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.