The embroidery of Kutch and Saurashtra: Part III – Ahir bharat

Ahir bharat (embroidery ) is a style of needlework practiced by the women of the Ahir community that is characterised by ornate geometric patterns (mostly circular) following one another in elaborate rhythmic rows, accentuated with a plethora of abhla (mirrors).

Photos: Vincent Boyer (Say hi on instagram @shape.photos)

This is the third in a series of blog posts discussing the needle work heritage of the Saurashtra and Kutch (also spelt Kachchh) regions in Gujarat, India, where I share a glimpse of embroidered textiles from the area that I have bought over the years as well my own creations.

You can find the first post here and the second here, I recommend that you read them as well. Embroidered pieces based on the dowry traditions of various communities in Gujarat like the Rabaris, Ahirs, Kanbis, Mutwas, Jats, Node have been an intrinsic part of the Indian arts and crafts scene.

Out of the many styles of hand embellishment from that part of the world, the Rabari and Ahir styles of needlework are by far my most favourite, I am endlessly inspired by their design language and traditional motifs. Ahirs are a cattle tending clan whose dowry traditions involve intricately embroidered pieces that just make my eyes bulge and jaw drop.

The women of this pastoral community work for years on their dowry gifts and bags that they painstakingly embroider to signify group identity as well as personal and marital status.

The first photo features an antique choli that is a few sizes too big so I knot it in the front to make it sit like i want to, it is completely embellished in the front and the back, the motifs on the back can be seen more closely in the second photo, the chaniyo (skirt) in the third photo has been hand embroidered by the women of the Boricha Ahir community in Saurashtra worn with a cropped sweatshirt and a clutch worked on by the ladies of the the Praanthadiya Ahir tribe in Kutch. The fourth photo features a vintage Pochampally silk saree worn with a swimsuit top and the same clutch.

The pink vintage choli (backless top) in the fifth photo is an oldie but a goodie, I have worn it countless times for everyday errands as well as for more special soirées. It was embroidered in the Praanthadiya Ahir style by the craftswomen of the Meghwaad Gurjar community in Kutch. The sixth photo also features a similar choli with ribbon ties at the back that almost looks identical till you look closely at the motifs.

I have shared photos of the same choli worn with a pair of denim shorts in Pondicherry it on my older blog here over five years ago.

If you look closely at the main header for my older blog you can see the chaniyo from the second photo, when it was shot over eleven years ago. Also the flared pants have been on regular rotation for a decade now, I have posted it ten years ago here. Just goes to show that if one invests in good quality pieces and hand crafted artisanal textiles, they never really go out of style.

The Ahir community identifies as gopas or herdsmen and are a part of the larger Yadav clan. As per their folk legend they are descendents of Lord Krishna and their ancestors are originally nomads from the north of India. Some Ahirs migrated to the western coast of the subcontinent along with Lord Krishna and different sub-groups settled in Sindh, Kutch and Saurashtra.

The group that settled around the Praanthad area in Kutch are now called Praanthadiya Ahir. Another sub-segment of the community originally planted roots in the Boricha region of Kutch but then moved to Jamnagar in Saurashtra in large numbers.

The various Ahir clans in Kathiawad are Sorathiya Ahirs are named after their adopted homeland, Saurashtra, Pancholi Ahir of Panchal region, Machhoya Ahir who settled by the banks of the river Machhu (of the Macchhu dam burst infamy) in Morbi and Kutchi Ahirs who originally settled around the rann but then moved south.

Women from the Meghwaad Gujjar community are very proficient at this style of needle work, so much so that well to do Ahir families get them to embellish items of significance in their home and for their trousseaus.

The motifs in the Ahir style of embroidery take a lot of inspiration from the flora and fauna around them, most motifs are simply named after their monikers from nature, like: Sachu phool (real flower), jhad (tree), suda (parakeet), mor (peacock); human figures, insects, from domestic activities, maiyari (a lady churning curd), paniari (lady carrying water pot). Depending on the destined usage of the fabric being embellished, Hindu deities like Ganesha and Krishna also feature prominently as the pièce de résistance among the motifs.

An elaborate motif created by mirrors in circular arrangement most commonly featured in this style is known as ‘dhungo’ and is very popular in the Paratharia Ahir sub-style, the top in the first and second photos is a great example. This style of needlework is characterised by the prolific use of simple stitches like chain stitch for outline, mirrors are embroidered using buttonhole or herringbone stiches, bavaliyo (interlacing) is also used elaborately while back stitch (bakhiyo) highlights the motifs and vaanu (herringbone stitch) fills gaps.

The Parathariya Ahir sub-style utilises simple chain stitch while the Boricha and Machoya Ahir sub-style employ open chain stitch to embroider the outline in a design. Traditionally the motifs were drawn free hand using the locally available clay that washes off post the needle-work.

The traditional costume of this community depicts the caste of the Ahir populace, with clothing that is generally brightly coloured, tie-dyed and richly embroidered. Older married women however tend to wear plain black and subdued colours with mashru odhnis with intricately embroidered border.

This style of embroidery is showcased in everyday clothing as well as household paraphernalia and religious objects like torans, dharaniyo, chakla, godhro etcetera.

Everyday objects of a home are decorated with intricate embellishment by the women of this community, elevating these  utilitarian products into works of art fit for museums displays.

Hand embroidered vintage denim jacket

I have a thing for oversize silhouettes but the obsession takes a whole new meaning when it comes to Levi’s trucker jackets. This vintage denim jacket got embellished with hand-embroidery and mirror work in the Rabari style, during the months in self-isolation, resulting in something that is completely unique and very much my style.

Photos: Vincent Boyer (Say hi on instagram @shape.photos)

This Levi’s trucker jacket is from the early nineties, so about thirty years old and I have worn it non-stop for over a decade.

The self-isolation phase has been trying for many of us, my anxious thoughts took a lot of effort to quell and I needed creative ways to occupy my mind and hands. Hand-embroidery has brought me a lot of joy since I was a child and while we spent increasing amounts of time at home I dove right into complicated needlework projects.

The back and front of this jacket have been embroidered in the Rabari style of needlework and took almost two months to complete. I have written in detail about this style of embroidery in a previous blog post that you can access here.

Over the past decade, I have consciously tried my hardest to buy less, shop better and create more not only because it is good for the environment but also because it helps with my mental health.

I have accumulated a lot of stuff over the years and given a lot of it away as well but I believe I genuinely have enough to last me an entire lifetime. I absolutely don’t get tempted by fast fashion anymore but I do love handloom-ed and handcrafted textiles too much to resist them.

I haven’t bought anything new fashion-wise for almost a year now and I feel I will get to a point soon when I will be happy not buying anything non-essential at all. In the first photo I wore this jacket before embellishing it with a work horse of a handwoven saree on a trip to the highlands with my trusty palladium boots. In the second photo I am wearing the same jacket after I finished embroidering it with an Ajrakh hand blocked oversize shirt, leather shorts and an embroidered leather bag.

I am one of those people who continues to wear their shorts in the winter with summer shirts, albeit with stockings plus a merino base layer.

The embroidered tooled leather bag in the photos was made by the women of the Meghwal community from Kutch and has been in constant rotation for almost ten years now. It was first posted on my old blog here.

I have detailed below why I chose to become more conscious about my purchases and what I have done to ensure that I am buying only what I need. This is just a means to contribute to a discussion on sustainability, buying less and more consciously, while we make a determined effort to walk away from rampant consumerism.

I genuinely prefer handmade and like it even more if it is me-made: I believe handmade items are the height of luxury, craft-centric clothing is the epitome of style and traditional embellishments on modern pieces are the ultimate statement in the aesthetic I prefer.

Putting my values front and centre: By wearing ensembles that prominently feature handmade and ethical pieces predominantly made by female artisans, I am making a political statement that is centred around my belief system. I refuse to be tempted into buying what I don’t need and I refuse to be coerced into mindless consumerism to belong to a certain clique. I am me and very happy in my skin.

Sometimes finding strength in embracing our authentic selves in systems that weren’t created for us is the most radical form of activism. As a wom*n of colour, I believe that fully embracing the traditional arts and crafts of my ancestors is a way for me to draw strength and resilience from generations that came before me.

Gives me a sense of freedom: Buying less stuff means more than just saving money, it means freedom from any sort of competition with someone else and it really helps me unleash my creativity. Many of us have become so far removed from the source of what we buy that we remain blissfully unaware and deliberately unseeing of the environmental plus ethical effects of producing and disposing of it all.

Not going to malls: One of the ways I initially was able to curb any temptation to buy unnecessary things was by avoiding malls unless I needed something specific. I’d rather be out on a bushwalk than wander aimlessly in malls buying things that will add to the rubbish going into landfills.

Avoiding impulse buys: I always give my self at least 24 hours before I decide on buying something even if I really want it. I also maintain a wishlist of things I want for months and have noticed that when I revisit it I am organically able to reduce the number of items in it.

I am very critical of my consumption patterns and constantly have dialogues with myself on whether i really need something as much I think I do. Trust me, it just helps to stop hoarding stuff I have no need for.

Embracing pre-loved items: One of the simplest ways for easing into a more sustainable life-style for me has been embracing used/pre-loved and vintage items into my life. It has really unleashed the creativity and made my style just the right amount of unique mixed with a little bit crazy, just like myself.

I have found truly one-of-a-kind items from vintage stores and flea markets that I now treasure, it makes me laugh to look back at a younger me who wouldn’t touch anything second-hand.

Rejecting the concept of standard sizing: I love strong shapes and easy silhouettes that play with size and proportions in natural breathable fabric. Garment sizing is a concept that I have always consciously tried to do away with and my closet consists of every size from extra extra small to large.

I believe that not focussing on sizing and embracing different silhouettes has made my wardrobe more versatile and less season specific.

Doing away with the notion of gendered clothing: Eschewing the traditional notion of men’s and women’s wear is just the first step in acknowledging that gender is not binary. Once we do away with the ideas of clothing based antiquated ideas of masculine and feminine we stop missing out on potentially great pieces.

To be truly sustainable we need to keep items in use for as long as possible, which is more achievable when swapping or selling without the boundaries of gender; thereby keeping more clothes out of landfill.

A simple way for me to practice self-care: When I am busy creating art and craft, it is oddly therapeutic, its like me giving myself permission to play. I get to create something beautiful simply for the joy of it and no monetary calculations are involved.

Drawing or embroidery gives me the opportunity to let my mind slow down while my hands are busy at work.

Finding community: Crafting has helped me connect with a lot of like-minded individuals who are also quietly intent on slowing down and consuming less. It has helped me belong to a community that is in equal parts inspiring and inviting, which I believe makes me a better person

I have a long way to go before my lifestyle is completely sustainable but I am doing better everyday. I would love to know a little bit about your journey into a more ethical lifestyle and the steps you’ve taken toward it.

The embroidery of Kutch and Saurashtra: Part II – Rabari bharat

Rabari bharat (embroidery) is one of the most famous styles of needle work from the western part of the Indian subcontinent, done by the community’s women.

Photos: Vincent Boyer (Say hi on instagram @shape.photos)

This is the second in a series of blog posts discussing the needle work heritage of the Saurashtra and Kutch (also spelt Kachchh), where I will share a glimpse of embroidered textiles from the region that I have bought over the years as well my own creations.

You can find the first post here I recommend that you read that for background information on the area. The rise of commercial embroidery based on the dowry traditions of Rabaris, Ahirs, Kanbis, Mutwas, Jats, Node and a host of other communities has been a distinctive part of Indian arts and crafts scene.

Since the advent of commercial embroidery in the mid to late twentieth century, it has gradually become an important source of income for women. The market for embroidered textiles has transformed the lives of thousands of female artisans in the rural areas of Gujarat .

Rabaris are one of the pastoral communities of the region, they were traditionally camel herding nomads some of whom have now planted roots and integrated into their local communities.

There are various meanings attributed to the word Rabari, one of them is; outsiders, a nod to their nomadic way of life or it could be a synonym for those who make soothing sounds, based on the reassuring way they communicate with their animals or many believe it stands for those who transcend rules and regulations.

The exact origin of the tribe remains unknown due to the lack of written records but many experts believe that they migrated to India from Iran via Afghanistan through Baluchistan around a thousand year ago, although this has been disputed by some, who have cited a more significant connection with the Rajputs of Rajasthan.

The majority of Rabari are spread across the north-western states of India as well as the Sindh province in Pakistan, they include 133 recognised sub castes who follow the Hindu faith. According to tribal myth they were created by Matadevi (Goddess Pavarti), the consort of Lord Shiva.

I have heard multiple versions of the story from different Rabari sub-groups, according to one of them, Parvati cleaned dust and sweat from Shiva as he meditated and moulded a camel from the dirt while in another version, he created the first camel for her as an amusement.

In both versions the camel kept escaping to explore, so folklore suggests Parvati created the first Rabari to mind it. Herding animals is therefore regarded as a near sacred occupation by the Rabari who see themselves as animal custodians rather than owners of their flock.

There are primarily three subgroup of Rabari’s in Kutch whose work I have bought over the years: Kutchi/Kachhi Rabari, Dhebariya Rabari and Vagadiya Rabari. Style of Rabari embroidery varies from subgroup to subgroup.

The main subgroups of Rabaris in Saurashtra that I have bought embroidered textiles from are: Bhopa Rabari, Gohilvadi Rabari and Panchal Rabari.

The Rabari are known for their distinctive artistic aesthetic, particularly the mirrored mud work that adorns the walls in their homes and villages. Outside of Gujarat the women of this tribe are most renowned for their detailed embroidery and beadwork.

They decorate textiles in patterns that subtly highlight significant events, rites and values in their lives, as well as historical events important to the entire clan. This helps to perpetuate the knowledge of their heritage, since they have no written tradition and rely on storytelling via their textile crafts called; gop-sanskrut.

Traditionally unmarried women embroidered elaborate items for their trousseau like batvas (small purse), chakla (wall hanging), toran (door hangings), kachliyo (extensively embellished upper garment for women), chaniya/ ghaghra (gathered skirt), ludi (shawl) kapda (blouses), kothlo/ kothro (dowry sack) married women intricately embellish children’s clothing like zuldi (elaborate upper garment for a young boy), vanzno (lower garment for young and older males), kediyu (an embellished flared upper garment for men), bandi (upper garment for men worn by themselves or under a kediyu), topi (cap), animal trappings, household items and godhiyu (cradle cloths).

Customarily, married women in these sub-groups were forbidden to leave for their marital homes till they completed the detailed embroidery on the items for their trousseaus/ dowry and it is said that many women stayed in their parental homes completing these till they were in their forties.

The phenomenon of women going to their marital homes later in life was blamed for the lowered birthrate in the communities while the passing of time and inflation in both, dowry and bride price, had brought some Rabari communities to the brink of financial and social catastrophe.

Keeping these factors in mind, in April 1995 Rabari Samaj, the governing council of the Dhebaria Rabari community of Kutch banned the making and use of embroidery and the Vagadiya subgroup followed a few months later.

In the decades following the 1995 ban, Dhebarias have completely stopped wearing embroidered clothing and now a bulk of Rabari women wear all black and men wear all white.

Despite them being banned from wearing embellished clothing, many Rabari women in Kutch and Saurashtra create amazing needlework pieces, for government emporiums like Gurjari as well as non-governmental organisations (NGOs) working in the craft development sector.

After the ban on bharat kaam, a massive market opened up for vintage Rabari textiles with collectors from overseas paying a premium to acquire them. These days very few artisans follow the old-style bharat and most just create as per design instructions from those who place the commercial orders.

The first photo above features a Rabari embroidered bag from Saurashtra with prominently placed mirrors and some beaded details worn with a handwoven saree from Srikalulam in Andhra Pradesh. You can look at the bag more closely in the second photo.

The third and fourth photos feature a hand embroidered patch of fabric, again from Saurashtra that I now wear as a skirt and a vintage Levi’s trucker jacket that myself and the boy embroidered during our stint in self-isolation. The design for the patch on the denim jacket is based on an old cushion cover embroidered by Rabari artisans that I was obsessed with when I was younger.

The fifth photo features a vintage embroidered choli that is a wonderful example of the traditional motifs of the Dhebariya Rabari Community from Kutch.

Traditional and current Rabari style of needle work make extensive use of the interlacing stitch locally called bavadiyo or bavaliyo tanka, broad chain stitch (chireli sankli), Herringbone stitch (desi bharat), various kinds of mirror (abhla) work like bandha kaanch (bound mirror), dana (basting), interlaced and normal button hole stitch, double running stitch (bakhiyo tanka) as well as extensive patch and applique work.

There is so much more to share about the Rabari design language and their motifs that I can’t really condense it in one post. I have a few vintage Dhebaria Rabari pieces that I will share in another post along with detailed information on commonly used motifs in this style of hand embroidery.

Fun fact: The mirrors in the Rabari style of embroidery are bigger than most other styles because the tribe believes that mirrors ward off evil, therefore bigger the mirror, the better it is.

If you enjoyed reading this post and want to know more about embroidery styles of the region, I recommend the following books:

1. Threads of Identity: Embroidery and Adornment of the Nomadic Rabaris: Judy Frater
2. The Embroidery and Beadwork of Kutch and Saurashtra: J.M. Nanavati, M.P. Vora, and M.A. Dhaky

I have a few more books on my wish list that I will share in the upcoming blog posts, so keep an eye out for them.

The embroidery of Kutch and Saurashtra: Part I

Sewing colourful designs on fabric has been a defining tradition in parts of Gujarat predominantly Kutch (also spelled Kachchh) and Saurashtra as well as in the province of Sindh in Pakistan which borders Gujarat. The motifs and designs used in different styles of embroidery from this region are traditional markers of tribe and ethnicity.

Photos: Vincent Boyer (Say hi on instagram @shape.photos)

Embroidered textiles across the world weave a tale of identity, culture and folk lore in their patterns and motifs. The above photos feature various textiles that have been embroidered by artisans in Gujarat, India as well as by me in the traditional styles of embroidery indigenous to the region.

Communitities residing in Kutch, Sindh and Saurashtra produce costumes for themselves as well as their animals plus many more personal, household, dowry and festive items and textiles, incorporating the elements of needle craft and bead work prominently using cowrie shells and mirrors.

Spending a bulk of my formative years with easy access to artisans who were adept at these craft forms has resulted in me becoming massively obsessed with collecting these textiles and learning embroidery.

I am going to share a little snippet of my collection from the region as well as my own creations in a series of blog posts discussing the needle work heritage of the area.

The first photo features a hand block print yardage in the gamthi style from Gujarat worn as a saree with an ‘ek dana’ Jamnagari bandhani blouse and a black army surplus bag featuring a Neran style hand embroidered patch. The second photo features the same style of embroidery on the bag as well as a pair of vintage Levis 501 cut-offs that I have had for years.

I embroidered and attached the red patch on the bag about seven years ago, it was featured in my other blog here and here. This period of self-isolation has resulted in me  beginning a slew of needlework projects including the denim shorts.

The third photo features a vintage embroidered skirt in the Suf style and the fourth an elaborate toran (door hanging) from Saurashtra.

I am incredibly drawn to the colours and motifs of the intricate styles in Kutch and Saurashtra. Because of the ancient tradition of trade and migration from Central Asia within the pastoral and herding communities that practice these crafts, it is difficult to pinpoint the exact home territories for these art forms. But it is apparent for anyone to sees, the design language of many styles of needle work across Central and South Asia  have similar origins.

In the content below I am going to try and share some interesting details about the various embroidery styles showcased in the photos above.

Kutch: The name may have been derived from the word ‘kachho’ which means turtle or tortoise because the shape of the area resembles a shell of one. The word is also said to mean that which is intermittently wet and dry because a large part of the area is shallow wetland which gets waterlogged during the rainy season and  dries out during the rest of the year.

Overall I know of eight distinct styles of embroidery in Kutch that have differing interplay of stitches, mirrors, motifs, borders and style.

There is a commonality of dress amongst all of the communities residing in Kutch: a chaniyo/ ghagro (gathered skirt), kancholi (long backless blouse), kapada (short blouse) and odhni (long veil down) for women. The men traditionally wear a dhoti (a length of long fabric draped on the lower body), vanjani (gathered pants), kediyu (gathered short shirt), kameez (long shirt), bandi (short shirt), shawls, topis (caps) and turbans. However, specific differences in colours, fabric and ornamentation, designate each community, and within them age and marital status.

Neran: This style is showcased on the bag in photo one and two and the denim shorts in photo number two.

The term neran is derived from the word nen- which means eyes/eyebrow. If you look closely at the pair of shorts and the fabric bag, the smaller diamond in white denotes the eye, the surrounding curved design in brighter colours symbolises the brow. And the entire motif is always outlined by black thread.

This style of embroidery uses mirrors (abla or abhla) sparingly and is charaterised by the extensive use of the buttonhole stitch (locally called jat). This type of needle work is a hallmark of the Marwada Harijan community and was very popular a few decades ago.

Suf or soof: This style is showcased on the skirt in photo number four.

The intricate suf embroidery is a type of counted yarn embroidery that looks more like a weave than surface ornamentation, which is practiced continuously by the Sodha Rajput community since the thirteenth century.

The word suf literally means a triangle and this type of work is characterised by a heavy use of symmetrical geometric motifs that are exceptionally complex. It is counted on the warp and weft threads from the back and worked in satin stitch.

The design and the motifs aren’t pre-drawn onto the base fabric, the artisan envisions their plan as they go and counts it out in reverse while developing the pattern around a progression of triangles and diamonds.

More often than not tiny  fragments of mirrors (abla or abhla) are incorporated into the intricate pattern. This type of work was generally used to embellish a bride’s collection of apparel included as part of her family’s gifts to the bridegroom’s family.

The skirt I am wearing in the photo is a vintage piece featuring elaborate suf motifs that I treasure and have been wearing for close to two decades. This style is also practiced extensively in the Sindh region of Pakistan.

One day I hope to travel there to pick up some Sindhi Ajrakh and hand embroidered treasures in person.

Saurashtra: In Sanskrit, saura means sun, and rastra means worship – the region was named after its ancient sun worshiping Aryan inhabitants. It is the large central to southern peninsula of Gujarat which more recently is locally called Kathiawar or Kathiawad after the Kathi people.

Kathi or Kathipo: The vintage toran (door panel) in photo number four  is a wonderful example of Kathi (also known as Kathipo) style of embroidery, which is used primarily on household articles. This type of needlework forms one of the most prominent and oldest among embroidery traditions in the region.

The name of this style of embroidery is derived from its practitioners, the Kathi people, who are a land owning community consisting of three clans: Wala, Kuhmn, and Khacharas. The kathi style has since been adopted by other groups, like the Gohilvadi Rabaris. Yes, there are plenty of Rabaris outside of Kutch.

This style features an elongated darning stitch (adiya-fatiya), chain stitch, and an interlacing stitch (desi bharat) used in conjunction with tiny pieces of mirrors and worked with silk floss (heer) onto a cotton surface. This toran depicts deities of baby Krishna and Ganesh and features the words Bhale  Padharya (you’re welcome into this home). Both geometric and figurative imagery abound on these surfaces.

A Toran is deemed to be a protective and auspicious talisman for the inhabitants of the house as well as for the guests. I have a major obsession with collecting vintage hand embroidered and beaded torans from Kutch and Saurashtra.

Fun fact: The mirror work patterns that we see today traditionally didn’t use mirror or glass but tiny fragments of mica that were locally available or pieces of tin, silver or coins.

If you enjoyed reading this post and want to know more about embroidery styles of the region, I recommend the following books:

1. Catalog of Embroidered Textiles from Cutch and Kathiawar in the Indian Museum: Santipriya Mukhopadhyay
2. The Embroidery and Beadwork of Kutch and Saurashtra: J.M. Nanavati, M.P. Vora, and M.A. Dhaky

I have a few more books on my wish list that I will share in the upcoming blog posts, so keep an eye out for them.

 

 

 

Saree blouse styling ideas

One of my favourite things in the spring/summer is to wear all my cropped saree blouses and cholis in fun ways…

Photos: Vincent Boyer (Say hi on instagram @shape.photos)

These photos feature a Sambhalpuri ikat fabric blouse worn with Kalamkari hand block print palazzo pants plus handcrafted wedge heeled sandals as well as with sneakers and a handloom cotton saree woven in a village called Yeditha in the Mandapeta mandal in the East Godavari district of Andhra Pradesh.

I posted a photo on my instagram last week when I wore the blouse with the Kalamkari flared pants and got a whole bunch of DMs asking me questions on the hows and whys of wearing saree blouses with anything other than sarees.

I have spoken about mixing fabrics and patterns being great fun when styling saree blouses in eclectic ways with basics other than the six or nine yards, along with some pairing ideas in a previous post here.

I totally believe that traditional saree blouses make the best crop tops and have said as much in an old blog post from four years ago here. In this post I want to talk about the little tips and tricks up my sleeve that make it easy to wear saree blouses in multiple ways:

1. Going one (or more) size/s up: Oversize saree blouses are my jam, eschewing the norm when it comes to fits is something I love and I feel that non-tight tops are more fun to style with myriad separates.
2. Adding fun details: I love adding tiny extras to my blouses, interesting details like buttons, ties, ruffles etcetera, which give me a reason to wear them with a bunch of other items in my wardrobe and get more bang for my buck.
3. Keeping the back high: I detest deep backs on saree blouses because I like to be able to keep my fits a little looser than most and also because I like using my blouses as little shrugs or tie up tops.
4. Traditional patterned fabrics: I believe traditional fabrics like khadis, brocades or handblock prints or ikats or bandhanis or hand embroidered cholis lend themselves wonderfully to outfits that can take one from a brunch or a work day to the night out in town.
5. Eschewing ideas of the perfect body: I think one of the more important reasons I am able to wear saree blouses in fun ways is that I don’t care about how fit or unfit I look. The same goes for swimwear, I don’t have the flattest stomach or toned arms or a super cute butt and that doesn’t stop me from wearing whatever I feel like in ways that makes me happy.
6. Playing with flair and proportions: Playing with fit, flair, proportions and patterns keep things interesting when styling one’s outfits and the same applies to saree blouses.
7. Relaxed denims: I find flared and relaxed pants/ shorts lend themselves easier to styling with cropped blouses than skinnier fit bottoms and in general I find my drop-crotch jeans the most fun to wear. Case in point, bandhani choli with boyfriend jeans here.
8. Ignoring other people’s opinions: There are way too many of us who think it’s okay to have an opinion on what someone else is wearing and how they have styled it. I ignore other people’s ideas and pair whatever I like together. If I am totally feeling myself, I don’t let anyone else take that away from me.
9. Steering clear of trends: I prefer classic cuts, old world crafts, ethical producers and comfy fits, no trend can make me waver from things that work for my personality, needs and a sustainable lifestyle.

I hope if there is one thing you take away from this post it is that, when it comes to personal style, do whatever makes you happy. I know I do.

A tale of drapes with Poppy Jaman

A mental health crusader, an inspiring speaker and a saree enthusiast, Poppy Jaman talks to Pleats N Pallu about her love for the six yards of unstitched fabric..

Photos: Vincent Boyer (Say hi on instagram @shape.photos)

Poppy is known for working indefategably to challenge the perceptions of mental ill health and for ensuring that mental health is a high priority for companies. In 2018 she was awarded with an Order of the British Empire in recognition of her services to people with mental health issues.

When I met her, it hadn’t been enough time for her to have shed off the awful jet lag that accompanies journeys from Europe to Australia but she was a bundle of energy and positivity, practically buzzing with joy and a certain light that many spend a lifetime trying to cultivate.

Her instagram handle is a celebration of life’s tiny moments, her innumerable travels and the versatility of the unstitched fabric. Sarees are a subject she is tremendously passionate about, she says, “My first memories of the saree are all of my mum wearing various weaves, that’s all she wore and my favourite were her Banarasi ones.”

She wore her first saree at her baby cousin’s birthday soiree, “I can’t remember what it was but I do remember wearing it with a linen tailored jacket with sleeves rolled up and shoulder pads 80’s style!”

In my opinion it is a look that is just begging to be re-created.

Poppy’s effervescent personality practically sparkles when she is talking about the ways in which she makes the saree her own. “I would always play with dupatta’s as a child. I’d wrap them in saree style and struggle to walk,” she reminisces.

She states that she does not find it hard to keep her saree love going in spite of living outside of the sub-continent. Poppy just celebrates the beauty of the unstitched drape by wearing sarees at every occasion possible and by talking about them at every chance she gets.

I am officially envious when she reveals that she has a room dedicated to sarees in her home, “It’s beautiful, the display of colours always cheers me up and never fails to inspire me.”

She says that wearing a saree feels different at different times, “Sometimes I feel ultra glamorous and then there are those pyjama-like sarees that are beyond comforting.”

Her favourite saree wearing inspirations are Rekha and her mum. To Poppy, the unstitched fabric is more than just a garment, it is about her identity, “I love the traditional Bengali drapes that I saw my grandmothers wear as that makes feel connected to my roots.”

“I also love the drape that I’ve seen women working in the paddy fields in Bangladesh wear, when I wear my saree in that style I feel productive and ready to take on the world.”

The one tip Poppy would give a newbie saree wearer is to try wearing styles without the petticoat, “It is very liberating!”

The saree she is wearing in the photos is a length of coarsely woven cotton bought back from Bangladesh by Poppy’s brother. “It’s still fully starched, so it looks big and bold. Which I love.”

“I wore it for the first time in Sydney especially for you. Little did I know you’d have me climbing trees,” she exclaims with a twinkle in her eyes.

Poppy believes that incorporating the saree in to one’s life and travel is easy, she says, “I just pack one every time I go anywhere. Dropping the petticoat has boosted my confidence and made the saree a more agile item I can sling on anytime I like, without the fuss of matching blouses and petticoats.”

Her favourite kind of sarees are soft cottons that have become wispy with age and wear. She says, “I love the way they wrap around me and make me feel completely comfortable. And I have a special place in my heart for jamdanis, the signature saree of my birth country.”

You can find her @poppyjaman on both twitter and instagram. For more such chats with other ladies with impeccable style please click here and here.

 

 

The markers of a true blue handloom jamdani from Bengal

A set of jamdani sarees framed by a quintessential Sydney harbour sunset…

Photos: Vincent Boyer (Say hi on instagram @vincetravelbook)

In these photos Koel (in the cream saree) is wearing a West Bengal Jamdani with a blouse made out of a noil silk stole and I am wearing a Dhakai jamdani with a block print top.

We both prefer the West Bengal taant jamdani because we don’t like the loose/coarser weave of the fabric from Bangladesh and find their motifs less delicate.

Both of us are also very picky about the design elements we like on our jamdanis, preferring the more intricate traditional patterns to more new age innovations.

The highly skilled master weavers of the Basak community moved from Tangail in Bangladesh to West Bengal during the 1947 partition of India as well as the 1971 war for Bangladesh’s freedom from Pakistan. They predominantly settled in and around Kalna in Purba Bardhaman district and Santipur in Nadia district, well-known for traditional handloom fabrics. Weavers from this community now produce some of the most intricate jamdani textiles.

The jamdani textiles incorporate an extra weft insertion technique which means that with this procedure, artistic motifs are produced by a non-structural weft, in addition to the standard weft that holds the warp threads together. The standard weft creates a fine, sheer fabric while the supplementary weft with thicker threads adds the intricate patterns to it.

Each of the supplementary weft motifs are added manually by interlacing yarn with fine bamboo sticks using individual spools.

A handloom textile is exactly what the word suggests: a hand (or foot)-operated loom is used to weave textiles without the use of electricity – on either pit or frame looms. It is the oldest textile production technique which goes back more than 2,000 years in India.

If you are keen to know more about this weave please check out my previous posts featuring vintage jamdani sarees here, here and here. In this post below, I have tried to list a few ways to ensure you are buying the real deal and can tell the difference between an actual handloom jamdani and the many inferior powerloom versions floating in the marketplace:

1. Carefully check the back of the fabric: If you want to recognise a true blue jamdani always check the back of the fabric for parallel looping lines from the supplementary weft threads of the motifs. The weaver cuts the extra weft yarn to the length that they will need and then the same thread curls pulled back and forth. After each pull, the loom is pedalled, adding an extra weft and tightening the design.

In a fake jamdanis, the edges of the motif are cut with a scissors and don’t interlace with each other. So if you see threads hanging loose/sticking out at the back, it means that the saree is an imitation and not the real deal, which also means it is not hand woven . It is not handloom.

2. Pay attention to the finishing of the motifs: Look very closely at the extra weft designs, they should have sharply defined edges, the front and the back should be almost identical.

Also with authentic handloom jamdanis, the top part that is meant to be tucked-in, is plain and does not have the border motifs.

And the motifs are equally smooth both at the front and the back, roughness at the back and edges are common in the imitations.

3. Examine the fabric and yarn closely: A true blue jamdani is made only with cotton yarn, so be very wary of phrases like resham, soft silk, silk cotton etcetera. Insist on a burn test if necessary. I have come across vintage mulberry silk jamdani sarees from over three decades ago, they are not commonly found anymore unless someone specifically creates a collection.

If your heart hankers for a silk jamdani, I’d recommend getting a mulberry silk Moirang Phee from Manipur, the weavers there are mostly female and use the supplementary weft technique as well.

4. Buy in person not online: Unless you are an expert or really familiar with the seller and trust them implicitly, do not buy these kinds of sarees online until you are confident. I have recently been badly burnt by an unscrupulous online reseller who has sold me a damaged piece that she now refuses to refund.

5. Touch and feel the textile: True blue handlooms have texture, the extra weft designs create a characteristic uneven-ness.

6. The best marker is the price: If you’re getting a jamdani saree with intricate motifs all over for very little money it is highly like to be a fake! These textiles are labour intensive to weave and in this case the price truly will reflect the quality.

7. Buy from state emporiums and/or reliable stores that stock jamdanis with a handloom mark: I have found many stunning jamdanis at Biswa Bangla and a few many moons ago at Tantuja. You can always insist on buying handloom certified textiles at both these and many other retailers.

There is enough academic research being published about handloom textiles, there are tonnes of books available with photos from up close that there is no excuse for any seller to get away with spreading misinformation and selling dodgy products.

The delightful geometry of ikats from Andhra and Telangana

I have always been enamoured by the almost dizzying symmetry and angular precision of ikat textiles from the Andhra Pradesh/Telangana region….

Photos: Vincent Boyer (Say hi on instagram @vincetravelbook)

In these photos I am wearing a vintage Pochampally silk saree that is a preloved treasure over a merino wool base layer for a relaxed afternoon brunch and playtime with the puppy face.

The Andhra style of yarn resist-dyed woven fabric, i.e. ikat, is known locally in Telugu as ‘paagadu bandhu’, ‘chitki’, ‘buddabhashi’ and more colloquially as Pochampally.

I am just going to refer to the region as Andhra in this post, I think this two-state demarcation is going to take me ages to get used to. In modern day India, this region is the largest exporter of ikat textiles, which really surprised me because I always assumed that the state of Odisha had bigger production and export.

The dominant motifs in indigenous Andhra ikat textiles include simple as well as intricate geometric designs, multicolored patterns, wedge-like patterns and stripes. There isn’t much in terms of documented history to ascertain the exact time or origin of the ikat technique in the region but it is widely accepted that the craft isn’t an ancient practice in the area.

The oldest centre for ikat textiles in the region is believed to be Chirala which used to produce the famous double ikat ‘telia rumal’ (oily handkerchief) or ‘chowkas’ (diamond within a square) measuring between 55 to 75 cms. The most common motifs in telia rumals include a geometric representation of mathikai (a local fruit), and mallipu (jasmine).

Traditionally only red, black and white yarn were used to create these fabrics and they were offset by wide single coloured borders. In India, they were more commonly seen on fisher folk and cowherds as loincloths, lungis or turbans. And there are document to prove that in the 1930’s they were exported in large numbers to Burma, the Middle East and East Africa where they were known as Asia Rumals.

Currently, only a few weavers in the Puttapaka village of Nalgonda district create this complicated weave. Apart from the telia rumals all other double ikat produced in the states are heavily influenced by the Patolas from Gujarat.

As per the geographical indication (GI) tag application, Pochampally ikat textiles come from at least 40 villages within a 70 km radius of Hyderabad. This includes Nalgonda, parts of Warangal, including Pochampally, Koyalagudam, Puttapakka, Elanki and Chautupal. From my research into the Geographical Indication Journal archives, telia rumals are covered under the GI tag bestowed upon Pochampally.

And as per the journal the three basic forms of Pochampally ikat are;

i. Single ikat, where either warp or weft threads are tied and dyed prior to weaving.
ii. Combined ikat, where wrap and weft ikat may co-exist in different parts of a fabric occasionally overlapping.
iii. Double ikat, which is by far the most complex form. Here both warp and weftthreads are tied and dyed with such precision, that when woven threads form both axis, mesh exactly at certain points to form a complete motif or pattern.

As per documents from the Intellectual Property India archives from 2017, currently there are about 100 master weavers who are ultimate authority in crafting these textiles. These artisans have complete knowledge in all aspects relating to the process of making Pochampally ikat, including the critical art of design visualisation, tying and dyeing of yarn till they represent the original draft, loading the looms and finally weaving the fabric to get the desired array of motifs with diffused edges.

For another post featuring a double ikat on cotton from this region please click here for previous posts featuring ikats from Odisha click here, here, here and here.

Random Trivia: It is common to see Pochampally referred to as Bhoodan Pochampally after the Bhoodan (short for Bhoomi daan) Movement. The movement began in 1951 when Vedire Ramachandra Reddy became the first wealthy landowner to voluntarily donate 100 acres of land to Vinoba Bhave in order to benefit landless labourers.

Of versatile hand block print tops, Odisha handlooms and larger- than-life handmade clay idols

An entire community of generations of artisans living and working in an enclave in Kolkata where they use clay to create magnificent likenesses of deities for Hindu celebrations…

Photos: Vincent Boyer (Say hi on instagram @vincetravelbook)

This post is as much about the clay-works-of- art-in-progress that I am surrounded by in the images as it is about the handcrafted fabrics featured in the photos.

The saree I am wearing is borrowed from my friend with an eagle eye for fabrics. I swear she can spot brilliant textiles buried under rubbish from kilometres away, it’s just one of her super powers. If you don’t believe me, check her instagram out and you’ll see what I mean.

This saree is actually a massive length of hand loomed Odisha dhoti fabric with the distinctive ‘phoda kumbha’ border, that the state is known for.

The top I am wearing here was made by my tailor back home ages ago, and I wear it A LOT with denims, sarees, as a swimsuit cover-up etcetera. It features hand block print on well-worn cotton that is all kinds of comforting. You can see it worn with denim shorts over two and a half years ago here.

If you are keen to read more about hand block print fabrics from India, I have previously published the first in a series of post about the various kinds of this type of surface ornamentation on textiles from different parts of the subcontinent, which you can find here.

The top and the saree were a match made in heaven for a sweltering afternoon in Calcutta, we walked around for hours amazed by the statues in all forms of production and to see multiple artists working together.

This entire area houses craftspeople who live and work in narrow intersecting lanes, that in spite of the lack of space do not feel claustrophobic.

Each of these stunning clay deities is usually crafted by a team of between three and five artisans, the process begins with a bamboo frame that is bound with bundles of straw to create a basic shape. Malleable clay is then applied on the contours of the structure by the expert craftspeople, moulding it on the frame with their bare hands, brushes and the chiyari – a bamboo sculpting tool.

Then begins the more complex task of creating the feet, hands and head with clay; once the whole frame has been layered, it is wiped with a cloth soaked with wet clay to prevent cracks once the statue dries out.

Once the clay form dries, the final painting begins, after an initial coat of base paint, the idol is decorated with an array of vibrant colours. The entire process reaches its artistic apex when it comes to the idol’s eyes ⁠— a ritual known as chokkhu daan (gifting of eyes).

So revered is the act of painting the eyes of a deity that the artisan will often ritually cleanse himself with water – and sometimes meditate – before doing so. The final step sees rope-like hair glued onto the idol, which is then clothed with various shimmering textiles.

Once completely dry, the clay Goddesses are dressed in beautiful sarees, their 10 arms decorated with abundant ornaments and faux jewelry

I found a statue of Durga in the second photo especially striking – the tiger she’s sitting on was so lifelike (a very close inspection was had). I have always marvelled at the intricate beauty of the idols during the various Bengali festivals honouring Goddesses and to see these works of art in progress was quite special.

Coming across such a wealth of arts and crafts knowledge just brings home the beauty and richness of culture in the Motherland, that we’re unfortunately fast losing to rampant consumerism.

Here’s hoping that these art forms flourish for centuries to come and the craftspeople are paid wages that befit their immense skill and knowledge.

Why I wear sarees the way I do – Part deux

A quintessential double ikat from Telangana with its distinctive red border and geometric motifs worn with a comfy-fit blouse made with Manipuri handloom fabric with the temple border typical to the state …

 

Photos: Vincent Boyer (Say hi on instagram @vincetravelbook)

These pictures pretty much sum up what we get up to most weekends, wearing relaxed handcrafted clothing, getting away from the city, walking in the forest and drinking chilled beers. So instead of writing about anything in the photos, I will regale you with idiotic queries and statements that come my way when I post photos of myself in sarees online.

Over a year and a half ago I made this post with some unfiltered responses to asinine questions/ comments I get, but of course in the ensuing months there were more such gems that came my way…

Now I don’t believe in making lemonade, I believe that chancing upon lemons means that the universe is asking me to line up the tequila shots and have some fun.

So, here are a few wonderful questions/ comments that made me stop and stare stupefied at my screen and/or laugh at the idiocy of the person asking/making them. If you don’t like opinionated women who use strong/ coarse language, this is the time to look away.

1. Can you show me how to look slim in sarees?

No I can’t, maybe you could just wear sarees (and/or whatever else you feel like) and feel wonderful about yourself?

   2. You seem to trek a lot, what make up should I wear on one?

As someone who barely wears makeup ever, trek or no trek, I am not the one you should address your question to. How about you do what ever the hell you want?

    3. Why don’t you do giveaways like other instagram influencers, you have so many sarees?

Because I don’t want to bother. Why don’t you buy the sarees you want instead of asking random strangers online to conduct giveaways?

4. Why don’t you wear more accessories/ make up/ saree blouses?

I wear what I want, how I want to. Why don’t you get a life so you can focus on something other than another woman’s styling choices? Or better still, why don’t you shove your head in a toilet, close the lid shut and flush your brain clean?

    5. What is the need to wear sarees without petticoats?

Umm, because I felt like it and I don’t like petticoats. Also, who took a shit on your breakfast to make you this grumpy about my underclothing choices?

6. Did you know you look like servants when you wear your saree short like that?

Do you know you just display your immense stupidity and tremendous levels of prejudice with comments like this, you entitled piece of crap?

Also, I think most women whose daily work involves physical labour are way fitter and more fabulous than you’ll ever be, I’d be honoured to look anything like them!

    7. What is the need for such complicated drapes?

For you, clearly there is no need since you don’t have the capacity to comprehend or to create.

    8. Why don’t you bleach your skin to make it look more uniform?

Why don’t you take a dip in a tub full of toilet cleaner, maybe that will help clear your mind fog and help you understand some of us love ourselves just the way we are?

    9. Do you even comb your hair?

No, I don’t. Do you derive any particular joy from asking inane questions or is it just a tic you can’t control?

 10. How do I deal with friends who make fun of me for wearing sarees/ wearing sarees differently?

I’d get rid of them!

   11. Get real! No one can wear sarees like you wear and avoid being jeered at. In India, where women get molested and raped even while fully clothed it is not logically feasible.

You get real! I am clearly wearing sarees the way I want to, travelling the world and having fun. You on the other hand seem to be burning with some sort of pent up rage that I want nothing to do with.

When a person is raped or molested, it is because the perpetrator chose to inflict the horror on them and there is no other point to be made about such heinous crimes.

   12. Wearing bralettes and swimsuits with saree is not really going with our urban lifestyle.

Wearing whatever I want goes with my lifestyle, you on the other hand seem to have nothing better to do than to make disparaging comments about random strangers whose life you know nothing about. Here’s a suggestion, don’t look at and/or obsess about my photos.

  13. Personally saree means elegance and I don’t see that in your pictures.

Personally, I believe one should keep their opinions to themselves unless they’ve specifically been asked for them, so keep your fingers off the keyboard and go do something constructive with your time. Also, I am not here to pander to anyone’s gaze, if you don’t like what I am wearing, look away.

If you have also been subject to such moronic nonsense, please share snippets of them in the comments so we can all have a big laugh?