From carving blocks to crafting an outfit
In my last post, I shared a little about my trip to Rajasthan, where I discovered the magic of traditional hand-carved designs. This time, I’m diving deeper into the process – from carving my own blocks to printing, dyeing and sewing an outfit.
This experience wasn’t just about learning a craft; it was about reconnecting with the slow, deliberate rhythm of making things by hand.
Block carving in Jaipur
My friend Clare and I spent a day in the studio of the Kharaudi community, master block carvers who have preserved this art form for generations. Sitting alongside these artisans, I quickly realised that block carving is an intriguing blend of logic, imagination, precision and intuition.
We worked with seasoned teak wood and the primary tools were small, sharp chisels – but the real magic lies in the carver’s hands. The master carver traced our designs onto the wood and then we were left to carefully carve away the negative space to create the raised pattern. It was hard work, but oh so enjoyable. My design – an abstract fusion of flowers, seed heads and the sun – evolved into three distinct blocks: leaves/rays, a circle, and seeds/dots. It was mesmerising to see how a simple sketch could transform into a tool for creation. The carvers used machines to refine our blocks and then they added handles for us.
I’m so grateful for the generosity of the carvers for letting us into their workspace and sharing their expertise.
Block printing and dyeing in Bagru
Next, we travelled to Bagru, a village famous for its hand-block printing and natural dyeing techniques, and spent three days with the wonderful team at Wabisabi Project printing our self-carved blocks onto cotton fabric, using methods that have been refined over centuries.
The dyes went on and were rinsed off in this order:
iron sulphate to print deep black with the first block (petals)
alum paste mordant printed with the second block (circle)
a dip in the Madder root hot dye pot for vibrant red where the alum had been printed
mud paste resist on top of (most of) the red with the circle block as well as mud resist with the third block (dots)
a dip in the cold dye (2,000 litre!) Indigo vat for a light blue
mud paste resist with the third block (dots)
another dip in the Indigo vat to achieve mid blue
more mud resist dots
a final dip in the indigo to get dark blue.
Adding mud resist with the various blocks in different places on the fabrics between the dips in the Indigo vat meant I ended up with a combination of red/dark red circles and a combination of white/light blue dots. It was a real lesson in positive and negative space – where the absence of colour becomes as important as its presence! In fact, the whole procedure was a lesson in patience, trusting the process, and understanding how nature and craftsmanship intersect.
I printed two fabric designs: a regimented pattern of rows, and a more random, organic placement. Watching the evolution of the designs during each spell of drying in the sun was nothing short of magical.
Sewing the outfit
Once home from block printing in India, and with my fabrics in hand, the final step was turning them into an outfit that would showcase both fabric patterns. The first cut into the fabric was equal parts terrifying and thrilling!
I made a loose, airy top with clean lines and minimal seams to let the prints shine. A reversible design means I can switch between the regimented and random designs depending on my mood. I also made wide-leg, high-waisted cropped trousers with pockets. The front uses one fabric design, while the back features the other – creating a subtle contrast.
My pieces were carefully considered to maximise fabric usage and minimise waste. I have a tiny sliver of fabric left - just enough to make a matching hair scrunchie! I can wear it as a co-ord set or as mix and match pieces for many years to come and eventually I'll pass it down to my daughter, along with stories of the most joyful time in one of my favourite countries.
From carving the first block to sewing the last stitch, the entire process took 6 days (around 40 hours). That’s the very definition of slow fashion – every step intentional, every detail considered.
Why slow fashion matters
This journey provided a reminder of the value of slowness in a world that often prioritises speed. Here’s what stood out for me:
1. Connection to heritage: block printing and natural dyeing are living traditions. By learning from artisans, I got to take part in a story that spans generations.
2. Sustainability: using natural dyes and hand-carved blocks minimises waste and environmental impact. There’s no synthetic shortcut here – just pure, mindful craftsmanship.
3. Mindfulness: every step – from tracing a design to threading a needle – requires presence. There’s no room for distraction when your hands are shaping the outcome.
4. Wearable art: the outfit I created isn’t just clothing; it’s a testament to the time and care poured into it. It’s a conversation starter, a piece of history and a sustainable choice all at once.
Slow fashion at Sylva
This experience reinforced everything I stand for at Sylva. My little business is built on the principles of slow, sustainable clothing, where every stitch and every fabric choice is made with intention. Just as I carved each block with care and printed my fabrics using natural dyes, I apply the same philosophy to my work with:
sewing sessions – I teach people to make their own clothing in a relaxed, supportive setting, helping them slow down and reconnect with the process of creation. Whether you’re a complete beginner or looking to refine your skills, these workshops are about making consciously and finding joy in the craft.
custom orders – I take commissions for unique garments and bags, made with responsibly sourced materials. Every piece is tailored to you, ensuring it’s not just beautiful but also made to last.
small batch clothing drops (coming soon-ish) – my limited-run collections will feature timeless, sustainable clothing and accessories from carefully selected fabrics. These pieces are designed to counteract fast fashion, offering you comfort, artistry and a sense of connection to what you wear.
With huge thanks to the incredible Wabisabi Project, and to Avinash and Clare for many of the photos and videos included in this post.
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