The mood of the show was designed to stimulate all five senses (taste, smell, sight, touch, and sound), ensuring the audience felt deeply immersed in the world of NAAD – The Sound of the Looms. The show opened and flowed with the ambient rhythm of handlooms weaving live, forming the aural heartbeat of the event. The holistic setup made NAAD a multi-sensory narrative, with fine jewels representing Indian history, immersing each guest in the beauty and relevance of Indian handlooms.
The venue was adorned with fresh Mogras creating a soft, natural visual rhythm aligned with the theme. The Mogra garlands were given to each guest and used throughout the décor, invoking nostalgia and purity. The token of gratitude was placed on each seat featured handmade silk, paper, rare gemstone pieces, and natural elements.
Three expressive dance performances by Sadhguru Gurukulam Samskriti School, Coimbatore, captured the lifecycle of a handloom creation:
"I am Thread" – birth of the thread, representing fragility and potential.
"I am Loom" – rhythm, structure, and transformation through weaving.
"I am Fabric" – emergence of form, purpose, and beauty.
Dr. M Beena, Development Commissioner for Handlooms (DCHL) within the Ministry of Textiles explains:
“Handloom is an integral part of India’s rural livelihood, providing employment to over 35 lakh weavers and workers. From a social perspective, an economic empowerment standpoint, and a gender lens, given that over 70% of weavers are women, this sector holds immense importance. What we now need to focus on is adapting handloom traditions to make them marketable in today’s evolving global landscape. Significant attention is being given to handloom exports, and it is crucial that we work closely with our weavers so that their designs and materials meet the standards required to capture niche international markets. Today's fashion showcase by Vaishali Shadangule is a step in that direction. It illustrates the potential of Indian handloom to shine on the global stage; it is a powerful depiction of how far this sector can go.”
Vaishali S explains:
“First and foremost, through this initiative, we are showing the world this amazing art of ‘handloom couture’ while giving tribute to the Indian artisans who have created it. We are showing the world that this work is made in India, and not in the other countries where the international designers belong to. Our endeavour is to make the world appreciate this work as art and not as crafts, making them understand that they are made by hand through hundreds of hours of work and out of unique skills that are passed down from generations by the weaver’s family and are 100% sustainable. At Vaishali S, through our showcases and work and even, for that matter, our store in Paris, we are putting India on the global map of couture in the world.”
Manik Jain, Owner, ISVARI, explains:
“The pieces selected for the ‘artisanal edit’ are made using over 1,000 man-hours. Every piece takes that much time because when you do the Pichai in a particular manner, where the jewellery piece becomes extremely flexible, it takes that much time. It is an ancient craft of India that ISVARI is bringing back into the contemporary world. This expertise lies exclusively with India and no one else in the world for this art form. At ISVARI, we are always looking to resurrect ancient Indian art forms. We have also added some masterpieces from our archives to complete the narrative.”
As we celebrate National Handloom Day, Vaishali S truly stands out as the world’s only handloom couturier. Her signature cording techniques and zero-waste outlook position her as a pioneer of sustainable luxury in the world.
Since 2001, her label has championed artisanal handloom — supporting 3,500+ weaving families across India, which also means she has promoted reverse migration to the rural heartland of the country, completing the circle of sustainability in India. Vaishali S Couture continues to support Indian weaves through its exceptional work and passion for the craft.
So far, she has explored the Indian states of Assam, West Bengal, Rajasthan, Maharashtra, Madhya Pradesh, Karnataka, and the lengths and breadths of the nation to discover over 15 different weaving techniques.