Cottedge

One of my favorite parts of traveling is the thrill of discovering unique pieces, whether it is clothing, jewelry, or art.

During my recent sourcing trip to Jaipur, I explored antique stores filled with vintage art, textiles, and one of a kind finds that continue to inspire me.

I had the chance to visit Indian Art House, an antique store that truly felt like a treasure trove. The space was filled with framed vintage art, interesting old door knobs and handles, textiles, and countless other objects that made me want to take my time and look closer.

I spent over an hour browsing, slowly taking everything in, and brought home a few pieces that felt special. But beyond the objects themselves, what I enjoyed most was the energy of the place. There was a steady hum of conversation, and I found myself chatting with tourists visiting from the UK, local visitors accompanying tourists, and collectors. It felt like we were sharing a small adventure together.

At one point, I stepped outside with a warm cup of tea graciously offered by the friendly owners and soaked in the winter sun. It was one of those simple, perfect travel moments.

One of my favorite finds was a fish shaped padlock and key. I had just seen a similar one days earlier at the Living and Learning Design Centre in Kutch and was instantly drawn to it. When I spotted it again in Jaipur, it felt almost serendipitous. I knew immediately I wanted to bring it home. I am also curious about the history or significance of fish shaped locks in India, if there is any deeper meaning behind them. I have not yet had a chance to research it, but that question makes the piece even more interesting to me.

I also visited Royale Treasure, another antique store with beautiful vintage frames, furniture, and sculptures. I only had about fifteen minutes before it closed, so I could not browse at my usual pace, but even that short visit was inspiring.

For me, sourcing trips are not only about textiles and production. They are also about absorbing visual culture, meeting new people, and discovering and collecting pieces that spark something deeper.

Cottedge began with the fabrics of my childhood and my desire to share them.

Growing up in India in the 80s and 90s, there were very limited tasteful ready to wear options. If I wanted something beautiful, I had to choose fabric and go to a tailor. My mom and I would select textiles, talk through sleeve lengths and necklines, and wait days or weeks for the finished piece. Clothing felt personal because it was customized. It was not disposable.

I grew up wearing a lot of block printed cotton. Block printing is a traditional technique where repeated motifs are hand stamped onto fabric using hand carved wooden blocks. One of my favorites was block printed Kota Doria fabric. Kota Doria comes from the town of Kota in Rajasthan and is famous for its delicate checkered pattern, translucent texture, and breathability. I often took my mom’s old Kota sarees and turned them into kurtas, simple tunic tops that felt easy and beautiful.

Chikankari embroidery is another strong memory. It involves delicate and intricate hand embroidery using white thread on a variety of lightweight fabrics such as cotton, muslin, silk, or organza. It is one of the most famous and exquisite forms of thread work practiced in India, passed down through generations of artisans in Lucknow and other regions of India. When my mom visited family in Lucknow, she brought back Chikan kurtas and tops. In the 90s, before online shopping, these pieces were not easy to find, and they felt special. 

When I started Cottedge, I naturally returned to these textiles: block printed cotton, Kota Doria, and Chikankari. I began with simple silhouettes inspired by what I had worn for years. I did not overthink it and started with what felt familiar.

As the brand grew, I discovered other handloom textiles that expanded my perspective. One of my favorites is Kala cotton from Kutch. Kala cotton is an indigenous, rain fed cotton variety that has been grown in the region for generations. It remains a pure native strain and is not genetically modified. It thrives in arid conditions with very little rainfall, making it naturally drought resistant and highly water efficient. Beyond its environmental benefits, I love its nubby texture and the way the fabric feels.

Around the same time, I began working with vintage Kantha quilts made from layers of old saris stitched together over the years. I see the history in them, the fading, the fraying, the small hand repairs. Turning these quilts into jackets, pants, and skirts has become one of my favorite parts of this journey. Each one is different, so every piece is truly one of a kind.

Moving forward, I would like to continue working with Kala cotton, other handwoven fabrics, and vintage textiles. I am always exploring textiles that feel thoughtful and distinctive, but the classic block prints and childhood favorites are here to stay. 

In a world driven by fast fashion and instant gratification, working with handloom textiles and small batches slows me down. It makes me respect the fabric, honor the artisans, and design around what already exists instead of rushing to produce something new.

At the end of the day, I simply love textiles. Through Cottedge, I love sharing the textiles I grew up with and the craft techniques behind them. I really enjoy turning them into easy, wearable pieces that people can live in and make their own.

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.