India

Traditional garments across India carry knowledge of materials, construction, climate and local identity, yet many have not been explored for contemporary markets. The Weavers' Service Centre, Chamoli, has tested one approach with Uttarakhand's Dokha, a heavy woollen winter garment. Its lighter, shorter cotton version has since passed through field training to weavers, and commercial production has begun in Khatima.

Seamless construction has given Indian intimatewear a new vocabulary of comfort, softness and stretch, yet the manufacturing economics behind it remain demanding. Pankaj Kabutarwala, Founder and Owner of Piccion, a venture of Pigeon Industries, argues that advanced Italian machinery matters far less than four decades of accumulated knowledge in yarns, dyeing and integrated garment production.

A four-year European Union-funded project coordinated by Fairtrade International has concluded after reaching more than 9,500 cotton farmers and 700 textile manufacturers across India, with a primary focus on Tamil Nadu. The initiative delivered digital sustainability tools, capacity-building programmes, and market links between Indian suppliers and European buyers.

Artificial intelligence is no longer just recommending what to buy. It is beginning to decide and purchase on a shopper's behalf. India's fashion sector, projected to reach $1.93 trillion by 2030, faces a structural question that goes beyond technology adoption: when a customer's AI agent goes shopping, will it choose your brand over a competitor's?

For generations, master artisans across India and the Global South supplied luxury markets while their names stayed hidden behind export houses, intermediaries and non-disclosure agreements. A new incubator asks whether that labour can carry its own name and command luxury value. Susan Walker, whose nonprofit Ibu operates from the American city of Charleston, explains how visibility and price might converge.

India's craft sector employs millions of women in home-based work, often paid by the piece and rarely counted in corporate accountability. As machine-made imitations spread, the question of fair pay grows sharper. Katherine Neuman, who runs House of Wandering Silk in Delhi, examines how replication, pricing and storytelling together decide the fortunes of traditional makers.

As slow fashion turns handmade cloth into a selling point, the artisans behind Ikat and Kantha have gained visibility without a matching rise in pay or security. The imbalance raises a pointed question about who profits from the story of craft. Megha Agarwal, founder of Studio Maeve, weighs whether artisan recognition delivers genuine dignity or borrowed branding.

Himroo, a centuries-old silk-and-cotton weave from the city now called Chhatrapati Sambhaji Nagar, had fallen from thousands of handlooms to none still working. Arushi Chowdhury Khanna, who founded the social enterprise LoomKatha, argues that reviving such a craft depends less on preserving skill than on rebuilding the market and the visibility that sustain it, not on the loom alone.

Yarn Expo Autumn 2026 in Shanghai will place cotton, plant-based fibre and recovered-material yarn options before buyers across its autumn edition. The fair will feature the expanded India Pavilion, international exhibitors and concurrent shows, with yarn supply placed beside apparel fabrics, fashion and knitted garments under one exhibition setting for sourcing.

For generations, the women who hand-paint Kalamkari cloth in southern Andhra Pradesh sold their labour without their names attached to it. Anita Reddy, a social worker who founded the artisan collective DWARAKA, set out to change that by placing control of both the making and the pricing with the women themselves, from the first outline to the final price.