‘The largest volume and finest quality of Bengal textiles likely ended up in England’: Economic historian Tirthankar Roy | Research News

In an interview with IndianExpress.com, economic historian Tirthankar Roy discusses the unique appeal of Bengal textiles from the Mughal era to British India, the displacement caused by the Partition, and the enduring relevance of these fabrics in today’s world.

Edited excerpts:

Over the decades, what has inspired your continued focus on writing about textiles?

Tirthankar Roy: As a historian, I find textiles to be a uniquely fascinating industry, unlike any other. One reason for this is the common assumption that cheaper alternatives always dominate the market—but textiles don’t function that way. When choosing clothing, we consider a range of attributes: design, appearance, texture, and cost. This has been true for centuries. While technology has evolved, many of the principles behind creating quality textiles have endured. Every piece of fabric, to me, is a living embodiment of history, which is endlessly captivating.

Another aspect that intrigues me is that any discussion about textiles transcends boundaries—it brings together designers, curators, museum specialists, historians, and economists, all engaging with a single object from different perspectives. This cross-professional dialogue is what makes textiles truly remarkable.

Interestingly, the title of your book considers Bengal textiles a ‘shared legacy’. Can you elaborate on its significance and meaning?

Tirthankar Roy: The political boundaries we recognise today are relatively recent in history. To better understand Bengal’s socio-cultural past, it is more insightful to examine regions rather than political borders. The area geographers refer to as the Bengal Delta has long been a hub of textile exchange—an interaction that continues to this day. Many saree styles that originated in present-day Bangladesh have seamlessly taken root in West Bengal, where they thrive. This lasting cross-regional influence is what inspired us to coin the term ‘A Shared Legacy’.

Which textile received the most patronage in Mughal India?

Tirthankar Roy: By and large, if textiles are arranged by design complexity, those at the highest end feature either exceptionally fine materials, like the fabric used for muslin or intricate silk embroidery that demands immense labour. Additionally, there are specialised textiles, such as tent cloth or large wall hangings, which were exclusively purchased by the wealthy for special purposes. These high-end textiles were often commissioned or contracted by elite consumers, with some produced within large karkhanas (workshops) in Mughal cities. However, this remained a niche market.

The book mentions that Indian textiles became part of a transnational exchange of knowledge. Can you explain?

Tirthankar Roy: A significant exchange of knowledge took place around 250 years ago through the Indo-European textile trade. India supplied both high-quality and plain textiles to European markets, profoundly influencing fashion trends. This was partly because cotton was not indigenous to Europe and had to be imported from India and a few other regions. Additionally, India’s tropical climate fostered greater biodiversity, giving it access to superior dyeing materials and techniques that were unavailable in Europe.

What particularly captivated the European elite was India’s mastery of colour. A visit to the Victoria and Albert Museum in London reveals the striking use of indigo, a dye that fascinated Europeans at the time. This exchange of ideas in dyeing, colouring, and textile contrast significantly reshaped European fashion. Similar knowledge transfers can also be seen in yarn quality, muslins, embroidery designs, and other textile innovations.

What factors, beyond colour, contributed to the popularity of Bengal textiles in 19th-century Holland, France, and Japan?

Tirthankar Roy: Besides colour, another crucial factor was the technique of spinning cotton yarn to a fineness capable of producing exquisite fabrics like muslin. Muslin was derived from a specific type of cotton, though not necessarily the finest. The key lay in the method of spinning yarn to exceptionally small dimensions, resulting in lightweight cotton textiles that greatly captivated the European market.

There is also a belief that some of the earliest spinning machines were invented in an attempt to replicate this remarkable level of fineness.

Which museums around the world currently house Bengal textiles in their collection?

Tirthankar Roy: The largest volume and finest quality of Bengal textiles likely ended up in England, though much of it remains untraced and may be in private collections. The Victoria and Albert Museum continues to acquire pieces through private donations. Holland also has museums and collections preserving Bengal textiles. In the United States, the Peabody Museum at Yale University holds one of the most remarkable collections.

Western education in 20th-century Bengal gave rise to a hybridised dressing culture that transformed fashion and influenced the textile industry. Can you elaborate on this?

Tirthankar Roy: To put it simply, there was a significant difference between men’s and women’s clothing. Men’s fashion standardised much earlier and to a greater extent, leading to a preference for machine-made, mass-produced fabrics that were uniform rather than intricately designed. Workwear, uniforms, and certain Indo-Western hybrid styles were quickly adopted by men.

Women, on the other hand, largely resisted this hybridised culture. Sarees and other traditional garments continued to be woven on handlooms for a long time, produced through small-scale craftsmanship rather than industrial mills.

How did the Bengal Famine of 1943 and the Partition of British India impact Bengal’s textile industry?

Tirthankar Roy: The short answer is that we don’t know for certain. The 1943 famine caused temporary, rather than permanent, displacement, and there is little information on its specific impact on weavers. The worst affected were agricultural labourers and rural tenants, while weaving had already shifted to small towns by then.

The Partition, however, led to forced migration, including that of weavers, which had a more lasting effect on the textile industry.

What are some of Bengal’s lost textile traditions today?

Tirthankar Roy: My knowledge here is limited, but as a non-specialist, I can say that true muslins, made in their original form, no longer exist due to the scarcity of the specific cotton required. Another lost tradition is the decorative technique using natural indigo, which produced a distinct, slightly darker tint on fabric. The unique combination of colours derived from vegetable and natural dyes, along with the traditional colouring style, has also faded into obscurity.

Today fine textiles cater to a niche market, but has class always been central to textiles?

Tirthankar Roy: The meaning of textiles has, of course, evolved over time. However, one constant remains: textiles always carry significance beyond mere utility. Clothing is not just about function—it holds meaning across all classes and levels of wealth.

Almost every family, no matter how poor, will have a basic set of workwear, likely as inexpensive and minimal as possible. But alongside this, there is always an aspiration to own clothing for special occasions—distinct in appearance and making a statement. This dual purpose has existed universally, across all societies and eras.

Viewed from this perspective, what we consider exclusive or niche may not be so unique after all. In some way, everyone seeks something special in their wardrobe. This desire has only expanded in modern times, as people now buy significantly more clothing than ever before.