Handloom, but make it hip: How Gen Z is reimagining tradition and fashion

A quick browse through recent Bollywood celebrity red carpet looks, thrift stores and Instagram outfit pic dumps will likely reveal one thing in common: Whether in Jamdani, Ajrakh or Bandhani form, India’s artistry in textiles and prints is at the forefront of trending fashion. This may sound like nothing new — every few years or so, designers centring Indian fabrics or stars wearing regional prints is hailed as a “revival of handloom.”

What seems to set this recent wave apart are the wearers at the helm of this resurgence, and their approach to styling. Clad in a halter-neck blockprint kurta, wide-leg jeans and sneakers from a well-known Boston-based American company, 21-year-old Nimisha Patel explains the appeal: “Indian prints offer such distinct visuals, making them very interesting to style and mix up my looks. I really like pairing bright contrast designs with grey and earth tones.”

The sheer range of variety available is another boon, she adds. “When you start researching, there are literally so many types of prints and fabrics from different regions, and it’s like there is something for everyone, and for every aesthetic. Some are muted, some are bright, some are sheer and some are heavier and intense,” says the BCom student. 

Traditional fabrics as a statement

Research shows that Gen Z and millennials are also choosing traditional prints and fabrics as a statement. Antithetical to fast fashion and its vast, debilitating impact on garment workers and communities, their choices are intentionally leaning towards sustainably sourced, locally made and ecologically conscious. A report by First Insight shows that 62% of Gen Z shoppers prefer sustainable brands and 73% are willing to pay more for eco-friendly products. Handlooms inherently fit the bill.

Many point out that, visually, too, the traditional prints make a statement of identity. “Youngsters are celebrating their ‘Indianness’ in arts, crafts and culture. They are being exposed to different cultures, they are educated, well-travelled, and are learning to celebrate this Indian identity,” says Pavithra Muddaya, a handloom practitioner for over five decades.

The accessory pitstop

On the streets and on social media alike, the traditional meets the evolving, with unique takes on styling. A lot of the ‘younger’ looks involve combining traditional prints and fabrics with non-traditional silhouettes. Consider the increasingly popular Ajrakh blazers and corsets. Well-loved slow fashion brands have been designing strappy short kurtas and colourful vests, seeing lines get sold out within weeks. 

Other handlooms are popular as accessories. Fabric-covered bags and printed stoles have been around for longer, but products like ikat-print bucket hats and even printed shoes and sneakers have evolved out of this young interest in homegrown prints and fabrics. 

A key driving factor behind interest in various Indian prints is the distinctiveness it offers.“I like to buy what looks unique, and wear designs I have not seen everywhere. It is more expensive, but I like knowing I have something one-of-a-kind or at least rare,” says Jeevan K, a 26-year-old who works in marketing. 

Mixing textures and going for more flowy, breezy looks is a common route that Gen Z takes too. “I love the way Chanderi silk flows, so I like to add a shawl to most ethnic outfits. Of late, I have also seen Bandhani stoles in shops, and I love how vibrant the colours are,” says Nimisha. 

The saree and sneaker look

Indian prints and patterns are also popular with millennials; however, there are some differences in how this generation approaches them. “My younger cousins love wearing kurtas with baggy jeans. I prefer the more tried and tested short kurti, silver jhumkas combination for when I’m feeling like wearing ethnic wear. I am not that adventurous with the styles, but keep it interesting with different prints and colour combinations,” says Dhruti S, an IT professional and self-described “elder millennial”. 

The saree and sneaker look has also drawn its fair share of both attention and ire. But most handloom practitioners champion the new draping styles and pairing choices for sarees, as they believe the garment itself inherently lends itself to such creativity.

For Sumana Mukherjee, a Bengaluru-based writer and editor, the restyling of the saree is a great sign. “Younger people love fabrics and clothes that drape freely. So unstarched cotton, Chanderi are great options. The trend of restyling is great because it represents a progression, which is very good for Indian crafts. Once younger people are introduced to unstitched fabric, there is no end to how they will be able to express themselves. The saree is the best blank canvas,” she says. 

Younger choices of sarees seem to lean towards vibrant contrasts. Last year and the year before, polka-dotted sarees became quite popular. We’re also seeing the sarees expanding beyond the traditional border, and also more patchwork pieces,” she says. 

What of the artisans?

Considering this growing interest in handlooms and regional textiles, and the seemingly endless potential for reinvention, what does this mean for the industry and for India's artisans?

The country is home to over 2.8 million handloom weavers, according to the latest Handloom Census (2019-20). They contribute nearly 15% of global textile production.

According to India Handmade Collective and Indus Diplomacy, India produces 95% of the world’s handwoven fabric, and 72% of the sector’s workforce is women. For many artisans, the craft offers financial independence and a sustainable livelihood.

Digital platforms have played a major role in spotlighting the work of local artisans across India. Artisans specialising in Bandhani from Gujarat and Rajasthan, Ikat from Odisha, or Kalamkari from Andhra Pradesh are able to reach customers on the other side of the country. 

“People working at the grassroots, at the community level and in non-profits are helping the artisans connect with the online market. They are working with the children of artisans, too, arousing their interest, educating them in using social media. This is helping bridge the gap between artisan and consumer, which is promising for the future of handloom,” says Sumana. 

The increased interest and exploration of a diversity of handlooms is positive. However, as the ‘virality’ of many looks and prints increases, there also comes the looming threat of mass production. 

Take, for instance, an online retail giant, which reported a 20% growth in the handloom segment last year, claiming to boost artisan-led fashion. The platform advertises over 60 handloom-first brands, with over "20,000 styles and connecting 25,000 artisans to consumers." The same platform is ubiquitous on Instagram, Facebook and YouTube reels, marketing clothing under Rs 300, or even less. 

“I used to look for the cheapest options, but over time, I noticed that they did not last too long,” says Anagha G (21), studying UI/UX design.

“After speaking to others, I also learnt more about the differences between digitally printed clothes and real block prints. Now I save up to buy from reliable brands,” she says. Anagha explains that she learnt to look for the ‘imperfections’, where designs and textures had slight variations — signs that they were made by human hands. “I also liked the idea that my piece would be the only one of its kind,” she adds. 

Making conscious choices

For others, a shopping ethic evolved over time. “When I first started buying my own clothes, I could only afford retail, and would look for the cheapest options. Over time, I learnt more about fast fashion and began to make more conscious choices, but this was only possible once I started earning enough,” says Dhruti. “Now I make sure I source from reliable brands, where artisans are empowered and even involved in decision-making and designing,” she adds.

Thrifting is an option, but the availability of handloom pieces is fairly erratic. “It depends on what markets or stores you have access to. My friends in the Northeast and even Delhi find interesting and unique pieces very easily, but it is much harder to find such things thrifting here in Bengaluru,” says Nimisha. “I am planning to raid my grandmother’s saree collection for some pretty pieces. I have always admired her collection, and now I want to start wearing them too,” she adds.  

How to source authentic handlooms

As a new generation encounters old crafts, navigating the world of handloom can be intimidating, particularly amid threats of digital printing and counterfeits.

However, the community offers a simple solution. “Being humble to learn from generational knowledge is key,” says Pavithra. This includes learning from families and communities, who possess a trove of both. Connecting with the makers is key. “So many designs have a rich history — they have put food on the table for communities for decades.” Connecting with the makers and their stories in this way allows wearers to engage meaningfully with the culture that is the foundation for India’s diversity of textiles, arts, and prints, she explains. 

The veteran handloom practitioner points to the numerous craft fairs, often organised by women's communities. “These are spaces where you get to see the amazing community and the artisans. You also meet, connect and learn,” she says. 

While a lot of shopping happens online these days, handloom wearers also emphasise that touch and feel is ultimately the best method to test and authenticate pieces. GI tags might prove a helpful marker for some weaves like Kanchipuram silk, Muga silk, Uppada Jamdani sarees, to name a few, but reliable sellers and stores seem to be the more common approach for the average buyer. 

Tag the celebrity

Akin to other fashion trends in India, a key driver is celebrity looks, particularly on international red carpets. While some stars like Vidya Balan and Rekha have built their own personal looks from handlooms, seeing younger actors donning Bandhani, Ikat and Chanderi on the global stage has invited renewed interest.

Seeing a Bandhani saree or an Ikat jacket at an award show also stirs up excitement on social media. Often, this is followed by increased interest on the part of wearers, supported by responsive design by brands. 

“Marketing that highlights the potential of ‘recreating’ red carpet looks and replicating your favourite celebrities is very common on social media,” says Shireen Thomas, a Bengaluru-based design student. “I like to go online, see what is currently popular, and then figure out how to put my own spin on it. I do not wear a lot of sarees, so I focus more on the prints and colours that are in trend each season. In the process, I have learnt about designs and printing techniques that I had never heard of before,” she says.

Sumana cites the example of a saree worn by Kajol at a Durga Puja celebration. “It took the Gamcha saree, traditionally viewed as more of a ‘downmarket’ style, and elevated this age-old, fairly local craft,” she says. Additionally, the saree was not so expensive that it was inaccessible, she adds. “This inspiration tends to percolate down, with many brands drawing inspiration from these looks and trends.”