In 2009, I was commissioned to create a Bandit Queen home linen brand from A to Z. I oversaw the entire artistic direction, with complete freedom from the outset. In this context, bath linens were an integral part of the project.
A specific moment
At that time, I had just sold my own fashion brand under difficult circumstances. I was starting over from scratch and doubted my ability to bounce back, while continuing to work with textiles—as I always have—with rigor and precision. This project reflects that pivotal period. Every decision shaped both the project and what came next.
This artisanal textile creation in India was developed within an already established professional context. I had previously worked on several textile projects in different cities, with different approaches and techniques. The client entrusted me with this project because she knew I had a broad knowledge of Indian textiles, their processes, and their technical possibilities. I was not responsible for selecting the artisans. The work relied on existing workshops, capable of meeting a specific and demanding technical brief.
This bath towel was designed for real use. It was developed as a functional piece, intended for everyday use. The terry, woven entirely by hand, met a specific constraint. The desired result could not be achieved otherwise. From the outset, I considered the contrast between the two sides. On the front, long, supple loops. On the reverse, an irregular, dense surface, almost vegetal. This contrast was part of the initial design.
Production time
Producing a towel required several successive steps: hand-weaving the terry, stitching the edges, hand-painting, drying, and heat-setting the colour. Developing this piece took a year and a half. I knew the result was possible, and I continued until it was achieved.
Edges painted with a brush
The edges were painted by hand, with a brush. This choice stemmed from a precise visual intention and a technical necessity. The paint made it possible to achieve soft, blurred outlines. It extended the handwork down to the last detail. It also created additional work for the artisans involved.
Today, I look at this towel through its technique and its development. Above all, I see the perseverance required to bring this project to completion. This creation still feels right to me. It still reflects the way I work.
A place in DNA & Archives
If this piece appears today in DNA & Archives, it is because it is a textile creation, not a simple product development. It is one of the most accomplished projects I have completed from a technical standpoint. This bath towel received a Wallpaper award in 2011. (LINK)
Conclusion
This artisanal textile creation in India shows what becomes possible when time, technique, and creative freedom move forward together.
The Birth of a Project: When Art Meets Handcrafted Fashion In 1997, Valérie Barkowski founded Mia Zia in Marrakech. The idea originated from a practical need: to finance the Sahart Foundation, an artistic project she established after settling in the red city. Initially, she intended to open an art gallery. Mia Zia became a fortunate …
The V.Barkowski boutique in Marrakech is a place where nearly three decades of creation, experimentation, and passion for Moroccan textile craftsmanship converge. Since my arrival in Morocco, I knew that everything was possible here: traditions are perpetuated, artisans keep ancient techniques alive, and the wildest ideas can become reality. The Joy of Possibilities I remember …
We live as we work. For me, the two have always been the same thing. I understand true luxury through what I do, what I choose, and what I refuse. Thirty years of high-end textile creation between Marrakech, India, and Egypt have taught me one thing: the greatest sophistication is the kind you cannot see. …
Artisanal textile creation in India: a creation archive
In 2009, I was commissioned to create a Bandit Queen home linen brand from A to Z.
I oversaw the entire artistic direction, with complete freedom from the outset.
In this context, bath linens were an integral part of the project.
A specific moment
At that time, I had just sold my own fashion brand under difficult circumstances.
I was starting over from scratch and doubted my ability to bounce back, while continuing to work with textiles—as I always have—with rigor and precision.
This project reflects that pivotal period. Every decision shaped both the project and what came next.
Why India?
This artisanal textile creation in India was developed within an already established professional context.
I had previously worked on several textile projects in different cities, with different approaches and techniques.
The client entrusted me with this project because she knew I had a broad knowledge of Indian textiles, their processes, and their technical possibilities.
I was not responsible for selecting the artisans.
The work relied on existing workshops, capable of meeting a specific and demanding technical brief.
A bath towel conceived as a whole
This bath towel was designed for real use.
It was developed as a functional piece, intended for everyday use. The terry, woven entirely by hand, met a specific constraint. The desired result could not be achieved otherwise.
From the outset, I considered the contrast between the two sides. On the front, long, supple loops.
On the reverse, an irregular, dense surface, almost vegetal. This contrast was part of the initial design.
Production time
Producing a towel required several successive steps: hand-weaving the terry, stitching the edges, hand-painting, drying, and heat-setting the colour. Developing this piece took a year and a half.
I knew the result was possible, and I continued until it was achieved.
Edges painted with a brush
The edges were painted by hand, with a brush. This choice stemmed from a precise visual intention and a technical necessity. The paint made it possible to achieve soft, blurred outlines. It extended the handwork down to the last detail. It also created additional work for the artisans involved.
A present-day perspective
Today, I look at this towel through its technique and its development. Above all, I see the perseverance required to bring this project to completion.
This creation still feels right to me. It still reflects the way I work.
A place in DNA & Archives
If this piece appears today in DNA & Archives, it is because it is a textile creation, not a simple product development. It is one of the most accomplished projects I have completed from a technical standpoint. This bath towel received a Wallpaper award in 2011. (LINK)
Conclusion
This artisanal textile creation in India shows what becomes possible when time, technique, and creative freedom move forward together.
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Mia Zia: Handcrafted Fashion in Morocco, a 10-Year Adventure (1997-2007)
The Birth of a Project: When Art Meets Handcrafted Fashion In 1997, Valérie Barkowski founded Mia Zia in Marrakech. The idea originated from a practical need: to finance the Sahart Foundation, an artistic project she established after settling in the red city. Initially, she intended to open an art gallery. Mia Zia became a fortunate …
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The V.Barkowski boutique in Marrakech is a place where nearly three decades of creation, experimentation, and passion for Moroccan textile craftsmanship converge. Since my arrival in Morocco, I knew that everything was possible here: traditions are perpetuated, artisans keep ancient techniques alive, and the wildest ideas can become reality. The Joy of Possibilities I remember …
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We live as we work. For me, the two have always been the same thing. I understand true luxury through what I do, what I choose, and what I refuse. Thirty years of high-end textile creation between Marrakech, India, and Egypt have taught me one thing: the greatest sophistication is the kind you cannot see. …