2112 Saldon is rooted in heritage and innovation, and at the heart of the label is the rare craft of Nambu, a handspun, woollen textile from Ladakh. Born out of a mission to revive this endangered material, the label reflects a way of life where every piece becomes an attempt to recreate memories and lived experiences. We’re in conversation with Padma Saldon, the founder, about paying homage to Ladakh, its people, and its textiles, which have been kept alive through thoughtful craft, natural dyeing practices, and the belief that every garment should carry joy and legacy stitched within it.
The Craft of Nambu
If I had to introduce my label in two or three lines, I’d say that it stands at the confluence of heritage, innovation, and sustainability. What started as a mission was initially to revive the handloom sector, primarily Nambu; which is handspun, handwoven yak and sheep wool.
Ten years ago, the craft was on the verge of vanishing because most weavers were leaving to take up daily wage work with the army, where they got paid more and received rations. I had to pursue them to come back, to help preserve this crucial cultural fabric. Today, thanks to new entrepreneurs and government initiatives, especially in places like Dilli Haat, the craft is being embraced again.
I started working with these textiles to create exclusive jackets that are my forte. My process isn’t seasonal or mass-produced. Ladakh is open to me from March to October, and in that time, I produce textiles and bring them to Delhi to create based on inspiration. Seventy percent of my work now caters to client specifications, and thirty percent is reserved for my own passion projects like the ‘crazy’ jackets that fuel my soul.
Sustainability As A Way of Life
I’m a very emotionally driven person. A way of life, to me, means that every garment I create is an attempt to recreate memory. I try to evoke moments from the past: the smell of food at a family gathering, the wind in Ladakh, the view from a kitchen — through both my garments and photography.
Every piece is a living being. The raw wool comes from Changthang, spinning happens in Nubra or other villages, and the weaving is done elsewhere. Each garment passes through so many hands before it reaches me. I imagine the person who will receive it, open it, and hopefully feel joy. That emotional connection is central to what I do.
Sustainability, for me, goes far beyond using handwoven or machine-free fabrics. It includes fair wages, working conditions, and how we treat people. I use patch linings on jackets, to ensure we don’t waste leftover fabrics. The fashion industry is a major polluter, and I don’t want to contribute to that.
Homage to Ladakh
Ladakh is in everything I do. My first exposure to spinning came from watching my grandmother. I try to promote Ladakhi textiles and the handloom sector. I make sure that when my work is displayed, the names and faces of the weavers are included. I invited them to my showroom opening and introduced them to everyone. I wanted them to see that they are not hidden behind the scenes — they are part of the label.
They feel part of something larger. That’s my homage: keeping their legacy alive.
Dyeing Process
We work with natural dyes like walnut, rhubarb (Lachu), and indigo, all native to Ladakh. Walnut shells give shades of brown, Lachu provides ochre-yellow mustard, and indigo is the most complex. The traditional Ladakhi indigo dyeing process involves cow urine, which is used to activate the dye. You have to collect, strain, and mix it with broken indigo blocks, then soak yarns for 7–10 days. It's laborious and pungent and I remember smelling of cow urine for days and not being able to enter the kitchen.
That said, I don’t use natural dyes exclusively. Sometimes, chemical dyes are necessary, especially as responsibilities have grown. Initially, I had more time to oversee the full process myself, but now I reserve natural dyeing for exclusive collections.
The Future
I want to continue putting Ladakh on the map as more than just a tourist destination. I want people to know it has a rich textile heritage. And while I’ve focused on wool, I plan to start blending Ladakhi textiles with crafts from other parts of India, like Phulkari or Ajrakh, to create fusion collections.
I recently did a capsule collection using Ladakhi stove designs as motifs printed with Ajrakh block printing. It did really well and reminded me that I need to keep fueling my creativity. More than anything, I want to keep evolving, experimenting, and staying true to the soul of 2112 Saldon.
Words Neeraja Srinivasan
Art Direction Vibhash Sharma Phurailatpam
Photographer Avani Rai
Cinematography Avani Rai, Daksh Chindalia
Talent Ravleen Varghese, Nin Kala, Nangskit Angmo,
Pema Tsamchoe
Styling Bikash Choudhury
Assisted by Etdzes Tsering Chosdon, Padma Zesdan Wangmo, Maya Kanchi
Hair & Makeup Umang Thapa
Accessories Courtesy Lhanzey Palden (Mapcha)
Footwear Courtesy Anita Soundar (Disobedience)
Date 22-09-2025