The Puonlaisen is one of the most intricate and prized traditional handwoven cloths of the Hmar people. The name Puonlaisen literally means “a cloth with red at the center,” derived from the Hmar words Puon (cloth), Lai (middle), and Sen (red). True to its name, it is a red-striped cloth featuring a vivid red central band bordered by two black stripes, though its design is far more elaborate and symbolic.
It is adorned with several traditional motifs, notably:
a) Sakei Zang Zie: This design resembles arrow-like patterns and is interpreted by the Hmars as the markings on the back of a tiger. The word Sakei means tiger, Zang refers to its back, and Zie denotes design or pattern.
b) Disul: In Hmar, Di means love and Sul means abandoned. According to oral tradition, this motif originated from a tragic love story - a Hmar girl, heartbroken after her beloved’s untimely death, visited his grave until she too passed away in grief. Their souls met after death but could not stay together due to divine law. Before their final parting, the girl wove this design so that whenever the boy’s spirit saw it, he would remember her love forever.
Traditionally, the fabric also features other intricate motifs such as Lenbungthuom woven into its body. The interplay of red, black, and other subtle hues gives the Puonlaisen its striking appearance and timeless appeal.
Regarded as the most exquisite of all Hmar textiles, the Puonlaisen holds deep cultural and emotional significance. It is traditionally worn by women during festive dances, ceremonies, and important community occasions, representing dignity, joy, and artistic excellence. To own a Puonlaisen was once considered a mark of honor and prestige - a treasured possession of every Hmar woman.
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According to Hmar oral tradition, the Puonlaisen is believed to have originated in Khawbung village, Mizoram, where a woman named Pi Tlingi, wife of Pu Ahau of Khawbung, first wove this exquisite cloth. Using natural dyes extracted from local tree barks, roots, and minerals, she crafted the earliest Puonlaisen - a striking embodiment of creativity and cultural pride. Later, as ready-made dyes became available, her niece Hawikim of Khawbung refined and reinterpreted the patterns, enhancing its beauty and appeal. The brilliance and vibrance of Pi Tlingi’s creation earned it the enduring name Puonlaisen, meaning “the red-striped cloth
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The process of dyeing and weaving the Puonlaisen required great patience and skill. In the past, weavers used natural dyes made from tree barks, roots, and minerals. The red tones came from sertlum (orange) or sendang (pinkish red) shades, while the darker hues were produced using charcoal black. These colors were carefully blended to create a rich and harmonious composition that remains unmatched in Hmar textile tradition.
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Design and Patterns of Puonlaisen:
The Puonlaisen is characterized by a rich interplay of vertical stripes in vibrant hues - red, black, green, yellow, white, and pink - woven symmetrically across the cloth.
• The design includes geometric motifs such as diamonds, chevrons, and stepped triangles, which are symbolic of protection, fertility, and harmony.
• Alternating broad and narrow vertical bands form the main layout, giving the puon its striking rhythmic balance.
• The central field often features bold black or maroon stripes flanked by intricate, multicoloured patterns on both sides, creating a sense of symmetry and continuity.
• The use of contrasting colour sequences (especially red and green) signifies vitality, strength, and connection to nature - key themes in Hmar cosmology.
Colour Palette:
Traditionally, the dyes were extracted from natural sources - roots, leaves, bark, and soot - producing deep and enduring shades of red, black, and green. Today, synthetic yarns have allowed brighter, more durable tones while preserving traditional arrangements.
Technical Features of Puonlaisen:
Material: Originally handspun cotton yarn, now often replaced with mill-spun threads for uniform texture.
Weaving Technique: The puon is woven on a backstrap loom, requiring meticulous control to maintain pattern alignment across multiple colour bands.
Dimensions: Typically around 2 meters in length and 1 meter in width, large enough to serve as a ceremonial wrap or display cloth.
Weave Structure: The weave is dense and balanced, ensuring durability and firmness, with patterns incorporated through supplementary weft techniques - where extra threads are inserted to create raised motifs.
In contemporary times, the Puonlaisen has transcended its traditional use. Young Hmar designers and artisans are now reimagining the classic motifs and patterns into modern fashion - transforming the Puonlaisen into jackets, skirts, tops, bags, and accessories. This creative revival has not only kept the heritage alive but also allowed it to evolve gracefully with changing trends.
Today, the Puonlaisen stands as both a cultural emblem and a work of art, symbolizing the enduring beauty of Hmar craftsmanship. It tells a story - of skill, identity, and the timeless artistry of Hmar women who wove their heritage into every thread.
