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LoadingA Bhutanese craft tradition
Bhutanese weaving is the country's principal living craft tradition — backstrap and pedal looms in every dzongkhag producing the kira (women's wrap dress), gho (men's robe), and ceremonial silks that constitute the country's national dress. The tradition is alive in a way that craft traditions elsewhere in the Himalaya are increasingly not.
craft
Short answer
Bhutanese textile is the principal living craft tradition — backstrap and pedal looms in every dzongkhag producing the kira (women's wrap), gho (men's robe), and ceremonial silks of national dress. Regional specialities: Lhuentse silk brocade, Bumthang yathra wool, Haa wool, the kushuthara silk-on-silk.
The Bhutanese national dress is the textile tradition in everyday operation. Men wear the **gho** — a knee-length robe wrapped right-over-left, tied at the waist with a coloured belt (kera), with the lower hem ending at the knee and the upper showing the white cuffs of the inner shirt (tego). Women wear the **kira** — a rectangular ankle-length fabric wrapped around the body, fastened at the shoulders with silver brooches (koma), with a jacket (tego) over and the wonju inner blouse at the cuff and collar. Both are worn as a matter of course at every dzong, every government building, every formal occasion, every festival. The textile is the dress; the dress is the textile.
Each dzongkhag has its distinctive weaving. **Lhuentse** (in the east) — the silk-on-silk **kushuthara**, the most prestigious of all Bhutanese textiles, the formal silk kira worn by Bhutanese women on the most significant occasions; a single kushuthara takes 6-12 months of weaving and can carry the same value as a small house. **Bumthang** (central) — the woollen **yathra**, the heavy striped wool textile traditionally used for blankets, jackets, and outer garments in the cold central winters; produced on pedal looms in the Chumey valley. **Haa** (western) — the lighter wool, used for jackets and the smaller textile items. **Pemagatshel and Mongar** (eastern) — cotton brocades and the everyday cotton textile. The matched guide knows which valley produces which textile and can arrange direct visits to weaving households in the appropriate dzongkhags.
Bhutanese weaving uses two principal loom types. The **backstrap loom** — the older form, used for the kushuthara silk brocades and the most prestigious narrow-width textiles; the weaver sits on the floor with the warp anchored at one end and stretched across her body via a leather strap. The **pedal loom** — the larger floor loom used for the wider yathra wool textiles and the everyday kira and gho fabrics; produces wider widths and faster output. Both techniques are still practiced in active weaving households across the country; both are visitable in the appropriate dzongkhags as part of a textile-focused journey.
The principal cultural-and-educational institution for Bhutanese textile is the **Royal Textile Academy** in Thimphu — established in 2005 under the patronage of Her Majesty the Queen Mother Sangay Choden Wangchuck. The Academy houses a substantial collection of historical Bhutanese textiles (15th-21st century), runs the principal weaving education programmes, and operates a public museum with rotating exhibitions. The Academy is the natural starting point for any visitor with serious textile interest; the matched guide arranges visits during the morning hours when the educational programme is in operation.
On a Bhutanese journey with textile focus: visit to the Royal Textile Academy in Thimphu (1-2 hours); visit to a weaving household in the Bumthang yathra region (half-day); the silk-route visit to Lhuentse (1-2 days, requires the eastern circuit); the kira/gho fitting at a Thimphu tailoring house (visitor wears Bhutanese dress for one day); the textile market at the Centenary Farmers' Market weekend market; and the museum-collection visits at the National Museum in Paro and the Royal Textile Academy. See the [[bhutan-textile-tour-7-nights|seven-night textile tour]] for the comprehensive itinerary.
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