What is Sustainability?
Sustainability, by its most basic definition, refers to maintaining the current state—a state where we are neither harming nor helping the environment. However, the future of sustainability lies in regeneration: contributing positively to the environment.
If we observe our current scenario, it's evident that we haven’t even achieved true sustainability yet.
The Sustainability Gap
New sustainable materials entering the market often cater to the wealthiest 1% of the population, due to high costs or underdeveloped infrastructure for broader distribution. However, the majority of waste is produced by the mass population.
Shouldn’t sustainability be affordable and accessible for the masses too?
This article aims to develop a well-rounded perspective on “Sustainability,” specifically within the textile industry. Our approach is multidimensional—viewed through the lens of a designer, a student, a consumer, and a hopeful change-maker.
Changing Patterns of Consumption
Before industrialization, products were handcrafted. The rise in population and machinery has exponentially increased consumption and options. Consumers expect more—without limits.
Historically, major shifts in lifestyle weren’t voluntary. They were forced by circumstance. The real question is: Should we wait for such a moment again? Or should we act now while we still can?
The Complexity of Understanding Sustainability
With numerous interpretations of sustainability, it becomes difficult to know how and where to contribute. Sustainability is a global issue—but does the solution also need to be global?
Sustainability in Handicrafts and Handloom Industry
India's rich textile heritage has given us the opportunity to explore indigenous techniques that inherently carry sustainable values. Many traditional crafts use natural materials, developed with resources available in the surroundings.
Examples include:
- Kalamkari: A 3000-year-old hand-painted or block-printed textile technique using only natural dyes and fabric.
- Kantha: A quilting and embroidery technique made from recycled textiles.
These are just two among many such techniques.
Local Practice, Global Impact?
Could localized practices offer viable solutions that create both local impact and global appeal?
We divided sustainability into four interconnected layers:
- Material
- Technique
- Design Process
- Market
Sustainability in Material
Textile fibers are categorized as Natural or Manmade. The material choice directly affects a product’s life-cycle: from cultivation, processing, usage, and finally to disposal or regeneration.
Visualize a product reaching end-of-life: 90% decomposes, 10% remains. That remaining 10% accumulates into bulk waste. The solution? Either:
- Repurpose or regenerate that 10%.
- Choose materials that fully decay.
Materials in Indian Handicrafts
Natural fibers like cotton, jute, wool, and silk are commonly used. These are regionally specific and sourced locally.
-
Dyes: Derived from flora, fauna, or minerals.
- Black from fermented iron scrap + jaggery
- Yellow from pomegranate seeds
- Finishes: Cow dung, seeds, milk, and resins were used for properties like shine and longevity.
Even wool waste has secondary use—as fertilizer, due to its protein content.
These methods create closed-loop cycles, aligning with regenerative sustainability.
Sustainability in Technique
Not all craft techniques are sustainable. Let's look at two examples:
Dabu (Block Printing - Rajasthan)
- Water-intensive, practiced in a drought-prone region.
- Unsustainable due to high water consumption.
Khadi (Hand-spun, Hand-woven Fabric)
- Low environmental impact.
- No electricity needed.
- High employment generation.
Some techniques are better left as exclusive crafts, while others can scale sustainably.
Role of Technology
Does sustainability mean avoiding technology? Not necessarily.
A case in point: Traditional looms (wooden or iron) were modified using gears and small power generators. While this boosted productivity, it blurred the line between handloom and power loom, risking authenticity.
The Essence of Handcrafted
Designers agree: Technology should aid, not replace. The essence lies in human touch. Minimal human involvement removes the soul of the craft.
Being transparent about technique is key to trust and long-term success.
The Three Pillars of Sustainability:
- Environmental: Minimal electricity and renewable resources.
- Economic: Second-largest rural employer after agriculture.
- Cultural: Strengthens community and preserves generational knowledge.
Sustainability in Design – The Need of the Hour
Handcrafted products have an aesthetic often seen as "traditional." Many crafts follow designs that are centuries old. This leads to difficulty in matching evolving consumer tastes.
Role of Design Intervention
Collaborations between designers and artisans can bridge this gap.
- Modern trends may not match traditional aesthetics.
- Forced modernization can erode identity.
Design changes must be gradual, respecting:
- Craft history
- Artisan skill and willingness
A new design aesthetic is possible—one that respects tradition and embraces modern relevance. This is the core aim of Inkriti.
Sustainability in Market
“90% of the world’s designers spend all their time addressing the problems of the richest 10% of the world’s consumers.” – Paul Polak
Handcrafted Market Dynamics
- Often considered luxury items.
- Priced higher due to quality and effort.
The Shrinking Market
- Cheaper, machine-made options dominate.
- Lack of awareness and trust affects sales.
The Affordability Myth
Lowering prices isn’t the solution—it undermines the artisan’s labor. Instead, redefine affordability:
- Account for product lifespan and emotional value.
- Promote repair over replacement.
Awareness and Trust
Campaigns and certifications can help:
- Handloom Mark and Craftmark (Govt. of India) protect craft integrity.
- Prevent machine-made replicas from being passed off as handcrafted.
Building consumer awareness will drive a behavioral shift toward sustainable consumption.
Conclusion
“Be the change you want to see in the world.”
Sustainability isn’t just about the environment—it’s also about people and profit.
This article is based on research by Matrika Bhandari, co-founder of Inkriti, as part of her Master’s dissertation at the Royal College of Art (2019–2023).
It serves as a foundation for the operational principles and sustainable frameworks at Inkriti—aligned with environmental, economic, and cultural sustainability.
