. This questionnaire contains 125 sensory profile questions, that cover sensory experiences such as touch, movement, sound, etc. The questions need to be answered by primary caregivers stating how often the affected person responds to the particular stimulus. Once the questionnaire is completed, the summary score she