𝐇𝐚𝐧𝐝-𝐰𝐨𝐯𝐞𝐧 𝐓𝐞𝐱𝐭𝐢𝐥𝐞𝐬 𝐋𝐨𝐬𝐢𝐧𝐠 𝐕𝐚𝐥𝐮𝐞 𝐀𝐦𝐢𝐝𝐬𝐭 𝐑𝐢𝐬𝐞 𝐨𝐟 𝐈𝐦𝐩𝐨𝐫𝐭𝐞𝐝 𝐂𝐥𝐨𝐭𝐡𝐞𝐬

…𝒂𝒓𝒕𝒊𝒔𝒂𝒏𝒔 𝒄𝒂𝒍𝒍 𝒇𝒐𝒓 𝒈𝒓𝒆𝒂𝒕𝒆𝒓 𝒂𝒘𝒂𝒓𝒆𝒏𝒆𝒔𝒔 𝒂𝒏𝒅 𝒈𝒐𝒗𝒆𝒓𝒏𝒎𝒆𝒏𝒕 𝒊𝒏𝒕𝒆𝒓𝒗𝒆𝒏𝒕𝒊𝒐𝒏 𝒕𝒐 𝒑𝒓𝒐𝒕𝒆𝒄𝒕 𝒕𝒉𝒆 𝒄𝒓𝒂𝒇𝒕𝒔𝒎𝒂𝒏𝒔𝒉𝒊𝒑 𝒂𝒏𝒅 𝒄𝒖𝒍𝒕𝒖𝒓𝒂𝒍 𝒗𝒂𝒍𝒖𝒆 𝒐𝒇 𝒉𝒂𝒏𝒅-𝒘𝒐𝒗𝒆𝒏 𝒕𝒆𝒙𝒕𝒊𝒍𝒆𝒔

By Kezang Choden

Bhutanese Traditional weavers are raising alarms over the increasing influx of imported kira and gho fabrics, which are adversely affecting their market. While the patterns of locally woven and imported textiles may appear similar, the price differences have led many Bhutanese to choose cheaper alternatives, leaving local weavers struggling to sustain their craft. Weavers argue that although imported textiles are more affordable, they cannot match the quality and craftsmanship of hand-woven Bhutanese fabrics.

The durability and uniqueness of traditional garments lie in the materials used and the skills passed down through generations. Hand-woven kira and gho are crafted with great care, reflecting the time, dedication, and artistry behind each piece. Local artisans emphasize that authentic Bhutanese weaves serve as powerful symbols of national identity, unity, and cultural pride. They fear that the growing preference for imported fabrics could lead to the gradual erosion of the country’s cultural heritage.

Weavers explain that the key difference lies not only in the origin of the fabrics but also in the time-consuming, labor-intensive, and meticulous weaving process. A single kira can take over a month to complete, depending on its complexity. In contrast, mass-produced textiles from abroad are made quickly by machines at lower costs, but they lack the resilience and finesse of Bhutanese weaves. Despite these challenges, local weavers continue to advocate for the preservation of the country’s weaving traditions. They urge the public to recognize the intrinsic value of authentic hand-woven textiles and support local artisans, whose work plays a crucial role in affirming cultural continuity and resisting the pressures of globalization.

Norbu Wangdi, owner of Norbooz Buray and Textiles, expressed deep concern about the growing challenges faced by local textile businesses due to the increasing importation of cheaper kira and gho. He pointed out that the quality of Bhutanese textiles, particularly traditional kishuthara, far surpasses that of imported garments. “Imported clothes are largely machine-made, while our locally woven kira can take up to five months or more to complete, depending on the complexity of the design,” he explained. Despite the superior craftsmanship and cultural value of local textiles, many shopkeepers struggle to compete with the lower prices of imported goods. Norbu noted that a locally made kishuthara typically costs between Nu 80,000 and Nu 90,000, whereas imported kira are sold for as little as Nu 3,000 to Nu 4,000. “Naturally, people opt for the cheaper alternatives without considering the quality and heritage behind our textiles,” he lamented.

The influx of low-cost imports has left many local shopkeepers grappling with economic losses, with significant amounts of unsold stock accumulating in their stores. Norbu emphasized that this trend is not only affecting retailers but also weavers, who are gradually losing motivation to continue their craft. “In the past, even tourists appreciated and purchased our handmade textiles, providing us with a steady income,” Norbu recalled. “Now, even they settle for the cheaper imported products.” He fears that if the situation persists, the country’s rich textile heritage could face extinction. Norbu called on the government to take decisive action by regulating the import of textiles. He believes such measures could help revive the dwindling morale of local weavers and shopkeepers. “Without intervention, we may soon see the collapse of a vital part of our cultural identity,” he warned.

While traditional Bhutanese attire such as kira and gho may appear similar at first glance, the distinction between hand-woven and machine-made garments becomes clear upon closer inspection. From the texture of the fabric to the price tag, the differences are evident. Jamyang Choden, a weaver from Khoma Gewog in Lhuentse Dzongkhag, emphasized the importance and value of hand-woven textiles. “Hand-woven clothes are truly special,” she said. “Anyone can recognize the dedication and creativity of the artisan in every pattern and design. Each piece tells a story of hard work and skill.” She expressed concern over the growing trend of people prioritizing affordability over quality. “Nowadays, many people choose cheaper, imported textiles without considering their quality or origin,” she added. “They overlook the craftsmanship behind our traditional hand-woven garments.”

Jamyang stressed that weaving is not a newly introduced practice but a cultural heritage passed down through generations. “Our hand-woven textiles are part of our identity and history,” she said. “If this shift toward imported, factory-made clothing continues, we risk losing a vital part of our cultural heritage.” Khoma Gewog, often regarded as the hub of Bhutanese weaving, is known for producing intricate kishuthara, a highly prized kira. Weavers in the region take pride in their work, spending weeks or even months on a single piece. However, the influx of cheaper, mass-produced textiles is threatening their livelihoods and the survival of this traditional craft. Local artisans and elders alike have expressed the need for greater awareness among Bhutanese consumers. They urge people to value and support the country’s weaving communities by choosing locally made, hand-woven attire. “As we move forward, it is crucial to preserve our traditions,” Jamyang added. “Otherwise, future generations may only hear stories about our weaving heritage instead of experiencing it firsthand.”

Kezang Choden, a native of Khoma Gewog currently residing in Samdrupjongkhar, expressed her concerns regarding the growing dominance of imported textiles in the local market. As an artisan herself, she highlighted the stark difference between imported machine-made textiles and traditional hand-woven fabrics. “Every pattern and design in hand-woven textiles is crafted with creativity and care by the artisan,” Kezang said. “On the other hand, imported textiles are mass-produced by machines, and I have noticed that their quality deteriorates quickly, sometimes after just one wash.” Kezang emphasized the durability and superior craftsmanship of Bhutanese hand-woven silk textiles. She explained that artisans take great care to ensure each piece is meticulously maintained and woven to last, making them not only culturally significant but also more sustainable.

“Despite this, we are facing increasing competition,” she added. “The prices of imported kira have dropped noticeably compared to a few years ago. This pricing strategy is designed to attract more customers, but it has created significant challenges for local textile shops and artisans like myself.” According to Kezang, the influx of cheaper imports has contributed to a decline in sales for traditional weavers, affecting their livelihoods. However, she remains determined to preserve and promote the heritage of hand-woven kira. “I am doing everything I can to keep this tradition alive,” she said. “I actively use social media to showcase the uniqueness and cultural value of our hand-woven kira. It’s important for people to understand that these textiles are not just garments, but a reflection of our identity and the skills passed down through generations.” As Bhutanese consumers are increasingly drawn to the affordability of imported fabrics, artisans like Kezang continue to advocate for the preservation of the country’s rich weaving tradition, urging the public to recognize the lasting value and authenticity of local hand-woven textiles.

Kiba, a 72-year-old resident of Mongar Dzongkhag, has dedicated nearly six decades to the art of weaving. She began weaving at the age of 13 under the guidance of her mother, a practice she continues to this day. Kiba emphasized the importance of preserving the country’s traditional textiles, highlighting their unique patterns and exceptional quality. “Our textiles are not just pieces of cloth, they are part of our cultural identity. The designs and patterns reflect the spirit and heritage of our country,” she shared. While acknowledging the affordability of imported textiles, Kiba noted that mass-produced fabrics cannot match the durability and value of Bhutanese hand-woven cloth. “Imported textiles are cheap and easy to buy, but our hand-woven fabrics last much longer and retain their beauty even after many washes. The quality never fades,” she said. According to Kiba, every traditional textile carries meaning through its patterns and symbols, often representing stories, blessings, and regional significance. She expressed concern that younger generations might be drawn to cheaper imports, risking the decline of traditional weaving. “Weaving is more than just work; it’s a connection to our roots. If we lose this practice, we lose a part of ourselves,” she added.

In every conversation and public gathering, she emphasizes the significance of the country’s weaving tradition, not only as a cultural treasure but also as a vital part of the country’s economy. According to her, the art of weaving is a legacy passed down through generations, reflecting the intricate skills and creativity of Bhutanese women. She often reminds young people about the deeper meaning behind the kira, highlighting how each pattern and color represents stories, values, and beliefs rooted in Bhutanese history. For her, wearing the kira is not just about adhering to tradition, but about preserving a way of life that is gradually at risk due to modern influences.

Rinzin Pemo, a 50-year-old weaver from Thimphu, shared her concerns over the declining demand for traditional hand-woven textiles. Having started weaving at the age of 15, she continues to rely on the craft to support herself and her children. However, she expressed disappointment at the growing preference among Bhutanese for imported kiras, even for special occasions. “These days, many people choose to buy imported kiras, which are cheaper but lack the durability of our hand-woven textiles,” Pemo said. She recalled a time when local weavers were busy year-round, fulfilling frequent orders and selling their textiles with ease. “Back then, customers appreciated the value of our work. Orders would come in regularly, and we never worried about sustaining our income.” According to Pemo, the situation has changed drastically in recent years.

The influx of mass-produced and inexpensive fabrics has not only affected individual weavers like her but has also posed challenges for textile shops in the country. “Shops are also struggling to survive because people are chasing after cheaper products,” she explained. Pemo emphasized that while imported textiles might be affordable, they cannot match the quality and cultural significance of hand-woven Bhutanese fabrics. She worries that if the trend continues, it could erode the country’s rich weaving tradition, which has been passed down through generations. Local artisans and shop owners alike are calling for stronger support to promote and preserve the country’s traditional weaving industry. Many believe that public awareness about the cultural and economic importance of hand-woven textiles is crucial to sustaining the livelihoods of weavers and protecting this integral part of Bhutanese heritage.