In this interview, we sit down with Aditya Shrimali, a talented MA Fashion Entrepreneurship and Innovation student from London College of Fashion, to discuss his innovative final project titled "Beyond Braille" under his brand Loomlight.
Aditya’s project recently earned him recognition as an emergent finalist in the Fashion Values Cultures Challenge for its innovative approach to sensory and inclusive clothing.
Drawing inspiration from the words of Ranchhod Soni, an inspiring Indian educator who is blind, Aditya’s work transcends traditional design by weaving Braille and tangible elements into fashion, creating a rich, multi-sensory experience. His project not only champions inclusivity but also pays homage to the heritage of Tangaliya weaving, a centuries-old craft from Gujarat, blending cultural storytelling with modern adaptive fashion.
Let’s dive into the inspirations, techniques, and aspirations behind ‘Beyond Braille’ and explore how Aditya aims to redefine the way we perceive and interact with clothing.
"Beauty is not only what our eyes enjoy; it’s a collective experience engaging all our senses," says Ranchhod Soni. His words really got me thinking about how to explore beauty beyond just sight and sparked my interest in sensory and inclusive design.
My project, Beyond Braille, turns Braille into more than just a reading tool; it becomes a symbol of inclusivity and resilience. This project’s core aim is to design clothing that weaves Braille and other sensory elements to enhance personal identity, well-being, and social inclusion for visually impaired individuals through a rich, multi-sensory experience.
Braille adds functionality to the garments by providing essential information that helps people make informed choices, leading to greater independence and confidence in their personal style. I want to spark change, break barriers, and promote sensory-inclusive designs for a more inclusive society. I believe design should help everyone express themselves and fit in socially. To inspire others, I plan to share uplifting quotes from influential visually impaired people who embody resilience and self-belief. One of my research participants put it beautifully:
“Braille is a landmark in human history—a bridge between darkness and light, a symbol for us. Media evolves, but it never excludes. Just like radio and TV didn’t replace print, Braille is still essential, with its own audience and significance.”
This project also dives into how touch and sound can be integrated into textiles, recognising how important sound is for visually impaired individuals. Adding sound to my designs helps to create a richer experience that makes them more engaging and accessible. It adds a whole new layer that complements the tactile and visual aspects, making the clothing immersive for everyone, especially those who can’t see.
The blend of touch, technology, and traditional craftsmanship contributes to adaptive fashion, inclusive designs, and socially responsible practices, setting a model for expanding accessibility efforts. I developed an upcycled interactive jacket that uses pressure sensors, Raspberry Pi, speakers and coding for a cool sensory experience.
I chose the Tangaliya weaving technique because it’s close to my heart and connects to my experiences with visually impaired people. Back in 4th grade, I met a blind girl at school who used Braille books, and that memory stuck with me. Later, in college, I got to document and study Tangaliya weaving, a unique craft from my home region in Gujarat, practiced by the Dangasiya community for over 700 years. This weaving technique creates tactile woven dots by twisting extra weft yarn around multiple warp yarns, giving the fabric a bead-like texture that’s both visually appealing and physically engaging. That instantly reminded me of Braille books and inspired me to explore the intersection of textile design and accessibility. This connection fuelled my passion for creating Braille textiles and deepened my research into the experiences of people with visual impairments.
My project celebrates the rich heritage of Tangaliya weaving, while meeting modern needs for inclusivity. By integrating Braille, I’m making these textiles accessible for visually impaired people, letting them experience the fabric through touch. Plus, the sound elements add another layer of connection to the cultural stories behind Tangaliya. This mix of heritage and accessibility really resonates with today’s inclusive design values. Supporting Tangaliya weaving also promotes sustainable, low-impact artisanal practices instead of mass production.
This project pays tribute to the Dangasiya community's history, which is all about resilience against social hierarchy and shows how heritage crafts can thrive in today’s inclusive design world. The origins of Tangaliya weaving even challenge India’s caste system, stemming from an intercaste couple who were rejected by their families and turned to weaving to survive. So, Tangaliya isn’t just about beautiful textiles; it’s a powerful story of cultural heritage, defiance, and inclusion.
Honestly, there are so many stories and experiences from my research that have influenced how I approach this project and shaped me as a person. While working with visually impaired individuals, I met some incredibly inspiring blind students and teachers who really motivated me. But one of the biggest challenges I faced was the mental barriers that people hold. Many sighted folks judge those who are blind not by who they really are but by their own misunderstandings about blindness. This eye-opener pushed me not only to create inclusive designs but also to challenge those perceptions and encourage a more empathetic and open-minded view of what people with visual impairments can achieve.