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.

The 15 hand crafted sarees to start with for beginners

A pre-loved Adampally saree worn to spend an afternoon hiking in the forest, climbing trees and drinking chilled beers  by the water …

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

I detest rules when it come to style and fashion but a few guidelines can be helpful to ease into wearing sarees more regularly without breaking the bank.

But that is all this post is, a list of what worked for me and I hope it sparks ideas in your mind as to what could work for you.

These 15 basic sarees can be a great starting point for you if you’re keen to wear handcrafted sarees more often. They are also all wonderful for those on a budget, every one of these can be bought for under Rs 2000/ AUD 40.

1. The various mul mul cotton block print sarees like Kalamkari, Sanganeri, Gamthi, Ajrakh, Nandana or Tarapur, Bagh and Dabu. Some examples here, here, here, here, here, here, here, here, here and here.
2. Sambalpuri sarees in higher thread counts are wonderful and the simpler designs can easily be found for under $40.
3. Vintage Benares or Kanjivaram silks that have softened with age and wear are great for beginners to deal with.
4. Soft Andhra cotton weaves like Mangalagiri, Venkatagiri, Narayanpeth, Adampally, Katheru, Angara, Srikakulam and Pasalapudi. Case in point here, here and here.
5. West Bengal tants like Dhonekhali or Shantipuri. These tend to be starched stiff when new but soften with multiple washes. Previous dhonekali post here and Shantipuri posts here and here.
6. Jamdani from West Bengal. I love the quintessential jamdanis from West Bengal over the elaborate Dhakai Jamdani because I like sarees I can wash at home. Here and here are previous posts featuring jamdanis.
7. Gajji silk Bandhani, they are perfectly flowy without being cumbersome and lend themselves beautifully to any drape. For previous post in gajjis click here, here and here.
8. Handspun and handwoven sarees like bawan butti or a multitude of khadis. Previous posts here and here.
9. Chequered sarees like the gamchas from West Bengal, Pathebad from Andhra, Chettinad from Tamilnadu, Udupi from Karnataka and chequered ikats like Sachipaars from Odisha. Previous posts on chequered sarees here and here.
10. Noil, it has a slightly uneven texture, is just the right kind of weight and drapes like a dream. Need I say more? Previous post in a noil saree here.
11. Nine yard cotton sarees are heaps fun as there is more fabric to play with and create wonderful drapes. Here is my previous post in a nine yard saree.
12. Any running fabric that appeals to me is made in to sarees.
13. Budget Ikat weaves like Jagatsinghpur from Odisha and Dubakka from Andhra/ Telangana are stunning to look at and hardy sarees that can be worn heaps. Previous post in a Jagatsingpur saree here.
14. Soft Phulias from West Bengal are just beyond wonderful. Previous posts here, here, here and here.
15.  The easy-breezy, soft and gauzy Kota Doria sarees are a great place to begin with if one is looking to incorporate sarees as everyday wear.

When buying sarees, I think quality, natural fabric and thread count, they don’t have to be expensive but should be well made. My every day basic sarees are worn and washed more than the show-pony pieces like Benarasis and Kanjivarams and if bought right, they will serve me for decades.

I never “settle” for how a saree feels on me, I want it to feel amazing when I wear it. A garment won’t become a wardrobe workhouse unless it feels fabulous on because one would shy away from wearing it altogether.

Just like one doesn’t give up trying to find the ultimate pair of jeans or blazer that fits and flatters, there are perfect sarees out there for each one of us.