Khadi is a hand-woven natural fiber cloth made from cotton, spun into yarn on a charkha, the famous indian spinning wheel. The term Khadi is derived from khaddar, which means a handwoven and handspun textile cloth. The production and trade with fabrics has a very long history in India, which goes back to ancient times. Mahatma Ghandi believed every yard of khadi bought would put food in the mouths of the starving and the poor of India. Along with the small hand-spinning wheel, the Charkha, Khadi became THE symbol of the nonviolent struggle for independence that Ghandi led.

The real Madras Handkerchief, RMHK, was made only for the indian export. During the long trade history of the cloth there was the rumor that it all started with with tartan plaids of the Scottish regiments, but in fact it was only the description of the european for their orders as „in the pattern of Scotch tartan“ that started these confusion. In fact plaid fabrics were in use in India long before any Highland regiments were sent abroad, and it’s not like they „imitating foreign patters“ as James Forbes Watson describes in his book about indian textiles.

In the famous pottery workshop of the Narzullaev family in Guijdovan, in the Province of Buchara, Uzbekistan, they still use the traditional manufacturing process. During the early Soviet years there was a prohibition of entrepreneurship and small workshops, but the grandfather didn´t give up. Later Folk crafts became popular and even fashionable at the times of USSR, and so he was able to passed on his secrets of pottery making to two of his sons,- Alisher and Abdullah. Their children are now 7th generation and keep the family business and ancient traditions alive.

Since 2012 the handmade pottery from Horezu is part of the Unesco´s Representative List of the Intangible Cultural Heritage of Humanity. As explanation they wrote: „The handmade Horezu ceramics from Valcea originates in the traditional craftsmanship of the region. Each object is shaped with the help of a certain finger technique that is clearly individual making every piece a signature one. Each potter applies his own technique using luminous colors in traditional motives. The expertise is passed on from the senior to the apprentice.“ 

There are around 15 different stages of dying, washing, reprinting…the technique of block printing is more than 3000 years old. In Kutch, Gujarat, it´s practiced solely by men.

Known as ajrakh, this double-sided textiles is made by the Kathri block-printers from Ajarakhpur in Gujarat. Ajrakh is realated to the arabic world for blue azrak.

Pottery from Romania is a goal. 

Naga, the snake, has a central role in the textiles of the Lao Tai from Laos. She can be found meandering across almost all Tai fabrics. The Tai believe they are intimately connected to Naga. In an interview, one of the Lao Tai weavers from Houaphanh in Laos explained: »If the snake notices that we aren’t wearing any textiles with her image, then she might think we don’t respect her and then, maybe, she’ll kill us.“

Kutch, Gujarat, India: Lac, a material taken from insect resin, has been used in Indian craft for centuries. Coloured lacquer is applied to wood by heat through turning with a hand lathe.

Taquile/Peru: This old knitting men knows how to act like a super model. He is doing his lovely job in front of the knitting village collective. The whole island is under self determination of the indigenous people. Investors from abroad are not allowed ↑

La Paz/Bolivien: If you want to make a break as a weaver of bolivian textiles stop weaving patterns for a while and doing this kind of test screen pattern in between. 

In Guizhou, south china, the miao people make wonderful batik textiles. They use paper stencils and rice paste for the resisting dying and printing process. The tiger is a symbol to keep the evil spirits away.

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Guizhou/South china: To give a textile a crisp, laquered look the fabirc is dipped repeatendly in an indigo bath, beaten with a wooden mallet and treated with secret recipes with blood, eggwhite and other stuff. At the end you can fold pleats inside like paper. 

For the people from central asia Ikat is something like the tartan from scotland. Uzbek believe that all textiles and patterns go together. When Russia won the great game with Britain for central asia, English textiles were largely replaced by industrial goods from Russia. 

„The style of Armenian carpets is characterized by a close unity and integrity of vegetal, zoomorphic and geometric motifs, each of them being aimed at expressing and amplifying a definite idea.“ (Armenian Carpet Art, Yerevan 2012)

In Central Asia they call Ikat textiles Abr, named after their cloud-like patterning. The warp and the weft are dyed prior the weaving. The warp threads are dyed by wrapping certain parts of them in order to obtain a given pattern. This requires an enormous amount of skill.

The folk art in romania is strongly wedded to work, husbandry, community, traditions and belief. The style is characterised by balance and symmetry, and a very striking concept of rhythm. The same can be said about Romania as a country.

King Ludwig II of Bavaria was also called the Swan King, Mad King or fairy tale King. He built three castles, one of them the famous Neuschwanstein castle. He said: “I want to remain an eternal mystery to myself and others.” He definitely achieved it.

India/Gujarat: Patan Patola is a double ikat textile, that means both, the warp and the weft, are dyed before the weaving. As a result patterns and colours are extraordinary vibrant and elaborate.  With such thin silk thread it takes a lot of time and it´s an extreme test of precision and planning. A sari starts around 10 000 $.

Northern Romania: The patterns and motifs of Romanian blouses refer to local traditions and provide clues to the marital, social and/or economic status of the person wearing them. After all, Romania had been occupied by the Turks for centuries, which, inevitably also left its traces in the motifs and elaboration of folk art.

Kutch/Gujarat/India: The walls of this Meghwali roundhouse in Hodka village in Kutch are constructed with whitewashed mud and dung and a lot of mirrors. Normaly the toran is hanging above the door, here he´s  protecting the inhabitants agains the devils coming out of the TV.

The general rule governing interior design seems to be: the more, the better. The close arrangement of textiles along the walls, stacked cushions on beds – embroidered side turned out to face potential visitors – as well as the many tapestries and table cloths seem to point to a horror vacui, a kind of fear of empty spaces.