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.