recycling at dosa practice of “using less, cherishing more,” a sensibility Christina learned as a child growing up in post-war Korea. As a way of recognizing the hours and expert skills embedded in a beautiful textile, production leftovers are repurposed to make other items, nearly eliminating any instance of wasted fabric. Large scraps are used for patchworks or engineered yardage, small scraps for embellishments or accessories. Our recycling operation requires great amounts of time and hand labor. Scraps are collected, color sorted, weighed, then converted from ounces into estimated yardage or products. Christina and Lisa Faith color sort the scraps to ensure a cohesive aesthetic tone before passing them along to other hands that make the final product. At dosa, recycling is not solely a postproduction after-measure, but an integral step of the initial design process that constantly pushes creative invention. (1993)


recycled bandhani running yardage created from bandhani scraps basted onto a sheer khādī cotton base and textured with cutwork and appliqué. Designs are stenciled onto the original bandhani pieces, cut, turned under, and appliquéd with tiny hand stitches. The overall design effect was inspired by jaali, the lattice or filigree patterned windows of Islamic architecture. (2008) See also bandhani


recycled cotton book notebook with handmade paper covers created from pulp mixed with leftover remnants from dosa production - shredded cotton scraps, bits of mica, and sequins. Covers are dyed using what is locally available, like tea and hibiscus. The books are made by hand at the Gandhi ashram in Ahmedabad. (1997) 


recycled jamdani scraps of jamdani from dosa production in India and Los Angeles repurposed into running yardage or small accessories. Jamdani scraps were first collected in 2001 and initially recycled into dosa shopping bags. By 2007, we started making engineered recycled yardage with a group of women in Gujarat, India, doing piecework and appliqué. Large plain scraps were joined to make a four-meter base cloth upon which smaller patterned scraps are basted. Line designs were drawn, cut out, and appliquéd in standard or reverse. Smaller scraps were remade into amulets, milagros, or tikdi appliqué. Between 2003-2013, dosa used 15,550 meters of handwoven jamdani yardage for its clothing production. From this, scraps were collected and repurposed into 784 meters of recycled running yardage, which we used to produce the spring 2008 collection. (2001) See also jamdani


recycled Kashmiri shawl woven from virgin cashmere warp and recycled remnant cashmere weft. In standard shawl production, two to four shawls are woven on one loom with 2-3 inch spaces in between. Ordinarily, this remnant strip gets discarded when shawls are cut apart. For dosa, remnant strips are saved, unraveled down to fibers, respun, then used as weft to weave a recycled Kashmiri shawl. The varying colors of these respun fibers create a striped pattern design. Initially, stripes were woven at random, but with more experience, our weavers in India now engineer patterns by strategically grouping colors. (2008)


recycled dosa shopping bag made of larger fabric scraps and given to customers in lieu of a conventional paper shopping bag. One of dosa’s first recycling products, it was devised as a way to reuse fabric scraps while also keeping the Los Angeles factory in continuous operation between production seasons. Colorways and fabrics constantly evolve in reflection of recent collections.  (mid 1990s)


Rabari jacket (India) traditionally worn by male Rabari shepherds in Kutch, India; also known as a milkman’s jacket. A rabari jacket consists of a fitted bodice with loosely gathered pleats below. Silhouettes may vary, signifying different tribal identities based on placement of a waistline, volume or length of gathering, or back yoke. Traditionally, rabari jackets are shades of white and often embellished. The rabari jacket has inspired many dosa garments throughout the years. (2003)


Ruth Asawa (USA) admired Japanese-American artist widely known for her crocheted wire sculptures, which challenged the definition of craft. She elevated ordinary industrial material into ethereal sculptures of art through simple hand crochet, something viewed as a homemaker’s technique. Asawa propelled women’s voice in art, and pushed the textile medium beyond clothes and fashion. Playing with quantity and volume, she transformed the ordinary into something visually arresting and artistically charged. One crochet stitch, repeated, became a voluminous sculpture; one sculpture, when clustered, became a powerful installation. Asawa’s sculptures are hinted in the shape of a dosa blouse or embroidery stitches on a sleeve. (2013)