Cottedge

During my recent trip to Kutch, I finally visited the Living and Learning Design Centre (LLDC) in Ajrakhpur, and I am so glad I did. I had heard about the embroidery collection for years, but seeing it in person was a special experience.

LLDC is about 15 kilometers from Bhuj in Gujarat and was established as a dedicated space for the research, documentation, and preservation of Kutch’s rich craft traditions. The museum opened to the public in 2016 and serves as a place where textiles are studied, archived, and thoughtfully displayed. It feels less like a typical museum and more like a serious repository of skill, history, and cultural identity.

The Living Embroideries of Kutch Gallery was truly a treat, and not just visually. The collection represents embroidery traditions from around 11 to 12 major tribal communities of Kutch, and within those there are more than 30 distinct embroidery styles documented across the region. What stood out most was how different each community’s work is. You can clearly see the variation in techniques, motifs, mirror work, density, and so on.

What is equally compelling is that the textiles and utilitarian homewares are not displayed merely as decorative pieces but presented with context. Some communities are nomadic, some pastoral, and each has its own history of movement and settlement. I learned about  Rabari, Ahir, Meghwaad, Jat, and Sodha communities to name a few, and how migration, trade routes, and even India’s partition shaped their craft traditions.

Learning more about the Rabari community felt especially meaningful to me. Our Cottedge Kediya tops are made in collaboration with Geeta Rabari artisans from the Dhebariya Rabari community. While the tops themselves are not embroidered, understanding the depth of Rabari embroidery motifs and history added another layer of meaning to the work we are part of.

There is also a section dedicated to men’s turbans (wish I took more pictures!), which I found fascinating. The way a turban is tied, and sometimes its style and motifs, can indicate the community, social status, and occupation a man belongs to. It took me back to our Peru trip, where clothing was such a strong indicator of what region someone belonged to. There is something powerful about how identity can be read through textiles across cultures.

While I was there, there was also a live block printing demonstration happening on site, which seemed like a fun, hands-on experience. I did not get a chance to try it myself, but I enjoyed watching other visitors participate. There is also a craft store within the campus that features clothing, accessories, and art pieces connected to the region’s textile traditions.

One of the areas of the museum was closed to the public during my visit, and I only had a little over an hour to explore. It honestly felt like sensory overload in the best way. There was so much beautiful work to absorb and so many details to take in. I took photos to document as much as I could, but I know I barely scratched the surface.

I would highly recommend touring with a guide. It was already such a sensory overload, and having someone walk us through the galleries made a huge difference. I joined another group of visitors, and hearing the details and stories behind so many of the communities and pieces helped everything connect in a deeper way.

I truly hope to go back one day. Next time, I would love to bring my mom and my daughters with me. It feels like the kind of place that deserves time, attention, and shared experience, especially since I went by myself this time.

Khamir is a craft resource centre in Kutch, India that works with Kala cotton, Desi Oon (local wool), and related textile traditions, and supports the revival and sustainable development of local crafts. I stayed at Khamir's on campus Guest House for three days during my recent trip to Kutch, and being surrounded by so much craft and creative energy was incredible.

What I loved most was the mix of people I met while I was there. There were small business owners from Europe staying in India for a few months at a time to develop their collections, tourists traveling through Kutch, and students from Indian universities working on interesting research projects. Meals at Khamir became this natural meeting point where people exchanged ideas, helped each other with logistics, shared recommendations, and just talked. It felt like a little community within a community.

The dining hall is where a lot of this happens. You’ll see guests gathering a few times a day, caretakers doing embroidery nearby, people sitting under the bright sun with a cup of tea, talking through ideas or simply catching up. There’s a calmness to the place, but also a steady creative energy that’s hard to explain unless you experience it.

Guest House Caretaker's Pet named Sweety 

I’ve shared about Kala cotton quite a bit on Instagram, but being in Kutch helped me understand it more deeply. Kala cotton is an indigenous variety of cotton that is not hybrid or genetically modified, unlike Bt cotton, which is widely grown in India. It’s traditionally rain-fed and well suited to dry, drought-prone regions, which means it typically requires far less water and no pesticides. Beyond its environmental benefits, the fabric itself has a beautiful, slightly nubby texture and a softness that improves with wear. It’s one of my favorite textiles, and spending time where it’s grown and woven made me appreciate it even more.

Amber Charkha (multi-spindle, hand-operated spinning wheel)

During my stay, I learned a lot about how Kala cotton yarn is spun and woven. Yarn can be mill spun, Amber Charkha (multi-spindle, hand-operated spinning wheel) spun, or Peti Charkha (portable box shaped spinning wheel easy to transport) spun, which is closest to traditional hand spinning. From there, the yarn is handwoven using a loom. Even though all of these fabrics are handwoven, they feel different. Peti Charkha yarn tends to be more rustic and textured, while Amber Charkha yarn is slightly finer and more even.

Peti Charkha (portable box shaped spinning wheel easy to transport)

I also got to see a wide range of handwoven cotton fabrics in Khamir’s warehouse and at the store on the premises. There’s so much happening on site beyond weaving too, including block printing, natural dyeing, and pottery, which makes the place feel very alive and active.

Spending time talking to the Khamir staff, learning more about Kala cotton, and connecting with other creatives during meals were easily my favorite parts of the experience. And I can’t not mention the craft store. It’s a treasure trove of beautiful textiles, pottery, jewelry, and clothing. Exploring the space, trying things on, and bringing a few pieces home was pure joy.

Desi Oon (Local Wool) Vest

I really hope to return to Khamir again, ideally during harvest season, to spend more time learning about Kala cotton and Desi Oon production and to source more beautiful fabrics. It’s one of those places that stays with you long after you leave.

A bit of backstory before we dive into the Patina Collection. Before Patina became a collection, it started with one unexpected find.

I saw my first vintage Kantha quilt in Jaipur on my very first sampling day trip in November 2023, and the “day trip” detail matters. Jaipur is about 350 miles from my hometown, Indore in the state of MP. I was home visiting family for just a week, and without knowing much at all, I booked a morning flight to Jaipur and an evening flight back the same day, simply to explore.

At that point, I had the contact for just one manufacturer, which I had found after a lot of online research, and no real idea of what to expect. I just knew I wanted to kick start Cottedge, and that meant taking the first hard step and just doing it.

While visiting the manufacturer that day, I came across a vintage Kantha quilt that immediately caught my eye. It had incredible color and texture and was worn out in a very unique, special way. It had so much character, and almost instantly I thought, I want to make pants with this!

That pair of pants became my very first sample. The placement of the grey patches was not quite right, and honestly, it still bothers me every time I wear them. But I love the colors, the fabric feels great, and I still reach for them again and again.

First sample pants and also very first Instagram post on Cottedge

Then I made a second pair. This quilt was thicker and felt sturdier, almost like denim. The fabric had weight, and the pants felt solid, like something you could wear all day without overthinking it.

After that, the ideas started to grow beyond pants. I began thinking about vests, jackets, skirts, and tunics. But that first pair of pants will always be special. 

I decided to call it the Patina Collection because the name felt fitting. Patina is about age, wear, and use. It reflects how surfaces change over time and become more interesting because of it. These pieces are not about hiding marks or inconsistencies. They are about working with old textiles and giving them a new life.

I have always been drawn to patina on old doors, furniture, and rusted metal. The oxidation creates unexpected colors and textures, and that is exactly how these vintage quilts felt to me. Each quilt is traditionally made by layering old sarees, dhotis (traditional garments worn by men in parts of South Asia), or similar cloth and stitching them together with a running stitch. This method grew out of practical textile reuse in rural households, where quilts were made for warmth, bedding, and everyday use, and it has been practiced for generations. Over time, the layers soften and shift, revealing new colors and textures underneath. That slow transformation is what makes each piece so special and why no two are ever the same.

On my most recent trip to Jaipur, I returned with a clear intention to source more vintage quilts and make additional Patina pieces. I revisited my original supplier and also connected with a new quilt supplier, and I was blown away by the beautiful quilts I found. A few Patina pieces made from vintage kantha quilts are already available online, with more currently in the works, and I can’t wait to share what’s coming next.