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.

Twelve silk sarees perfect for the festive season

Skipping around in a lush jewel toned pat/paat silk saree from Assam that radiates sunshine to go see Durga Maa and get the festive fervour started …

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

I am a big believer in dressing up in comfortable cotton sarees for all occasions but around this season even I bring my more elaborate silks out and play dress-up. I draped this traditional handwoven fabric from the land of the red rivers and blue hills set along the banks of the mighty Brahmaputra last week along with a plain silk blouse.

Durga Pujo has just concluded a couple of days ago, but the celebration fervour is on for South Asians all over the world and we kinda don’t stop till the year end. Kali Pujo/ Diwali is just around the corner and wedding season preparations are going strong which means that resplendent sarees come out to play for most of us.

I have no desire to tell anyone else what to wear but for those who have asked me this question multiple times, here is a list of my current preferred handloom silk sarees plus a couple on my wish-list compiled to spark ideas in your mind as to what could work for you.

This list can be a good starting point for those keen to wear handcrafted silks more often and want to support textile artisans:

1. Assam silks: Whether it is a pat/paat/ mulberry silk with threadwork or zari, the exquisite muga silks with its natural golden sheen or the incredible eri silk with traditional motifs I have this long running obsession with indigenous silks from the foothills of the Himalayas.
2. Mulberry silk Moiring Phee: When the fluid mulberry silk meets the wonderful Manipuri motifs in extra weft weaves, I have trouble taking my eyes off the delectable concoctions. I don’t have a silk moirang phee yet but here is a previous post in a cotton one.
3. Kanjivarams with minimal zari: I love kanjivarams but tend to steer away from those with a lot of zari and other embellishments because I like to let the colours and weaves do the talking. I adore the silk sarees I have too much to limit them to special occasions and love draping them during my usual escapades and textiles laden down with zari doesn’t really float my boat. You can see exactly what I mean on a previous post here.
4. Gajji silk bandhani: To me bandhani is not merely a fabric; it’s a canvas of centuries of folk tales soaked in many colors and the strength of generations. Gajji silk is a veg based fabric, satin weaves with rayon warp and cotton weft, create a highly glossy surface. I love the intricate motifs, unmatched charm and splendour of the bandhani textiles from Jamnagar. Evidence of my obsession with them here, here and here.
5. Tussar: Whether its tussar/ kosa handwoven in Assam or Odisha or Jharkhand or Madhya Pradesh or Maharashtra, I love this textured wild silk and cannot wait to add more of them to my regular repertoire of six yards. The temple borders of the Karvati tussars, hand block prints done on these textiles, the Ikat patterns on Gopalpur tussars as well as the kantha embroidered ones, I covet them all.
6. Ikat silks: I love ikat in cottons as well as silks whether it is Sambhalpuris from Odisha, Patola from Gujarat, Pochampally from Andhra/ Telangana. The painstakingly made intricate motifs just make me skip a heart beat. You can see the evidence of my adoration here and here.
7. Patur silk cottons: I didn’t know of these stunning sarees till very recently but with their deep hues they are light and easy to wear and even with a lot of zari the sarees don’t get heavy and cumbersome. These resplendent sarees in stunning colour palettes will forever have my heart, you can see one of them here.
8. Banarasis with ornate borders and plain bodies: I love kattan silk sarees hand woven in the wonderous and timeless fashion that only Banaras knows! Although I am not a big fan of a lot of zari, I love the ornate borders and the enduring allure of these sumptuous heirlooms. It is the kind of luxurious masterpiece that in my opinion even the biggest couture houses can’t top. The breathtaking Banarasi opulence never ceases to amaze.
9. Garad: Or as we Bengalis call it, Gawrod/ Gorod and Garad Koriyal are two varieties of traditional Bengal handloom silk. These silk sarees are distinguished by their red border and small paisley motifs. They are made from either Mulberry or Tussar and the yarn used to weave these fabrics is not dyed. The Murshidabad district of West Bengal specialises in weaving these Sarees wherein the silk yarns are woven close together which imparts the fine texture to the sarees. The koriyal is a version of Garad that has a heavier texture, giving it a more opulent look and the the Koriyal Benarasi features intricate designs on the border and pallu in gold and silver.
10. Baluchari: These sarees feature beautifully hand-woven mythological figures and stories on silk, which make them unique and distinctive. Since the weaving community mainly resides in Bishnupur area of West Bengal, they are also known as Bishnupuri saris. These textiles are known for their intricate designs and handwork on them that never fail to amaze me. The motifs are dominated by stories and characters from epics like Ramayana and Mahabharata.
11. Noil Silk: Noil is the fabric made from short strands and knots left over from combing wool or spinning silk, it has a slightly rough texture and drapes like a dream. It is surprisingly soft for a fabric that still has bits of cocoon woven in to it, can be gathered, pleated, or tucked at will. Previous posts in noil sarees here and here.
12. Gadwal: Handwoven by the weavers at the Gadwal cluster of Mahbubnagar, Telangana the striking feature of this saree is that, while the body is made from unbleached cotton yarn, the borders and the pallu are made from tussar or mulberry silk and there is complicated interlocking of the fabrics involved. I love their unstated grandeur.

Do you have more saree suggestions? Leave a comment below and let me know.

The Assam silk saree in the photos was bought from a fabulous lady who goes exploring the deepest corners of India and Bangladesh to source locally made handlooms that are a sight for sore eyes. You can find her on instagram and facebook.