Unexplored Versatility - Series on Sari in Apparel Magagine

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

Times of India: A Tribute to Patan Patola

Jetwings. May 2010: Draping Traditions

Design for Ilkal Saris

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

Design for Kota Doria Saris

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

Ms Kaur appreciates 'Indian Saris'

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."

Snapshots from the Seminar

The Financial Express - making a business sense of Indian Saris

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

Excerpts from an interview with ‘Trellis’ *

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

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.

Endorsement by Dr Eiluned Edwards

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

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

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

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

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.

“Neechod” or “Saaransh”

“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

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

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)