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.

How to wear a saree and feel great

I am a creature of comfort and whether I wear a saree or anything else I like my attire to be easy and make me feel great …

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

Wearing a kala cotton saree handwoven in a pit loom in Bhujodi, a small town eight kms southeast of Bhuj, Kutch in the far western corner of India.

Bhujodi is a major handcrafted textile center of Kutch, with the vast majority of the 1200 inhabitants involved in creating artisanal fabric and hand embroidery.

To be honest, I am not the biggest fan of the loose weave that this saree sports but I did like the ample length of the fabric and had fun creating a fun multi-tiered drape that was perfect for a hike on a cold day.

Through the years the saree has been compartmentalised into certain slots that are incredibly restrictive. Many claim that the saree is just women’s wear or that is is uncomfortable or unmanageable or traditional or conservative or for festive occasions only etcetera.

While all of these can be true to a certain extent, the saree is also one of the oldest known gender neutral outfit in documented history, it can be very comfortable and easy to manage, it can be as contemporary or as traditional as the wearer wants it to be and can be worn at massive events as well as on a hike and everywhere in between.

Every desi website/blog has posts dedicated regular posts dedicated to draping the six yards right and all the suggestions they give seem even more limiting to me.

In my opinion the perceived discomfort of the saree comes from the social conditioning that limits our imagination as to how versatile the saree really can be.

I do get a lot of questions on how to be comfortable wearing a saree, although I have no idea how someone else can wear the unstitched fabric with ease, I can tell you what I do to feel great in anything I wear including the six yards.

It is just another clothing option. I don’t feel that my sarees are any different to a pair of jeans or a skirt or an oft worn tee-shirt or even my swimsuit. To me the saree is just another type of garment option I have, separate from the centuries of traditions.

I wear the saree when I want to live my life as a living, breathing person not as the flag bearer of my culture or faith.

Wear stuff I am comfortable in. I believe the key to dressing confidently is to feel comfortable and be myself in the clothes and accessories I wear.

If I can’t walk normally in certain kinds of heels then I wear sneakers to where ever it is that I am going, I don’t like dainty designer bags so I carry massive totes or cross body bags – I don’t need an outfit to make myself interesting.

I don’t compare my saree collection to anyone else’s. I am someone who doesn’t covet someone else’s collection of anything. I may like certain pieces from time to time but my lust-list is usually based on what I want and not a map to recreate another person’s sense of style.

Accept if not love all my physical ‘flaws’. I don’t really care if my skin isn’t perfect, I haven’t had my brows done, my nails are chipped, my body isn’t toned, I haven’t shaved etcetera. I wear what I want, when I want to please myself and not to pander to anyone’s gaze.

Embrace the fact that I am quite left of centre. The things I wear, the way I wear them, my values or beliefs, all of me is quite different from the mainstream and I am not here to fit in. I am happy the way I am and embrace the fact that not everyone likes me.

Wearing budget-friendly simple cotton weaves. Luxe sarees in silk, laden with zari are great but if that’s all one wears then draping becomes a rare activity.

I don’t view the saree as fabric I have to tame. I don’t particularly care if the whole or part/s of the drape fall apart. I just do not to panic, instead I find points in the fabric to quickly adjust and just enjoy the way handcrafted natural fabrics envelope me in their embrace.

I believe there is no one way to drape a saree. There is no right way to wear a length of unstitched fabric, the only wrong way is the way that makes me uncomfortable. I just don’t care about looking slim or tall or bulge free or sensuous or perfect or anything. I don’t believe that the nivi drape is the ultimate or that anything else is and just do with the fabric whatever I feel like on that day.

Styling and fashion are fun and I don’t take myself too seriously. It is great fun to experiment with different styles and play with new things along with appreciating the tried and tested. I don’t restrict myself or say things like I never look good in a certain colour or a particular piece or that I can’t pull off anything.

I completely ignore sizing and fit. I genuinely do, I routinely wear things that are many times larger than my so-called perfect fit. A piece of clothing in a larger size feels great, floating in stuff is freeing and I am extremely comfortable going up a size or two or three for most items that I wear.

I genuinely don’t have the time to overthink things and clothing and other people’s opinions about me are areas that not giving a fuck comes quite easy to me. If you want a list of 15 handcrafted sarees that I feel are perfect for beginners, you can find here, a list of my favourite Odisha weaves here, my favourite types of Benarasi sarees here and twelve silk sarees perfect for the festive season here.

My favourite types of Banarasi sarees

The luxurious handwoven brocade beauties from Varanasi — Banarasi sarees with their detailed renderings of flora, fauna and geometric motifs are more than just fabrics, they are works of art that transcend generations…

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

The various types of Banarasi sarees define sublime decadence and exquisite craftsmansip.

In these photos I am wearing a vintage katan silk Banaras saree with a Meenakari border made using the kadiyal technique.

Personally I prefer handloom-ed kattan or kora silk banarasis with zari in various designs and I’ve tried to list what I know about the sarees I have.

Only brocade made in the six identified districts of UP namely Varanasi, Mirzapur, Chandauli, Bhadohi, Jaunpur and Azamgarh districts, can be legally sold as Banaras brocade.

Katan (Kattan) is a type of silk prepared by twisting a number of silk filaments to create a sturdier fabric and a firm base to then bring intricate designs to life.

Kinkhwab (kimkhab) is a heavy, gilt brocade known for extensive zari work which renders the underlying silk fabric almost invisible. The word literally translates to ‘tiny dreams’ which is interpreted to mean that Kinkhwab is ‘the fabric that dreams are made of’.

Tanchois are a very fine weave banarasi fabric that use an extra weft thread to create delicate patterns. I find them super easy to drape.

Meenakari patterns involves the painstaking addition of supplementary coloured resham threads during the hand-weaving process.

Valkalams are woven using pure satin threads in the kadhwa and phulkari techniques to create intricate patterns on the borders and pallu (headpiece) of a saree.

Kadiyals are a beguiling play in contrasts. This traditional technique involves changes in the warp and weft to weave the borders and aanchal in colours that are different from the body.

Jangla fabrics feature gridlike compositions comprising of what looks like an unending array of flowers, leaves and vines.

Bootidar silk sarees feature intricate brocade made of silk, silver and gold in a distinctive manner and may be called Ganga and Jamuna as well.

Various motifs in these kinds of sarees include bel and bootis including angoor, gojar, luttar, khulta, baluchar booti, mehrab, doller, ashraffi, latiffa, resham, jhummar, jhari, kalma, patti, lichhi, kairy, ginnie, vriksh, geenda etc with the use of real gold and silver zari and katan silk in the weft. This is also referred as the amru brocade saree.

Shikargah, primarily featuring motifs of human figures, birds, animals, flora and fauna, these designs pay homage to the royal hunts of yore.

Kadhwa (kadhua), is an elaborate and laborious technique that involves hand-weaving each motif separately to make a very sturdy embossed pattern, which stands out on the fabric.

Jamavar is an exquisite jacquard fabric from Kashmir and in Banaras, they combine the technique used to create jamavar shawls to make the uber intricately woven brocades with the same name.

I am sure there is a whole lot more to know and learn about these magnificent textiles, I would be very grateful if any of you could point me in the right direction. If you are looking for festive season silk saree inspiration, here is a list of twelve kinds of handloom silk sarees I love. If you are looking for some festive saree draping ideas you can find them here, here, here, here, here, here, here here and here.