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Warp Weft Wool

What happens when Dutch and Indian makers join forces to tackle a shared problem? Warp Weft Wool brings designers and makers from the Netherlands and India together to repurpose local wool – which often ends up as waste – into a new destination.

In both the Netherlands and India, there is a surplus of local wool. While India, home to the third-largest sheep population in the world, increasingly uses imported wool, Dutch wool remains largely underutilized. Both countries have a rich tradition of textile and carpet production, but how can we breathe new life into these crafts?

Equal collaboration is at the heart of this project. We not only share knowledge but also learn from each other’s perspectives, working methods, and cultural backgrounds. This happens through open dialogue and by jointly experimenting with materials, techniques, and design. Dutch designers Rik van Veen and JAS&CAL collaborate with makers from the Raja Kilims cooperative in Rajasthan, India, and with the Textiel Factorij.

By working together both online and offline, we create samples and carpets that honor the material, cultural heritage, and makers alike. The products are showcased in both the Netherlands and India, and all insights gained are documented in the online archive on this website.

With Warp Weft Wool, we put the principle of translocality into practice: connecting local knowledge and craftsmanship to a global network. We rediscover traditional production techniques and encourage innovation rooted in heritage. This project demonstrates that craftsmanship is not only preserved but can also evolve through cultural exchange. In doing so, wool regains the appreciation it deserves, both locally and globally.

Read more below about JAS&CAL, Rik van Veen, Raja Kilims, and the Textiel Factorij.

JAS&CAL

In their studio, Jasmijn Wester and Calvin Kooiman work together on various textile projects, driven by their curiosity about how textiles are and were made. They freely combine techniques, both on and off the loom, in ways that suit their research. By merging traditional materials with new production technologies—or by bringing together advanced materials with centuries-old crafting methods—they breathe new life into their craft. The results range from handmade to machine-produced pieces, from unique interior objects to spatial textiles where materials, technique, and color are seamlessly connected. Through new insights and developments, they contribute to a greater awareness of textiles.

In collaboration with the TextielLab Tilburg, they explored the possibilities of weaving with metal, linked to archival research on Dutch curtain classics (as seen in Makersgeheimen #2). They also developed an educational program for children about a forgotten local industry, reviving the rich history of Kinheim Tapijtknoperij.

Alongside their joint projects, Jasmijn develops experimental material samples and fabric selections for various forecasting agencies in the Netherlands, while Calvin teaches textile design at AMFI in Amsterdam. Both studied Fashion & Design at the Amsterdam Fashion Institute.

The opportunity for co-creation with Indian makers offers insight into unfamiliar and different production processes, values and working methods. It provides a new perspective on ways of working, such as unique skills in dyeing yarns, spinning, weaving, and processing materials.

Rik van Veen

In his workshop, Rik van Veen creates furniture and design objects by hands-on experimenting with leftover materials and self-built machines. The philosophy of reuse is at the core of his approach. Van Veen: “I don’t want to burden the planet with my urge to create things.” He is one of the maker-designers who designed an experimental rug for Basketclub x HAY. The combination of experimentation, sustainable material use, and self-built machines is precisely what Van Veen aims to bring to Warp Weft Wool. In the Dutch context, he offers a fresh perspective on the concept of ‘carpet’ as well as contemporary production methods using available materials. In the Indian context, his free, experimental approach and experience as a designer for international brands make him a valuable addition. He graduated from the Willem de Kooning Academy in Rotterdam in 2014.

Drawing from my expertise in product design, I aim to develop new product ideas using the Dhurrie technique. By exploring applications beyond the traditional flat rug, a new market can be created—one that contributes to the preservation of craftsmanship in Rajasthan while also opening up opportunities in the Netherlands to develop new business models for products made from local wool.

Raja Kilims

Sharvan Prajapati founded the cooperative Raja Kilims, working alongside approximately 80 weavers. He belongs to the Prajapati weaving community and is a 14th-generation Dhurrie weaver. He learned the craft from his father, Pappu Ram, who is highly skilled in weaving techniques.

The cooperative specializes in the panja weaving technique for Dhurries, featuring stripes, geometric patterns, and stylized natural motifs such as the kangasi (comb), teer (arrowhead), tota (parrot), chidia (sparrow), and chaukadi (diamond shape). Due to this special weaving technique, Dhurries are reversible.

Textielfactorij

Textiel Factorij (TF) is a Dutch organization founded by Lipika Bansal. TF brings together designers, artists, and makers from the Netherlands and India in an equal and collaborative way. By understanding each other’s needs, desires, working methods, and cultures, they learn from one another and exchange knowledge. So far, TF has connected more than 40 makers from the Netherlands with 25 craft communities, artists, and designers from India. For Crafts Council Nederland, Lipika serves as the ideal link.

Warp Weft Wool is financially supported by the Creative Industries Fund NL and Embassy of the Kingdom of the Netherlands in New Delhi.

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