Cottedge

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.

I recently returned from an energizing and very inspiring trip to India. While the trip included sourcing and manufacturing for Cottedge, it was equally an exploratory visit. I spent time in Kutch, Gujarat, learning directly from the artisans and weavers who carry forward generations of textile knowledge.

From Ajrakh block printing and Bandhani (tie-dye) to embroidery and handloom weaving, I had the opportunity to immerse myself in the processes, stories, and people behind these crafts. What stood out most was the balance I witnessed everywhere - deep respect for traditional techniques alongside a strong spirit of innovation and experimentation, especially among younger artisans.

In Ajrakhpur, I learned about the complex, multi-step process of natural dyeing and Ajrakh block printing, and saw how artisans continue to push boundaries through new color combinations and layered techniques. In Bhuj, Bandhani artisans are reimagining ancient tie-dye methods with fresh palettes and traditional + contemporary patterns. Embroidery artisans are expanding beyond classic mirrorwork into appliqué and unexpected color stories.

I also visited handloom weavers creating beautiful, distinctive textiles through intricate warp and weft techniques using dyed yarns. The character of each fabric is shaped by many factors - the number of threads used, whether the yarn is hand-spun or mill-spun, and how the yarn is starched and finished. Witnessing entire families involved in different stages of the weaving process was especially moving.

Again and again, I was welcomed into homes and workshops with warmth, conversation, and tea. These moments of connection are as integral to the textiles, and to what we do at Cottedge, as the techniques themselves.

Each craft in Kutch is deeply rooted in its community, passed down through generations and preserved through shared knowledge. This connection between people, process, and place continues to inspire me, and it shapes how Cottedge designs, collaborates, and creates. 

Until next time. I look forward to continuing this work with care and intention.