How Climate Change Is Affecting Gujarat's Rabari Embroidery Artform

In the heart of India's culture, two women from Kachchh are putting their 'dwindling' heritage on the global art map. Kuvarben and Pabiben, trailblazing artisans from the vibrant Rabari community, are redefining tradition in the contemporary era. Kuvarben, noted for her dexterity in crafting intricate embroidery inspired by nature, and Pabiben, who is crafting unique miniature models of ethnic Rabari clothing, are breathing new life into the community's artistic legacy. They have caught the attention of acclaimed fashion aficionados and gallerists worldwide. 

Recently, Kuvarben and Pabiben's works were featured at a vibrant art show, Triumph of Kachchh by Satish Reddy, at the 47A gallery in Mumbai. In an inspiring conversation with SheThePeople, they shared insights about the Rabari culture and their mission to keep their heritage alive in the contemporary age.

Excerpt From The Interview

SheThePeople: Can you share a bit about yourselves? Where you grew up, what your upbringing was like, your education, etc.

Pabiben: We grew up in a Rabari village in Kutch, a place where the land and community shaped every aspect of life. Our people were traditionally pastoralists, living in harmony with nature, moving with livestock across vast landscapes. But with modernisation, those traditions began to fade as restrictions on movement and new boundaries made the pastoral way of life nearly impossible. The men in our community adapted by becoming truck drivers and taking up other jobs, but the cultural shift was profound.

For women like us, embroidery became a way to hold on to our heritage, even as life around us changed. Education wasn’t common for girls in our community, but we learned by observing our mother, who was our first teacher in embroidery. It was through her that we understood how to create beauty with our hands and tell stories through stitches.

Kuvarben: For us, embroidery was a way to connect to the life we saw around us. It felt like carrying the pastoral spirit forward, even as our community’s way of life changed. Those experiences are still deeply embedded in the patterns we create today.  I remember watching our mother’s hands move so effortlessly as she stitched, and I couldn’t wait to try it myself. Our upbringing taught us patience, creativity, and resilience, which are still at the heart of what we do today.

SheThePeople: What are some unique features of Rabari handicrafts?

Pabiben: Rabari embroidery is a reflection of our identity, full of bold patterns, vibrant colours, and intricate mirror work. Traditionally, women not only hand-embroidered but also hand-stitched garments for their families as an act of love and care. Each piece carried a piece of our pastoral history, with motifs inspired by the natural world—peacocks, butterflies, trees—and geometric patterns that reflected the rhythms of our environment.

Kuvarben: It’s a communal art. In the past, women would gather to embroider, sharing stories, songs, and knowledge. This wasn’t just about decoration; it was about preserving memories and creating something deeply personal. Even though our pastoral lifestyle has diminished, embroidery allows us to keep a piece of that life alive.

SheThePeople: Despite the challenges traditional art forms face, is there any way the contemporary age has been beneficial to revitalising your art form? How do modern technologies and audiences help you in your mission to save your culture?

Pabiben: The contemporary age has brought new opportunities. Platforms like the 47-A Gallery, have introduced our work to a global audience. My miniature garments, such as the Collector’s Kediya and Kanjiri, have become collector’s items, helping preserve the essence of Rabari attire for people who may never have seen it otherwise.

Kuvarben: Technology has also opened doors for us. For example, for the present collection I created for the show, I was influenced by references of architecture and colour schemes I saw in modern media. Through the gallery shows and online platforms, my works, like Facade or Topos, have reached people far beyond our village. These tools help us show the world that Rabari embroidery is not just a craft but an art form that tells the story of a changing way of life.

Pabiben: Modern audiences give us hope. They see the value in what we create and encourage us to keep going. But this is only the beginning. To truly save our culture, we need younger generations to see this as not just a tradition but a livelihood.

SheThePeople: What is your vision for the future of Rabari handicrafts and textiles? Do you see younger generations taking an interest in preserving these traditions?

Pabiben: My vision is to preserve the heart of Rabari embroidery while adapting it to today’s world. I hope that younger generations see its beauty and potential. But it is difficult—many of them feel embroidery is too time-consuming and offers little reward.

Kuvarben: I agree, but I also think we must make embroidery relevant to their lives. Part of the solution is exposure—showing young people that embroidery is not just a skill but a way of preserving and expressing who we are. Collaborations, like those we’ve had with curators and designers, show that this tradition isn’t just a thing of the past—it can thrive in the present and future.

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SheThePeople: Kuvarben: Do you follow a particular creative process for your intricate embroidery? How do you typically start and develop a piece, from choosing motifs to executing the details?

Kuvarben: My process begins with observation and memory. I think about the landscapes, animals, and patterns that surround me, or I look at an image and imagine how I can transform it into embroidery.  For example, in Chrysalis, the butterflies remind me of the fields we once roamed as children, while Topos reflects the wildflowers that dot the landscape. For the Facade series, I drew inspiration from images of architecture.

I often begin with a small experiment, stitching a fragment to see how it feels. From there, the piece takes shape naturally. I don’t impose strict rules—this freedom is where I find harmony. Each embroidered line, motif, and appliqué develops as if the fabric is telling me what it wants to become.

SheThePeople: Kuvarben, Your work often features motifs from the natural world. How does nature inspire you, and what does nature mean to you and your community?

Kuvarben: Nature has always been central to Rabari life. As pastoralists, our lives revolve around the land and its seasons. The animals, trees, and open landscapes were not just our surroundings—they were part of who we were.

In my embroidery, nature is a way to stay connected to that life. Motifs like butterflies, insects, and flowers or even the geometry in the artworks are my way of celebrating that connection and preserving it in a world where so much has changed.

SheThePeople: Kuvarben, as an artist, how have climate change and environmental degradation over the years affected you? Do you believe that your craft can inspire change and preserve the beauty of nature?

Kuvarben: Climate change has transformed the land we depend on, making it harder for communities like ours to sustain traditional ways of life. The loss of open spaces has made the pastoral way of life nearly impossible, or even the relevance of beauty within our community, and that loss is felt deeply in my work.

Through my embroidery, I hope to remind people of the beauty and fragility of nature and why it’s worth preserving.

My work carries the memories of a life lived closer to the land, and if it can inspire a love for nature, perhaps it can also inspire action.

SheThePeople: When and how were you inspired to create these miniature versions of cultural attires as collector's items? What purpose do you hope this art serves?

Pabiben: The inspiration came from the need to preserve the garments that once defined our community. Miniatures, like Kediya and Kanjiri, allow me to capture the complexity of Rabari attire in a way that is accessible and timeless.

I hope these pieces serve as a bridge between the past and the present, helping people understand the beauty and meaning of our traditions. They are small in size but carry the weight of history, ensuring that future generations can appreciate and understand where we come from.

SheThePeople: Pabiben, what do you think is the greatest threat to the survival of this art form, and how can it be addressed?

Pabiben: The greatest threat is the loss of connection. As men in our community moved from pastoralism to jobs like truck driving, the everyday need for traditional garments declined. Younger generations see embroidery as outdated or unprofitable, which makes it harder to pass down these traditions.

To address this, we need to show them that this craft is still relevant. Platforms that celebrate our work and connect us to global audiences help. Education is also vital—showing young people that embroidery is a valuable part of their heritage and can adapt to modern life.