By Esha Chaudhuri
The journey into design rarely follows a straight line. For emerging textile artist, Ilamon Thangkhiew,it began not in a studio, but in a chemistry classroom, where one never quite felt like home.
“I’ve been drawn to art, crafts, and making things for as long as I can remember,” she says. Working with her hands came naturally, but like many, she initially chose a more conventional academic path, enrolling in a Bachelor of Science in Chemistry. Within a year, however, the disconnect was undeniable.
What came next was not a carefully calculated decision, but a leap of faith. Without fully knowing what design entailed, she pivoted and chose instead to pursue a Bachelor’s degree in Textiles and Apparel Design at the National Institute of Design (NID), Andhra Pradesh.
The early days were uncertain. “When the courses started, I felt unsure,” she admits. But hesitation soon gave way to excitement. Each week brought new techniques, materials, and ideas. “I was absorbing everything like a sponge.”That curiosity became the foundation of her practice.
Born in Shillong, a resident of Nongrim Hills, who studied in Meghalaya Police Public School, today her work sits at the intersection of storytelling, heritage, and the natural world. Through woven textiles and surface development, she creates pieces that are both tactile and deeply narrative-driven. Working primarily with natural materials, her process remains intentionally hands-on. This approach bridges traditional craftsmanship with contemporary expression.
Thangkhiew’s creative universe, however, extends beyond textiles alone. With a parallel interest in interiors and spatial design, she also produces bespoke works for private and commercial spaces. Across all formats, a consistent thread runs through her work: a sensitivity to texture, material, and meaning.
After graduating from NID, she immersed herself in the world of craft, participating in exhibitions, collaborating closely with weavers, and refining her voice as a designer. This exploration eventually led her to London, where she pursued a Master’s degree in Textiles at the Royal College of Art.
It was here that her work began to reach an international audience.
From London Craft Week to exhibitions across Europe, each showcase has marked a step forward – not just professionally, but personally as well. Her debut at Future Icons during London Craft Week remains especially significant. “It opened up so many opportunities for me,” she recalls. Subsequent exhibitions, including Decorex and Heimtextil, helped her better understand not only how to present her work, but how to engage with audiences. “You approach them with much more confidence than when you first started.”
Despite her growing global presence, her inspiration remains grounded in people, materials, and lived experiences rather than singular icons. “I don’t have a specific idol,” she explains. Instead, she draws from a wide spectrum of makers such as ceramicists, jewellers, furniture designers, all of whose diverse approaches continually push her to experiment.
One collaboration, however, stands out. Working with Jesmina Zeliang of Heirloom Naga during her graduation project proved transformative. Beyond technique, it offered a deeper understanding of cultural narratives and the responsibilities of working with craft traditions. “It taught me so much beyond design,” she says, reflecting on the mentorship that continues to influence her work.
Her pieces often begin as stories rooted in landscapes, traditions, or the intrinsic qualities of materials. One such work, Likai, exemplifies this approach. Created for London Craft Week, the textile was woven on a backstrap loom using tie-dyed cotton and ramie fibre, inspired by waterfalls and shifting landscapes. “I was interested in capturing the movement of water through textile,” she explains.
Another project, developed in collaboration with Heirloom Naga, explored the visual language of Naga tattoos, translating them into a collection of home furnishings. These works highlight her ability to navigate between research-driven exploration and intuitive, material-led design.
Nature, architecture, colour, and texture all feed into her creative process. Some pieces emerge from deep research into fibres and techniques, while others are sparked by something as simple as a fleeting visual moment.
Behind this evolving practice lies a strong foundation of support. Her family, she says, has played a pivotal role in shaping her journey. Their encouragement gave her the confidence to step away from science and embrace design fully.
“When I got into NID, I was hesitant,” she recalls. “But my father was so excited. He just said, ‘Go for it.’ That made all the difference.”
That trust has remained constant offering both reassurance and motivation as Thangkhiew continues to explore new ideas and directions.
Looking ahead, she is focused on building a new body of work experimenting further with techniques while also taking on commissioned projects. Her long-term vision is clear: to establish her own studio and see her work travel even further across the world.
As an award winning designer, Thangkhiew’s advice for emerging designers from Shillong is simple yet grounded in experience: ‘keep going’. “Do what you enjoy and be passionate about your work,” she says. “Your work speaks for itself. And when motivation fades, discipline is what keeps you moving.”
In many ways, her journey reflects the very textiles she creates which are layered, evolving, and held together by threads of curiosity, courage, and craft.
