We are at the forefront of harnessing the potential of yak hair
Its All Folk started as an archiving project in 2015 in Shillong in Northeast India and is a part of the NSRCEL Women Entrepreneurship Program. Over the years the project has evolved to a research project to now a social innovation and fair fashion studio. Reinitiated in 2022, the organisation is currently working at the cross section of crafts, conservation and climate action. The organisation’s vision is to build place-based economies by investing in territory specific human, cultural and natural capital to create low carbon, artisanal fashion alternatives that advance all the four pillars of sustainable development. In a chat with Fibre2Fashion, Founder Namrata Tiwari talks about the enterprise, yak fibre, and future of the organisation.
Can you provide an overview of the inspiration behind ‘Its All Folk’ and how it aligns with the organisation’s mission?
The inception of ‘Its All Folk’ was not driven by a singular ‘aha’ moment, but rather it has been a gradual process that began around eight years ago. At 26, I moved to Northeast India to work with indigenous communities, setting in motion what would eventually evolve into this enterprise.
Initially, it was an archiving project, driven by my desire to document the rich cultural tapestry of the region, which at that time was scarcely represented in mainstream media. I transitioned from the fashion industry to working with an NGO in Shillong, using Its All Folk as a lens through which I could explore and highlight the traditional craftsmanship of the area.
The project took on a new dimension after I pursued a master’s in Design for Social Impact in France. Armed with fresh insights, I returned in 2020 to reincarnate the initiative with a more pronounced focus on social impact. The journey with Its All Folk has paralleled my personal evolution, growing from a personal project into a fully-fledged social enterprise.
The mission of Its All Folk intertwines with my personal growth and the newfound appreciation for the cultural wealth in my home country. It aims to bridge global demands with the incredible talent and resources present in local communities, facilitating a synergy that respects and nourishes cultural heritage while also meeting contemporary needs.
Your website mentions a commitment to preserving traditional arts and crafts. Could you elaborate on the specific ways your enterprise engages in this preservation and supports folk artisans?
As we stand, Its All Folk is primarily active in Arunachal Pradesh, located in the eastern Himalayas, part of Northeast India. The cornerstone of our enterprise is leveraging crafts as a tool to foster community-based environmental and cultural conservation.
Our partnership with the World Wildlife Fund (WWF) plays a crucial role, focusing on Community Conserved Areas (CCAs). A significant portion of the forests in Arunachal Pradesh, between 60 and 70 per cent, are owned and protected by the indigenous communities. It is imperative to have their backing and involvement in conservation efforts, embodying a philosophy where conservation and community go hand in hand.
We believe that traditional craft practices and value systems offer a sustainable model for development, rooted in a harmonious and mindful utilisation of natural resources. By encouraging these practices, we aim to create income opportunities, preserve cultural heritage, and incentivise environmentally sound practices.
On a more detailed level, we are concentrating on rejuvenating the yak wool making practices of the semi-nomadic Brokpa tribe and the loom making traditions that are currently underutilised. Our objective is to develop market-friendly products that could fetch a better price, thereby supporting the communities economically while also encouraging the survival and growth of these traditions. It is a meticulous effort to not just revive, but to integrate these age-old crafts seamlessly into modern markets, ensuring their continuity for generations to come.
Could you share some examples of successful partnerships or initiatives that have been facilitated through your organisation?
A cornerstone of our organisation’s approach has been the forging of strong partnerships. One significant partner is the World Wildlife Fund (WWF), with whom we work to support conservation practices. Additionally, we have partnered with Sasha, a Fair Trade Organisation, which will assist us in obtaining necessary certifications in the future.
It is CFP Center for Pastoralism that is striving to highlight artisanal enterprises working with desi oon. Through our collaboration with CFP we are striving towards highlighting Brokpas and yak wool from the Eastern Himalayas.
This initiative not only aims to create income opportunities for communities living below the poverty line but also encourages the continuity of indigenous identities, bridging a critical gap in the industry given that nearly 90 per cent of the wool used in India is imported.
I would like to use this opportunity to address a major concern I have with the fashion industry – its narrow focus on the environmental impact of fibres, often neglecting the other pillars of sustainability: cultural, social, and economic. We believe that the narratives dominated by the Global North tend to sideline the pressing needs of the poor in the global South, perpetuating a limited understanding of sustainability that revolves primarily around the environmental footprint of fibres.
In our efforts, we try to focus on how certain fibres can meet a wide range of needs, contributing not only to environmental conservation but also social and economic upliftment. Our work with yak wool, for instance, often raises questions about its ethical sourcing, given the debates around veganism and animal cruelty. However, it is essential to highlight the community-based, low-carbon footprint of the yak wool harvested by indigenous communities, who maintain a deep connection and respectful relationship with the animals, intertwining it with their cultural identity.
Our broader vision for Its All Folk encompasses the development of community co-owned and co-managed initiatives, aiming for resource stewardship and shared economies. Although we are still in our early stages, focusing on capacity building and market testing, we envision a future where we stand strong as a beacon of holistic sustainability.
Can you tell us about the significance of yak fibre, and the heritage loin loom weaving in creating additional income opportunities for the weavers and the yak herding Brokpas of the Monpa community?
The yak fibre and heritage loin loom weaving lie at the heart of our endeavour to create a local supply value chain. This initiative ensures that everything, from sourcing the fibre from farmers to spinning and weaving, is conducted locally, offering vital income opportunities to the community. Presently, only the final stitching process is carried out in collaboration with the Sasha Fair Trade Organisation in Kolkata, supporting an additional five female artisans.
To bolster the loin loom weaving practices of the Monpa community, we have recently trained 22 women, enhancing their weaving skills and introducing them to the production of lifestyle products such as cushion covers and table runners. Six women have also been trained in sewing techniques. These efforts represent a step towards our goal of moving the entire supply value chain to Arunachal Pradesh, fostering skills and income opportunities right in the heart of the community we serve.
Through these initiatives, we aim to not only preserve the rich tradition of loin loom weaving but also to open up avenues for economic development and self-sufficiency, nurturing talent and sustaining the vibrant culture of the Monpa community. Our vision is to create products that are 100 per cent made in Arunachal Pradesh, celebrating and showcasing the rich heritage of the community to a broader audience while ensuring economic sustainability.
How has the rise of e-commerce and online marketplaces impacted the traditional arts and crafts industry, and what strategies has your organisation employed to adapt to this digital shift?
E-commerce has undeniably brought both benefits and challenges to the traditional arts and crafts industry. On the one hand, it has enabled us to reach the most remote locations, offering people even in rural settings the opportunity to engage in purchasing items that they value. However, the negative aspect is not solely attributed to e-commerce but also to rapid urbanisation coupled with an influx of cheap products from countries like China in the local markets. This influx has somewhat diminished the value people once attributed to handcrafted items which have been a part of our heritage.
It is vital to consider the changing aspirations of the artisans themselves. While we might romanticise the idea of preserving heritage, the actual bearers of this heritage — the craftsmen and women in villages — often aspire to urban lifestyles, longing for stable jobs and modern amenities, including good internet connectivity. This shift in aspirations, amplified by increased exposure to global lifestyles through the internet and travel, is perhaps more impactful on the traditional arts sector than e-commerce itself.
As a social enterprise striving to protect traditional practices and cultural heritage, we find ourselves navigating this complex landscape with a sense of responsibility. We acknowledge the artisans’ right to aspire to different futures, to dream of better opportunities for their children, and to seek the conveniences of modern life. It is not our place to impose a preservationist agenda on them.
Therefore, our role is to offer alternatives rather than to dictate choices. We provide opportunities for those who wish to continue the traditional crafts, focusing on equipping them with the resources and platforms to sustain their work in a rapidly changing environment. We believe that offering such alternatives can serve a dual purpose: facilitating the survival of traditional crafts for future generations, while also ensuring a dignified livelihood for the artisans, without forcing a path upon them.
In this digital shift, it is a delicate balance between allowing for growth and development while providing avenues for the heritage and traditional crafts to flourish, potentially in new, innovative forms that can harmonise with the changing times. It is about giving people choices, respecting their aspirations, and navigating the fine line between preservation and evolution. This strategy embodies our approach to adapting to the new digital landscape while honouring the rich cultural tapestry we are fortunate to be a part of.
Folk art often carries cultural and historical significance. How do you ensure that the online presentation of folk products effectively conveys their stories and context to a diverse and global audience?
To ensure the effective online presentation of folk products that carry deep cultural and historical significance, we leverage the accessibility of platforms like Instagram and other social media outlets. A cornerstone of our strategy is to convey not just the stories behind the products, but also to elucidate why we are doing what we are doing; this involves shedding light on the broader environmental and social impacts reverberating back to the communities involved.
Nowadays, customers are generally well-informed and discerning, understanding the value of products that have a positive impact on the community and the environment. They are willing to pay a fair price when they know their purchase facilitates broader benefits.
Central to our approach is keeping the community, particularly the Monpa community we collaborate with, at the heart of our narrative. We actively advocate for issues such as climate action, discussing the challenges the communities face due to climate change. We aim to maintain transparency and authenticity, ensuring that we give due credit and avoid the pitfall of cultural appropriation.
Originally, I was resolute in my decision not to use cultural patterns, vowing to work only with natural materials. However, as I engaged more deeply with the communities, I realised that there was a clear desire and need for support in this area. The women in the community encouraged us to utilise their woven fabrics in our products, suggesting a collaborative effort where they would create the fabrics and we would fashion them into bags.
This dialogue and collaborative approach have guided a shift in my perspective on sustainability and cultural appropriation. I have come to understand that it is essential to empower communities to have control over their narratives and contributions to sustainability efforts.
So, we incorporate these cultural patterns into our products with the full backing and involvement of the community, giving due credit and keeping them central to our operations. This strategy not only builds credibility but also promotes a more authentic and transparent operation that honours the rich cultural and historical significance of the products, benefiting both the community and the consumers who value genuine, story-rich products.
Could you discuss the challenges and opportunities of sourcing authentic folk products in an increasingly interconnected world, and how do you maintain the quality and authenticity of these products?
First and foremost, our enterprise does not just source ready-made products; we work from the fibre to the final product. One of our primary objectives is to shift the supply and production entirely to the villages. This not only ensures that money remains within the community for the long term but also helps us reduce our operational costs and minimise our carbon footprint, given that the supply chain remains strictly local.
Regarding maintaining quality and authenticity, the fact is that we are working with traditional craftsmen who are masters of their trade, having honed their skills from a very young age. It would be out of place for us to instruct them in their craft. However, where we do intervene is helping them understand and navigate the contemporary market demands.
Traditionally, these craftsmen might create a certain type of bag that, although steeped in tradition, might not be appealing to customers in metropolitan areas or internationally. This is where our role becomes pivotal – we assist them in adapting their offerings to meet the preferences of a broader customer base, which often involves altering traditional colour palettes. For instance, while working with the Monpas community, we encounter a predilection for vibrant colours which are integral to their cultural heritage. Our challenge, then, is to delicately steer them towards shades that might be more universally appealing without erasing the rich tradition embedded in their original creations.
Moreover, ensuring consistent quality can be quite challenging given the craftsmen’s habitual non-reliance on standard measurements and sketches in their process. They usually craft based on experience rather than pre-defined specifications. So, our designers often find themselves in a position where they need to effectively communicate the specifics delineated in their sketches to the craftsmen. We strive to foster a collaborative and educational space, imparting knowledge such as how to use a measuring tape to achieve the desired dimensions, even if it means teaching artisans who are 60 or 70 years old.
We see this as a co-participative process where we are not imposing our ideas but working hand-in-hand with the artisans, ensuring they retain their art while slightly tweaking their processes to align with market preferences. This approach respects their mastery over their craft while helping them modernise their output to meet current market demands, creating products that resonate with a wider audience while retaining the essence of their rich heritage. The essence of quality, for us, lies in this delicate balance of tradition and modernity, steering through challenges together, and learning from each other to create products that are both authentic and appealing.
In a competitive online marketplace, building a brand identity is crucial. How does your organisation differentiate itself from other platforms that sell artisanal products, and how do you communicate your unique value proposition to potential customers?
Even though we are quite young, being operational for just half a year, we are ardently working to carve out our own niche. Currently, we are focusing more on pop-ups and exhibitions rather than e-commerce platforms. This choice stems from our deep-rooted commitment to handmade practices, where the tactile experience of materials such as yak wool and hand-loomed fabrics plays a crucial role in appreciating the product. We believe that physical interactions allow customers to fully grasp the richness and authenticity of the crafts, which are somewhat diminished in an online setting.
Our strategy at this early stage is to immerse customers in the story behind each product, emphasising the social, environmental, and cultural conservation efforts that form the bedrock of our enterprise. Through pop-ups, we facilitate direct interactions, enabling customers to feel the materials and understand the craftsmanship involved, which often evokes surprise and deeper interest in our offerings. It also offers us valuable direct feedback, helping us understand their preferences and opinions firsthand.
There are many smaller enterprises in Arunachal but we are the only enterprise from Arunachal Pradesh working in yak hair. Our marketing strategy heavily revolves around spotlighting Arunachal Pradesh and the communities we work with, essentially selling our purpose alongside our products.
We firmly believe that in the saturated market of artisanal products, what sets a brand apart is the ‘why’ behind its existence. In our case, it is a commitment to sustainability and creating products that have a positive environmental and social impact. We are geared towards a niche customer base that values sustainability and organic products, and for whom the story behind a product can be a decisive factor in their purchasing decision.
At the end of the day, the market is replete with choices, but it is the narrative of positive impact and the genuine difference that a purchase can make that becomes the deal-breaker. It is this philosophy and commitment to impactful production that we bank on to foster a strong connection with our customers and to stand apart in a crowded marketplace.
Will you maintain the same patterns and designs to preserve authenticity, or do you plan to introduce something new for your customers?
We are indeed in a continuous process of exploration and research and development, especially concerning fibres like yak hair, a material distinct from the softer yak wool that is harvested from the animal’s belly. It is important to note that we are working with yak hair, which, being hydrophobic and highly durable, presents itself as an excellent material that is traditionally used by communities to make tents and ropes. It is also worth highlighting that we are possibly the sole enterprise globally at the forefront of harnessing the potential of yak hair, a resource available in surplus.
One of our notable achievements has been the creation of a new material that blends yak hair with cotton, enabling us to weave it into a fabric. This initiative marks a step in a direction divergent from the traditional uses of this fibre.
In addition to this, we are delving into traditional felting practices, a technique indigenous to these communities for crafting materials similar to leather. This exploration of nonwoven material creation through felting is also part of our current focus.
An essential aspect of our process is the archiving and documentation of the rich cultural heritage inherent in these crafting techniques. Our initiative has included detailed documentation of traditional loin loom weaving practices and the associated knowledge preserved by the Monpas community, among other things.
Our approach is grounded in deep respect and understanding of the craft and the artisans. We prioritise engaging with the community to learn and document the undiscovered facets of their expertise before conceptualising marketable products from it. This collaborative and co-participative process involves sitting down with master artisans to explore potential materials and create at least three marketable products over one or two months. Following this, we conduct capacity-building programmes for larger groups, training 10 to 15 individuals, who then help bring these products to the market.
Through this approach, we are not only preserving the authenticity but also continually evolving and introducing innovative yet grounded products to our customers. It is a blend of sustaining tradition while simultaneously pushing the boundaries to create something novel, thus being in a constant flux of learning, developing, and growing.
What is the future for Its All Folk? What will the organisation be doing ten years from now?
Looking ten years ahead, our ultimate vision for Its All Folk is to foster a community that is both co-owned and co-managed by the indigenous communities we work with. Our aspiration is that in half that time — just five years down the line — I transition to the role of a facilitator, ultimately stepping back to allow the community to assume full stewardship of the enterprise.
Currently, we are in the process of registering as a non-profit, a move which will place Its All Folk as a broad umbrella encompassing a variety of initiatives. These initiatives will span from research and development to launching a podcast exploring the intersectionality of culture, conservation, and advocacy. The core of our mission, grounded in nurturing livelihoods through crafts, will continue to steer our direction.
In the near future, specifically within five years, we envisage the communities having a more substantial stake in the company than I currently hold. This is a conscious effort to move towards a model where the community not only has a stake but actively manages and owns the enterprise, cultivating a truly collaborative and empowering ecosystem.
We have recently secured a significant grant in partnership with WWF India, named the ‘Darwin Initiative Biodiversity Grant’ This three-year project focuses on work in the snow leopard conservation regions of the Eastern Himalayas. Our mandate aligns with the initiative, exploring ways to create rangeland or forest-friendly products, a venture harmonising with the support of livelihood intervention programmes. It is a thrilling trajectory that solidifies our commitment to nurturing biodiversity while empowering local communities, painting a future rich with collaboration, conservation, and community-led growth.
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