I didn’t invent, only reimagined Bengal’s textiles: Bappaditya Biswas

Bappaditya Biswas likes to refer to himself as a textile designer working at the intersection of tradition and contemporary design. As co-founder of Byloom and Bai Lou, he reinterprets Bengal’s handloom through techniques like Jamdani, with a focus on natural dyes and material-led experimentation. Often called the Indigo Crusader, he works closely with artisan communities to sustain and adapt craft practices. A recipient of the UNESCO Seal of Excellence, his work reflects a continued engagement with craft, process, and sustainability – that’s what makes him a changemaker. In a chat with us, he shares his design philosophy and thoughts on Bengal’s textiles. Excerpts...What defines your work and what you wish to accomplish through it?For me, fabric is never just fabric – it’s about people. The focus is on sustaining communities, preserving skills, and ensuring artisans earn with dignity. Consistent work brings youngsters back to weaving, and even migrant workers return when they see stable income. Ultimately, creating a market is critical – without demand, no craft can survive.How do you view the legacy of Bengal weaves today?Dhonekhali is important, but it’s only one part of a much larger textile history. Many Bengal weaves have disappeared due to lack of demand. While Dhonekhali, Tangail, and Jamdani remain visible, others – like fine dhoti weaving – are fading. Skills like working with ultra-fine single-count yarns are also at risk and could vanish within a decade without intervention.What led to your revival of lal-paar shada saris?It began with a growing interest in classic Bengal aesthetics – old naksha borders, dhakka borders, and chora designs. These had faded with the rise of synthetic yarns and zari. We revisited heirloom saris, photographs, and memories to rework these patterns while keeping their essence intact. The response, especially during Pujo and weddings, was overwhelming.How do you balance tradition and innovation in your work?Rooted in tradition, restless in spirit is defines my work mantra. I don’t teach weavers new skills – I work with what they already know to keep the process rooted in tradition. Innovation comes through material and texture. By introducing elements like textured yarns, sequins, and organza into traditional weaves, the work becomes more contemporary without disrupting its core.Do you see handloom as a traditional or evolving medium?Handloom is highly adaptable, allowing experimentation and quick responses to changing lifestyles. As women’s lives evolved, saris followed—becoming lighter, subtler, and more functional. For me, progress lies in staying aligned with local needs.What is the biggest challenge facing handloom today?Awareness remains key. Mechanized fabrics are often passed off as handloom, harming artisans and consumers alike. Informed buyers and transparent brands are essential to sustain and strengthen the ecosystem.Innovation and evolution in weaveAwarded the UNESCO Seal of Excellence for innovation, Biswas’s work stands out for reinterpreting the double-cloth technique with metallic sequins. “It was a collaborative process,” he says. “The weavers already knew how to create two layers on the loom.” By alternating between double and single weave, he developed pockets to hold sequins, “adding a new dimension while keeping the essence of handloom intact.” While his work spans Bengal traditions, Jamdani became a key focus. “When I began, Tangail Jamdani wasn’t selling,” he notes. In 2005, he introduced a reworked sari range with transparent pallus, solid bodies, and new textures. “The response was electric,” he says—eventually shaping what is now known as Bailu Jamdani.Kolkata’s cityscape, craftsmanship, music culture, and art has deeply shaped my work. Bengal’s heritage flows in almost unconsciously, keeping it firmly rooted in this land : BappadityaMy creative journey is rooted in Bengal. Born in Siliguri, I moved here to study textiles at NIFT. What began as academia soon became a lifelong association: Bappaditya

Pix: Anindya Saha