Session 124 summary
Iba Mallai was still working in a corporate job when she realized she needed to do something more meaningful than sitting in front of a computer. She found herself dragging through each day, unhappy with her work. This period was marked by a struggle to find where she truly belonged. Constant self-reflection revealed her passion for silvers, fabrics, and craft forms. This realization prompted her to pursue fashion design, leading her to enroll at the JD Institute of Fashion Technology in Bangalore.
After completing the course, Iba decided to start her own sustainable fashion line, one that would be meaningful not only to her but also to those around her. In the beginning, she struggled to find the right fabric to support her vision of creating mindfully. However, she soon realized that what she was searching for was right in front of her: Eri silk, her own community, and the heritage craft they had been practicing for generations. This epiphany inspired the name of her brand, Kiniho, which is derived from the Bhoi language. Iba belongs to the Bhoi tribe, a sub-tribe of the Khasi people in Shillong. In Bhoi, “Kiniho” means “These are the ones,” an expression that signifies someone not seeing what is already in front of them. For Iba, this was a perfect representation of her journey, as she had been searching for the right fabric without realizing that Eri silk was right at her home. Thus, Kiniho was born, marking the beginning of her meaningful journey in sustainable fashion.
Eri Silk is a unique and sustainable type of silk, known for its ethical production process. Unlike other silks, the production of Eri Silk does not involve killing the silkworms, making it a non-violent or ahimsa silk. The silkworms feed on castor leaves, and this natural process contributes to its sustainability. One of the reasons Iba Mallai chose to work with Eri Silk is its alignment with her mission to create mindfully. Eri Silk supports her vision of sustainability and ethical fashion. Additionally, Eri Silk has unique thermal properties, keeping the wearer cool in the summer and warm in the winter. It is also hypoallergenic and skin-friendly, making it suitable for a wide range of people. Furthermore, the short fibres of Eri Silk make the fabric more breathable, enhancing comfort. These properties, combined with its ethical production, make Eri Silk the perfect choice for Iba’s sustainable fashion line, embodying both her values and her commitment to creating high-quality, mindful garments.
The process of creating Eri Silk begins with the silkworms feeding on castor leaves. The eri cocoons are then left for 45 days before being washed using lime or lemon. After washing, the cocoons are flattened and traditionally dried in the sun on mats. Hand spinning is an integral part of the process, often performed by skilled artisans, such as an elderly woman in the community. The natural dyeing process involves various natural ingredients, including turmeric, tree bark, leaves, iron ore, and lac. These ingredients contribute to the rich, natural colours of the Eri Silk, emphasizing the sustainable and traditional methods used in its production. Iba shares images of a woman preparing the warp yarn and the traditional floor loom used in their community. The floor loom, made from easily accessible bamboo, is the most common type of loom used. Nearly every household in the community has one of these bamboo floor looms, highlighting the widespread practice and accessibility of traditional weaving methods.
Iba provides insight into the village where she works, Umden Nongtluh, a craft cluster rich in culture and traditions. Besides their paddy fields, the village is abundant in folklores. One of the images shows a festival in the village featuring the traditional Lukhmi dance. The pictures also depict women practicing their craft from the comfort of their homes. These are some of the women Iba collaborates with, including the weavers from her unit.
Kiniho incorporates heritage craft by creating contemporary pieces while honouring traditional methods. Iba shares images of traditional stoles such as Thohriaw stem, Thohbah, and Ryndia Tilan, made by the Ribhoi weavers of Meghalaya. These stoles feature traditional patterns and colours like yellow from turmeric, pink or maroon from lac, and green, black, and white. Over time, with the help of government training, the weavers have learned to mix ingredients to achieve a wider variety of colours.
At Kiniho, they focus on creating pieces that are not strictly traditional, often utilizing soft pastel colours. They experiment extensively with colour combinations and textures, employing various techniques. One such technique is the Syrdoh technique, which creates spacing in the fabric. This method is inspired by the way women in the village tie the fringes of woollen bags they weave, adapting it for contemporary use. Another technique involves incorporating traditional lines, known as Khong or Kyntang, found in every plain stole made in Meghalaya. These lines are believed to protect the owner from evil. Kiniho contemporizes this technique, as seen in their modern adaptations.
Recently, Kiniho has started adding Khneng embroidery, the only known form of embroidery in Meghalaya, practiced by the Mustoh people near the Shella border. This ancient and dying art form is traditionally used at the edges of Eri Silk stoles by the Mustoh people. Kiniho’s efforts aim to preserve and revive this unique embroidery by integrating it into their designs. Iba shares images of two ladies wearing the traditional Jainpin, a wraparound skirt, and a shawl adorned with Khneng embroidery on Eri Silk fabric. These garments highlight the integration of heritage craft into contemporary fashion, showcasing the intricate and culturally significant embroidery practiced by the Mustoh people.
Kiniho’s work with this traditional art form comes with certain challenges. Currently, there are only about ten skilled artisans and eight new trainees proficient in these techniques. As a brand committed to preserving heritage and unique techniques, Kiniho involves these artisans in their designs. Recently, Kiniho’s collection, U Sier Lapalang, inspired by a Khasi folktale, incorporates this khneng embroidery in a contemporary manner. Instead of using the traditional method of placing the embroidery on the border of a shawl, Kiniho has integrated it as motifs throughout the fabric. The collection draws inspiration from the folktale, depicting elements such as a stag and trees to bring the story to life on the fabric. The shared images show the work in progress and the women artisans involved in the project. These artisans helped bring the story of U Sier Lapalang—a tale of a stag who disobeyed his mother and met his end at the hands of his enemies—onto the fabric. The products, including stoles, reflect this narrative, showcasing the intricate khneng embroidery and the folktale elements. The images further illustrate the final products created with this unique embroidery, highlighting the blend of tradition and contemporary design.
Kiniho’s approach extends beyond contemporary design; they strive to revive and retell folk tales, particularly focusing on their cultural history. This commitment is integral to their brand ethos. Additionally, Kiniho embraces values learned from the community they work with, such as balanced living, slow living, earning with honesty (known as Kamai da ka hok in Khasi), and self-soul searching to attain divine creator consciousness (tip briew tip blei in Khasi).
Working closely with community weavers presents challenges due to their multifaceted lives, which include tending to paddy fields and preserving their cultural traditions alongside weaving. This dynamic requires Kiniho to adapt their practices to accommodate these aspects of community life. Understanding the importance of balancing work with other aspects of life, Kiniho embraces a methodical, step-by-step approach rather than rushing through projects. Moreover, Kiniho emphasizes ethical practices within their unit, ensuring fair wages, job satisfaction, and promoting mental and physical well-being among their weavers. They prioritize understanding and respecting the weavers’ lifestyle and integrating these values into their operational ethos. This approach emphasises Kiniho’s commitment to not only creating fashion mindfully but also fostering a supportive and ethical work environment.
About the Speaker
Iba Mallai
Hailing from the Ribhoi District of Meghalaya, designer Iba Mallai has always found herself deeply drawn to the rich traditions and folk tales embedded in her surroundings. Growing up in a community that dyes and weaves its own fabric not only promoted her love for nature but also nurtured her curiosity for fashion. She strongly believes in preserving her heritage and creating garments that stem from sustainability. Built on the foundation of mindfulness and zero-waste production, Iba’s design practice is unparalleled.
Kiniho Clothing
Kiniho is an amalgamation of heritage and trending fashion with sustainable ethics. The label creates minimal, clean, and relaxed silhouettes while attempting to hold on to tradition by seamlessly blending traditional hand-woven fabrics. Promoting eco-fashion, the label mainly uses organic fabrics such as Eri silk, which is naturally dyed and hand-woven by local weavers of Meghalaya and other states in Northeast India. A modern approach to traditional handcrafted fabrics, with innovative weaving styles and colour blending techniques, is the core philosophy of the label. Kiniho strives towards socially responsible methods of production and delivers impeccable ensembles for its customers.
