The evolution of vintage textiles: From traditional weaves to modern, loose-fit silhouettes

Saris have evolved not just in their weaves but also in how they’re draped, worn, and repurposed—thanks to those who saw untapped potential in vintage textiles. Today, more young people are eager to reclaim the elegance of saris once worn by their mothers or grandmothers, reimagining them through a modern lens.

Each sari carries memory and meaning, with pleats that hold time and pallus that shelter legacy. At the hands of Australian designer Katherine Neumann, founder of House of Wandering Silk, vintage textiles take on new life—fashioned into loose, voluminous silhouettes that are as global as they are grounded.

The art and challenge of working with vintage textiles

“The style of a House of Wandering Silk garment tends to be loose-fit, oversized and voluminous,” she explains. “That reflects my personal taste and also respects the unique nature of Indian handcrafted textiles, which were originally meant for saris—not for tight, tailored clothes. Luckily, this aesthetic coincides with a global shift toward relaxed, loungewear-inspired fashion.”

The brand has become known for its statement kantha scarves and vibrant sari neckpieces, but the process behind them is intricate and deeply intentional.

“We work with vintage and upcycled materials, which makes the process very labour-intensive. It’s not scalable, and each piece is one-of-a-kind. That’s both a joy and a challenge,” she shares. “Quality control is a big part of it—stains, tears, and wear are inherent in vintage fabrics, so we have to inspect every piece meticulously at every stage.”

Katherine sources her saris from Gujarati traders in Delhi, who in turn work with a vast network of scrap collectors across India. The saris are sorted and assessed for damage. Full saris with minimal flaws are sent to a cooperative in West Bengal, where they’re transformed into kantha-stitched scarves. Scraps and half-saris are turned into eye-catching textile jewellery—part of the label’s zero-waste design philosophy.

What draws her to heritage weaves is not just their visual richness but the narratives they hold. “Heritage textiles tell stories—of people, places, and cultures. It’s not just about their beauty and artistry, though that’s powerful in itself. It’s also about their connections. Working with these textiles gives us a chance to evolve something old into something completely new, while still keeping the soul of the tradition intact.”

That evolution begins with deep immersion. “It usually starts with finding an artisan making a textile that speaks to me—someone open to pushing their craft in new directions,” she says. “I’ve worked everywhere from the salt deserts of Kutch, where our Rabari embroidery comes from, to the jungles of Odisha, where our okra community brass buttons are made.”

She spends time in the artisan’s workshop, observing techniques, exploring possibilities, and understanding constraints. “From there, it’s all experimentation—playing with patterns, colour, texture. It takes trial, error, and plenty of failure before something really works. Only once we’re happy with the fabric do we bring it back to our studio to decide the silhouette, based on how it drapes and feels.”

Katherine describes her approach as “textile-led and artisan-centred,” with silhouettes that are “timeless and effortless.” Her philosophy blends both innovation and preservation: reinterpreting motifs and techniques while returning to natural dyes, local fibres like kala cotton and desi wool, and pre-industrial processes whenever possible.

“Heritage textiles were never static. They always evolved with time. Our aim is to consciously push that evolution forward—while staying rooted in tradition, craft, and community,” she reflects. “We co-create with artisans, carefully stretching the boundaries of their craft without making it unrecognisable.”

At a time when fast fashion dominates and clothing is treated as disposable, she believes heritage textiles offer a necessary counterpoint.

“Mass consumerism has led to clothing we don’t value or take care of—clothing that pollutes the planet for generations. But authentically crafted heritage textiles, made through fair partnerships, connect us to culture, memory, and place. When we care about our clothes, we cherish and protect them. That, I think, is the true antidote to the global fashion industry as it stands today.”

And when asked if she has a favourite fabric? “Like children, you’re not supposed to have one—but of course I do,” she laughs. “Matka silk is my go-to. The handfeel and drape are simply unbeatable.”

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