Dr. Ela Manoj Dedhia
Educator, Researcher, and Pioneer in Natural Dyes and Human-Centred Textile Innovation
Dr. Ela Manoj Dedhia is a renowned educator and researcher specialising in natural dyes and sustainable textile innovation. Based in Mumbai, she has served as the In-Charge Principal, IQAC Coordinator, and Head of the Department of Textiles & Fashion Technology at Nirmala Niketan, University of Mumbai. She is also the Director of Anveshanam Foundation, a leading organisation dedicated to education, research, and the revival of Indian traditional crafts. With over 40 years of experience, Dr. Dedhia has authored key publications and led pioneering work in eco-friendly textile practices. She continues to guide PhD scholars at the University of Mumbai, fostering the next generation of researchers. As a woman leader in a traditionally male-dominated industry, she has empowered many through education and skill development. The TVC Media Team had the privilege to speak with Dr. Dedhia, gaining valuable insights into her impactful work and vision for sustainable textiles.
Can you share key milestones and turning points from your journey in the textiles industry, especially as a woman leader and educator?
I graduated in 1981 and completed my Master’s in Textile Chemistry and Clothing in 1983 under the Faculty of Home Science, securing second rank at the University of Mumbai. At a time when higher education, especially at the postgraduate level, was uncommon for women in my family and community, this accomplishment gave me tremendous self-belief and became the first pivotal turning point in my career.
Even before my results were officially declared, I was invited to join the faculty of my alma mater by my Head of Department and Principal. This early opportunity was both affirming and energising. Over time, I began to realise that my role as an educator went far beyond delivering subject knowledge. I found myself guiding young minds not just in technical content but also in the realm of human values—something they deeply resonated with. Their eager receptivity became a source of continuous inspiration and helped sustain my passion over a 44-year-long academic journey.
Over these years, I taught a broad spectrum of subjects—ranging from foundational and advanced textile science, processing, dyeing, and printing, fashion illustration, garment design, draping, flat pattern making, apparel construction, marketing and merchandising, fashion photography and videography, cultural history of Indian and world textiles and costumes. Holding leadership positions within my institution, at the University of Mumbai, and across numerous national and international organisations and universities has deeply enriched my professional and personal growth.
What inspired your deep interest in natural dyes and traditional block printing, and how has this shaped your career and research focus?
My enduring interest in human life and its inner dimensions led me to explore the subject of philosophy at the University of Mumbai, where I developed a deeper understanding of our interconnectedness with fellow human beings and with nature. Parallel to this, my frequent visits to the rural regions of Kutch in Gujarat, my ancestral home, introduced me to many traditional crafts, including traditional natural dyeing, block printing, practices in villages like Dhamadka and Khavda, and later in Ajrakhpur after the 2001 earthquake.
These experiences left a lasting impression on me. I was profoundly moved by the aesthetic depth of the crafts and the way they were seamlessly woven into the social and ecological fabric of the community. Between 1998 and 2001, I served as Principal Investigator for a UNDP-supported project on natural dyes, where I experimented with and standardised eco-friendly dyeing techniques using over 350 dye sources found in Maharashtra. I strongly felt that this research needed to benefit artisan communities, particularly those in Gujarat and Rajasthan, who had gradually shifted away from sustainable traditions toward harmful chemical-based processes.
Just as my next major project was approved by the UGC, the 2001 earthquake struck Kutch. The disaster redefined my role, from researcher to counsellor and community mobilizer. I conducted workshops in makeshift tents and shelters, helping artisans rediscover not only their skills but also their confidence and sense of purpose. Many of these artisans have since regained their footing, with their work now reaching international markets. The harmony and meaning I experienced throughout this process have continued to fuel my dedication to natural dyes and traditional crafts.
As someone who has held various academic and leadership roles, what challenges did you face as a woman in the field, and how did you overcome them?
In my experience, I have been fortunate to receive unwavering support from men, both within my family and in my professional circles. The most significant challenges I faced were internal, rooted in cultural conditioning and self-doubt. Over time, with introspection and the encouragement of those around me, I learned to overcome these barriers. Each challenge became an opportunity for personal growth and strengthened my ability to navigate future obstacles with resilience.
How has your work at Nirmala Niketan and with organisations like SDC and Anveshanam Foundation contributed to empowering women in textiles?
My PhD research focused on skill development among women in the Apparel sector, an area that I found both intellectually engaging and emotionally rewarding. During my four-decade-long tenure at the College of Home Science, Nirmala Niketan, I had the opportunity to work with tribal, rural, and underprivileged urban women and youth, providing them with training in design, technical skills, and entrepreneurship.
My association with the Society of Dyers and Colourists (SDC) further enriched my journey by enabling me to share my passion for textile colouration and innovation with a wider audience, including artisans, students, and community groups. After having contributed to several NGOs for 27 years, I founded Anveshanam Foundation in 2023. The foundation is rooted in a vision to document India’s rich Knowledge Systems, foster universal human values, and empower women and youth through education, innovation, research, and outreach. Through Anveshanam, I continue to expand this mission, particularly through the lens of textiles and allied/other disciplines.
What impact have your books and research had on the understanding and revival of traditional textile crafts, particularly for women artisans?
My publications and research on natural dyes and Ajrakh block printing have played a notable role in the revival of these traditional crafts. When I began this work, these practices were on the verge of extinction in many parts of Kutch and Rajasthan. Today, they are not only thriving but are also seen as emblematic of sustainable luxury. Many artisans across these regions now refer to my work as a reference point for technical validation and innovation.
Several of my postgraduate and doctoral students were deeply inspired by this research. Many of them have carried the work forward, combining rigorous scholarship with field engagement, thereby helping to extend the impact and relevance of traditional crafts in contemporary contexts.
In your experience, what are the most pressing challenges faced by women working in India’s textile sector today?
Despite considerable progress, gender-based disparities remain a persistent challenge across various levels of the textile and apparel sector. This was evident in a survey I conducted among women professionals in the industry. However, increased access to education, exposure, and awareness is gradually narrowing this gap.
The fashion and craft sectors, in particular, offer promising opportunities for women, especially those pursuing self-employment or entrepreneurial ventures.
How do you see the role of women evolving in the textile value chain from craft and production to leadership and innovation?
Women today are increasingly visible across every node of the textile value chain. With better access to education, training, and digital platforms, women are emerging not just as skilled craftswomen or designers but also as producers, innovators, entrepreneurs, and institutional leaders. Whether within private enterprises, government initiatives, or civil society, women are actively shaping the future of the textile industry.
What strategies or policy interventions do you believe are most effective in supporting women’s advancement and inclusion in the textile industry?
Comprehensive strategies that combine technical training, mentorship, and emotional support are vital for women’s advancement. Equally important is fostering an ecosystem of encouragement at home. Structured interventions that promote financial literacy, access to credit, and entrepreneurial skills can empower women to chart their own paths with confidence.
How can sustainable practices and eco-friendly innovations open new opportunities for women in textiles, especially in rural and marginalised communities?
As sustainability becomes a global imperative, the textile sector is witnessing a paradigm shift. Eco-friendly innovations and traditional techniques offer great potential, especially for women in rural and marginalised communities. These practices often require low capital investment, offer flexible work hours, and align well with the rhythms of rural life.
Moreover, strategic collaborations and networks between institutions, NGOs, and government bodies can greatly enhance implementation, scaling, and impact.
What advice would you give to young women aspiring to enter the textile industry—whether in research, entrepreneurship, or traditional crafts?
I would encourage young women to pursue their ambitions with integrity and a deep sense of purpose. Ethical practices in design, innovation, and research should be the foundation of their journey. There are abundant opportunities today, especially with government schemes supporting women entrepreneurs, and they should be explored with determination and discernment.
Above all, I urge them to learn from the generations of women who have preserved our textile heritage through quiet perseverance and skill. These women are the true custodians of our craft legacy. Saluting them, I invite the next generation to carry forward this rich cultural inheritance with creativity, respect, and responsibility.
