Heritage fabrics at crossroads

Bangladesh takes pride in its vibrant textile heritage, encompassing fabrics like khadi, taant, silk and various other fabrics – all of which are deeply woven into the country's cultural tapestry. 

However, the rise of modernisation and mass production techniques calls for urgent measures to preserve these fabrics and the traditional skills associated with them. Preserving these textile treasures not only safeguards Bangladesh's cultural legacy but also fosters economic growth and sustains artisans' livelihoods.

The onslaught of fast fashion is taking a serious toll on the heritage fabrics of our country. The Business Standard spoke with industry practitioners to explore how preservation, innovation and a master plan can help sustain this sector.

A treasure trove of heritage

Khadi 
Also known as khaddar, khadi is a remarkable fabric crafted by manually spinning cotton into yarns and handweaving them to create exquisite cotton weaves. Its origin dates back to around 5,000 BC during the Vedic period when it was highly admired for its quality and magnificence. 

Unfortunately, Bangladeshi designers and retailers have fallen short in reviving khadi production, neglecting its potential. But preserving khadi is of utmost importance for Bangladesh's textile heritage as it sustains traditional spinning and weaving skills, generates employment opportunities and supports rural economies. 

The Bangladesh Handloom Board reveals that the handloom sector, including khadi production, provides livelihoods for approximately 1.5 million artisans across the country, making a significant contribution to the rural economy.

Taant of Tangail 

Another traditional handloom fabric, taant holds centuries-old cultural significance.

According to the Bangladesh Bureau of Statistics, the handloom industry provides direct employment to over 2.5 million weavers, primarily in rural areas. Tangail's taant sarees, known for their unique weaving patterns featuring plain and patterned designs called 'buti,' are woven in contrasting colours, creating a striking visual effect.

Tangail Saree Kutir’s sharis have won hearts and provided a much needed support for the weaver’s community. Photo: Courtesy

The weavers of these fabrics carry on the legacy of the famous muslin weavers, with the community evolving over time as skilled weavers relocated and locals took up the craft. The weavers of these fabrics are the successors of the famous muslin weavers. 

Back in the day, the weaver community was dominated by Hindus. 

"After the Liberation War, the majority of artisans relocated to India, resulting in the shortage of skilled weavers. Slowly, local Muslims got trained and now they dominate the community," shared Monira Emdad, founder of Tangail Saree Kutir.

The yarn used in Tangail sharis is usually cotton, making them lightweight and comfortable to wear, especially in Bangladesh's hot and humid climate. Regarding the length of Tangail sharis, Monira, who has been working in this field since 1982, has played a significant role in introducing longer six-gauge sharis. 

This innovation brought about a change in the traditional length of Tangail sharis – which were originally woven as five-gauge sharis. The decision to increase the length was a strategic move to enhance the appeal and versatility of the said shari.

Silk

Bangladeshi silk is not only a fabric but a testament to the rich cultural heritage of the country. With a history dating back centuries, silk weaving has been an integral part of Bangladesh's artisanal traditions. 

The geographical advantage of the region, particularly in the northern part of the country, provides the perfect environment for the production of high-quality silk.

The silk industry in Bangladesh thrives on the abundance of mulberry trees and the conducive climate for sericulture. The silkworms are fed with mulberry leaves, which are readily available in this region. This geographical advantage ensures the availability of raw materials and supports local silk production.

These skilled artisans meticulously transform the silk threads into intricate patterns and designs, creating fabrics that are admired for their beauty and quality.

Each piece of silk fabric tells a story of the weaver's creativity and dedication. Whether it's the traditional Jamdani silk, with its delicate and elaborate motifs, or the exquisite patterns of Rajshahi silk, Bangladeshi silk showcases the diverse and intricate art forms that have been cherished for centuries. 

Monipuri taant

Monipuri fabric, also known as Moirangphee or Phanek, is a traditional handwoven textile from Manipur in Northeast India. It holds deep cultural roots and plays an integral role in the traditions of the Manipuri community. The community in Sylhet has preserved and nurtured the traditional handloom skills associated with the monipuri fabric. 

For shari, Monipuris use a mix of cotton yarns whereas for their own clothes, they prefer pure cotton. Photo: Courtesy

"The native Monipuri community, who lives in villages, are mostly self-sufficient and they make their own clothes. Hence, this traditional handloom skill is very common among us," said Khaidem Sithi, the founder of Engellei, an online-based shop that sells Monipuri cloth. 

"Back in the days, Monipuri fabrics were only limited to make their traditional clothes named Innaphi (traditional Monipuri garments for women including a shawl for the upper body) and Phanek (wraparound cloth more like a skirt). It was a community leader named Radhaboti, who experimented with the handloom," she further added.

However, Sithi also shared that the yarns, used in making shari, are different from their traditional ones. For shari, they use a mix of cotton yarns whereas for their own clothes, they prefer pure cotton.

Bringing back the Silsila glory

The weavers' community, a vital component in preserving heritage fabrics, is facing a critical decline, leading many to abandon their generational craft. The insufficient compensation for the time and effort invested in hand-weaving fabrics has pushed weavers to seek alternative occupations. The introduction of machine looms has further exacerbated the situation, attracting young weavers away from traditional handlooms.

Sabiha Akhand Rupa, the owner of the renowned online shop Menka, sheds light on the struggles faced in recreating the Silsila shari, a cherished fabric from the past. 

Weavers are hesitant to undertake the lengthy process required to craft the shari due to inadequate financial remuneration and the allure of stable incomes in the garment industry. 

Silsila sharis, a crowd-pleaser from the 70s saw a revival under the brand Menka. Photo: Courtesy

Since April 2022, she hasn't been able to convince the existing weavers to produce a new batch of Silsila sharis since many of them found the project doesn't promise a fixed and adequate income.

Despite these challenges, entrepreneurs like Rupa remain hopeful and advocate for significant government support. She emphasises the need for targeted financial aid and comprehensive plans to preserve weaving techniques and support the masters of these arts. 

Rupa actively works to persuade weavers to resume their craft and recreate the magic of Silsila, even if it means increasing the prices of the sarees. 

"A 40% increase in the current price of sharis may lead to a loss of a significant number of customers but I am willing to take the risk. I hope government organisations such as the SME Foundation or Taant Board will initiate projects to provide financial support to entrepreneurs like me who have been collaborating with the weavers' community for a decade or longer. We genuinely believe that preserving our national pride should be our top priority," she said. 

In conclusion, concerted efforts, including government support and collaboration with entrepreneurs, are crucial to save the dwindling weavers' community and sustain heritage fabrics. By providing the necessary stimulus and preserving traditional techniques, we can ensure the continuation of these invaluable cultural treasures.

Projects, policymaking and much-needed guardianship
Shah Md Abdul Jabbar, a veteran in preserving handloom craftsmanship, has witnessed the decline of artisanal weavers in Bangladesh's handloom industry over the years. Currently he is working as the General manager of the lifestyle brand FRIENDSHIP Colours of Chars. He emphasises the importance of preserving the intricate handwoven fabrics that are gradually disappearing due to a lack of motivation, preservation and guardianship. 

In the era of fast fashion and commercial benefits, the demand for shorter lead times has led manufacturers to rely on machines, compromising the finesse and exquisite designs that skilled weavers can create.

Jabbar highlights the story of Jamal Pramanik, a weaver forced to sell his looms due to insufficient earnings. Recognising the need to support artisans like Jamal, Jabbar employed him in the Nodi Project, where he can pass down his techniques to the next generation. 

"He is one such amazing artisan with whom I have worked with for more than two decades and I felt it was my responsibility to create opportunities for him so that he doesn't leave his profession," Jabbar said.

According to Jabbar, the lack of marketing skills is another hindrance for heritage fabrics in securing their rightful place in the fashion industry. Artisans often struggle to find buyers willing to pay deserving prices for their art forms. To address this, he suggests the need for public and private initiatives to enhance artisans' marketing capabilities.

Jabbar also addresses the issue of the unavailability of high-quality cotton essential for producing the renowned khadi fabric. He is pleased that Nodi has successfully harvested a special kind of cotton in Haluaghat, which will be used to spin the authentic khadi. 

"Just before the beginning of the rainy season, we have harvested our first one tonne of cotton and we are going to start using them to spin the kind of khadi we used to manufacture earlier," he added.

In his efforts to preserve handloom techniques, Jabbar is involving ethnic minority community people from Haluaghat who were previously exploring careers as make-up artists. He is hopeful that just like they have managed to strike success with the artisans of chars, the same can be emulated with craftspeople from ethnic minority communities around the country. By engaging them in the handloom industry, he aims to safeguard the age-old traditions of handloom weaving.

Jabbar also believes that Bangladesh Handloom Board should adopt a more robust and holistic approach to preserving artisans. "Private companies can utilise their CSR fund to save these artisans and thus help preserve the heritage fabrics," he concluded.