Weaving a cultural renaissance in Assam’s looms

In the lexicon of luxury, Assam’s silks are sui generis.To drape oneself in the natural aureate glow of Muga is to wear sunlight distilled into fabric. Pat shimmers like moonlight caught on water, while Eri, the silk of peace, offers a tactile sprezzatura. Together, they form woven philosophies from Assam that outlast seasons, empires, and even fashion itself. This quiet grandeur is built on the humble taatxaal, the handloom that anchors almost every household in the weaving belts of Assam.

Sualkuchi, also known as Assam’s “Silk Village”, is where the threads of gold, ivory, and russet are coaxed into fabrics that carry generations of heritage. Some families in this village have woven for centuries, with the craft evolving through times of prosperity and survival, world wars, shifting markets, and ambitions. Then there are the women of Sualkuchi, who stand as guardians of a tradition as fragile as silk and as enduring as heritage itself.

“When I set up my loom, I feel my ancestors are standing beside me,” shares Jamuna, a 63-year-old weaver from Sualkuchi.“Sometimes I see my granddaughter watching from the doorway, her curiosity is almost like a promise.” Pratima, a loom owner in Sualkuchi, has spent over three decades training new weavers and creating livelihoods for women in her community. She recalls learning from her grandmother— nimble fingers mimicking centuries-old gestures.“Weaving,” she shares,“is how we speak without words. It’s our story, our pride, our prayer for the future.”

The loom, then, is both inheritance and invitation transmitted in threads and in glances. Each design encircles a history of migrations, festivals, prayers, and aspirations. The motifs rendered on Assamese silk—bota and japi, kolka and phul—are more than patterns. They are encoded stories. Even the colours speak of heritage, drawn from kitchens. Turmeric for gold, onion peel for russet, mango bark for ochre—these natural dyes in Assamese silk embody eco-luxury with processes that tread lightly on the planet.

It is from this lineage of threads and motifs that contemporary designers draw. Each with a distinct lens, but united in the belief that the taatxaal is the altar where narratives of Assam silk continue. Take, for instance, engineer-turned-couturier Sanjukta Dutta. She has carried the tales of Assam silk from the looms of Sualkuchi to runways in Milan and NewYork.Yet, when she speaks of her work, the credit circles back to the women in Sualkuchi who keep the craft alive.

While Arita Kashyap of Doyna Atelier explains the contemporary silhouettes of Assam silk in bolder palettes, Aastha Sharma of Posuwa tells me about her work in restoring the fabric’s quiet elegance through pared-back designs. And then, Kalpana Tamuly of Neil’s Creations chimes in, translating heritage silk into a ceremonial legacy. This story of Assam silk is woven by women, amplified by designers, and cherished by wearers. It reminds us that true luxury is not ephemeral. It is durable, communal, and alive with the spirit of silk and sensibility.

Memories, motifs, and modernity

To speak of Assamese silk is to talk about both preservation and reinvention. The weavers and designers are working with motifs older than memory. From the regal kingkhap, once woven in gold and silver threads to embody Ahom royalty, to the gos buta, where birds perch upon stylised trees, to japi (the farmer’s bamboo hat) and pepa (the Bihu hornpipe), the weaves are rooted in agrarian rituals and festive songs. The graceful bisoni, shaped like a hand fan, evokes elegance and everyday beauty, while the teardrop kolki, a legacy of Persian exchange, symbolises fertility and eternity.

Rooted in Sualkuchi, where she grew up watching her aunts weave, Sharma started Posuwa that celebrates minimalism with motifs inspired by nature like swans, lotus, fish, butterflies—distilled into crisp, wearable designs.“Our heritage isn’t meant to be forgotten. It’s about making Assamese silk relevant without erasing its soul.”

Designer Dutta echoes this sentiment.“Tradition is not meant to sit in a museum,” she insists.“It is meant to breathe, evolve, and live in the present.” Her design philosophy is a dialogue between memory and modernity. Motifs drawn from Assam’s flora and fauna are scaled, shifted, and reinterpreted, but the handloom techniques remain untouched. “The spirit stays intact, the story continues, only the canvas changes,” she says.

Dutta shares how often she highlights extra-weft weaving (paat/xorai buta), which gives Assamese textiles their richness and depth. She also works with geometric borders and temple designs that are signature to Pat weaving.“In my collections, I preserve these elements but reinterpret them, scaling motifs, shifting placements, or pairing them with contemporary silhouettes. This way, they remain authentic to their roots while speaking to a modern, global audience. For me, it’s about making sure these patterns live on the runway, in wardrobes, and in everyday life, not just in archives,” she explains.

Kalpana Tamuly of Neil’s Creations describes how she finds her muse in Assam’s landscape and lived traditions. “I see how every motif, every colour, and every weave has a story to tell. For me, design is not just about creating something new, but about honouring where we come from while making it relevant for today. Tradition must evolve if it is to stay alive. That’s why I reinterpret age-old motifs in ways that feel fresh and wearable, without losing their soul. Every piece I make is a bridge between the past and the present.”

Reviving, reinventing, revering

Posuwa was born out of an observation.“I noticed how Assamese mekhela chadars had started looking almost identical to Kanjeevaram saris. Heavy zari work, ornate embroidery, and little traces of our simple, elegant motifs. The understated beauty of Assam silk deserves its own spotlight,” Sharma shares. At Posuwa, the focus is on Pat silk, prized for its accessibility and versatility.

At the same time, Kashyap sees design as both identity and empowerment.“I wanted to break the monotony,” she reveals. “To move the mekhela chadar beyond granny mills and into Assam’s stylish trade market.” Her collections play with colour, pattern, and zari while keeping the garment inclusive and loved across generations. For her, cultural heritage isn’t just a reference point; it’s the soul of every piece. She begins each collection with a colour story, ensuring the hues carry both emotion and meaning.“While I explore fresh ideas, I try not to distort the original essence too much. It’s never about changing authenticity, but about enhancing it.” Silk, with its sheen and drape, remains the cornerstone of her work. From yarn reelers and dyers to finishers and tassel-makers, every mekhela chadar passes through many hands before it’s complete.

Tamuly has a more collaborative approach.“In my work, I try to carry stories forward. When clients share their ideas, I always look for ways to connect them back to our roots, whether it’s through motifs, weaving techniques, or symbolic patterns that are part of our cultural identity. This not only makes their designs more meaningful but also ensures that each piece remains a bridge between personal expression and Assamese tradition.”

Dutta says she feels the closest to Pat silk.“I grew up seeing its gentle sheen in everyday life. Simple yet so elegant, and a quiet grace still inspires me today. Most of my work begins with Pat because it feels like a second skin, effortlessly blending tradition with modern design.” Muga, in her hands, becomes regal poetry.“Its golden glow feels like the pride of Assam—strong, enduring, and powerful. Every time I work with Muga, I feel I am carrying forward a piece of history.”By working across silks, Dutta sees herself as weaving a complete story of Assam’s heritage in couture.

Once confined to local wardrobes, Assamese silk now graces global runways with quiet confidence. At Cannes, Dutta’s Pat silks shimmered, proving tradition can gleam like the couture of tomorrow. Newer brands echo that vision. “The Assamese garment deserves to be remembered, cherished, and carved into India’s fashion memory,” says Kashyap. For Dutta, each piece is “both luxurious and responsible”—one that honours the earth, the weaver, and the wearer. Assam silk, slow by design, embodies an ethical movement that values story over speed. 

Lead image: Pokhila (butterfly) motif on a mekhela by Posuwa

This article first appeared in the October 2025 print edition of Harper's Bazaar India.

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