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

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

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

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

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

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.

Comments from the Chief guest

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.

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.

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)

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)

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.

News & Events ‎(Book Release & Panel Discussion)‎

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)‎

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

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.