A Textile Pilgrimage to Santa Fe
Picture a Peruvian weaver's hands, stained with centuries-old dyes, working alongside a Malian textile artist whose patterns echo ancient trade routes. For four days each July, Santa Fe's Railyard Park becomes an unlikely crossroads where such encounters unfold in a temporary village where the world's textile traditions converge. This is the Santa Fe International Folk Art Market, now in its 21st year.
The International Folk Art Market defies easy categorisation. It's part cultural embassy, part economic lifeline, part living museum. Here, a single purchase ripples outward: the $20,000 average booth sales don't just fill artists' pockets but fund wells in remote villages, schools for the next generation of craftspeople, and the preservation of techniques that predate written history.
Each textile tells a story that mass production has tried to erase. A Guatemalan huipil carries the weight of Mayan cosmology in its threads. A Moroccan carpet holds the memory of nomadic migrations - repositories of human experience, created by hands that learned from mothers, grandmothers, and great-grandmothers.
In our digital age, the Market offers something revolutionary: authentic human connection through cloth, thread, and the patient wisdom of makers who refuse to let tradition die.
Today, we introduce some of the textile artists representing diverse global communities and heritage, who will be exhibiting in the apparel category:
Josef Koó - Original Indigo Blaudruck, Austria
Joseph and Miriam Koó from Burgenland, Austria, bring a rare European textile tradition to the International Folk Art Market for the first time. Burgenland copper pin block printing uses natural indigo dyes and resist paste to create patterns by preventing certain areas of the textiles from being dyed. Their secret family formula includes gum Arabic and clay. Each textile is hand-block print or created using a 100-year-old rotary printing machine, one of the last still operational in the world.
Deki Natural Dyes, Bhutan
Deki Natural Dyes are a mother-daughter duo, revolutionising Bhutanese textile tradition through natural dyes. Ms. Deki, a Royal Textile Academy master, and daughter Tshering Chode transform fibres using turmeric, indigo, and pomegranate on village looms. Their workshop creates exquisite pieces like the traditional Kishuthara while conducting scientific research on plant waste extraction. Beyond crafting textiles, they collaborate with weaving communities across Bhutan, fostering sustainable livelihoods and ensuring ancient techniques survive. Winner of the Energy Globe Award (2022) and Master Artist Award (2023), Deki mentors young artisans while preserving cultural heritage against synthetic alternatives.
One Thread Collective, Columbia
One Thread Collective, a nonprofit organisation co-founded in 2020 by Executive Director Jackie Gilbert, partners with over 100 Wayúu women across eight villages to ensure this cherished art form not only endures but flourishes. Wayúu women have woven mochilas in a circular motion for centuries, starting at the base and working upward to form the bag’s signature shape. This process takes 1-2 weeks per bag - a labour of love embodying patience, understanding, and ancestral knowledge. Each mochila reflects its maker's identity, featuring traditional Wayúu motifs passed down through generations.
TradeAID Integrated, Ghana
The Northern Ghanian craft of smock making or Batakari, helps to preserve the region’s cultural identity. Women weave on traditional strip looms, and then smock artists, primarily men, stitch the narrow strips of fabric together to create a living art piece you can wear. Stripes symbolise unity, interlocking shapes represent community, and the colours red, yellow, and green reflect the earth and prosperity. These smocks are worn for celebrations, ceremonies, and daily life in Northern Ghana.
Ashita Singhal, Paiwand, India
“Paiwand Lagana,” a phrase in Hindi that means patching or mending, reflects the studio’s ethos of repairing not just fabric but the relationship between fast fashion and the planet. Founder, Ashita Singhal’s work blends heritage techniques, such as Aari embroidery from Delhi and Kantha stitching from Bengal, with modern ingenuity. By threading waste fabric strips into these time-honoured practices, Paiwand creates something entirely new - designs that honour the past while addressing the urgent need for sustainability today.
Kullvi Whims, India
Kullvi Whims is a social enterprise rooted in the textile heritage of Himachal Pradesh, India. Collaborating with over 300 artisans celebrates the Gaddi community’s nomadic traditions and deep connection to the Himalayan landscape while generating income. Established in 2012 by Nisha Subramaniam and Brighu Acharya, Kullvi Whims works with communities in the Kullu, Lahaul, and Kinnaur Valleys to preserve and elevate the practices of hand-spinning, weaving, and knitting wool.
Pabiben Rabari, India
Pabiben innovated Hari Jari, a groundbreaking technique combining machine-applied trims and ribbons that stayed inside the community embroidery ban but also redefined the artistic boundaries for women in her community.
At the heart of Pabiben’s innovation lies the iconic Pabi Bag, a product that symbolises the transformation of Rabari stitching into a global phenomenon. Crafted through a meticulous process of layering bright trims on sturdy cotton bases, these bags showcase her ingenuity and dedication to craftsmanship. The Pabi Bag has traveled far beyond Kutch, featuring in Bollywood and Hollywood productions and establishing Pabiben as an ambassador of Indian folk art traditions.
Dudung Alie Syahbana, Indonesia
Dudung Alie Syahbana, born in Pekalongan, Indonesia - often called the “Batik City” and recognised as a UNESCO Creative City of Craft and Folk Art - is a living reflection of his heritage. Of mixed Indonesian and Arab-Yemeni descent, Dudung embodies a fusion of cultures that is deeply present in his work.
With over 20 years dedicated to preserving and innovating Javanese batik traditions, Dudung's journey began in the heart of Java’s vibrant batik community, where he first handled batik pieces in local workshops. Over time, he honed his expertise, mastering the intricate techniques of batik tulis (hand-drawn batik) and batik cap (stamped batik). His textiles capture the depth of Javanese tradition, infused with the dynamic essence of coastal batik, bringing new life to an ancient craft.
Babaran Segaragunun, Indonesia
Agus Ismoyo Isnugroho, founder of Babaran Segaragunung Culture House, has dedicated his career to practicing and preserving Javanese batik, a centuries-old Indonesian textile art. With roots in Solo, one of Java’s historic batik centers, the artisans at Babaran Segaragunung draw on techniques passed down through generations while introducing new approaches that reflect cultural traditions and contemporary contexts. Their work ranges from textiles to jewelry incorporating batik motifs, creating a cohesive collection tied to Indonesia’s artistic heritage legacy. Agus notes the importance of collectively making their art: "We work as a community. The people in our studio have been working with us for decades. They are like a cultural family.”
Espiritu Co-Op, Mexico
In Sahuayo, Michoacán, Mexico - referred to as the “City of Huaraches” - a rich tradition of fine Mexican craftsmanship is flourishing, in part due to Espiritu Co-Op. Co-founders Francisco Alvarez and Oscar Yapor, both 27 years old and originally from Chihuahua, Mexico, started this venture with a mission-driven approach. Their goal is to empower communities and preserve cultural traditions, transforming what began as a small initiative into a meaningful business.
Alberto López Gómez, Mexico
Alberto López Gómez took a brave step to learn the intricate techniques of “Tuzambil,” an ancient brocade design. It was not an easy path. Facing criticism and rejection from his community, Alberto remained committed to his vision, working day and night to master his craft.
Partnering with women artisans across Chiapas, he advocates for fair pay and recognition of indigenous craftsmanship. In Magdalena Aldama, more than 150 women have become the breadwinners for their families through Kuxul Pok, allowing them to improve their quality of life and encouraging more men to learn weaving techniques. He calls himself a spokesperson for women weavers and says, “I am a man who is a farmer of dreams, fabrics, and goals.”
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Further Information:
The Santa Fe International Folk Art Market is on from July 10 - 13 at Railyard Park, Santa Fe, New Mexico, USA.
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Image Credits:
All images courtesy of the individual artisans mentioned, and the Santa Fe International Art Market