Q: What makes your Ikat weaving process unique? Can you walk us through it?
Chandana: We primarily work on the warp in our Ikat process. It starts with graphing—measuring motifs and planning their placement. Then we mark the warp, tie it accordingly, and begin the dyeing process. For dyeing, we use vat dyes, reactive dyes, and natural dyes.
Each motif is tied, dyed, dried, and then opened one by one—it’s a very meticulous and layered process. We also do weft ikat and double ikat, where both warp and weft threads are tied and dyed before weaving.
Q: Can you tell us more about traditional motifs and the significance of the Telia Rumal design?
Chandana: We work extensively with Telia Rumal designs. ‘Tel’ means oil, and ‘rumal’ means handkerchief. Traditionally, it was oil-treated cloth with floral motifs, worn by royalty. Today, we interpret those motifs into sarees, fabrics, stoles, and dupattas.
Original Telia Rumal is oil-treated for a week and dyed with natural ingredients—pomegranate peel, onion skin, marigold petals, iron rust fermented with jaggery.
We're also inspired by Uzbek and Cambodian Ikat designs, adapting them into our fabrics with local craftsmanship.
Q: What is the official name for this kind of weave?
Chandana: It’s called Ikat—a globally recognized craft.
India has many Ikat traditions: Pochampally Ikat from Telangana, Sambalpuri Ikat from Odisha, and others. Each region uses different techniques. We use the Pochampally style, which is known for precision and deep motifs.
