When Upcycling Becomes Loss: Why Heritage Indian Textiles Deserve Protection, Not Reinvention

In recent years, “upcycling” has become a buzzword in the world of fashion and interiors. We’re encouraged to reuse, repurpose and reimagine, turning old materials into something shiny and new. And while the intention behind upcycling is often positive, there’s a more complex, often uncomfortable side to consider when it comes to vintage and antique textiles from India.

For me, and it might be a slightly controversial for some - but this topic goes far beyond style or sustainability. These textiles - embroideries, weaves, quilts, ceremonial cloths - are cultural records. They carry the stories, skill and symbolism of the communities who created them. Once cut, altered or refashioned, their integrity is changed forever. And what remains is not a preserved tradition, but a fragment removed from its context.

Original skirt panel by the Mochi community of Kutch, approx 100 yrs old. Private collection - photo by Siân Warren

Why these textiles matter

Across India, traditional textiles have often been more than decoration. A piece may tell you who made it, which community it belongs to, why it was created, and even which life event it was tied to. The colours, motifs and embroidery stitches all hold meaning. Many of these traditions have been passed down through generations of women whose craft and knowledge shaped the social fabric of their communities.

When we handle these pieces, we aren’t just holding cloth, we’re holding lived history.

Upcycling vs. preservation

Upcycling is, at its heart, a creative act: transforming something old into something new. But when the material being transformed is a heritage textile, the process can cause irreversible damage.

Cutting up a vintage wedding shawl for example to make a jacket, or slicing through a vintage embroidered panel to create cushions, may look stylish for the short term - but in doing so, we split a complete narrative into disconnected pieces. A textile that once told a whole story becomes a collection of aesthetic fragments. And in some cases, the communities that created these designs no longer practise the craft at all, meaning what’s being cut up is genuinely irreplaceable.

Collage of cut up and modified vintage textiles originally from Gujarat and Punjab, Images from pinterest

Commodifying women’s work

There is also another layer to this conversation. Many of these vintage and antique textiles were painstakingly embroidered by women, often over long periods of time. Their work reflects identity, skill and social meaning. When a heritage piece is repurposed purely for aesthetic value or commercial gain, that labour risks being commodified rather than honoured. Instead of recognising the textile as part of a lineage, the focus shifts to how well it fits into a modern wardrobe or living room.

A reflection from my own journey

I can’t claim to be perfect here. In my early backpacking days through India, I bought plenty of textile pieces that had been cut and turned into something else, simply because I found them to be beautiful at the time. I didn’t understand the deeper significance, nor the responsibility that comes with owning heritage textiles. That understanding has taken time, research, and countless conversations with makers, cultural custodians and communities. This includes my friends in Bhuj, Salim Wazir and Pravin Dangera, who have both played a meaningful role in deepening my understanding of Kutch and Gujarat’s heritage textiles in particular over the years.

The more I’ve learned, the more I’ve realised how crucial it is to treat these textiles not as raw material, but as pieces that help us to understand our world and its history.

Mutva Gaj, personal collection of Salim Wazir - photo by Siân Warren

So what is responsible upcycling?

Upcycling can absolutely be positive - when done with intention, respect and clarity. I am certainly not an expert in this field, but as a starting point, I have thought about the following points about how we can do this more responsibly:

• using contemporary or newly made textiles from artisans, not vintage or antique ones.

• working directly with communities so the process benefits the people who created the craft.

• being transparent about what a piece is and where it comes from.

• avoiding any design that requires destroying culturally significant cloth.

I think therefore that not everything old needs to be given new life - sometimes preservation is the more sustainable choice.

Protecting heritage through awareness

We’re at a moment where global interest in Indian textiles is higher than ever. That brings opportunity, but also risk. The more we speak openly about these issues, the more we can encourage mindful purchasing, ethical design, and a deeper appreciation for the traditions behind specific textiles. Perhaps the most meaningful way to engage with heritage textile traditions is simply to keep them whole.

Women of the Fakirani Jat community working on embroidery - photo by Siân Warren