How Woven Threads is preserving the weaving heritage of Nagaland, one thread at a time

By Arman Khan
19 September, 2022

How Woven Threads is preserving the weaving heritage of Nagaland, one thread at a time

By Arman Khan
19 September, 2022

From a matchbox-sized studio with a single weaver in Pune to diving deep into the most inaccessible hamlets in Nagaland, the journey of this design studio  is many worlds into one

“Are you looking for a glamorous story on fashion and couture? If so, I’m afraid we’re not the right fit for your article.”

“People are often obsessed with success stories, and mine is not one.”

“Thanks for reaching out but my story is full of challenges and hurdles; it wouldn't be a good read.”

My first interaction with the 43-year-old Kevisedenuo Margaret Zinyü from Nagaland began on a brutally honest note. The National Institute of Design, Ahmedabad, graduate warned me that I’d rather look for other worlds if I was fishing for a design studio heavy on glamour and awash with funds. Hers was a story full of uncertainty, weaving against all odds and carving out an identity in a space populated with diluted crafts. 

However, the difficult road that Zinyü chose for herself didn’t reveal itself to her overnight. From growing up in Kohima to finishing her higher studies in Bachalors of Arts and a year-long diploma course in interior design (while pursuing her BA) from Bengaluru to finishing another intensive graduation course in textile design from NID, the turns along the way were many.

“I didn’t love the typical textile industry. I detested its toxicity because the team at large was filled with merchandisers,” says 43-year-old Kevisedenuo Margaret Zinyü who graduated from National Institute of Design, Ahmedabad. Image: Abhirup Dasgupta & Ahmad Shaqulian

Naga weaving has as many facets to it as the diverse number of tribes in the state. Image: Margaret

“After finishing my graduation, I entered the commercial space,” she tells The Established. “I wanted to get into a new space because I didn’t love the world of typical textile industry. I detested its toxicity because the team at large was filled with merchandisers screaming at each other.”

She started work with automobile behemoths in Pune—Ford, Tata Motors, the works—in the capacity of CMF (colour material and finish) designer. The idea was to work in a space that had better prospects, that operated at the intersection of design, breaking down trends and keeping one eye on forecasting consumer preferences. Until home called her back. 

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