At 13, Sapna sat beside her grandparents during Himachal’s long winters, watching them loop yarn into warmth. Kullvi Whims
Last month, she travelled abroad for the very first time. What began as tradition passed down by the elders in her family recently took Sapna across the world – from the highlands of Himachal Pradesh, India, to the coastal city of Fremantle, Australia.
But she wasn’t a tourist or student. She was a teacher – of Himalayan wool craft and heritage. Along with fellow artisan Lata and Kullvi Whims co-founders Brighu Raj Acharya and Nisha Subramaniam, Sapna led immersive craft workshops as part of a cultural exchange organised by The Anjelms Project in Fremantle.
Kullvi Whims is a grassroots social enterprise founded in 2012. It works with communities in the Kullu, Lahaul, and Kinnaur Valleys to preserve and elevate the practices of hand-spinning, weaving, and knitting wool.
“I was nervous about how I would communicate and teach,” Sapna recalled. “But once I got there, everything fell into place. I never imagined sharing our traditional craft in another country would feel so natural. It’s an experience I will always carry with me.”
Lata agreed, saying teaching knitting, weaving, and dyeing in another country was a “once-in-a-lifetime experience”.
“Truly thrilling and unforgettable,” she said, smiling.
Desi Oon speaks its own story
While Lata joined Kullvi Whims 12 years ago, Sapna has been with them for eight.
At Kullvi Whims, the artisans work with wool from indigenous sheep, using only naturally dyed yarns. The weaving is distinct; every piece carries the scent of cedar hills, the rhythm of slow craft, and the fingerprints of generations.
Nisha Subramaniam believes this is precisely why the Desi Oon (indigenous wool) stood out in Australia, a nation synonymous with Merino wool.
“Merino wool is highly industrialised and organised, with most of its raw material processed and sent to other countries,” she says. “In contrast, Himalayan wool has a complete story – from shepherding and shearing to spinning, dyeing, knitting, and weaving, all done within the community. This deep connection from sheep to final product makes our wool special.”
This interest in Desi Oon is part of a broader shift toward sustainable, ethical, women-led craft practices in the global textile world.
“There is growing recognition worldwide for women-led, small-scale, indigenous craft systems offering real solutions to fashion’s environmental and ethical crises,” Subramaniam tells Indian Link.
The workshop held in Australia in June saw many participants who initially came for a single session but kept returning.
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“The atmosphere was filled with creative discussions, enriching conversations with exchange of knowledge, history, and geographical traditions,” says Brighu.
Participants learned to spin with taklis (supported spindles), weave on small handlooms (khaddi), dye yarns with foraged plants, and even felt Himalayan wool into fabric.
“Every day the Australian artisans invited us for dinner,” Brighu remembers, “Sharing meals together made us feel like part of their family and created a deep bond beyond the workshop and work – a true cultural exchange filled with love and respect.”
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With love from the Himalayan hills
Their conversations with The Anjelms Project and other Australian collaborators focused on how indigenous Himalayan wool is not just a material but a cultural and ecological resource.
“They valued the story, authenticity, and resilience behind Himalayan wool, seeing it as an example of how indigenous materials can lead the way in ethical, slow fashion globally. It was inspiring to see their respect and curiosity for the entire ecosystem connected to our wool,” Brighu adds.
Behind the tactile experience was a mountain of preparation. Kullvi Whims carried 12 handlooms, 79 spindles, 5 kg of natural dyes, raw wool, charkhas (spinning wheels), and more – all the tools to bring Himachal’s heritage to life for an international audience.
But perhaps the most important thing they brought was perspective. As Brighu puts it, “I want people to see that these women are not just artisans. They are leaders, knowledge keepers, and custodians of land and culture. Behind every strand of wool is their story.”
The Fremantle program wasn’t just a cultural milestone. It was an affirmation: that slow fashion has a future, that indigenous crafts have global relevance, and that women like Sapna and Lata are not only preserving the past but leading the way forward.
Gaelle Beech of The ANJELMS Project was thrilled with the program. “This is really what I envisioned The ANJELMS Project to be – more than a clothing brand, but a facilitator across cultures that brings people from all backgrounds together to celebrate cloth as a manifestation of our connection to nature, of which we are all custodians,” she tells Indian Link. “Our mission is to have the voices of artisans heard, their craftmanship skills shared, and ultimately – to bridge the gap between makers and wearers.”
Brighu’s final words echo the heart of the project: “Through this journey, I hope Indian and international audiences understand that behind every piece of wool is a woman’s story, skill, and dignity. It’s not just about the product – it’s about their lives, heritage, and strength.”
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