Indian Saris in the Italian newspaper, La Stampa

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.

Select Readings on Saris and Handlooms of India

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.
Jhala, Uma De, Brocades of Ahmedabad: Craft Documentation. Ahmedabad: NID, 1981.
Journal of Indian Textile History. 2nd ed. Ahmedabad: Calico Museum of Textiles, 1996.
Abhilasha, K, and Das, Purvi, Maheshwar in Transit: Documentation on Woven Fabrics. Ahmedabad: NID, 2004.
Katiyar, Vijai Singh, 'Indian Saris: Traditions - Perpectives - Design.' New Delhi: Wisdom Tree and NID, 2009.
Katiyar, Vijai Singh, ‘Home Textile Exports: Design Issues, Challenges and Opportunities.’ 7th Asian Textile Conference. The Textile Association. New Delhi. Dec. 2003
Katiyar, Vijai Singh, ’Innovation in Textiles: Emerging Indian Design Approaches.’ 2nd International Textile Conference. The North India Section of Textile Institute. New Delhi. Dec. 2004.
Katiyar, Vijai Singh, Need Assessment Survey Reports on Handloom Industry in Arni, Coimbatore, Rasipuram, Trichy, Thirubhuvanam, Kanchipuram and Vilandai Devangar. Ahmedabad: NID, 2004-07.
Koppar, D. H., Tribal Art of Dangs. Baroda: Department of Museums, 1971.
Krishna, Nanditha, Arts and Crafts of Tamil Nadu. Ahmedabad: Mapin Publishing, 1992.
Lynton, Linda, The Sari: Styles-Patterns-History-Techniques. London: Thames & Hudson, 1995.
Mathur, Nikhil, `Rehwa Maheshwari Handloom Weavers.’ Economic and Political Weekly. Aug. 2006.
Mehra, Priya R., Kumar, Tushar and Bannerji, Nivedita, West Bengal & Bihar: Saris of India. Comp. and ed. Rta Kapur Chisti. Ed. Martand Singh. New Delhi: Amr Vastra Kosh, 1995.
Mehta, Rustam J., The Handicrafts and Industrial Arts of India. Bombay: Taraporevala’s, 1960.
Mehta, Rustam J., Masterpieces of the Female Form in Indian Art. Bombay: Taraporevala’s, 1972.
Michael, R., and Parikh, M., Documentation of Jala Weaving techniques of Benares. Ahmedabad: NID, 1986.
Mookherjee, Ajit, Banaras Brocades. New Delhi: Crafts Museum.
Moti, Chandra and Doshi, Saryu, Treasures of Indian Textiles Calico Museum. New Delhi: Marg Publications, 1980.
Mulk, Raj, Textiles and Embroideries of India. New Delhi: Marg Publications, 1965.
Nayar, Shubhra, The Chettinad Saris - An Exploration: Diploma Project. Ahmedabad: NID, 2007.
Patel, Shefali, Sarees of Gadwal: Craft Documentation. Ahmedabad: NID, 1982.
Phagre, Shruti, Jhini Bini - A New Direction for Maheshwari Handlooms: Diploma Project. Ahmedabad: NID, 2004.
Ramani, Shakuntala, Sari: The Kalakshetra Tradition. Chennai: Kalakshetra Foundation, 2002.
Riazuddin, Akhtar, History of Handicrafts: Pakistan-India. Islamabad: National Hijra Council.
Roy, Jasmine, DWIJA - Revisiting Jamdani Textiles: Diploma Project. Ahmedabad: NID, 2002.
Roy, Tina, Bomkai - Silk Saris from Western Orissa: Craft Documentation. Ahmedabad: NID, 2000.
Saraf, D. N., In the Journey of Craft Development 1941-1991. New Delhi: Sampark Publications Division, 1991.
Seemanthini, N., Annapurna, M., Syamasundari, B., Latha, T. and Uzramma, ’Marketing Handlooms.’ Economic and Political Weekly. Aug. 2006.
Shah, Shailaja, The Paithani Sari: Craft Documentation, Maharashtra. Ahmedabad: NID, 1997.
Singh, Gurdev, Non-Farm Rural Products: Marketing and Financing. New Delhi: Oxford & IBH, 1994.
Singh, Reena, Benaras Brocades: Craft Documentation. Ahmedabad: NID, 1980.
Sisodia, Anuja Kumar, Baiga Saris of Dindori - Woven by the Panika: Craft Documentation. Ahmedabad: NID, 2006.
Somashekharan, Smitha, Neriyath Mundu Weaving of Kerala: Craft Documentation. Ahmedabad: NID, 1992.
Swarup, Shanti, 5000 Years of Arts and Crafts in India and Pakistan. Bombay: Taraporevala’s, 1968.
`The Tamil Nadu Tribes‘. Bulletin of the Madras Govt. Museum. 16.3 (2006).
Tantavi - A Breakthrough in Handloom Fabrics. New Delhi: NCTD, Ministry of Textiles.
The Timechart History of India. U.K.: Robert Federick Ltd., 2005.
Tripathi, Dwijendra and Jumani Jyoti, The Concise Oxford History of Indian Business. New Delhi: Oxford, 2007.
Watson, John Forbes, The Textile Manufacturers and the Costumes of the People of India. Varanasi: Indological Book House, 1982.

THE INDIAN SARI: AN UNENDING METAMORPHOSIS

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.