Norlha
Norlha honors generations of nomadic artisans, blending traditional techniques with modern technology to create timeless pieces while supporting the local community.
Founded by mother and daughter Kim and Dechen Yeshi in 2007, Norlha is the Tibetan Plateau’s first yak khullu atelier.
Interview EMILY PETRUCCIONE
Images courtesy of NORLHA
I / SETTING THE SCENE
Where are you right now, and can you give us a peek into what it’s like to live in Tibet? It feels like a place many people might not know much about.
I live in a small village in Gannan Tibetan Autonomous Prefecture, Gansu Province, on the eastern edge of the Tibetan Plateau at an altitude of 3,200 meters. Summers bring showers that transform the plateau into vibrant grasslands with blooming flowers, while winters are dry, with clear blue skies, chapped faces, and temperatures dropping to -20°C.
My house sits atop a valley facing south, overlooking endless grasslands. Norlha Atelier is located at the valley's foot. Over the years, more houses, stores, and restaurants have appeared, changing the once-quiet landscape. Summers are peaceful as villagers move their animals to higher pastures, but winters bring life back to the village, with young nomads gathering on the Norlha basketball court and in the restaurants of the village.
Life here is tranquil, with little nightlife beyond occasional dinners or bonfires when friends and family visit our eight-room guesthouse. Days revolve around the Atelier, blending routine work with bursts of creativity, especially when our creative team visits, filling the guesthouse with laughter and activity.
The seasons, guided by the lunar calendar, bring dramatic changes to the landscape—from dusty spring plateaus to summer's vibrant greens and yellows, autumn's golden hues, and winter's stark blue skies and snowy patches. The villagers remain deeply traditional, centering their lives on the local monastery. Full moons are significant, with many fasting or circumambulating a nearby temple. The highlight of the year is the fourth month's full moon, commemorating Buddha’s enlightenment, when a large Thangka is unfurled, and villagers gather in traditional attire to pay their respects.
II / ORIGINS & INSPIRATIONS
How did your interest in textiles first develop?
My mother, Kim Yeshi, has a deep passion for textiles. She would often discuss the potential of yak fiber and consult with master textile artisans from Tibet to learn about the historical use of yak khullu in weaving and garments. In 2004 and 2005, she encouraged me to leave the United States and travel across the Tibetan Plateau, where I spoke with families and documented various weaving techniques with yak hair and wool. By the end of 2005, my brother and I had collected three tons of yak wool from local nomads, which we cleaned. Of this, 300 kilograms were handspun and handwoven in Nepal to explore its potential. It was during this journey of collecting yak khullu in 2005 that I developed a deep appreciation for this unique fiber.
Can you share the inspiration behind founding Norlha Atelier and how your vision has evolved since its inception?
Guided and inspired by my mother’s passion for textiles, as a young adult, I traveled to the Tibetan Plateau in 2004 and 2005 to explore the land, its people, and the yak. I was struck by how open the young nomads were to the idea of giving the yak a new, modern context through its soft under down, khullu. My mother, inspired by the positive response I received from the local people, as well as by her daughter’s commitment to pursuing a life on the plateau, invested all her savings into building an atelier in a remote village on the Tibetan Plateau. We brought in trainers and equipment from Nepal and, eventually, from around the world to work with the local nomads turned artisans.
I moved to Ritoma village in 2007 and have lived there ever since. Eighteen years later, I still carry the same vision of giving yak khullu a new and modern context, allowing it to continue sustaining Tibetan livelihoods through a product of genuine value. The journey has taken longer than I expected, but I have learned to be patient and to understand the importance of digging deeper rather than spreading wider.
“Our approach respects the natural environment of the Tibetan plateau, embodying its vast skies and grasslands, which reflect both simplicity and grandeur.”
III / VALUES & CRAFTSMANSHIP
What core values define Norlha, and how do they guide your approach to design and materials?
Norlha Atelier is guided by core values of balance, sensitivity, and artistry. We strive to harmonize the minimal with the majestic, drawing inspiration from Tibetan culture, where simple lifestyles are celebrated through vibrant colors, design, and rich traditions. Our approach respects the natural environment of the Tibetan plateau, embodying its vast skies and grasslands, which reflect both simplicity and grandeur. By honoring local culture, the natural yak fiber, and the environment we share, we create products that are both handmade and deeply connected to nature and community. These values guide every aspect of our design and material selection.
How do local artisans contribute to shaping your creative vision, and what is your approach to collaboration while preserving traditional craftsmanship?
Local artisans play a central role in shaping our creative vision, serving as a constant source of inspiration. In Ritoma, a region rich in culture, their traditions are evident in everything—from the garments they wear and how they adorn their horses to the vibrant prayer flags they hang and their harmonious connection to nature. These elements profoundly influence our designs and creative direction. Norlha's craftsmanship combines these inspirations with techniques originally brought from Nepal, such as using shuttle looms that date back to the pre-industrial revolution era in Britain. While these methods are not native to the Tibetan Plateau, the local women possess a deep, intuitive understanding of weaving, having worked with spindles and looms from a young age. By introducing new equipment that complements their skills, we foster a collaborative environment that preserves and elevates traditional craftsmanship, emphasizing the use of hands, care, and human connection.
Norlha employs 130 individuals, many of them former nomads. How has integrating traditional nomadic skills into a structured atelier impacted the community?
With the growing need for cash in changing times, young adults find the nomadic lifestyle both physically demanding and financially limiting. As a result, many have left their villages in search of factory jobs deep within China. However, local employment opportunities, such as the Norlha Atelier, have allowed a younger generation in Ritoma Village to remain in their community and stay connected to their culture. I like to believe that, in our small way, we help keep families together and contribute to preserving and continuing cultural traditions.
IV / SUSTAINABILITY & IMPACT
Sustainability is integral to your work. How do you implement sustainable practices in sourcing, production, and design?
We implement sustainable practices in every aspect of our process—from sourcing to production to design. We begin with our choice of raw material: Yak Khullu. This fiber, a natural by-product of yaks molting in the summer, is gently collected by nomads, ensuring that no animals are bred for it. This approach not only respects nature but also makes use of a fiber that would otherwise be lost. We often refer to this as a ‘vegan fiber,’ highlighting its ethical sourcing.
Our production processes are largely handmade, reducing our dependence on industrial resources and minimizing our environmental impact. This sustainable approach also creates valuable employment opportunities for the local community, who have a strong, invested interest in Norlha, ensuring the long-term viability of our work.
In terms of design, our Atelier, located in a remote village, fosters deep collaboration with local artisans. Our creative team visits annually to draw inspiration from the local culture and work closely with artisans on new designs. This not only strengthens our community relationships but also helps us create designs that are rooted in local traditions. By focusing on raw materials that are not exploited, and using production techniques that respect the environment, we are striving to build a sustainable future for both the community and the planet.
What role do you believe craftsmanship and sustainable luxury will play in shaping the future of fashion?
We hope that after a period of abundance, there will be a growing desire for things that are rare, carry a human touch, and tell a story of provenance. If design and quality can be achieved through craftsmanship, then the product itself will justify its price and foster a more sustainable, meaningful desire for luxury.
“The absence of constant stimulation, so common in towns and cities, forces one to slow down. One learns to appreciate the small joys, like dipping your feet in a cool stream, basking in the sun on a crisp morning, marveling at the endless stars on a fall evening, or inhaling the earthy scent of the ground after a morning rain.
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V / RITUALS & PERSONAL STYLE
Are there specific daily or seasonal rituals that fuel your creativity or help you maintain balance in your life and work?
Starting my day with a brief meditation, attending local festivals, and visiting artisans in their homes have allowed me to connect with people beyond their workspaces. These experiences consistently inspire me and deepen my sense of responsibility toward those who have become integral to my life. Over the years, the culture and breathtaking landscape continue to captivate me. Yet, with a young, creative team by my side, it's equally inspiring to see how these same sources of inspiration evolve through fresh perspectives and new talents.
I’m really drawn to the concept of ‘slow living.’ How does that philosophy play out in your daily life outside of work?
I think, most importantly, it’s the direct environment I’m surrounded by. The pin-drop silence that envelops my house, especially on weekends, creates a sense of calm. The experience of feeling the wind, seeing vultures soaring in the sky, and hearing the yaks munching on grass all encourage me to stop and be present in the moment. The absence of constant stimulation, so common in towns and cities, forces one to slow down. One learns to appreciate the small joys, like dipping your feet in a cool stream, basking in the sun on a crisp morning, marveling at the endless stars on a fall evening, or inhaling the earthy scent of the ground after a morning rain.
VI / COLLECTION HIGHLIGHTS
If someone were to own just one item from your collection, what would you recommend, and why?
I would recommend our ‘Nomad Classic’ in one of its natural colors. It is Norlha’s very first creation, and our Artisan favorite.
Are there recurring motifs, techniques, or colors you’re particularly drawn to when designing? What makes them meaningful to you?
Design is no longer a solitary endeavor for me; my creative team now leads the way. One recurring technique we use is overfelting, where light weaves are combined with loose fibers and gently matted together through the felting process. Much of our inspiration comes from the way threads are left to weather the elements of nature. The frayed edges, slits in the fabric, and loose threads all evoke the story of the sun and wind sweeping across the plateau, touching the prayer flags and nomadic tents.
VII / BRANDS & INFLUENCES
The art direction and storytelling behind your collections is striking. How do you approach your campaigns and visual elements ensuring they align with the brand’s ethos?
The art direction and storytelling behind our collections are deeply influenced by the unique environment of our village. Our in-house art directors, photographers, stylists, and designers spend months here, immersing themselves in the nature, people, and culture of the plateau. This deep connection to our surroundings ensures that every campaign and visual element authentically reflects the brand’s ethos, allowing for a fresh, unique portrayal of Norlha that is grounded in our principles of sensitivity and artistry.
While I have great respect for established, iconic brands, I’m especially drawn to the innovation and energy of emerging designers. Who are the brands or talents inspiring you right now, and who do you consider the 'ones to watch'?"
We have many talents who inspire us, and who we have had the pleasure to work with. These include, Roosmarijn Pallandt, Nikki Mcclarron, Kin Chan Coedel and Elise Gettliffe.
VIII / CLOSING REFLECTION
Looking back, what has been one of the most rewarding moments for you since starting the brand?
Most recently, a rewarding moment came from the overwhelming number of young locals who applied for positions in the atelier. Some of the applicants, now in their early twenties, were toddlers or five-year-olds when I first arrived in Ritoma. I felt proud of how we had persevered over the years and were now able to offer valuable skills and employment opportunities to the next generation. It was truly a gratifying moment.
What’s next for Norlha, and how do you hope to evolve in the years to come?
We will continue to explore the vast potential of yak fiber through design, artistry, and quality. Norlha is about strengthening its foundations, and we hope to inspire other companies with our commitment to patience and responsibility.
Norlha is the Tibetan Plateau’s first yak khullu atelier. They opened our doors in 2007 in Ritoma Village, a nomad settlement comprising 230 families, 6000 yaks and 20,000 sheep. They now employ 130 people, all former nomads or members of nomad families, who have spun, woven and felted for generations. Still, creating a modern, marketable product required thinking and innovation as the local tools, drop spindles and blackstrap looms, were not conducive to commercially viable production.
For more information about the brand, visit norlha.com
Atelier images captured by Kin Coedel and Nikki McClarron. Product and campaign images captured by Ana Larruy. Homewear images captured by Pia Riverola and Ana Roque. Founders portrait and Images captured on the land and models with yaks captured by Kin Coedel.
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