Indian Saris

Unexplored Versatility - Series on Sari in Apparel Magagine

2010-12-31T00:37:00.000-08:00

2010-12-28T22:21:00.000-08:00

A feature from the book, 'Indian Saris: Traditions - Perspectives - Design' in 'Maharashtra Ahead' : Part-3

2010-05-16T21:51:00.000-07:00

Feature from 'Indian Saris: Traditions - Perspectives - Design' in 'Maharashtra Today' : Part-2

2010-05-11T20:16:00.000-07:00

A feature from the book, 'Indian Saris: Traditions - Perspectives - Design' in 'Maharashtra Ahead' : Part-1

2010-05-07T21:16:00.000-07:00

Times of India: A Tribute to Patan Patola

2010-05-05T19:55:00.000-07:00

Jetwings. May 2010: Draping Traditions

2010-04-24T22:31:00.000-07:00

The Hindu, Chennai: A tale of Six Yards

2010-04-15T07:07:00.000-07:00

http://www.hindu.com/mp/2010/03/29/stories/2010032951010800.htm

Video on Sari Book Launch at Chennai

2010-04-08T20:03:00.000-07:00

http://chennaionline.com/video/index.aspx?vid=1922&src=hp

DNA, Bangalore: Six Yards of Style

2010-04-06T01:25:00.000-07:00

Times of India - Chennai Times: Sari State of Affairs

2010-04-04T21:12:00.000-07:00

2010-03-31T20:08:00.000-07:00

Indian Express, Bangalore - A Salute to the Indian Drape

2010-03-29T21:54:00.000-07:00

The Hindu - Metro Plus, Bangalore - Events: 'An Ode to the Sari'

2010-03-29T02:15:00.000-07:00

News coverage on Bangalore Lanuch of "Indian Saris: Traditions - Perspectives - Design" http://www.thehindu.com/mp/2010/03/29/stories/2010032951140300.htm

2010-03-28T21:09:00.000-07:00

Book Launch : 'Indian Saris: Traditions - Perspectives - Design'

2010-03-18T05:05:00.000-07:00

BANGALORE

Venue - Oxford Bookstores
Leela Galleria Leela Palace Shop No. B4 To B8 23 Airport Road Bangalore - 560008
Date - 25 March, 2010
Time - 6.00pm
Chief Guest - Vani Ganapathy
Guest of Honour - Prasad Bidappa

CHENNAI

Venue - Landmark Bookstore
LANDMARK LTD, Chennai Citi CentreNo: 10 & 11, DR.Radhakrishnan Road, Mylapore, Chennai – 600 004
Date - 26 March
Time - 6.30pm
Chief Guest - Gowri Ramnarayan
Guest of Honour - Anita Ratnam

2010-01-22T04:32:00.000-08:00

2010-01-12T23:43:00.000-08:00

2010-01-06T20:57:00.000-08:00

Interesting article: Sketching in the coal mines
http://careers360.com/news/3690-Sketching-in-the-coal-mines

Design for Ilkal Saris

2009-12-23T02:18:00.000-08:00

Glimpse from a final year project done by a textile design student of NID, Priyanka Patel

Design for Kota Doria Saris

2009-12-18T21:36:00.000-08:00

Glimpse from a final year project done by a textile design student of NID, Lisa Methew

2009-12-16T20:49:00.000-08:00

2009-12-10T04:55:00.000-08:00

NID Convocation on 8th December, 2009

2009-12-07T21:53:00.000-08:00

223 graduating students from 17 UG & PG programmes with NID faculty members assemble in Paldi campus, Ahmedabad for group picture. The occassion is celebrated in traditional Indian attires; men wearing kurta-payjama and women in saris.

Padma Bhushan Sir Mark Tully, eminent broadcaster & writer is the Chief Guest on the occassion this year.

Ms Kaur appreciates 'Indian Saris'

2009-12-04T05:59:00.000-08:00

Valuable words of encouragement and a moment of joy that needs to be shared with everyone now. Ms Gursharan Kaur, in her inspiring message sent to Wisdom Tree, has appreciated the book, 'Indian Saris: Traditions - Perspectives - Design', and sends her best wishes for its success. Ms Kaur is the wife of India's Prime Minister Manmohan Singh.

She writes, "I found the book to be really beautiful in design and deep in content. My best wishes on the exquisite piece of work."

2009-11-30T22:14:00.000-08:00

2009-11-30T03:05:00.000-08:00

2009-11-29T02:49:00.000-08:00

2009-11-27T01:56:00.000-08:00

'Indian Saris' amongst top seven and the best coffee table book of the season - Hindustan Times, New Delhi

2009-11-24T03:58:00.000-08:00

Design for Nuapatna Weavers

2009-11-19T19:52:00.000-08:00

Nuapatana - a village in the Cuttack district of Orissa is a home of skillful, fun loving people. The village carries with itself an 800 year old history in Ikat weaving. Traditionally produced and managed by craftsmen themselves, these products were either consumed by the local population or by people from closeby regions. Today these traditional craftsmen communities are becoming increasingly vulnerable to the challenges of changing socioeconomic realities brought in by an array of ‘emerging lifestyles’. One way to empower the craftsmen to handle such a challenging situation is to reorient their design skills with quality consciousness and market intelligence. This project “Design Intervention in Hand-woven ‘ikat’ Fabrics at Nuapatna, Orissa” was initiated by the department of Handlooms & Handicrafts, Government of Orissa .The project formally began in November 2007 through the 'International Centre for Indian Crafts' at NID and was for a carried out for a period of over 8 months. The challange was taken up by Anup Choudhary, a Textile Design student at NID as part of his final project.

After the initial research, the primary focus was shifted specifically towards improvement of fabric quality rather than just the development of new design range for saris. Training programmes were initiated to make the weavers understand the necessity of new quality parameters besides paying minute attention to details like color matching, edge finishing, etc. These training sessions provided new insights into the weavers' lives. The interactive sessions gradually extended to deal with the issues and problems from micro to macro-level.

The project did have its share of up and downs. Sometimes work had to be completely stopped due reasons such as yarns getting stuck to each other due to extremely hot summer in the region, while on some other days people would simply not work on account of a ceremony in the village. The most crucial challenge was to build a self sustaining work force, where weavers would also spend quality time thinking and not just executing designs as instructed by the designer.

With changing times many elders in the weaver’s community felt that the value of a hand woven cloth is diminishing. Unconvinced with several other design projects done in the region, there was strong apprehension for any more new design projects. It was a tough task to identify a few expert and dedicated weavers, initiating sampling and prototyping, building new networks with select markets and thereafter persuading other weavers from the community to get involved in making new designs that promised better livelihood opportunities. Anup tells that it all was part and parcel of the work but certainly a great learning experience.

Anup's work was displayed at NID recently for his evaluation jury. The range of saris done in double ikkat technique is very exciting. After completing his academic requirements, Anup has committed himself to work as independent design entreprenure with the same group of weavers. He designs and markets his double ikat saris to many retail stores. The quality of work and Anup's level of involvement fairly demonstrates the potential and possibilities of founding new creative directions for traditional but disadvantaged sari weavers. I take pride in sharing a few pictures from his project on this blog. Complete project document is available in Knowledge Management Center at NID.

Pictures from Delhi Launch on 11.11.2009

2009-11-16T21:22:00.000-08:00

After the wonderful success post the London launch held earlier in April, whereby Indian Saris : Traditions - Perspective - Design has caught the fancy of art, design and fashion lovers across UK, Europe and United States – not just the visitors at the Manhattan Barnes & Noble Bookstore but also at the museum shops like the British Museum Bookshop – Wisdom Tree and NID launched the book in Delhi at a glittering event co-hosted by the Craft House and Chivas.

The young generation of achievers – Bhavana Reddy, Monisha Gupta, Nida Mehmood and Ruchi Goyal Kaura wore their favorite saris and shared their special relationship with it, providing an interesting take on the future of Indian saris.

Shilpa Das, Head - Publications at NID conveyed the vote of thanks.

Maharani Chandresh Kumari, Member of Parliament, Lok Sabha launched the book in the presence of well known fashion designer Ritu Kumar.

Vijay Singh Katiyar, the author of the book added, “My engagements with the handloom sector as designer and the first hand insights derived, necessitated me to do this book. Design and its comprehensiveness play a vital role in the growth and development of the handloom sector. Usually the sari and its traditions have been studied and described more from the socio-cultural perspectives. Holistic understanding of sari as a product and its tacit relationship with the user is the focus. My endeavour is to present the sari and its nuances afresh from a designer’s perspective for the benefit of common audience. Design elements from the traditional practice of sari can contribute immensely for the future growth of the creative industries in many innovative ways. This book has been a labour of love for me and I am humbled by the amazing response readers have sent from across the globe.”

Leading fashion designer Ritu Kumar stressed about the need and approaches to carry forward exceptional traditional skills and vocabulary in meaningful ways.

Maharani Chandresh Kumari also brought and showed some exquisite textiles from her royal family collection. The gesture was applauded by all present.

Commenting on the interesting co-publication Pradyumna Vyas, Director NID stated, “The success of this book and the acclaim it has received has encouraged us to give a renewed impetus to our publishing program and you will soon see many more beautiful books emanating from NID. It has been a wonderful experience working together with Wisdom Tree and we look forward to a long relationship with them.”

Commenting on the success of the book, Shobit Arya, Publisher Wisdom Tree said, “Indian saris is an epitome of Indian ness and this brilliantly illustrated and thoroughly researched book does full justice to the great Indian fabric which has draped the beautiful Indian woman for hundreds of years. Deservedly, it has already gone into a reprint even before its first India launch.”

Indian Saris lends a new dimension to the way the traditional Indian sari is looked at, and upholds it as an epitome of holistic design with a unique creative expression. In the backdrop of Indian social-cultural and economic ethos, the book unfolds the mesmerising woven yards of the sari, the quintessential piece of garment that has draped the Indian woman since time immemorial.

The volume, with over 892 visuals, aims to delight and enrich the aesthetic experience of the reader with information on a wide range of saris from both the past and the present and ultimately introduces the contemporary design initiatives taking place in the sector. It enumerates the fascinating accounts of the sari’s traditional significance, the diverse styles of weaving, design vocabulary, and even the myriad styles of draping found across the sub-continent. It is indeed a glowing tribute to the magic flowing out of the deft hands of the Indian weaver and to the undeterred artistic spirit of the sari.

Wisdom Tree is an independent Indian publishing organisation that believes in creating books that are Indian in essence and global in appeal. Wisdom Tree books reach across the globe having been translated into several foreign languages and being sold in all the English speaking countries of the world. Eminent and acclaimed writers who have chosen Wisdom Tree to showcase their work include Karan Thapar, Shubha Mudgal, Kapila Vatsyayan, Amit Dasgupta, Ashwani Lohani, Suresh Oberoi, Jaya Jaitly, Bharat Thakur, Sonal Mansingh and H.Y. Sharadaprasad, among others.

Author’s Speech at the national launch of ‘Indian Saris: Traditions – Perspectives – Design’ in Delhi on 11.11.2009

2009-11-14T04:13:00.000-08:00

Maharani Chandresh Kumari ji, Ritu Kumar ji, Director - NID, distinguished members from design & art fraternity and delegates,

The first thing I would like to say is 'thank you' for having taken out your time to be with us this evening. Your presence is a demonstration of solidarity that you have in your hearts for the cause of Indian textiles. I am well aware that many of you have been contributing significantly to the crafts of India. For me, it is an extraordinary privilege to be in your company and share some insights gained through my close contact with the handcrafted textiles of India — with particular reference to the saris of India.

There could be no better place than Delhi for the national launch of this book, as the city is home to a large number of creative professionals. Policy framework for the development of handlooms in the country is also determined here. I wish to share my experience and intent to engage in a renewed dialogue with people and institutions to initiate meaningful partnerships for sustenance and growth of Indian textiles.

The idea of globalization and dealing with its issues is not new to India. Traditional Indian textile industry down the ages has amply shown a resilience to deal with it through innovation and dynamism. If we discount the dynamics of power and politics of our history, the foreign intervention and business interests in the region have had some positive impact on the profile and structure of the Indian textile industry. The reputation of Indian textiles reached far and wide to many new shores which, were not necessarily dealt with earlier by the Indian textile communities. New elements kept being assimilated in our design vocabulary. The concept of production line was established. Many new varieties were developed specific to the interests of new markets. The interaction amongst the artisans across the production centres improved.

The situation was to the gain for all stakeholders till the introduction of the detrimental diktats of British rule. It was this period when many exquisite crafts got extinct. However, we could overcome such adversaries through the Swadeshi movement led by Mahatma Gandhi and post independence craft revival movements. But, it is important for us to note that it has been to our great advantage that many foreign artists, scholars and surveyors, since their very early visits to India documented many exquisite textiles and other crafts in detail. A great deal of revival initiatives in the twentieth century for some exquisite Indian textiles by heritage conservationists could only be attempted due to the availability of such records — especially for the textile traditions that had languished under the impact of machine-led industrial revolution of the nineteenth century and also due to the sharp decline in the demand of many varieties during the two World Wars. In the era of intellectual property driven global society, we need to learn lessons from our past and rightfully claim our heritage and indigenous knowledge through quality research and publication programmes in the country.

Foreigners in pre-independent India did not find a trade interest in the sari. So, its existence and continuity remained interwoven with the successes and declines of other major varieties of Indian textiles — particularly, in terms of its design, production and styles of draping. The Indian sari could out-survive other major trends in Indian textiles and fashion due to inherent tradition bound continuity of certain ethos and values of Indian society. It remained one of the core products from the family of uncut-and–unstitched range of Indian textiles which a traditional pit loom was originally fine-tuned to and engineered for. The day Indian handlooms stop producing saris, the very existence of handlooms in India will have no music. They shall lose the inherent identity that we all love and cherish.

In India, for a practising textile designer, it would be a rarity if one did not get an opportunity to design saris. Today, when I look back, I consider myself fortunate to have got such an opportunity right from the early part of my career as a textile designer. Since 1987, I was happy designing hand woven saris—it was always like beginning to work on a new canvass each time where opportunities for creative expression are comparatively much higher than any other commercial category of textile products. One could simultaneously explore and design inexpensive but colourful cotton saris as well as rich and exotic silk varieties at the same time.

But, the excitement of the initial period could not last long. One was soon to feel concerned by a number of issues that were beyond the obvious or the market success of new design collections of the sari. There are a host of issues such as, poor socioeconomic conditions of the weavers; survival and continuity of the icons of cultural identity in design that is constantly being influenced and invaded in modern India; tension between traditional ethics and tenets of globalisation. Of course, the sustainability and continuity of diverse traditions of the hand woven sari that continue to offer meaningful employment opportunities to millions of Indians, outgrew the otherwise simple design brief and called for meeting the larger challenges.

Earnest attempts were made with the interdisciplinary support systems of the National Institute of Design to address the needs of handwoven saris with a new perspective in order to meet the challenges of socio-cultural responsibility in design interventions. The design teams increasingly became multifarious and the collaborations in the field grew much deeper. Relationships with the market forces were redefined. Focus was brought to the empowerment of all the stakeholders from raw materials to production to distribution. The unique concept of ‘technologically-enabled-design-studio-on-the-move’ worked much better compared to traditional ‘remote-control-approach’ of the designers. Long term commitment and hand holding of the producer communities was meticulously embedded in the design methodology. Working for the handwoven sari sector in India now calls for many new capabilities that were traditionally not considered by the textile designers. The book, ‘Indian Saris: Traditions – Perspectives – Design’ derives considerably from such ideas and first hand experiences. The deliberations call for equilibrating the needs and aspired priorities of the sari weavers, designers and the users in a well considered design process. An approach that not only creates the products that will sell but also nurtures the indigenous practices and identities to flourish. The initial chapters in the book articulating the history and typology of the Indian sari traditions from the point of view of skills, materials, techniques and innate human creativity and people centricity, provide a backdrop to the reader to understand this new approach of Indian design in the traditional sari weaving sector of India.

At the turn of the 21st century, official records show that there are 6.55 million handloom weavers in the country. Nearly half of them are engaged in sari weaving itself. Further, a sizable number of people engaged in activities like supply of raw materials, sales and marketing gain from the industry. With over 80% of these artisans being inhabitants of rural areas, the industry continues to remain the second largest provider of alternate employment after agriculture in the rural economy of India. Most importantly, with items made by hand using locally available materials, often with the use of simple tools, most crafts practices are sustainable and environment friendly. Unlike any other form of dress, the saris of India frequently function beyond their basic role of ornamentation or utility. The inherent innovativeness and diversity of the sari traditions exemplify that the sari weavers continue to have tremendous amount of creativity. Each tradition in itself is such a relevant concept that it lends many ideas to set-up new formats of creative industries for much needed economic progress in the region. This book is a tribute to the great Indian master weavers.

The premise of this publication is that the emerging issues and problems related to the sustenance and development of Indian textiles and fashions are very different from what they were in the past. With the changes in socio-cultural and economic profile of consumers, there needs to be a reassessment of the original objectives of design in this sector. While many of the problems from the past may continue to exist, new environment calls for a difference in approach and methodologies by designers and policy makers. The attempt of this book is also to establish new connections between our age old traditions and the advent of modernity. I am hopeful that the effort to demystify design through this book to make it understood by a larger cross section of people in India and across the world will be rewarded through your valuable feedback and suggestions.

Before I conclude, I wish to share that putting together this book was a long and arduous task. Two individuals who constantly motivated and encouraged me in this initiative are Shobit Arya and Shrikrishna Kulkarni. I stand enriched with a redefined friendship with both. My sincere gratitude to both of you present here. I thank everyone at NID who actively supported this work particularly, the Director - NID, and my colleague Shilpa Das who is heading Publications at NID.

Thank you very much.

2009-11-12T20:00:00.000-08:00

India Launch of 'Indian Saris: Traditions - Perspectives - Design'

2009-11-07T04:57:00.000-08:00

After a very successful International Launch in London in April this year, Wisdom Tree, New Delhi & the National Institute of Design(NID), Ahmedabad is happy to announce the national launch of the publication, “Indian Saris: Traditions – Perspective – Design” at the Metropolitan Hotel, New Delhi on 11th November 2009. Maharani Chandresh Kumari, MP - Lok Sabha has kindly given her consent to be the chief guest. The book will be released in presence of Internationally reknowned fashion designer Ritu Kumar. Other dignitaries expected to be present at the function, to name a few, are dancer Bhavana Reddy, fashion designer Nida Mahmood and Monisha Gupta and Ruchi Goyal Kaura. The young achievers will be wearing their favourite sari and sharing their special relationship with it.

The book on Indian saris celebrates the meaningful engagement of contemporary Indian design with the traditional handloom industry of India. This visually delightful publication rediscovers the hand woven sari, an iconic traditional product of India for its conceptual strengths that are relevant to the contemporary markets. The book has been published by Wisdom Tree, New Delhi in association with NID.

We all at NID, and Shobit Arya - the Publisher, hope that the event will immensely motivate the designers and everyone else related with heritage and handlooms to further the cause of handlooms and the contemporary Indian design. The event is expected to be attended by a good number of people from the design fraternity and the Government.

2009-11-04T03:20:00.000-08:00

2009-10-12T20:24:00.000-07:00

Snapshots from the Seminar

2009-09-25T00:27:00.000-07:00

2009-09-23T06:23:00.000-07:00

"Design for Indian Saris' in a Indo-Italian Seminar at NID

2009-09-21T22:01:00.000-07:00

The Financial Express - making a business sense of Indian Saris

2009-09-10T01:44:00.000-07:00

To read this review, click on the link through title of this post.

Indian Sari in 'Ahmedabad Mirror'

2009-09-03T06:36:00.001-07:00

Indo-Finnish Design for Maheshwari Sari Weavers

2009-08-29T03:30:00.000-07:00

Maheshwar in Madhya Pradesh is the home of one of India's finest handloom sari woven with distinctive designs. As is the case with many handloom clusters in India, for the issues of sustainability of traditional form of weaving, it has become necessary to search new design idioms that could connect with the aspirations of modern consumers in high-value markets for the benefit of the traditional weavers.

In a unique initiative for extending cutting-edge design support to the Maheshwari weavers, the idea of bringing together designers from Finland and India was explored. The initiative is led by Liisa Piitulainen-Numminen and Amita Sahaya through Findia Foundation, New Delhi. The seeds of this project were sown about a year back in a round table at the Finnish Embassy in New Delhi where some well-known Design experts from both the countries participated and discussed the strategy and level of this international partnership. The project is being supported by the Office of the Development Commissioner, Handlooms, India. The idea is to carry out contextual product innovation and create new market linkages for Maheshwari fabrics. This collaborative project between Indian and Finnish designers and the crafts persons involves:

Innovative Product design
Knowledge-exchange between India & Finland
Assimilation of Indian traditions and the user-centric approach of Finnish Design
Exploring high-end value segments in export markets
Introduction of design innovations for greater penetration into the domestic market
Sustainable approach to Maheshwari fabrics, with particular focus on women weavers to enhance their opportunities and empowerment

First set of new design collections are now ready to be launched at Habitare Fare ’09 from 9-13 September 2009. I am happy that the design intervention makes comprehensive use of the ideas and approaches discussed in “Indian Saris: Traditions – Perspectives – Design” and has benefitted.

Indian Saris in the Italian newspaper, La Stampa

2009-08-14T22:48:00.000-07:00

Valeria Fraschetti, an Italian journalist working for the Italian newspaper La Stampa recently approached and interviewed for making an article on how Indian fashion is changing and less and less women are wearing saris nowadays. Her questions and the answers are shared here;

VF: Many young urban girls nowadays look at the sari like an impractical "grandmother's garment". Is this because of the growing "westernisation" of Indian fashion trends? Or it may also due to the availability of cheaper garments than saris?

VSK: Yes. It is true to a great extent that there has been westernisation of Indian fashion trends especially amongst the younger generations. Perception of saris in traditional sense has been more as an element connecting within a scheme of cultural ideology and philosophy that represented a traditional way of life. After the medieval period of India, the notion of 'fashion' as understood by younger generation of today, has neither been the approach nor the aspiration of most sections of Indian society. In the subsequent era, the age-old cultural dynamism weakened and social norms became increasingly rigid.

Since independence, western model in education, rapid urbanisation and enhanced awareness through multiple means of communication have been the factors that are fast modifying the individual notions of progressiveness and modernity. The perception of many young people has changed towards the way they dress up. As they see affluence of western ideas, many are inclined to consider western fashion synonymous to freedom and liberation. Ideas of fashion also come to discarding things that are old. Research on this subject reveals -- though many among urban youth consider the sari impractical as everyday wear-- they are giving up saris more due to a desperate search for new identity that identifies with being 'cosmopolitan' and 'global'. Many amongst youth no longer want to be associated with some specific old customs and values that have plagued the Indian society since long. Western fashion is in a way their sense of protest against the rigidity of unjust social norms that are often seen resisting the change.

Cost factor does not have much relevance in this case as a range of equally cheap saris have always been available in the market. Nowadays also the market is full of printed and power loom produced low-cost saris.

VF: Though many Indian women still love to wear saris at formal occasions such as wedding, would you say that sari is going to be a dying garment?

VSK: Despite odds, the use of saris continues amongst many Indian women. The market size is still very large. They are worn by the women who either value the aesthetic nuances of complex Indian culture (as in case of educated urban class) or by the ones who need to comply with established norms of their immediate social environment (as in case of most women from rural India).

Sari represents the elements of diverse cultural identities in collective sense. Though there are many influences that have been assimilated in the culture and social structure —as we witness in history of India — traditional cultural practices down the ages are considered to be a personal privilege by most Indians. It would be perhaps too paranoid a view to consider it as a dying garment. But we can easily say that it is under transition and transformation; much more than ever before. While the dimensions and format of sari have now become standard, modes of its surface ornamentation have become varied and experimental. Sari that was once only handcrafted, with the developments in technology and fashion, is now being experimented with many ways of production processes and drapes. While many other forms of traditional costumes have gone in oblivion, sari continues to withstand the pressures of modern lifestyles. Its survival is also due to the intrinsic style statement that connects a sari flawlessly to both traditional mindset as well as modern outlook. With the progress in economic terms and in education, there is renewed interest of Indian women seen in saris. I am keen to add that it’s only the demand for cotton saris, which were used for everyday wear, has sharply declined. But at the same time, the demand for many exquisite varieties has gone up as women having more disposable income prefer to buy expensive sari for occasional wear. Even the women who seldom wear saris keep buying them as a precious possession in their wardrobes. So in certainty it is not an end for saris. As Indian fashion and design industry matures, we may soon witness new trends with saris.

VF: The handloom weaver community famous for their saris, such is the one in Varanasi, are facing a hard time. Imports from China and shifting taste in fashion have their share of responsibility for this situation. In your opinion, what can be done to help those weavers meet the changing fashion taste in Indian society?

VSK: The key character of traditional creative industries in India such as in hand looms has been evolution through innovation. Most traditional sari weaving centres, such as the one in Varanasi, are facing difficulties due to frozen attitude towards the innovation. The inherent dynamism is lost to a great extent. It’s not so much for the flagging capabilities of weavers or competitive open markets but more due to recurrently constricted policy framework that lacks vision and nurturance from the support mechanism that is devoid of innovation-led dynamism. While traders and qualified ones gain more control in the matters of hand looms, the weavers await much needed recognition and returns for their creative labour. The systems need to recognise and facilitate the weavers through appropriate modes of intelligence and creative means of entrepreneurship. Most existing institutions set up for this purpose lack the necessary talent to do so -- or they still need to inculcate sensitivity to deal with creativity and culture driven industry. Awareness, promotion and distribution are some important issues besides many other challenges that need creative solutions.

VF: Is there still a language of saris? How much can a sari design or way it is folded tell about the cast or the economical status of a woman? Can you make a couple of example, pls?

VSK: As far as design styles of sari are concerned, despite some overlaps, fortunately the design language of most traditional styles still remains distinctive. But its draping styles have come to be more uniform. It is the 'ulta-pallav’ style that has become very popular across India. 'Sidha-pallav’ style is seen amongst elderly, economically weaker sections and in rural parts.

Distinctions in draping styles based on the caste have now nearly become extinct, essentially as most people do not wish to be associated with a particular caste. Some interesting styles can be seen on religious and ceremonial occasions of tradition loving communities. For example, kachcha style of drape amongst Maharashtrians, and the distinctive drape styles of Tamil Aiyer and Aiyanger community women. Many tribal communities across Bihar, Chattisgarh, West Bengal and Orissa are upholding their traditional and unique styles of drapes. What is changing rapidly in case of tribal cultures is that the cheap mill printed synthetic saris are replacing the traditional hand-woven saris due to economic compulsions.

Sonia Gandhi appreciates, 'Indian Saris: Traditions - Perspectives - Design'

2009-07-23T03:54:00.000-07:00

Since its International launch the book 'Indian Saris: Traditions - Perspectives - Design' in third week of April, 2009 much appreciation and encouragement has been coming from many eminent individuals and experts from across the continents. These kind words reaffirm our belief that the book is receiving the interest of many. Once again, it is heartening to share that President of Indian National Congress Party Ms Sonia Gandhi --in her message sent to Wisdom Tree, the publisher--has appreciated the book and sent her best wishes for its success.
Indeed a big encouragement for all of us concerned with this publication celebrating Indian handloom weavers and their iconic designs for saris.

Design for Indian Textiles and Fashion: Traditions to Modernity

2009-07-10T03:43:00.000-07:00

Panel discussion on the above topic was a part of the event that coincided with the launch of the publication, Indian Saris: Traditions—Perspectives—Design at the Nehru Centre, London on 20 April 2009. The discussion was moderated by Karen Spurgin, a senior consultant designer from UK. The other members from UK included Sophie Roet, Design Consultant; Prof Jimmy Stephen-Cran, GSA; and Dr. Eiluned Edwards, V&A scholar. Shashank Mehta and Vijai Singh Katiyar were on the panel from India. Each panelist initially introduced the approach of textile and fashion design from the point of view of their own country and experience. Besides other important points, the overall view that emerged was for the need to collaborate and work together in the area of Indian crafts and textiles. Some of the panel experts who have had the contacts with India amply lauded the potentials of and possibilities with Indian crafts and handlooms. But they also laid emphasis on the need for endeavors that could go beyond the mere simple design interventions and deal with complex social and cultural issues as well. Many delegates also actively participated in the later part of discussions and shared their insights. All the panel members agreed to further collaborate and continue this dialogue in meaningful ways. The chief guest Lady Shreela Flather also took an active interest and participated in this discussion. A summary of the contributions made by each panel member is as below:

Shashank Mehta
Shashank Mehta articulated various approaches that NID has developed over the last five decades working with the traditional crafts sector in India. He stressed on the significance of sustained inputs and handholding while working with the crafts and craft communities. In his opinion, designers working with the crafts persons in India often need to go beyond providing simple design solutions contributing only to the look and function of the craft products—they also need to take up the priority of improving the quality of life of the artisans through the design initiatives. Otherwise it is frequently seen that design in the crafts sector has been mostly benefiting the designers only—not the artisans working in far flung areas. Many Indian crafts continue to struggle for sustenance and survival. Therefore the focus must be on devising a holistic approach. It has been realized over and over again that the design interventions for the informal sectors and at the grass root level demand much different methodologies than what is practiced for the design and product development in most other sectors of the industry.

He pointed out that now with the overly saturated market conditions, there is a visible demand for the customization of various products and services—crafts provide this opportunity as their inherent strength. Design in crafts, with its intrinsic understanding of the interaction between the object and the user, thus can greatly leverage the traditional crafts to help reach out to the international markets with a clear focus on the needs of target audience.

Shashank also put forth the proposal that the aim of the panel discussion should lead to objective integration of emerging ideas that can further be utilized for the enrichment of Indian crafts and the design profession in form of meaningful strategy. Thereon a situation specific approach for Indian crafts could be detailed out that helps to take them beyond their existing opportunities. He felt that a continuous knowledge exchange with the international design fraternity for the ways to empower the craft communities in India is a much desirable approach today and perhaps the way forward.

Eiluned Edwards
Eiluned lived in Gujarat for several years in the 1990s and have return every year for further research, liaising with craftspeople, non-governmental organisations (NGOs), entrepreneurs and state agencies. For several years now she has been in active touch with these artisans and therefore has been able to closely witness the needs and potentials of the crafts practice in India. In her opinion Indian crafts and their practice offer a viable option for socio-economic development. Rural craftspeople miss opportunities because they do not have direct access to markets because of geography in the case of those in rural areas, and language. She also made the point that NID has never admitted the son or daughter of a craftperson to any of its courses – this may be because of language but is significant. If the country’s premier design institution purports to support craft traditions, and has identified the need for professional design intervention in order to sustain and develop them, it would seem to her that training the rising generation of craftspeople would be an obvious step.

Eiluned also talked about the foundation of Gujarat State Handicrafts Development Corporation and Gurjari in 1973 and their role in re-juvenating craft. She drew attention to the recent work of NID in producing Handmade in India, a compendium of Indian craft, long overdue, which after 40+ years consolidated the admirable craft documentation since 1961 Census. She pointed out the significant role of NGOs in craft development; their sustained input at grassroots has been one of the key factors in creating opportunities for craftspeople, developing training (computers, language, etc) and opening up access to new markets through exhibitions and sales events. Due to the inherent diversity in expression and design vocabulary, Indian crafts are relevant to international customers. Therefore it is important that the design fraternity should come forth to play a pivotal role in bringing in viability and support to the crafts practice in India. Many revival efforts in the craft development have sustained and have initiated many young people in India to take up working with the crafts as their profession. She felt happy that with the intervention of many institutions, revival of many traditional and environment friendly practices such as the use of natural dyes could become possible in the crafts sector. She called for enhanced efforts in such directions through a collaborative approach.

Sophie Roet
Sophie recounted her experience working with the Indian artisans in Kolkata where she had utilized available crafts skills for development of new range of products suited to the taste of the western markets. Her designs are showcased by Victoria & Albert Museum as well. She reaffirmed the continued interest for traditional Indian handicrafts and skills in the west. She however felt that the issue of quality in design and workmanship, crucial for crafts to succeed in the market, is a priority area that should be strengthened in a focused manner. Maintaining the quality as part of craft production and product specifications should be a key concern of designers working with Indian crafts sector. Often one finds the quality parameters fluctuating with the levels of wage compensation given to the artisans. While the artisans should be offered reasonable rewards for their labor, devising capability enhancement support systems and their effectiveness is also necessary to achieve desirable level of quality.

Empathetic approach to crafts and the environment within which artisans operate can help designers to effectively perform their much needed mediatory role to connect traditional crafts with the contemporary markets. Development of new collections using design vocabulary of Indian Crafts—using available skills and fresh ideas for a product—could also offer meaningful possibility for socio-economic development. There should not be any conflict of commercial and social development goals in the context of crafts in Indian sub-continent. Overall, Sophie felt that there is much better promise working with crafts persons in the region when compared to hand production in China. Innovative craft-based products and quality could be produced better in India with adequate inputs and supervision by designers. However the norms of payment to the crafts persons must also be justifiable.

Karen Spurgin
Besides moderating the panel discussion, Karen also contributed her own perspective on the subject. She recounted the design sensibilities and prerequisites that are necessary for making good quality textiles using handicraft techniques and resources. She richly embedded her perspective with own experience of developing new design collections for a US based company called Dosa. A good amount of production for Dosa takes place in India involving artisans from many regions. In a situation like this when the market, the designer, and the production are located far apart, there are many unique issues that need to be constantly addressed and resolved. Therefore a careful synthesis of market intelligence and the possibilities from a traditional craft resource must be realized by the designer for the product to be viable and successful in the niche markets.

Karen stated that variety of hand work needed in many design collections for Dosa can’t be done in UK. Whereas there are people in India who still continue to practice unique craft techniques. There is a good range of skills and diverse design resources that the crafts have to offer. With her specific experiences, Karen feels that the work and skills from the country are of good quality—it is worthwhile to work with Indian crafts. There is indeed good potential and opportunity that continues to exist in international markets.

Jimmy Stephen-Cran
Jimmy reflected on several ideas and made interesting observations. While appreciating the possibilities of weaving he questioned if designers of tomorrow are really interested in weaving. His observation was based on a visible trend amongst a large number of students who graduate from textile and fashion schools in Europe. The students often find weaving repetitive and cumbersome. Most of them after leaving the school do not weave. He also reflected on his concern about learning preferences of Indian students coming to UK for study. Many of them try to disassociate with their own cultural roots and want to orient themselves more towards the western ways of doing things. Jimmy felt that such tendencies create a visible division with conflict of Eastern versus Western in learning and knowledge—whereas the preferred approach should have been complementary.

While appreciating the Indian heritage of crafts and design and its contributions to the rest of the world, Jimmy pointed out a few examples of design elements and concepts for their relevance in contemporary world. Paisley motif from India was overwhelmingly appreciated and adopted by people of UK. He candidly said that now it is payback time for the design fraternity from UK through their creative contributions for the further development of Indian crafts. He added that future is all about integration of globalization with sustainability—wherein, to his opinion, India seems to have an edge due to its traditional and other cultural practices. Recycling is one such example. Take the concept of sustainable fashion—India does it better than Europe. Knowledge of vegetable dyeing in India is far better than anywhere else.

Jimmy emphasized the need to rediscover the relevance of traditional textiles and fashions with a contemporary context. There could be ample research and development interests common to the design fraternity from UK and India under this broad topic. Parallels could be drawn between kilt from UK, a traditional Scottish highland dress, and Indian saris while reinventing the cultural context and ideas for sustainable practices for textiles and fashions of our times. Both these traditional products have rich legacy and strong links to regional identity.

Vijai Singh Katiyar
Vijai gave an overview of the breadth and depth of Indian textile industry as a whole and the specific contributions made by the handloom sector from socio-economic point of view. He talked about the increased relevance of handlooms and handicrafts as means to providing sustainable means of economic activities in the era of globalization. For a country like India diverse strategies in socio-economic development are required with multiple forms of culturally deep-rooted creative ideas so that a large number of people in remote corners of the country could find alternate source of meaningful employment without getting displaced from their roots. Prevailing scenario of cultural practices, social structures and local resources in India are inherently conducive to diverse forms of craft practices. In most cases where the crafts are ailing it is due to improper connect between traditional knowledge and influences of modern lifestyles. The need is to rejuvenate the crafts through the contemporary means of design and customized support of policy conducive to growth in most cases. Due to their diversity Indian crafts offer a reservoir of creative energy due to merits of core ideas, creative concepts and sustainable processes.

Towards the end, Vijai called for enhanced future collaboration between art and design fraternity from both, UK and India, especially for the cause of the Indian crafts. He felt that many formats of associations and collaborative initiatives should be concurrently carried out for Indian crafts through design research and knowledge creation; customization of knowledge and its dissemination; exchanges, networking and support systems; and creation of market linkages and promotion.

"Indian Saris: Traditions - Perspectives - Design" is now available in United States of America

2009-07-03T01:30:00.000-07:00

Shobit Arya is back from the US trip. "The response to Indian saris has been very good.", informs the publisher. Besides many other online stores including Amazon where the book is already available, Barnes & Noble bookstores will maintain an inventory across their appropriate large stores.

Design Explorations for Cover Jacket

2009-06-19T05:22:00.000-07:00

A number of design options for cover jacket of 'Indian Saris: Traditions - Perspectives - Design' were explored before arriving at the final one. It was quite a creative effort designing the layout of this book as we aspired it to be visually delighting for the readers. Designing the cover that could satisfy both Shobit Arya, the publisher and me was the process that led to so many explorations. Special photograhy sessions were also organised just to shoot the pictures for cover. Some of the earlier layouts of the cover are shown above.

Excerpts from an interview with ‘Trellis’ *

2009-06-04T03:14:00.000-07:00

Trellis: What is this book all about and who is the target audience?
V.S.K.: With the backdrop of Indian socio-cultural and economic ethos, sari reflects the true panache of resilient Indian weavers. New designs, layouts and drapes of sari have always been the manifestation of evolutionary character of Indian sensibilities. From the range of uncut and untailored Indian textiles, saris—the mesmerising woven yards that have draped the Indian women since time immemorial—are the most evolved textile products for which the Indian pit loom was specifically engineered and perfected.

The book, ‘Indian Saris: Traditions-Perspectives-Design,’ co-published by the Wisdom Tree, India, and the National Institute of Design, India, attempts to rediscover the hand-woven sari from a textile designer’s point of view. It analyses Indian sari traditions for its conceptual strengths that are relevant to the contemporary markets. The publication upholds the sari as an epitome of holistic design with a unique cultural expression. It also showcases the meaningful engagement of contemporary Indian design with the traditional handloom industry of India. The premise of this publication is that the emerging issues and problems related to the sustenance and development of Indian textiles and fashions are very different from what they were in the past. The new environment calls for a reassessment of the original objectives, approaches, and methodologies of design in this sector. The attempt of this book is also to establish new connections between the traditions and modernity. Its visually rich content makes it of interest to designers, students, policy makers, technocrats, marketers, and businesspersons besides all those who are interested in Indian art, culture, design, and fashion.

Trellis: What led to the making of this book?
V.S.K.: During last two decades, as result of many assignments undertaken for the handloom sector in different parts of the country, fairly good first hand insights were gained. Each one of these engagements offered unique experiences of regional cultures and led to valuable understanding of living traditions of sari. Design and its comprehensiveness play a vital role in the growth and development of the handloom sector. Though hand-woven sari is inherently design driven, very little has been published on this sector by the designers themselves. Usually the sari and its traditions have been studied and described more from the socio-cultural perspectives. Holistic understanding of sari as a product and its tacit relationship with the user have barely been touched upon—a visible gap that this endeavour aims to bridge by presenting the sari and its nuances afresh from a designer’s perspective for the benefit of common audience. Role of Indian design in the traditional handloom sector and meaningful contributions made by textile designers is an important focus of this book. Design elements from the traditional practice of sari can contribute immensely for the future growth of the textile industry in many innovative ways. Ideas such as these have led to the making of this book.

Trellis: What has been the process that went into its making of “Indian Saris: Traditions – Perspectives – Design”?
V.S.K.: Concerted efforts went into the making of this book, which began in 2004 when the new saris designed for Kanchipuram, Paramakudi, Arni, Salem, Mannarkudi, Rasipuram, and Coimbatore handloom clusters were presented through a buyer-seller meet at Hotel Le Meridian, Chennai. The new collections received overwhelming response from the customers and the weavers alike. A fresh contemporary look was given to these saris using traditional design repertoire specific to each cluster. The design collections were culmination of an integrated approach where tenets of traditions were blended with judicious inputs of design, technology, marketing, and management. Overall strategy of the projects also included intense brand building and capability enhancement initiatives. The photographs of these collections made Wisdom Tree, the publisher, interested and we jointly constructed our plans to do a very different kind of book on saris including contextual approaches for design interventions. The idea was also to celebrate fifty years of formal design profession in India and its achievements. Since the aim was to make the book visually prolific, it was decided to capture both, panoramic as well as micro views of sari traditions and their diverse design elements.

The nature of the task was arduous as the subject of hand-woven saris is vast and its tradition is interwoven in the 5000 years of history and evolution of civilization in the Indian sub-continent. Research and content is rich as several design projects were undertaken concurrently in different parts of India while the book was in the making. Strategies and design methodologies utilized in these projects were tested and validated several times before their inclusion in the manuscript. Continuous updating of resource of visuals and first-hand data kept on supplementing already existing knowledge base and my previous experience of two decades of work with the handloom sector. The design projects took me to some far-flung villages in India where hand-weaving is still a major component of the way of life. This gave an added advantage of discovering some of the scantly known sari traditions in depth. All this along with literature research from exclusive resource of craft documentations at NID—that cover many handloom traditions of India—together formed a unique material for this publication. Analyzing and managing substantial amount of data itself was an exhilarating experience. The 840 images used in the book are carefully chosen from a collection of over six thousand visuals.

Some experiences with this publication are very special and close to my heart. Many saris featuring in this book are from my own design projects. Most data and information used are first-hand from reliable sources in the field itself and included after reasonable verification. A good number of old pictures are from the archive of last forty years giving a nostalgic experience. They shall provide the reader with contextual understanding of the weaving and draping of sari in the past. Product shoot for new sari designs was exhaustive and took over six months to photograph. Writing the captions of images was the most enjoyable part—each one presented in the form of a short story. Pictures and captions together will give a fair understanding of Indian saris even through a casual browse of the book.

An important decision was to design the book myself so that sensibility to textile materials, techniques, and processes could be retained in the final look and layout of the book. The response that we have received so far from across the world makes it possible to believe that we have fairly succeeded in this effort. Above all, many colleagues at NID and the publisher took keen interest and extended their help and co-operation at all stages of the making of the book. That enriched many relationships and of course the process became very enjoyable.

Trellis: How do you see sari on a global platform — what leads to its international appeal?
V.S.K.: Though Indian textiles were traded with many international shores since ancient times, saris were never a commodity traded with foreigners. Sari was primarily for Indian consumption. During British Raj sari designs and motifs were studied and documented for their intense appeal to the Indian masses. The British wanted to copy these designs for replicating them on the mill-made textiles manufactured for the Indian markets. A wider appreciation for saris emerged towards the end of the nineteenth century when the mobility of people across the globe started increasing due to availability of affordable means of transport. This was also the time when the rest of the world took a fresh and curious interest in India due to its awakening for freedom struggle. Subsequently with Mahatma Gandhi’s call for Swadeshi goods, Indian women re-embraced saris as a symbol of national pride and identity. Most Indians who migrated and settled in other countries also carried with them the tradition of saris. However, it is the pursuit of the modern world hungry for new knowledge and experiences that has led to deep explorations in old civilizations and cultures and has brought the Indian saris to the centre of the global platform in true sense. Today, world over sari as an iconic Indian product, is deeply admired for the remarkable endurance of its many traditions even under the extreme pressures of cultural invasion and evolution. Saris are appreciated for their elegance, style, and diversity of design language. The concepts, motifs, colours and layouts of saris have frequently been used by creative professionals as powerful resource of design and ornamentation. Many textiles that are used world over today were originally inspired from the technology and rich design vocabulary of saris. Fashion designers too have experimented with many traditional styles of drapes and ornamentation. In last few decades, there has been a profuse use of saris in home textiles, made-ups, and accessories. Many modern creative professionals dealing with forms of new media are often found inspired with classical compositions, formats, layouts, and ornamentation of Indian saris. And the reservoir of aesthetics and utilitarian concepts do not show the sign of getting exhausted. There is still a lot that is yet to be discovered about many regional styles of saris—and it adds to the mysticism and curiosity necessary for future developments. Therefore, I can comfortably presume that Indian sari will continue to gain greater international recognition in future. In decades to come we shall expect many more research initiatives in this area especially by designers, technologists, historians, and cultural anthropologists.

Trellis: How do you perceive the past, present and future of saris — How has the demand and the concept of saris been changed from the time it came into existence; the changes, the development, etc?
V.S.K.: India is perhaps the only country that presents unbroken legacy of its many living traditions. Though there are many influences that have assimilated in the culture and social structure—as we witness in earlier history of India—traditional cultural practices down the ages are considered to be a personal privilege by most Indians. Weight of tradition and force of public opinion had always characterized the typical behaviours and customs since ancient times. Even in today’s era of globalization and scientific logic such tendencies refuse to wane. There is distinct demarcation between the code of conduct for ‘professional-public’ and ‘social-personal’ life. While former is open to global influences and increasingly getting westernized, latter is largely governed by sensibilities that people consider traditional or truly Indian. There is a distinct contrast in dressing styles of most people for each of these lifestyle domains. However some deviations are visible—particularly in case of urban population—where people attempt to fuse western and Indian idea of dressing. Western outfits are frequently considered more functional portraying progressive outlook, but Indian styles and ornamentation are also commonly integrated to satisfy the innate need for identity or to self-impose compliances to the acceptable social and traditional norms. The needs pertaining to this complex issue of sensibilities have led to the evolution of numerous forms of fashion that are hybrid in character. Even saris have not remained untouched with this approach and agenda. While the dimensions and format of sari have now become standard, modes of its surface ornamentation have become varied and experimental. Sari that was once only handcrafted, with the developments in technology and fashion, is now being experimented with many ways of production processes and drapes.

I am inclined to thank the dynamic assimilation of external influences and resulting evolution that is responsible for making saris continue to rule the heart of most Indian women. While some other forms of Indian costumes have gone in oblivion, sari still continues to withstand the pressures of modern lifestyles. Its survival is also due to the intrinsic style statement that connects a sari flawlessly to both traditional mindset as well as modern outlook. It upholds modesty and dignity but at the same time it could also be worn to exude sensuous glamour. It all depends on the choices made by the user herself. However with increased number of Indian women choosing to take up professional career, the demand for many varieties of cotton saris, which were used for everyday wear, has sharply declined. But at the same time, the demand for many exquisite varieties has gone up as women having more disposable income prefer to buy expensive sari as an occasional wear. Even the women who seldom wear saris keep buying them as a precious possession for their wardrobes. Most weavers and designers today carry out new developments in this category only.

In recent decades, the core concepts of sari have also been taken forward for product diversification to provide economic advantage to the weaver communities. Stoles, scarves, curtain panels, yardage for Indian dresses like salwar kurta, etc. are good examples of this approach that has proved successful in the marketplace.

Trellis: How do you sari and its place in the Indian textile industry?
V.S.K.: By virtue of huge domestic market that is multi-tier and multi-segment, sari is one of the most important products for the Indian textile industry. If we take into account woven, printed, embroidered, and other handcrafted varieties together and also include the production from handloom and power loom sectors, the official statistics for the last 10 years reflect that a sari is the only textile product in India that has registered a sustained 7–8% growth annually. It’s only the traditional hand woven varieties that continue to suffer due to inappropriate policy of government and stagnant innovation in handloom sector since many decades. But the power loom sector has capitalized a lot by producing printed and woven saris. It offers cheaper variations and caters mainly to huge but lower market segments. Sari production has been the backbone of decentralized power loom sector in India. In the current scenario, there is need for national conscience to understand that the meaningful existence of the handloom sector in India depends on continuity of sari weaving. It should be a matter of our serious concern if we truly value handloom traditions as unique components of Indian heritage. Handloom fabrics are unique and add value to the range of textiles that only India can offer to the world.

Trellis: Why sari is so important for our time? Are there some relevant connections that are useful to socio-economic development?
V.S.K.: Over 60% population in India still lives in villages and semi-urban areas where crafts and handloom weaving are the only alternate source of meaningful employment activity besides agriculture. For many, handlooms and weaving are the only productive activity accessible. Since ages handlooms have supported a large number of artisans and their families in much sustainable manner. Looking at the socio-cultural dimensions and geo-demographic profiles of such regions sari weaving offers vast potential for employment generation. As I said earlier saris still have a huge market within the country but it is the existing systems and overbearing support mechanisms that are failing our talented weavers. We need to honour our artisans and strategize their creativity to make their profession lucrative enough for younger generations of weavers to join in.

At the turn of the 21st century, official records show that there are nearly 6.55 million handloom weavers in the country. Nearly half of them are engaged in sari weaving itself. Further, a sizable number of people engaged in activities like supply of raw materials, sales and marketing gain from the industry. In addition to simple, sustainable, innovative, and environment friendly practices the diverse sari traditions exemplify that the weavers continue to have tremendous imagination and creativity. Each tradition in itself is such a relevant concept that it lends many ideas to set-up new formats of creative industries for much needed economic progress in many parts of India.

Trellis: Could we know more about the book release at London?
V.S.K.: The occasion of the international launch of the book, 'Indian Saris: Traditions–Perspectives–Design' was certainly an exciting event. This first international release took place in London on 20 April 2009 at The Nehru Centre. Coinciding with the event, a panel discussion “Design for Indian Textiles and Fashion: Traditions to Modernity—UK-India deliberation,” was also organised that provided an opportunity to discuss the synergy between the traditions of Indian textile and fashion and the modern sensibilities of our times. The panel discussion was moderated by Karen Spurgin, a senior consultant designer from UK. The other members from UK included Sophie Roet, Design Consultant; Prof. Jimmy Stephen-Cran, Glasgow School of Art; and Dr. Eiluned Edwards, V&A scholar. Shashank Mehta and I were on the panel from India. The panellists introduced the approach of textile and fashion design from the point of view of their own country and experience. Here the general view that emerged was of the need to collaborate and work together in the area of Indian crafts and textiles. Some of the panel experts who have had contact with India and are aware of the activities of NID, amply lauded NID’s efforts and interventions for crafts in the past decades. They praised NID’s endeavours for the development of crafts and handlooms that have often gone beyond just simple design interventions and dealt with complex social and cultural issues as well. Most members from the design fraternity and institutions in UK actively participated in the later part of discussions and shared their experiences and insights. Many innovative ideas and possibilities came up, which will further require collaborative efforts on the part of the design and art fraternity from UK and India. The chief guest, experts on the panel discussion, and the delegates delved into engaging interaction and dialogue.

The Rt. Hon. The Baroness Flather of Windsor and Maidenhead, UK, was the Chief Guest and released the book. Her speech on the occasion instantly connected with the audience as she herself is very fond of Indian saris. Her address reflected a profound understanding and passion for the saris and Indian handicrafts. To our surprise, she had meticulously gone through the book prior to the function and described the book as the most exquisite one and a landmark achievement. To explain to the audience of UK, who may not have much understanding of the sari, she had also brought a number of saris from her personal collection and displayed them during her speech. This was an outstanding gesture of solidarity for the cause of Indian saris from her side.

Visit to the London Book Fair was amply rewarded with many visitors taking keen interest in the publication and in discussing about the handloom industry of India. Together with some of these contacts we should be able to carry forward collaborative forms of engagements with the Indian handlooms and handicrafts. London Book Fair is one of the most important book fairs. Also this year the theme for the fair was ‘India.’ We got the opportunity to meet a number of publishers and distributors. Specially, the distributors from US and UK were excited about the book and the possibilities that are emerging around it. All the buyers who visited the Wisdom Tree stall appreciated the content and the overall quality of the publication and felt that it is at par with the international standards.

Trellis: Any new plans for the future?
V.S.K.: My interest to continue working for the sari and handloom industry of India will certainly remain. The process of making this book has only deepened my concern and commitment further. About my future projects, and other initiatives for saris are going to be regularly shared with international audiences through a blog specially created for saris. It would be a good idea for me and people to wait till new plans unfold. For now I must sincerely congratulate each one who continues to support the endeavours of Indian design and its huge social and professional responsibility towards Indian handloom and handicrafts industry.

* ‘Trellis’ focuses on the latest developments in the field of Design and Research. It is a research newsletter published by the Research and Publications department of the National Institute of Design. This interview features in forthcoming issue of Trellis, to be available soon.

Select Readings on Saris and Handlooms of India

2009-05-24T05:24:00.000-07:00

Following is a list of select literature that many would find useful for their research on hand woven saris and handloom-handicrafts traditions of India. I found this resource useful during my own research and design work on Saris and handloom traditions of India and I am happy to share it here. Happy Reading!

Agarwal, A. and Damodaran, V., Handloom Textiles of Vidharbha: Craft Documentation. Ahmedabad: NID, 1996.
Ahluwalia, D., Chirayil, A., Nair, S., Pawar, D., Bakshi, D. and Kothari, T., Textiles of Andhra Pradesh: Craft Documentation. Vol. 1 – 3. Ahmedabad: NID, 1992.
Annapurna, M., ‘Transitioning Markets.’ Economic and Political Weekly. Aug. 2006.
Bakshi, D. and Kothari, T., Textiles of Andhra Pradesh: Craft Documentation. Ahmedabad: NID, 1992.
Barnard, Nicholas, Arts and Crafts of India. London Conran: Octopus, 1993.
Barnard, Nicholas and Gillow, John, Traditional Indian Textiles. London: Thames & Hudson, 2002.
Bhandani, Vandana, Textiles and Crafts of India. New Delhi: Prakash Books, 2002.
Bhardwaj, Arvind, Documentation of the Patola Loom: Craft Documentation. Ahmedabad: NID, 1987.
Biswas, A., Indian Costumes. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1985.
Boulanger, Chantal, Saris: An Illustrated Guide to the Indian Art of Draping. New York: Shakti Press, 1997.
Buhler, Alfred, Indian Tie-Dyed Fabrics. Ahmedabad: Calico Museum, 1980.
Burnard, Joyce, Chintz and Cotton: India’s Textile Gift to the World. Kenthurst: Kangaroo Press, 1994.
Cable, Vincent, Weston Ann and Jain, L. C., The Commerce of Culture. New Delhi: Lancer International, 1986.
Chandra, Pallab, Tangail Saris of Bengal: Craft Documentation. Ahmedabad: NID, 1981.
Chawda, M. and Kamalesh, T., Leizang Bai Tana: The Tribal Weaving of Chota Nagpur: Craft Documentation. Ahmedabad: NID, 2005.
Chawda, M., Design Development for the Barpalli Handloom Cluster: Diploma Project. Ahmedabad: NID, 2007.
Chisti, Rta Kapur and Sanya, Amba, Madhya Pradesh: Saris of India. Ed. Martand Singh. New Delhi: Amr Vastra Kosh, 1989.
Chisti, Rta Kapur and Jain, Rahul, Handcrafted Indian Textiles: Traditions and Beyond. Ed. Martand Singh. New Delhi: Roli Books, 2000.
Chowdhury, A. K. and Khera, M., The Craft Documentation of the Woven Sarees of Maheshwar. Ahmedabad: NID, 1997.
Consumer Purchases of Textiles – 2000, Part II. New Delhi: Textiles Committee, Ministry of Textiles, 2001.
Cox, Arthur F., A Manual of the North Arcot District in the Presidency of Madras. Government of Tamilnadu, 1998.
Dandapat, D. K., Sambalpuri Sarees: Ikat Textiles from Sambalpuri, Bargarh, Barpali and Sonepur Region of Orissa: Craft Documentation. Ahmedabad: NID, 1998.
Das, Rudranil, A Craft Documentation on Dhonekali Sari. Ahmedabad: NID, 2002.
Desai, S., Jagdale, B., Narula, V. and Prajapati, H., Cotton Sarees of Bijapur & Dharwad: Craft Documentation. Ahmedabad: NID, 1985.
Devi, Pria, The Masters Weavers. Mumbai: Tata Press, 1982.
Dhamija, Ram, Sixty Years of Writing on Arts & Crafts in India (from Roopa-lekha 1928-1988). New Delhi: Sterling Publishers, 1988.
Dharmaraju, P, ’Angara and Koyyalagudem – Marketing in Handloom Cooperatives.’ Economic and Political Weekly. Aug. 2006.
Farooqui, Chinar, Chanderi: Design Directions for Handloom Weavers: Diploma Project. Ahmedabad: NID, 2005.
Garg, Vandana, A Craft Documentation of Kota Doria Fabrics. Ahmedabad: NID, 1992.
Gude, Venkata Ramana, Jamdani Saris of Venkatagiri: Craft Documentation. Ahmedabad: NID, 1995.
Handicrafts India Year Book. 4th ed. New Delhi: Handicrafts India, 1990.
Jain, A., Guptey, A., Patel, N. and Agnihotri, S., Chanderi - A Craft Documentation. Ahmedabad: NID, 2004.
Jain, Abhilasha and Das, Purvi, Maheshwar in Transit: A Craft Documentation of Woven Fabrics. Ahmedabad: NID, 2004.
Jain, Abhishek, Makhamal: Revival of Hand Weaving of Silk Velvets in India: Diploma Project. Ahmedabad: NID, 2007.
Janah, Sunil, The Tribals of India: Through the Lens of Sunil Janah, Oxford University Press, New Delhi, 2003.
Jawdekar, M., Khatbamna, K., Mandal, A., Nath, M., Patel, J. and Sharma, S., Eri-Culture and Textiles: Craft Documentation. Ahmedabad: NID, 2003.
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Katiyar, Vijai Singh, 'Indian Saris: Traditions - Perpectives - Design.' New Delhi: Wisdom Tree and NID, 2009.
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Katiyar, Vijai Singh, Need Assessment Survey Reports on Handloom Industry in Arni, Coimbatore, Rasipuram, Trichy, Thirubhuvanam, Kanchipuram and Vilandai Devangar. Ahmedabad: NID, 2004-07.
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Comments from Prof P B Jhala

2009-05-21T05:38:00.000-07:00

Prof P B Jhala is a technocrat serving as advisor, Plasma-Textile Applications at Institute for Plasma Research (IPR), Gandhinagar. He is also the last incumbant of John Bistel Research Chair in the area of Textile Design and Technology. The chair was set-up with the endowment support from the Ford Foundation. Application of plasma on handloom silk saris to impart better functional and performance characteristics to the fabric was one of the key reseach area of the chair.

S. M. Kulkarni on 'Indian Saris: Traditions - Perspectives - Design'

2009-05-15T04:21:00.000-07:00

S M Kulkarni is a designpreneur and the director of Design Quest, a Delhi based company dealing with high quality textiles and accessories. As a textile designer himself, he has over twenty five years of experience with Indian handlooms & handicrafts and the international markets. His views on the book are hereunder,

Endorsement by Dr Eiluned Edwards

2009-05-11T23:37:00.000-07:00

Originally trained as a designer, Eiluned Mair Edwards now does research in design history and material culture, specialising in textiles, dress and craft production with a regional focus of South Asia. Her current research includes contemporary production of block-printed textiles and the use of natural dyes; dress and identity; the developmental role of state agencies and non-governmental organisations working in the craft and design sector in India; and the role of craft and embroidery in women’s development in India. She is currently writing a book on Gujarati textiles and dress.

Her thesis, “The Desert and the Sewn: Textiles and Dress of the Rabari of Kachchh,” secured her a PhD in Art History and Archaeology from Manchester University. She even holds a Postgraduate Certificate of Education in Design and Technology from Nottingham Trent University. She has also done her MA in Textiles from Manchester Metropolitan University, and her BA (Hons) in Textile Design, from Nottingham Trent University.

At present she is working at Victoria and Albert Museum/ London College of Fashion as a Joint Senior Research Fellow in Textiles and Dress. She is also a Consultant for a forthcoming exhibition on the sari (2010) at Textiles Research Centre, Leiden, The Netherlands. She has had the experience of working in De Montfort University, Leicester, as a Research Fellow in Textiles and Dress and as a Tutor of MA South Asian Arts; at Shrujan Trust, Gujarat, India, as a consultant on the development of the archive at the Embroidery Centre in Bhujodi Village, Gujarat; at Calico Museum of Textiles, Ahmedabad, Gujarat, India as a Research assistant on project to establish the Embroidery Gallery; and as a Freelance designer specialising in wall-hung textiles. She has also worked as a visiting lecturer (in Textiles, Design History and Cultural Studies) at Manchester Metropolitan University, Nottingham Trent University, John Moores University, Lincoln College of Art and Design, Farnham College of Art and Design.

Eiluned has made several literary contributions to publications. These contributions included ‘The Role of Veilcloths among the Rabaris of Kutch, Gujarat, Western India,’ Costume, vol. 43 (2009); ‘Hair, Devotion and Trade in India,’ Hair: Styling, Culture and Fashion, (2008); ‘Cloth and Community: The Local Trade in Resist-dyed and Block-printed Textiles in Kachchh District, Gujarat,’ in Textile History; ‘Patterns of Adaptation among Pastoral Nomads in Gujarat,’ South Asian Studies, vol. 21 (2005); ‘Marriage and Dowry Customs of the Rabari of Kachchh,’ Wedding Dress Across Cultures, (2003); and ‘Textiles and Dress of the Rabari of Kachchh,’ Ars Textrina, vol. 33 (2001), to name a few.

One of her forthcoming publications is, ‘Pattern, People and Place: Printed and Dyed Textiles of Kachchh, Gujarat,’ Traditional Arts of South Asia: Past Practice, Living Traditions (2009). Other works - ‘The Work of the Khatris of Kachchh: Ajrakh and Block-printed Textiles,’ (2009), Traditional Arts of South Asia: Past Practice, Living Traditions; and Review of ‘The Grace of Four Moons,’ Fashion Theory, vol. 13, (2009), ‘Textiles and Dress among the Rabari of Kutch,’ (2010), and The Idea of Gujarat - co-authored with Ismail Mohammad Khatri, are also in the pipeline.

Comments on 'Indian Saris: Traditions - Perspectives - Design' by Eiluned Edwards

'Indian Saris' at London Book Fair 2009

2009-05-07T21:13:00.000-07:00

A view of the India pavallion at London Book Fair 2009. India was the theme country this year. Our experience was enriching and rewarding in many ways with so many publishers and the range of subjects & titles that were on offer. Even to know the significant size and profile of Indian publishing industry was satisfying. The industry has a tall standing due to its reach and contributions being made to the world. Indian publishing has come a long way now. The industry leaders produce the quality that is no less compared to the best. Spread of latest technology in printing and specialisations is wide and contributing to the growth and recognisition of publishing from India.

We are happy that the Wisdom Tree has made no compromises on quality in producing 'Indian Saris: Traditions - Perspectives - Design'. I have been witnessing many developmental efforts where Shobit Arya, the publisher left no stone unturned to make sure that the book is produced meeting best of standards and parameters. As a result, the book gains a wide recognition today -- not only from international distributors but also from peers in the Indian publishing industry.

Visitors to Wisdom Tree at LBF09 took avid interest in the publication on Indian Saris. Their engrossed scrutiny has been very encouraging to the National Institute of Design, the co-publisher of the book. Indeed a good motivation to all of us involved in realising this publication.

Our experience at LBF09 was amply supplimented by the techocommercial inputs by Shobit Arya -- adding wider view of the world publishing industry; its structure, approaches and new aspirations. The insights must amply aid our future endevors in design research & publishing from India.

Comments from the Chief guest

2009-05-04T22:03:00.000-07:00

Left: The Baroness with Shobit Arya, the publisher - Wisdom Tree

Our chief guest, Lady Flather's fondness for the Indian saris aptly reflects through her engaging speech and the remarks on the publication, 'Indian Saris: Traditions - Perspectives - Design'. Shared hereunder are her comments she kindly wrote soon after the event.

2009-05-04T04:27:00.000-07:00

Coinciding with the book launch, a poster exhibition of some of recent achievements of NID was also put up at The Nehru Centre. The exhibition was retained by the Centre through the London Book Fair '09.

A part view of the guests and delegates at the event.

Further Updates - Emerging Directions

2009-04-28T05:57:00.000-07:00

The occassion of international launch of the book, 'Indian Saris: Traditions - Perspectives - Design' and the panel discussion has certainly been a great exciting event. The chief guest, experts on the panel discussion and the deligates dwelved into engaging interaction and dialogue. Many innovative ideas and possibilities came up and will require collaborative efforts from the design and art fraternity from UK and India. Our next two days at the London Book Fair 2009 were as rewarding with most people we met taking keen interest in the publication and related ties with India. Together we should be able to carry most of it forward through many forms of engagements with the Indian handlooms and handicrafts. Over coming few weeks, we promise to provide more updates, details and insights to you through this blog. So keep looking forward to it! We -- NID, The Nehru Centre and Wisdom Tree -- offer a big thanks for all your support in making the event a big success.

2009-04-28T05:37:00.000-07:00

The sari book release at the hands of the Lady Flather at The Nehru Centre. left to Right: Shashank Mehta, Vijai Singh Katiyar, Shobit Arya, Lady Flather and Akhil Succena (photograph: Amano Samarpan)

Panel Discussion on, 'Design for Indian Textiles & Fashion - Traditions to Modernity' in progress at The Nehru Centre on 20th April 2009. The discussion has led to many new ideas for collaboration between UK and India. Left to Right: Jimmy Stephen-Cran, Sophie Roet, Eiluned Edwards, Karen Spurgin, Shashank Mehta and Vijai Singh Katiyar. (photograph: Amano Samarpan)

2009-04-22T03:53:00.000-07:00

The Author with The Baroness Flather of Windsor and Maidenhead at the Nehru Centre, London on the eve of book launch

The members of the panel discussion having a discussion prior to the event. Left to right: Vijai Singh Katiyar, Dr Eiluned Edwards, Karen Spurgin, Prof Jimmy Stephen-Cran, Sophie Roet and Shashank Mehta (partly seen)

Author’s Speech for the occasion of the release of ‘Indian Saris: Traditions – Perspectives – Design’ - (full text)

2009-04-21T01:46:00.000-07:00

The Right Honorable The Baroness Flather of Windsor and Maidenhead, Esteemed experts on the panel discussion, members of design & art fraternity in UK and the distinguished delegates,
The first thing I would like to say is 'thank you' for having taken out your time to be with us this evening. Your presence is a demonstration of solidarity that you have in your hearts for the cause of Indian textiles. I am well aware that some of you have been contributing significantly through your research and professional work to the traditional handloom and handicrafts industry of India. For me, it is an extraordinary privilege to be in your company and share some insights gained through my close contact with the handcrafted textiles of India — with particular reference to the saris.

There could be no better place than London for the very first international launch of the book, ‘Indian Saris: Traditions– Perspectives – Design’ as long standing exchanges of UK and India in the field of textiles are unique from many points of views. Since the first contact established with India by the East India Company in 1606, British people found a special interest in Indian textiles. By 1618 itself, the company was successful in establishing its trade activities from both east and west coast of India. There is historical evidence that in subsequent and the early period of this era, an active trade of Indian textiles was established with important traditional textile centres like Agra, Surat, Ahmedabad, Bharuch, Bombay, Madras, Cuddalore, Masulipatam, Patna, Balasore, Malda and Dacca.

If we discount the dynamics of power and politics of that era, the British intervention in the region has had many positive impacts on the profile and structure of the Indian textile industry. Reputation of Indian textiles reached far and wide. Volume of production for many varieties was scaled up as artisans could find new market avenues. The interaction across the production centres was improved. New varieties of textiles specific to the interests of European markets were developed. The situation was to the gain for all stakeholders till the introduction and popularization of mill based production.

As you all are aware that oral instructions and rigor of apprenticeship were the only means of continuity in the traditional Indian crafts. It has been to a great advantage for all of us today that many British artists, scholars and surveyors, since their very early visits to India documented many exquisite textiles in great details. A great deal of revival initiatives in twentieth century for some languished Indian textiles by the heritage conservationist could only be attempted due to the availability of such records.

Though sari has never found a trade interest by the foreigners who dealt with pre-independence India, it could out-survive numerous trends in textiles and fashion due to inherent tradition bound continuity of certain ethos and values of Indian society. It remained one of the core products from the family of uncut-and–unstitched range of textiles to which Indian pit loom was originally fine-tuned and engineered for. The day Indian handlooms will stop producing saris; the very existence of handlooms in India will have no music. They shall loose the inherent identity that we all love and cherish.

In India, for a practicing textile designer, it would be a rarity if one did not get an opportunity to design saris. Designing hand woven saris offers creative opportunities much deeper than any other commercial category of textiles. But one would soon be concerned by a number of issues that are beyond the market success of new design collections. Host of issues such as, poor socioeconomic conditions of the weavers; survival and continuity of the icons of cultural identity that is constantly being influenced and invaded in modern India; tension between traditional ethics and tenets of globalisation; and of course the sustainability of diverse traditions of hand woven sari that could offer meaningful employment opportunities to millions, and so on; outgrow the otherwise simple design brief and call for meeting the larger challenges.

Earnest attempts were made with the interdisciplinary support systems of the National Institute of Design to meet the challenges of socio-cultural responsibility in designing saris. The design teams increasingly became multifarious and the collaborations in the field grew much deeper. Relationships with the market forces were redefined. Focus was brought to the empowerment of all the stakeholders from raw materials to production to distribution. Long term commitment and hand holding of the producer communities was meticulously embedded in the design methodology. An approach that not only creates the products that will sell but also nurtures the indigenous practices and identities to flourish. All this requires many new capabilities that were traditionally not considered by the textile designers. This book derives considerably from such ideas and first hand experiences.

At the turn of the 21st century, official records show that there are 6.55 million handloom weavers in the country. Nearly half of them are engaged in sari weaving itself. Further, a sizable number of people engaged in activities like supply of raw materials, sales and marketing gain from the industry. In addition to simple, sustainable innovative and environment friendly practices the diverse sari traditions exemplify that the weavers continue to have tremendous imagination and creativity. Each tradition in itself is such a relevant concept that it lends many ideas to set-up new formats of creative industries for much needed economic progress in the region.

The premise of this publication is that the emerging issues and problems related to the sustenance and development of Indian textiles and fashions are very different from what they were in the past. The new environment calls for a reassessment of the original objectives, approach and methodologies of design in this sector. The attempt of this book is also to establish new connections between the traditions and the modernity. I am hopeful that the efforts through this book in demystifying the role of design for saris to make it understood by larger cross sections of people in India and across the world will be rewarded through your valuable feedback and suggestions.
Thank you very much.

The Baroness Flather of Windsor and Maidenhead, JP DL FRSA is the Chief Guest

2009-04-15T02:49:00.000-07:00

The Rt. Hon. The Baroness Flather of Windsor and Maidenhead is the Chief Guest on 20th April 2009 and will release the book, 'Indian Saris: Traditions - Perspectives - Design' at The Nehru Centre, London.

20th April 2009
Panel Discussion - 1755hrs onward
Book Release and address by the Chief Guest - 1901hrs.
For detailed programme and the profiles of the panelists click on the following weblink;
News & Events ‎(Saris of India)‎

Baroness Shreela Flather is a renowned political figure from UK . Born on 13 February 1934, Baroness Flather has served as Deputy Mayor and as Mayor for the Royal Borough of Windsor and Maidenhead. She has been a life peer for the Conservative party since 1990 as Baroness Flather, of Windsor and Maidenhead in the Royal County of Berkshire. She was the first Asian woman to receive a peerage. She has been recognised as Asian Who's Who Asian of the Year 1996. She has actively contributed to the organisations involved in refugee, women, community, race relations and prison work. Baroness Flather is a distinguished supporter of the British Humanist Association and an honorary associate of the National Secular Society. She is also a member of Conservative Women's National Committee. As a member of the House of Lords, she gained attention for wearing a sari and for being among the first ethnic minorities in the house. She has also been teaching English as second language.

Strategic Design for Traditional Sari Weaving Handloom Clusters in Tamil Nadu

2009-04-10T23:49:00.000-07:00

Tamil Nadu boasts of maximum number of operative handlooms. In eighties, there were about 427,000 handlooms in the state. Out of which, nearly 283,000 are still functional as part of 1,354 handloom Weavers Cooperative Societies. The average annual production through these handlooms is around Rs.600 Crores.

Since 2004, ten sari weaving clusters have been undertaken by NID for this strategic design intervention. The clusters are Kanchipuram, Arni, Salem, Thirubhuvanam, Trichy, Vilandai Devangar, Rasipuram, Mannarkudi, Paramakudi, and Coimbatore. These design projects aimed to mobilize the intrinsic strengths relating to weaving traditions and culture and connect them to the needs of contemporary markets by developing innovative designs through value addition strategies.

Due to sheer size and uniqueness of each cluster, the design approach was meticulously planned as a multidimensional strategy. The methodology included need assessment and analytical research of the market forces to understand the consumer preferences. The outcome of this research formed the basis for the final design brief.

A key approach of the strategy was to expand the range of motifs and forms with the cluster specific flavor. This new palette of design elements along with traditional skills was used with contemporary layouts and unique styles.

The project was completely done on the digital platform which helped to complete a huge number of complex designs in a very short span of time. It also provided for development of specifications and communication of creative design components to the grass root level. The project demonstrates the unique use of IT for the handloom industry.

The product range designed includes saris, stoles, yardages and made ups that derive their design identity from the age old sari traditions. The collections in silk and cotton are aimed at domestic as well as export markets. While the new products are receiving a good response, the intervention has also succeeded in upgrading the exposure and capability of the weavers involved. Images shared here are part of some new developments from Kanchipuram and Paramakudi. Further details and the new outcome from other clusters shall be shared through subsequent posts on this blog.

A senior colleague comments on the book

2009-04-09T00:19:00.000-07:00

Errol Pires, a noted expert of international repute on ply-split braiding, took out time to go through the sari book. He has over 25 years of uninterupted and unique contributions as the practitioner of his craft. He has exhibited his work widely and conducted a number of workshops for students and professionals. Prof Errol is a textile designer and a senior faculty colleague at NID. He teaches variety of subjects in textile design including 'Surface Design' and 'Craft Documentation'. Presently he also Heads the Textile Design discipline at NID. I am happy to share his initial comments on the book as below;

Print media insert by The Wisdom Tree

2009-04-02T23:56:00.000-07:00

This ad will feature in 'The Bookseller' magazine during London Book Fair '09

News & Events ‎(Book Release & Panel Discussion)‎

2009-04-01T22:08:00.000-07:00

The members for the Panel discussion on ‘Design for Indian Textiles & Fashion: Tradition to Modernity' at The Nehru Centre, London are,

Dr Eiluned Edwards, LCF/V&A Senior Research Fellow, London, UK
Sophie Roet, Consultant Designer - Textile & Fashion, Clockwork Studios, London, UK
Karen Spurgin, Consultant Designer - textile & fashion; Co-founder, ao textiles, London, UK
Jimmy Stephen-Cran, Head of Department – Textiles, The Glasgow School of Art, Glasgow, UK
Shashank Mehta, Senior Faculty (Industrial Design); Chairperson-Research & Publications, NID, India
Vijai Singh Katiyar, Senior Faculty (Textile, Apparel & Accessory Design), Chairperson- Design Foundation Studies & International Programmes, NID, India

20th April 2009
Panel Discussion - 1755hrs onward
Book Release - 1900hrs.
For detailed programme and the profiles of the panelists click the following weblink;
News & Events ‎(Saris of India)‎

“Neechod” or “Saaransh”

2009-04-01T06:21:00.000-07:00

“Neechod” or “Saaransh” have no equivalent term in the English language that can be used to describe Vijai’s accomplishment. An ‘Epic’al essay on the most eloquent of feminine garments the Sari, “Indian Saris – Traditions- Perspectives- Design” by Prof Vijai Singh Katiyar is an outcome of decades of research, design and development both in creative as also in technology of production. He traces the history of evolution of the garment across various cultures and subcultures of the most prolific of the world’s cultures – Culture of The Indian Subcontinent, and takes us through a journey of the evolution across geographies and dynasties. Equally educative and entertaining to both – an expert or a novice, the compilation is a comprehensive publication addressing the vastness of the opportunity and the harsh challenges for the textile designers and the handloom weavers at the same time. Predominantly a handloom phenomenon historically, a sari offers the largest canvass amongst all garments of the world for the artist in the designer and the weaver to express himself in the most elaborate manner. This throws open a huge opportunity for innovation and creativity for the producers on the one hand and the contemporary designs and sensuous drapes allow making a fashion statement for the user on the other. It is very difficult to bring out in a brief note the deep richness and the vast comprehensiveness with which Vijai has treated the multifaceted business of the Handloom saris of India. An effort par excellence and an outcome so exceptional, has raised the bar beyond capacity of a mere mortal. I am sure the book shall be appreciated by the professional and the uninitiated equally well. Truly a connoisseur’s coveted masterpiece.

Dr Hemant C Trivedi is professor at Mudra Institute of Communication, Ahmedabad. He specialises in the area of retail communication. With 24 years of industry experience and over 10years of teaching, he has done substantial work on the textile sectors of India. His research work includes an extensive market study of domestic retail for handloom saris.

THE INDIAN SARI: AN UNENDING METAMORPHOSIS

2009-03-31T04:16:00.000-07:00

Prof Shilpa Das with the publication, 'Indian Saris: Traditions - Perspectives - Design'

The poetry of the Indian sari is matchless and paeans celebrating it abound in the rich corpus of Indian literature. The sweep of globalization, however, has seen India struggle to preserve the glory of this traditional and cultural artifact while at the same time assimilating new influences from other cultures. This is reminiscent of India’s post-independence years, when numerous attempts were made to preserve the fledgling handloom sector. The humble charkha had to make way for the technologically superior power looms; the aim being, India’s swift economic progress. What continues to ail the Indian handloom industry and typifies the struggle for survival of the ubiquitous sari is the attitude that the traditional and indigenous are to be dismissed as banal. It is in this context that a well-researched book on saris becomes highly relevant. Indian Saris: Traditions, Perspectives, Design by Vijai Singh Katiyar seeks to and succeeds in demystifying the Indian sari, while still maintaining that the magic hidden in the rustle and drapes of a sari will continue to remain inexplicable.

The book confirms the sari’s deep entrenchment in the Indian cultural fabric and affirms that attempts to trace the chronological authenticity of sari weaving in India are reductive. It culls out insights such as how in Indian society, weaving was traditionally looked upon as a noble art form that enriched spiritual thinking and contemporary material culture. Towards this end, it undertakes an intrepid historical journey beginning with ancient India the Indus Valley Civilisation, the confluence of Aryan and Dravidian cultures, through the Magadhan, Mauryan and Satvahana empires, the Pallava and Chola dynasties to give ample proof of the practice of handloom weaving, cotton farming, the art of dyeing and the tradition of weaving unstitched garments in India. An interesting feature of the book is the reference to temple architecture of the south; photographs show how human forms carved out on the walls present unique styles of draping the unstitched garment, a predecessor of the modern day sari. While the book concedes the patronage to the garment lent by the local royals, it generally refers to the arrival of the British Raj as portending the decline and degradation of the Indian textile tradition.

The chapter, ‘Sari: The Traditions’ traverses a wide range and describes nineteen different saris worn in various parts of India: from Andhra cotton saris to, Asavali, Patola, Baluchari, Chanderi, Maheshwari, Ilkal, Paithani, Orissa silks, to saris worn by women from tribal communities. The chapter is a treat to the reader with not only vivid pictures of saris and the designs and motifs typical to each but also sketches of the looms used. In this regard, the book, with a designer’s eye, does a good job of bringing out the finer nuances of each type of sari: historical background, colour palettes, recurrent motifs and patterns, variations, draping style, weaving techniques and looms used. It is in the variety it covers that the book scores over many of its competitors in the market.

One of the most interesting chapters of the book is the one on sari draping. It discusses the various cultural influences that led to the evolution of draping styles of the sari. The best aspect of this section is the inclusion of coloured sketches that capture in minute detail the various styles in which the sari can be draped. The book draws one’s attention to the fact that religious beliefs and rulers of a region influenced the lifestyle of the people living in a particular region. The attire was a strong determinant of the wearer’s personal, occupational and social status.

The book observes how designs on woven saris have undergone a complete transformation in contemporary times in keeping with ‘societal needs, intercultural exchanges, environmental factors and the pressing need to keep pace with the ever changing perception of perfection and utility’. It also gives details of various exhibitions that were held to spread awareness about the repertoire of handloom woven fabrics in India, while at the same time endeavouring to improve the condition of the weavers and craftspersons involved.

In pointing out timely design intervention as potentially capable of understanding people’s needs and aspirations, the author evokes his many years of experience in the sector. He urges that competition to the sari from other forms of attire, makes it imperative to connect with contemporary users of the sari. It is the ‘aspirational value’ and ‘functional reliability’ of a product that characterises its design components. The book cautions that the design interventions suggested must be objective and application-oriented, or else they will defeat the very purpose for which they have been created. The book enlists eight major issues that have hampered the introduction of appropriate design intervention endeavours. An important distinction is made between how a ‘customer’ and ‘user’ relate to a product. The book says a customer derives satisfaction by purchasing a product as he/she has the power of affordability. The user, on the other hand ‘seeks performance driven functional products that provide a completely new experience’.

The book draws attention to the creation of cooperatives which would focus on ‘liberating the weaver from the perennial problems and exploitation involved in seeking regular work from the middlemen and selling their produce’. In this context, the author notes with sadness that many handloom weavers produce commodities that are dictated by the demands of the intermediaries and not of the market or consumers.

The book gives prominence to design research and discusses how such research can help our complex textile traditions to survive. Katiyar affirms that modern textile design practice is research-oriented, thus enabling the handloom sector to come up with a comprehensive product range to meet consumer demands. Emphasising the need for design communication in the sari sector, he points out that ‘design must communicate its intention clearly at the very outset in the most sensitive manner.’ Sari traditions must be in tandem with the demands of the contemporary markets. Katiyar’s contention that the need to introduce innovations in design is limited due to the ‘structured approach of traditional Indian aesthetics’ which contrasts with the ‘unrestrained contradictions of modern creative expressions’ is debatable. However, it raises some important and sensitive questions about the dismal condition of handloom saris. Katiyar’s underscoring of the role of design communication is worth noting because the communication material currently used by the handloom sector is good enough neither to spread awareness on the value of the products nor to appeal to the emotions of the consumers. Indian Saris: Traditions, Perspectives, Design, does not restrict itself to being a mere documentation on the aesthetic details about saris in India. A distinguishing feature of this book is its emphasis on the current practice of textile design in India and the repercussions of various policies on the textile sector. It succeeds in establishing that no other attire, but the sari, is versatile enough to capture the diverse traditions, styles and the immense cultural melting pot of India. For the richness of its visuals, for the perspectives on design, the book is definitely worth a buy. (Shilpa Das with Helga Govindan)

Prof. Shilpa Das, a critical theorist, is faculty at NID in the Interdisciplinary Design Studies department. She teaches in and heads the Science & Liberal Arts programmes. Currently she is also Head of NID publications.

Comments from Prof. Ashwin Thakkar

2009-03-31T04:09:00.000-07:00

It was not only intellectual but a visual treat going through the book, ‘Indian Saris: Traditions – Perspectives – Traditions’. The book opens up with a journey, of the most colorful Indian dress, in to the historical background and takes us to the latest trends and the way in which it is draped in different parts of the country. It is amazing to see, with a renewed interest, how sculptures have had the impact on weaving. I am sure people, all over the world, will look at this truly Indian garment in a new perspective.
Prof. Ashwin Thakkar, Department of Textile, LDCE, Ahmedabad and Joint Hon.Gen.Sec., The Textile Association (India)

Review of 'Indian Saris: Traditions - Perspectives - Design' by Subrata Bhowmick

2009-03-25T23:00:00.000-07:00

On 21st februray 2009, I had the previledge of sharing the publication, 'Indian Saris: Traditions - Perspective - Design' with Subrata Bhowmick. His remarks are shared here at the end of this post.

Subrata Bhowmick is one of India’s leading graphic designers with great penchant for the Indian textile heritage. For many years, he was the design director of the Calico Museum in Ahmedabad. He is also a Creative Consultant at Mudra Communication in India. Further, his specialization includes textiles, photography, environment, graphics, book design, advertising and exhibition design. He conducts workshops for art students. His work in textile and graphics has international acclaim. His design works have been exhibited in international biennials and he has received over 50 national and international awards in graphics, advertising, photography and book design, including 18 President’s National Awards. Twice he has been the ‘Art Director of the Year’ and ‘Photographer of the Year’ in India several times.

He has contributed in building brands such as Cali-Cloth, Vimal, Dhara, Remanika, Deepam, and the Handloom House. He has also launched a brand named RmKv silks, a well known brand for silk saris from Chennai.

Subrata Bhowmick reviewing the book in his office

Brand identity designed by Subrata Bhowmick for wedding silk saris for RmKv silks, Chennai

Subrata Bhowmick's remarks on the book

The Nehru centre, Programmes

2009-03-18T23:33:00.000-07:00

Announcement for the release of the publication, 'INDIAN SARIS: Traditions - Perspectives - Design' is now available on the website of the Nehru Centre, London. Follow the link here and look for the programmes and schedule on 20th April 2009.
Link: The Nehru centre, Programmes

City of ‘Ahmedabad’ completes 600 years in 2011

2009-03-09T03:27:00.000-07:00

Here is something that all the designers, artists, architects, artisans, writers and heritage conservationists concerned with Ahmedabad need to take notice of. The historic city of Ahmedabad has just completed its 598th birthday on Thursday, 26th February 2009 and now fast inching towards completing its 600 years of its existence in 2011. Not very far away if the true spirit of this city needs to be showcased. Creative and intellectual minds in the city can look into the idea and draw innovative plans for the centenary celebrations of Ahmedabad. There is much that could be inspired from and integrated in the larger concept visualisation. The idea is appropriate to this forum as some of the key concepts of city’s visual culture trace back their link to age old language of textiles and architecture. One finds a distinct interrelation between the grammar of ornamentation in saris and the old monuments. Incidentally, the National Institute of Design (NID) will also celebrate its golden jubilee in the year 2010-11.

Though the material culture of the region is profoundly linked with the ancient Indus valley civilisation, the city of Ahmedabad has derived its unique character from the confluence of diverse ideas in creative arts, architecture, crafts and culture in different periods of known history in this millennium. The city could evolve its dynamism and influence only through trans-cultural fusion of ideas and expressions. A streak of modernity common to people here has forever carried an undeterred motivation to imbibe the innovation in the expressions of everyday life and environment.

Since the early centuries of the millennium, Asavali weavers produced exquisite saris and other brocade fabrics whose technique and distinct design style were considered so very impressive that even the legendary weavers of Varanasi and others from many parts of India were compelled to get inspired from. And of course, legendary tradition of Patola from Patan is not letting its charm fade away. The exquisiteness of patola is marvelled along the fine architectural details of the famous Sun temple in Modhera. During the 11th century, Patan was under the rule of the old Hindu monarch of Asaval or Asapalli. Both these early textile traditions display immaculate capability of weavers to innovate with the design elements from local folk culture by successfully combining them with other styles, materials and techniques that were not necessarily always indigenous. Such creative pursuit continued through woven and other crafts under the regime of Solanki king Karnadev, who had re-established Asaval as Karnavati and it included the present day Maninagar area as well.

In 1411 when Sultan Ahmed Shah shifted his capital from Patan, he decided to set up a new city at the banks of river Sabarmati with the name of Ahmedabad. In 1487, Mehmood Begada, the grandson of Ahmed Shah transformed it into a fortified city with ten-kilometre long boundary wall with twelve grand gateways. Some of these gates that still exist today remind us of the city’s glorious past. Many parts of this architecture were destroyed due the war between Peshwas and Gaikwads in 1630.

In 1573, Mughal emperor Akbar took the control of city. And it was this period when the city took new leaps in the development of many new textile varieties. Since the Sultanate period, assimilation of Hindu and Islamic sensibilities is already pronounced from the city’s textile and architectural traditions. Emergent style began acquiring precision with a trans-regional appeal. Textiles that were produced here were already exported far and wide. The ornamentation style from this region inspired the architecture of famous Fatehpur Sikri. Mughal emperor Shah Jahan is said to have spent a good part of his life in Ahmedabad and contributed to the city’s growth in textiles, architecture and other crafts. During Islamic invasions many weavers and craftspersons from the region migrated to other parts of India and contributed to establishment of several new craft traditions in the country. When the Mughal rule was upturned by Maratha rulers in subsequent era, master artisans were frequently commissioned by Maratha rulers to incorporate their skills in famous nauvari sari traditions that include paithani, maheshwari and chanderi saris. With reference to its architecture, the city of Ahmedabad for over a millennium presents a great transformation through fusion of many creative ideas. One can witness the vivid fusion of Hindu craftsmanship and forms with traditional Islamic layouts in its old architectural monuments. Shaking minarets, Bhadra fort, Siddi Sayed jali, Sarkhej-Roja, Rani Sipri Masjid are some of the great examples. The pol architecture of old walled city offers interesting insights for the concept of community living.

Birth of contemporary and modernist architecture movement in India can also be attributed to Ahmedabad when the city commissioned renowned architects like Louis Kahn (Indian Institute of Management), B. V. Doshi (Tagore Memorial Hall, School of Architecture and Doshi-Hussain Gupha), Le Corbusier (Sanskar Kendra, Mill Owner’s Association, Shodhan and Sarabhai Villas), Buckminister Fuller (Calico Dome), Charles Correa (Ahmedabad Cricket Stadium and Gandhi Ashram), Christopher Charles Benninger (Alliance Francaise). Few may be aware that the project to design the Indian Institute of Management (IIM) was orchestrated from the National Institute of Design (NID) itself.

The new form of machine led industrialisation took roots in the city after the British East India Company took its control in1818. First textile mill was set up between 1859 and 1861. First rail link between Ahmedabad and Mumbai was established in 1864. And thereafter the pace of industrial development was rapid. Ahmedabad was soon to be a well known industrial centre of the world. With its large number of textile mills, the city was known as Manchester of the East. Today it is the 7th largest city of India and one of the fastest growing urban settlements. City is currently spreading over 465 sq km.

One of the biggest movements that contributed to Indian freedom struggle came from this city only – the revolution also brought in the concept of Khadi. Mahatma Gandhi began his freedom movement from Sabarmati Ashram in Ahmedabad. Famous Dandi March also began from here only. According to Lok Nayak Jayapraksh Narayan if any city has sacrificed the most during freedom struggle and in rebuilding the nation, that is the city of Ahmedabad.

Since 1960s, with the birth of Gujarat as a separate state from Maharashtra, Ahmedabad as the first capital of Gujarat and subsequently as an important economic and cultural centre in western India, the city continues to retain its creative and cultural flavours. Today it is much known for its unique contemporary culture, distinct heritage and a visionary approach to its future. Since the early days of folk artistry—to an industrial revolution—the city today continues to live with a penchant for global lifestyle and modernity that has always remained the mainstay of its ideas and artefact. As Ahmedabad is the abode of a large number of creative minds—designers, artists, architects, artisans, performing artists and heritage conservationists—some of its glorious traditions in saris, textiles, crafts and architecture shall be brought to the fore during its centenary celebrations.

Single-ikat patola from Surendranagar & Rajkot

2009-02-21T22:29:00.000-08:00

Emerging notions of affordability and transforming profile of modern Indian women have made a big difference in the perception of Sari. New developments in sari — its designs and patterns, the color combinations and contrasts, the variety of materials and techniques — are rekindling the interest of customers for sari as a dressing option. Designers, traders, weavers and customers; all are experimenting. It is in this dynamic environment that we need to understand the single-ikat patola sari from Surendranagar and Rajkot region of Gujarat. This style has emerged strongly in last three decades in order to provide a cheaper option to celebrated Patan patola varieties.

Weaving of Patan patola on suspended loom

Traditional double-ikat patola weaving technique from Patan in North Gujarat is a highly intricate, very labor intensive and one of the high cost production of Indian handlooms. Due to its intricacies, Patan patola can be the costliest of all sari varieties woven. The Surendranagar and Rajkot patola are a low-cost variation of the traditional technique, using low-cost raw materials leading to a price differential of 1: 100 times. While a Patan patola could easily cost more than USD 2000, a Surendranagar Patola would cost just USD 20, of course sacrificing on all the merits of a genuine ‘Patola’. Government is patronising the low-cost patola weaving as it promotes employment for many handloom weavers in rural areas. A number of welfare and sustenance projects are being run by the government to popularise this single-ikat patola weaving in Gujarat. Private traders also support this variant as it has vast market of readily available customers from Indian middle class and lower middle class who otherwise cannot afford a genuine patola. With the huge cost savings in production and a perceived liking due to affordability factor, the Surendranagar Patola has became very popular in local markets of Gujarat in the previous decade. This has brought in positive changes in the lives of the many handloom weaver families who otherwise were not finding enough work.

Weft preparation for single-ikat patola from Surendranagar

But all is not well with this situation. Market for the authentic Patan patola has suffered. Now, connoisseurs value it and only rich are able to afford. The quality parameters of Surendranagar / Rajkot patola are yet to be standardized. Weavers need training to assure good design and quality. Raw materials are not in consistent supply. Quality of water available locally is not suited for good dyeing. Therefore colour matching and fastness of shades is always a problem. Getting the yarns dyed from distant places is not viable in long run. This and many other socio-cultural issues call for an in-depth study of the market and experts’ intervention in the design and production processes to bring in sustainability to this change.

A Patan patola sari on the loom

International Release of ‘Indian saris: Traditions-Perspective-Design’

2009-02-18T01:32:00.000-08:00

First international release of the book is now scheduled. It will take place at the Nehru Center, London on 20 April, 2009 in presence of audience from academic circles and industry. The event is being facilitated by the office of the Indian High Commissioner to U.K. Coinciding with the event, a panel discussion is also being organised on the theme, ‘Design for Indian Textiles & Fashion: Tradition to Modernity-- a U.K.-India deliberation’. Five eminent design experts from U.K. and India will offer their views on the subject. The deliberations are expected to pave the way for much closer future ties between the design fraternities of the two countries.

Detailed programme and profile of the panelists will be available on this blog shortly.

INDIAN SARIS: Traditions - Perspectives - Design

2009-01-21T03:55:00.000-08:00

ISBN: 978-81-8328-122-5
228pp * HB * 9" X 14"

Published by Wisdom Tree, New Delhi in association with the National Institute of Design(NID), Ahmedabad, India

This latest book by Vijai Singh Katiyar lends a new dimension to the way the traditional Indian sari is looked at, and upholds it as an epitome of holistic design with a unique creative expression. In the backdrop of Indian socio-cultural and economic ethos, the pages inside unfold the mesmerising woven yards of the sari, the quintessential piece of garment that has draped the Indian women since time immemorial.

The sari has been subjected to innumerable cross-cultural influences brought in by the rise and fall of empires that marked the history of India. Perhaps no other textile product reflects the resilience of the Indian handloom sector as the sari, a true example of fine Indian sensibilities.

The volume, with over 892 visuals, aims to delight and enrich the aesthetic experience of the reader with information on a wide range of saris from both the past and the present and ultimately introduces the contemporary design initiatives taking place in the sector. It enumerates the fascinating accounts of the sari’s traditional significance, the diverse styles of weaving, design vocabulary, and even the myriad styles of draping found across the subcontinent. It is indeed a glowing tribute to the magic flowing out of the deft hands of the Indian weaver and to the undeterred artistic spirit of the sari.

The book will be of interest to designers, students, policy makers, technocrats, marketers and businesspersons besides all those who are interested in Indian art, culture, design and fashion.