Latest news with #Tangaliya
Mint
5 days ago
- Entertainment
- Mint
Celebration of traditional craft does not need a viral moment
Isha Ambani was recently seen in a sari-inspired gown, made by Roberto Cavalli using the traditional bandhani technique from Gujarat. Her look instantly became a topic of conversation on social media, with many netizens calling it a global celebration of Indian artistry. A similar reaction followed when actor Brad Pitt flaunted a shirt by homegrown label 11.11 in his new film, F1: The Movie. The shirt was crafted using Tangaliya, a 700-year-old weaving technique from Saurashtra, Gujarat, that requires artisans to hand-twist yarns, creating delicate bead-like patterns. While 11.11 had showcased the process in a detailed video earlier this year, the craft caught the attention of media outlets and digital platforms only after the American actor wore it on the big screen. Last month, the Prada and Kolhapuri chappal controversy took over the news cycle. During men's fashion week in Milan, Prada was called out by Indian media and government authorities for presenting 'sandals" that looked unmistakably inspired by, if not a direct copy of, the popular Kolhapuri chappal from Kolhapur in Maharashtra. Designers like Tarun Tahiliani and Malini Ramani have long used these traditional leather sandals in their runway shows, but it took a global fashion house to bring public attention to them. n the above three instances, one thing was common: Indian people started celebrating and talking about their traditional crafts, even if on social media, after it was presented on an international stage. This isn't something new, though. For decades, international brands have borrowed liberally from cultures of the Global South. Cultural appropriation is a serious issue, but it also raises a deeper, more uncomfortable question: Why do a lot of us continue to wait for the West's validation when it comes to celebrating our own traditional crafts? 'We need to rehab ourselves from this habit," says the founder of Diet Sabya, an independent Instagram account that criticises and celebrates Indian fashion, who prefers to stay anonymous. It's a sentiment echoed by academics too. Phyllida Jay, a UK-based anthropologist and author of books on Indian fashion, explains: 'The adoption of an Indian craft by a big luxury brand can make people in India reappraise an unsung craft and see it in a shiny new light. I've even had Indian designers tell me that their customers in India perceive more value in their work back home if they've shown at Paris fashion week or are stocked in a cool Milanese boutique. Sadly, there's still considerable power in the idea of foreign validation and branding in India." To call this a colonial hangover, after 77 years of independence, would be too simplistic. India is no longer a passive participant in global conversations—it is a cultural, social and economic power. With that rise comes a responsibility: to protect and champion our creative legacies on our own terms. The backlash around the Kolhapuri incident reflects this shift. The uproar prompted Prada to meet with the Maharashtra Chamber of Commerce, which represents 3,000 Kolhapuri sandal artisans, to explore possible collaborations. The issue, however, is far from resolved. 'The 2026 menswear show using direct, literal copies of Kolhapuris was a communications disaster. It was a massive, baffling oversight. Prada is now doing everything it can to counter the reputational damage. How they follow up with real engagement, true collaboration, and transparent communication in relation to the collections that result from their dialogue with Kolhapuri artisans will be key," says Jay. And India needs to keep a close eye and follow up on the matter, as it could become an important example of how international brands should ideally interact with Indian crafts. But, at the same time, it's also our responsibility to constantly value our vast textile and craft traditions and talk about them loudly, whether online or offline, without waiting for reason, a controversy or a trend. As the Diet Sabya founder puts it: 'Let's not act like Prada did something groundbreaking. Influencers will latch on to anything buzzy. If not Prada, then Saint Laurent. If not Kolhapuris, then Nehru jackets. It's not homage—it's content. Their interest is seasonal, algorithm-fed, and frankly, as fickle as fashion." In the book Inspired By India, Jay documents how Indian craft and design traditions have shaped European fashion for centuries. In the late 18th century, for instance, the Scottish town of Paisley became so successful at reproducing Kashmiri shawls at a lower cost that the buta motif from Kashmir is now globally famous as 'paisley". And it's not just in fashion. If people want to change how India's contribution to global culture is valued and treated, they first need to celebrate and appreciate traditional knowledge, and not wait for someone else to do it. 'Indian designers have always been about craft. Craft isn't just a moment—it's the backbone of our fashion," says the Diet Sabya founder. 'But it's not just the designers' responsibility. It's everyone's." Dress Sense is a monthly column on the clothes we wear every day. Sujata Assomull is a journalist, author and mindful fashion advocate.
India Today
12-07-2025
- Entertainment
- India Today
How Brad Pitt's Tangaliya shirt in ‘F1' movie spotlights a 700-year-old Indian craft
In the high-octane world of F1, a film that released in June, Brad Pitt's character Sonny Hayes strides onto the screen exuding a quiet confidence that belies his character's arc as a seasoned racer past his prime taking a shot at a reflective pause in the film, set against the backdrop of a sun-drenched pit lane, the weathered yet charismatic driver walks in, purposefully wearing a striking indigo shirt. Its subtle, bead-like patterns catch the light—a Tangaliya weave, handcrafted by artisans from from the sustainable Indian label 11.11/eleven by costume designer Julian Day, this isn't another wardrobe choice; rather it's a symbol of authenticity, resilience and a connection to something timeless, mirroring Sonny's own journey of rediscovery. Day, known for his work on Bohemian Rhapsody (2018), chose the shirt deliberately as he felt the palette was right for Pitt's choice reflects a broader trend in global cinema towards authentic, heritage-driven aesthetics, elevating a 700-year-old craft to a modern stage. The shirt's organic cotton, dyed with natural indigo through a 100 per cent fructose-based fermentation process, took eight artisans 9.2 hours to craft, embodying the slow, deliberate artistry. Tangaliya, also known as Daana weaving, is a handloom technique that originated in the Surendranagar and Kachchh districts of Gujarat's Saurashtra region, a land of arid plains and vibrant cultural craft, dating back to seven centuries, is defined by its intricate dot-like patterns, created by twisting contrasting threads around warp yarns to form raised, bead-like motifs visible on both sides of the fabric. The term Tangaliya derives from Tang, meaning the leg from heel to knee, referencing the traditional black chaniya with white dots worn by Bharwad women, a shepherd tells of a Bharwad man who married from the weaver community, defying social norms. Shunned by his family, he learned weaving, using wool from his sheep to create shawls with unique Dana patterns, giving rise to the Dangasia community, the primary practitioners of Tangaliya. This origin story underscores the craft's roots in resilience, love and cultural fusion, blending pastoral and artisanal Saurashtra region, with its stark landscapes and tight-knit communities, has long fostered crafts like Tangaliya, which was historically woven on pit looms in villages like Dedara, Vastadi and Godavari. Traditionally, Tangaliya used wool from local sheep, but today, artisans incorporate cotton, silk and viscose to meet modern demands. The process is labour-intensive: weavers use their fingers to sense the precise number of warp threads, twisting extra weft to create geometric patterns—dots, circles or parabolic designs—that mimic delicate embroidery. Motifs often draw from the environment, like peacocks or wells, reflecting the Dangasia's connection to their craft's sustainability is notable. Brands like 11.11/eleven eleven use indigenous organic cotton, such as kala, and eco-friendly dyes, thus minimising the environmental impact. This aligns with Tangaliya's traditional ethos of resourcefulness, as the Dangasia historically bartered woven goods for wool and grains, fostering a self-sustaining cultural significance is profound, tied to the Dangasia's identity and their worship of deities Shiva, Shakti and also Jodhalpir, a revered figure from 750 years ago. The craft, once on the brink of extinction due to industrialisation, was revitalised through efforts like that of the National Institute of Fashion Technology (NIFT) in Gandhinagar, which formed the Tangaliya Hastkala Association in initiative, involving 226 weavers from five villages, introduced skill-building workshops and design innovations, earning Tangaliya GI (Geographical Indication) status in 2009. Today, the craft is practised in Surendranagar's villages, with artisans adapting traditional techniques for contemporary products like dupattas, kurtis and home market for Tangaliya has grown, though it remains niche. Pitt's Tangaliya shirt gained global attention through F1, showcasing the craft's potential in high fashion. Other platforms, such as iTokri, Gaatha and Amazon's Garvi Gurjari, sell Tangaliya products, from shawls to unstitched kurti fabric. Lesser-known brands such as RaasLeelaTextile and HolyThread India also offer Tangaliya suits and shirts, catering to buyers seeking sustainable, handcrafted challenges persist: a 2022 study, 'Tangaliya Weaving: A Languishing Handicraft of Surendranagar District', by Amisha Shah of Zenodo (CERN, the European Organization for Nuclear Research) notes that only 12 per cent of Tangaliya artisans are under 30 years, indicating low interest among the youth, and 48 per cent of artisans do not wish for their children to learn this craft, threatening its future premium placed on Tangaliya products in the international market notwithstanding, the research revealed that the monthly income of 88 per cent of the weavers remained under a measly Rs 5,000, which adds to the economic challenges for survival of the craft. Machine-made alternatives flooding the market has not helped traditional weavers, many of whom have chosen to shift to other this, Tangaliya's global spotlight, amplified by Pitt's endorsement, signals hope. The craft's visibility in F1 has sparked interest, potentially opening new markets and reinforcing its cultural and economic value. Tradition, when woven with care, can race into the to India Today Magazine- Ends
The Hindu
11-07-2025
- Entertainment
- The Hindu
Meet the Tangaliya weavers behind Brad Pitt's shirt in F1
Spotting an international personality in Indian designer wear is not unprecedented. But it was more than just a fashion statement when Brad Pitt recently wore a handcrafted shirt — designed by Indian fashion label 11.11/eleven eleven — created in a traditional Tangaliya weave in his Formula One movie, FI. In a recent interview, celebrated couturier and stylist Julian Day, who was costumer designer for F1, said that the choice of the shirt was intentional and deliberate. The organic handloom indigo-hued cotton shirt, dyed naturally, was zeroed in to validate Brad's film persona, Sonny Hayes. Aside from the fact that only 100 weavers practise this craft today, why is Tangaliya so special? It is believed that around seven centuries ago, a man from the Bharwad faction of livestock herders in Surendranagar district in Saurashtra, wedded a woman from the weaver community, much against the consent of both their families. Nonetheless, it proved to be a marital union that propelled the meticulous and intricate Indian craftmanship. Their offspring came to be known as Dangasia, born of shepherds and weavers. They brought in the skill of Tangaliya or Daana weaving. Folks from the Dangasia community, inhabiting the villages of Vastadi, Dedadra, Godavari, and Wadhwan in Surendranagar district practise this craft. Despite its GI tag, limited awareness and being restricted to a specific region has kept the Tangaliya weave from getting its due recognition and just around a hundred weavers practise this craft today. Gheta wool is the base fabric on which designs are woven in a bead-work technique. The weaving is laborious and rigorous where every dot is made by sheathing a yarn around several threads, creating the motif on both sides of the material. Contrary to its look which resembles subtle embroidery, it is interlaced on the fabric. Ladwa (Indian mithai) and chaklo are the predominant, traditional patterns of Tangaliya. Other designs include mango trees, date palms, peacocks, bajra plants, and naughara (new house). The demanding and painstaking technique of daanas lent a geometric and graphic touch to the motifs. They are woven on silk and cotton fabrics as saris, blouses, cushion covers, jackets and dress material. The arduous, time-consuming but striking Tangaliya designs are Ramraj, Dhunslu, Lobdi, Gadia, and Charmalia. Ramraj is the most vibrant with extensive bead work done in maroon, pink, orange, green and yellow colours over a white background. Established by designers Mia Morikawa and Shani Himanshu, 11.11/eleven eleven is headquartered in Delhi and has a showroom in New York. This 15-year-old slow fashion brand rooted in indigenous practices, champions craftsmanship and thoughtful design through a system of small-batch, handmade production using organic cotton and natural dyes as an ethical and sustainable approach. About their creation, Shani, says, 'As global voices begin to embrace the beauty of indigenous knowledge systems, the recognition we receive today feels deeply personal; not just for the brand, but for the craftsman whose hands bring each garment to life.' In a unique step toward transparency and connection, the brand has introduced its proprietary 'Meet the Makers' technology: an NFC-enabled button embedded in every garment. With just a smartphone tap, wearers can trace the journey of their piece and meet the artisan community behind it. Ranjit Sinh Parmar, founder and CEO, Palaces of India, and luxury property Ambika Nivas Palace located in Surendranagar supports Tangaliya artisans and promotes this dying heritage by organising The Muli Textile Artisans Tour. An immersive cultural trip, it enables guests to experience weavers at work, understand their craft and encourage interactions, forging new avenues for their weaves. Pleased to see the shirt featured on the big screen, he says, 'It's a celebration of legacy, skill and culture. To see it worn by a Hollywood legend, on a global stage, is beyond inspiring.'
NDTV
10-07-2025
- Entertainment
- NDTV
Brad Pitt's Indigenous Indian Shirt Has A Gujarat Connection
Queries from potential clients haven't stopped for Baldevbhai Mohanbhai Rathore in the remote Dedara village, in Surendranagar district of Gujarat. Brad Pitt was seen wearing an indigo shirt, in one of the 'behind-the-scenes' shots of his new film F1 and this has stirred interest everywhere as it has Baldevbhai's Tangaliya craftsmanship. The shirt was made under the fashion label 11.11 / eleven eleven. Baldevbhai has been providing his craftsmanship to CellDSGN Pvt Ltd for the last five years. 11.11 / eleven eleven is the pret label of the parent company CellDSGN Pvt. Ltd. View this post on Instagram A post shared by 11.11 / eleven eleven (@1111clothing) The shirt worn by Brad Pitt is not a regular one. Hand-spun, hand loomed in indigenous cotton, the shirt has tiny bead like motifs in the weave all done by hand using Tangaliya craft. Brad Pitt's F 1 movie, released worldwide in theatres on June 25, 2025, followed by a North America release on June 27. Tracing Tangaliya The 700-year-old Tangaliya weave is native to Surendranagar district. The Dangasia community of the region is the custodian of the intricate Tangaliya weaving. "I did Tangaliya weaving on the yarn provided by the fashion house (CellDSGN PVT Ltd) for which I was paid Rs 8,500 around eleven months back," says Baldevbhai, who has trained his sons in the age-old craft. Baldevbhai on the loom. As per lores, a boy from Bharwad (shepherd) community married a girl from the Wankar (weaver) community. The couple sustained themselves by weaving shawls using wool provided by the Bharwads. The couple's children were called Dangasia (dang means stick and 'sia" to go) and they carried forward the art of Tangaliya weaving. The original patrons of this fabric were - women of Bharwad community. The clothing was traditionally made from coarse wool woven by members of local communities. The uniqueness of Tangaliya weaving lies in the raised dot or danas, which require high level skills and accuracy. Tiny dots of extra weft are twisted around several warp threads, giving an effect of bead embroidery to the fabric. These are woven to make geometrical patterns simultaneously on both sides of the fabric. "Earlier, I used to work only on wool. But now I use cotton and silk yarn for Tangaliya weaving," says Lavjibhai Parmar, another weaver who was bestowed with the Padma Shri Award earlier this year. The motif mainly comprises the elements present in the community's milieu like mor (peacock), jhaad (plants), naughara (nine dotted house) etc. Some of the Tangaliya locally made are called Ramraj, Charmalia, Dhusla, Labdi etc. "Tangaliya is the technique of wrapping fibres on the warp during the process of weaving. It has been passed down through generations," says Lavjibhai. Lavjibhai Parmar along with his wife and son at Rashtrapati Bhavan earlier this year. Not many people knew about Tangaliya craft. Dangasia craftsmen had failed to popularise the craft beyond their area. Saving The Craft The Tangaliya craft itself would have vanquished without the help from the state government and other players. The Gujarat State Handloom and Handicrafts Development Corporation Ltd. has been instrumental in identification, revival, development, promotion and marketing of Tangaliya handicraft products. On its part, the NIFT (National Institute Fashion Technology), Gandhinagar also took an initiative to form the Tangaliya Hastkala Association in 2007. It also helped make Tangaliya craft fashionable by teaching the weavers to diversify beyond wool to cotton and silk. "Not being bright and colourful like 'bandhini' or Patola, Tangaliya design was reluctantly included in fashion shows because the patterns were not bold and noticeable," confided a fashion designer on the condition of anonymity. However, the Centre and state governments efforts to recognise the craft persons and their weaves didn't go in vain. In 2009, Tangaliya got the GI tag. Lavjibhai received national award in 1990, Sant Kabir Award in 2019 and the Padma Shri in 2025. Baldevbhai won the national as well as the state awards in 2016. In the villages of Surendranagar, some families have opened a common facility centre, where training in this art is imparted. For instance, Lavjibhai gives technical and market support to the trainees and has employed 20-25 weavers, opening livelihood avenues for others. They have been exhibiting this dying art of weaving by organising exhibitions and collaborating with vendors across India. Weavers have been also selling their products online as well. Their products are sold in Garvi Gurjari, the Gujarat government's outlets in India and abroad. Now the outlets also sell files, pillow and cushion covers, bags, purses with Tangaliya weave. Now that Brad Pitt has worn it, Tangaliya weave has surely received global attention to the Gujarat connection.
Time of India
08-07-2025
- Entertainment
- Time of India
Brad Pitt's F1 look puts Gujarat's Tangaliya weave in global spotlight
Brad Pitt in a Tangaliya shirt The shirt features ecru and yellow bead motifs in the Tangaliya weave Brad Pitt's F1: The Movie isn't just about high-octane racing - it's also about high-impact fashion. In one of the most talked-about scenes, Pitt is seen sporting a unique indigo shirt. Look closer, and you'll find it's not just any designer wear - it's handwoven in Gujarat. Fashion designerMiku Kumar says, 'When a traditional Indian weave enters global pop culture as contemporary wear - not costume - it signals relevance. It tells the world that our crafts aren't relics; they're style-forward, sustainable, and ready to lead. This kind of visibility can spark new markets, elevate artisan pride, and finally give Indian handlooms the global spotlight they deserve.' The weave behind the wow The shirt in question was made using the Tangaliya weaving technique, an intricate and lesser-known handloom art form from Surendranagar, Gujarat. It's crafted by a sustainable Indian brand, known for its blending of traditional Indian techniques with contemporary silhouettes. Why it matters The movie may revolve around speed, but its quiet nod to Indian craftsmanship reflects a shift towards authenticity in global cinema. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Top Public Speaking Course for Children Planet Spark Book Now Undo The Tangaliya-woven shirt -made using a 700-year-old technique - places traditional Indian textiles in a modern, international spotlight. It's not a costume, but contemporary style rooted in heritage. This kind of visibility can revive fading crafts, support artisan livelihoods, and push slow fashion into the mainstream. In an era where every on-screen detail tells a story, even a shirt can carry the weight of culture and meaning. Did you know? Tangaliya weaving, practised by the Dangasia community in Gujarat for over 700 years, is a rare handloom technique that creates intricate dot-based motifs by twisting contrasting threads into the warp. Recognised with a Geographical Indication (GI) tag, it stands as a symbol of India's rich textile heritage and artisanal excellence.
