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Fashion designers who have contributed to the handloom narrative of India
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Ritu Kumar (centre)<br />
Ritu Kumar (centre)
Handloom in fashion design
13 min read . 27 Aug 2016
Shefalee Vasudev, Supriya Dravid , Praatika Mehra
Fashion designers who have contributed to the handloom narrative of India
Fashion is the “tail end" of the work that handlooms have achieved or need to achieve, says designer Ritu Kumar. And rightly so. All the same, if anyone can give this narrative the upward curve it needs at this juncture, it is fashion designers. Creating highbrow aspiration, turning handlooms, including Khadi, into affordable luxury for a discerning clientele, fashionizing the weave, modernizing the handwoven sari, making design interventions to save weaves from the sea of power-loom fabrics, launching sustainable businesses with weaving clusters—designers have introduced an urban sensitivity to handlooms. A majority of them—from Tarun Tahiliani, J.J. Valaya or Abu Jani-Sandeep Khosla of the senior cadre to Nachiket Barve, Rimzim Dadu and Swati Kalsi among the younger brigade—work with crafts, creating beautiful embroideries and reinventing traditional embellishment, dyeing and printing techniques on handlooms. But this story limits itself to those whose focus has been on handloom interactions. Designers like Bappaditya and Rumi Biswas of bai lou or Rta Kapur Chishti of Taanbaan—to give just two names—have strong handloom viewpoints too, but we have focused here on those who show at fashion weeks. This is not the ultimate directory, only a representative idea of Why: Abraham & Thakore (A&T) are the handloom masterclass. Their work is culturally reflective, mirrors top fashion trends in simple-complex ways and is commercially accessible. The strong, graphic black and white Ikat design that has seeped down to craft bazaars is an A&T signature. An instance in houndstooth pattern woven in silk is in the permanent collection of the Victoria and Albert Museum. There is, of course, their work with Mangalgiri weaves, Jamdanis and Banaras brocades. Patterns of vertical and horizontal checks were woven like a ‘chatai’ (mat) for Banaras brocades, with Lurex instead of ‘zari’. Another collection used Eri, Muga and Tussar silks from the North-East that were woven in Andhra Pradesh with Ikat patterns and temple borders, while Tussar was woven with brocade in Varanasi, with leopard-print patterns achieved through digital printing and embroidery.
Vision: “Handloom must be promoted and understood as affordable luxury. India has the most diverse handwoven textile tradition and we must ensure that the weaver benefits economically to continue it. With competition from cheaper, mass-produced, mill-made textiles, handwoven fabrics need a premium value and aggressive marketing," says Abraham. work.
Why: Abraham & Thakore (A&T) are the handloom masterclass. Their work is culturally reflective, mirrors top fashion trends in simple-complex ways and is commercially accessible. The strong, graphic black and white Ikat design that has seeped down to craft bazaars is an A&T signature. An instance in houndstooth pattern woven in silk is in the permanent collection of the Victoria and Albert Museum. There is, of course, their work with Mangalgiri weaves, Jamdanis and Banaras brocades. Patterns of vertical and horizontal checks were woven like a ‘chatai’ (mat) for Banaras brocades, with Lurex instead of ‘zari’. Another collection used Eri, Muga and Tussar silks from the North-East that were woven in Andhra Pradesh with Ikat patterns and temple borders, while Tussar was woven with brocade in Varanasi, with leopard-print patterns achieved through digital printing and embroidery.
Vision: “Handloom must be promoted and understood as affordable luxury. India has the most diverse handwoven textile tradition and we must ensure that the weaver benefits economically to continue it. With competition from cheaper, mass-produced, mill-made textiles, handwoven fabrics need a premium value and aggressive marketing," says Abraham.
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