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.

Different styles of Indian hand block prints

Manual block printing on textiles using wooden blocks has been an artisanal craft practiced in India for centuries …

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

Hand-block printing is one of the oldest and currently among the most popular forms of ornamentation on textile surfaces.

Based on available historical texts it is believed that printing designs onto fabric most likely originated in China about 4,500 years ago but it is on the Indian subcontinent where hand-blocked fabric reached its highest visual articulation.

Indian artisans of yore possessed unparalleled expertise in the secrets of natural plant dyes, particularly with mordants which are metallic salts that both create color and allow it to adhere to fabric.

Between outside influences from Persia and elsewhere, the impact of Mughal invasion and the diversity of the subcontinent’s own indigenous communities and tribes, India has one of the most spectacular pattern vocabularies on this planet.

The saree I am wearing the the photos features the Jawariya Dana, a tribal print from Tarapur, a village in Neemuch district in the central Indian state of Madhya Pradesh. It has a beautiful combination of alizarin hand block printing on the body and Dabu resist techniques on the border and parts of the pallu, displayed on mul cotton fabric.

Jawariya Dana is just one of the many styles of hand block printing from India and I thought I’d list a few of the types I wear quite often over a couple of posts here on Pleats n Pallu.

Jawaria Dana is colloquial speak for ‘jowar ka dana’ (a grain of sorghum or cereal grass), it is a traditional design term used for the block prints made on the odhanis (scarves) of women from the Bhils, Jats , Bhilals and other tribes of Rajasthan and MP.

They usually feature a red or pink (pink for the bride in kachcha colour, the colour is supposed to bleed and colour the bride pink) with small dots allover which are the size of grain of jowar.

Traditionally the danas would be made using the Indian tie and dye technique called bandhani however, these block printed ones are more common these days. A few local artisans in the area still follow the traditional bandhani technique to decorate odhanis and lugdas (body cloth).

These are sarees hand block printed and alizarin dyed in black and red . Blocks used are same as what the printers use for printing for the tribals so there would be misprints or defects as well.

Nandana is another elaborate style of manual block print practiced by the local Chippa community in Tarapur. It is a time-consuming, labor-intensive process involving about 16 steps to get to the final design.

Traditionally these prints decorate rough thick fabrics used for making ghagras (gathered skirts) for the women of tribal communities in Rajasthan, Madhya Pradesh and Gujarat. These prints have a limited number of block patterns, mostly flowers and fruits that are printed in the same manner all over the fabric.

I believe there are just five designs ranging from small buti to big buta known as mirch, champakali, dholamaru, amba and salaam are the signature motifs for these prints. You can see a saree featuring this print on a previous blog post here.

Dabu is a unique fabric art-form created by a mud resist process using wood blocks in the Bagru village of the western Indian state, Rajasthan. In this, a design is sketched onto the background cloth which is covered with wet clay sprinkled saw dust.

The saw dust clings to the textile as the clay dries and then the entire cloth is dyed in select colors. The parts with the clay and sawdust mixture do not catch the dye and remain colourless. The fabric is washed post dyeing and drying and may be dyed again in a lighter shade to cover the patterned area.

Traditionally this form of printing was environmentally non-toxic because it used no harmful or synthetic dyes.

You can see sarees featuring this print on sarees in previous blog posts here and here, on dress and shirts here, here and here.

The Bagru style of hand block printing is eponymously named after the village it has originated from, which is a short drive from Jaipur.

In order to created these prints an artisan first stamps the background block (locally known as gudh), followed by an outline block (the rekh) and finally the datta are filler blocks which complete the design.

On average, a printer uses a minimum of four or five blocks to etch one motif on a length of hand printed cloth.

It sometimes takes a couple of days just to carve and finish a single block, as the selection and seasoning of local woods is an elaborate process, specific to each pattern.

In Bagru, carvers often use woods like sagwaan (teak), sheesham (Indian rosewood), or rohida (desert teak or marwar teak) when constructing blocks. You can check out this print in an older post here.

There are many, many more types of manual block printing on fabric from Rajasthan, Gujarat, Andhra Pradesh, Tamilnadu etcetera that I will elaborate on, in another blog post.

Dirty sneakers, happy spirit

Exploring the wilderness, chasing waterfalls, connecting with Mother Nature wearing handcrafted sarees draped with wild abandon in dirty sneakers but with a happy spirit …

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

On a quest to find an unspeakable treasure in the majestic splendour of the tropical rainforest…The vast canopy of green, the mist covered carpet of ferns and the jaw-dropping waterfalls adding to the mystique…The search for a magical, fantastical place where tranquility and peace reign.

I could go on and on about my love for natural water bodies and wilderness but suffice to say that they calm my frenzied mind and battered soul.

When I’m feeling anxious, stressed, lethargic, uninspired or just a bit low I get outdoors  to soak up fresh air and sunshine that work wonders for increasing my energy levels. Another thing that truly helps me feel centred and comfortable are hand crafted clothes using natural fabrics and dyes.

The saree in these photos is a Kalamkari from Andhra Pradesh worn with a handcrafted top from Jaipur. Both the fabrics have been hand blocked but the motifs used are typical of the region they were made in.

Hand block printing is a centuries old Indian art form that utilizes a hand carved teak wood block that is dipped in dye and stamped by hand onto cotton or silk. Like most crafts in the subcontinent this art form is also passed down through generations of skilled artisans who then carry the art forward.

In 2013, Pedana town and its neighbouring villages of Machilipatnam, Polavaram and Kappaladoddi in the Krishna district of Andhra Pradesh won the geographical indication (GI) tag for the production of Machilipatnam Kalamkari, which involves carving out intricate designs on wooden blocks, and using these to print patterns on fabric.

The process of hand blocked kalamkari fabrics involves a range of very exacting and time-consuming steps, one of which is to wash the fabric in the Krishna River to ensure that the colour lasts longer. According to local artisans the water in the river has the correct mineral composition required to help the colours develop and set.

The traditional Kalamkari dyeing process includes mordant dyeing, colour dyeing, and repeated washing, rinsing, bleaching and soaking. The ancient recipes for preparing dyes from a variety of roots, seeds, barks, crushed flowers and fruits are also complex.

Each color requires its own block, which is dipped into dye and pressed onto the fabric, as in other hand-block techniques. In tradtional Kalamkari fabrics even the background is produced by block printing instead of immersion dyeing.

Typically, one block prints a motif shape; a second block outlines this design; and a third block is stamped in between motifs to provide a background colour. Precise placement of all the blocks is crucial to present a seamless impression.

Every bit of hand block printed fabric tells a story of where it has originated. Its final colours are influenced by many factors like the minerals in the water and the weather conditions when it was made.

I cannot have enough of various kinds of of block print  fabric from different regions of India, here, here, here, here, here, here, here, here, here, here and here are some previous posts featuring them.

Sun kissed in a kattam saree

Soaking up vitamin sea and getting sun kissed in a saree with pattani kattam (tiny checks) and vine motifs on the border …

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

Plaids or chequered sarees are a tremendously versatile choice of fabric that I believe suit most occasions all year round.

Chequered or grid patterns called Kattams in Tamil are an integral part of the design in a lot of handwoven textiles from various handloom weaving centres in Tamilnadu like Chettinad, Coimbatore, Madhurai, Gandhigram, Thanjavur, Erode, Kumbakonam, Rasipuram, Korukkathur, Palayamkottai, Aruppukottai and Kanchipuram.

From the coarse cottons, to floaty cotton silks and opulent silks, the weaves of Tamil Nadu offer wide choice. Striking colour blocks inspired by the madras check called palum pazhamum kattam in Tamil or stunning checkerboards framing woven motifs, to minute gingham and micro checks, fine metallic and silken pinstripes, these chequered patterns reflects the genius of the artisans through warp and weft interplay.

Palum Pazhamum means milk & fruit and the design originated in Kachipuram with contrast colours like red saree with green kattams. The checks, traditionally big and bold, eventually moved to other parts of the state and design variations came about.

It is believed that checks are the intersection of sacred points symbolic of temple mantapa’s, the inner sanctum where the diety resides. The different kind of multi-coloured checks, range from kottadi (small zari checks), vaira oosi (diamond needles), kasa kasa (poppy seeds) and muthu (pearl) to larger checks called papli are incorporated majorly into weaves from the state. 

Every village in the state has its own traditional weave and except the silk Kanchipuram, most are very easy on the pocket as they are everyday wear.

I find a lot of the chequered cotton sarees from Tamilnadu very easy to wear and feel that they can be dressed up or down with ease. The silk-cotton saree in these photos most likely handwoven in Arni is something I have worn on a normal day to work, to fancy professional and traditional events as well as draped casually here over my swimsuit on a tropical road-trip by the coast.

I feel like checks were made to mix with other patterns and contrasting hues, throwing in a little colour block into the mix can only be fun. Like a plaid shirt is a staple in most wardrobes, sarees with similar designs look right at home in a whole spectrum of social situations.

I have been told that vertically challenged people such as myself should avoid the allure of loud chequer boards on fabrics but I decided long ago to bin such suggestions and wear pattern on pattern on pattern as much as my heart desires.

How do you like to wear your checks?

 

 

 

 

Saree with a sweatshirt

A Jagatsinghpur saree worn with a sweatshirt to walk through a forest of ferns that led to an amazing isolated beach …

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

This particular type of saree is named after the tiny village in Odisha where they are woven. These single count cotton beauties are extremely budget friendly and easy to wear for extended periods of time.

Weaving in Jagatsingpur was introduced by crafts people from the neighbouring Bengal and therefore these sarees are a beautiful union of textile weaving techniques from both states.

I wore this saree in a drape with a criss-cross front and pleated back with an oft used comfy sweatshirt for a day out walking in the jungle by the coast and ended the afternoon with beers by the water.

I find being outdoors, away from people and in the midst of nature incredibly relaxing. It is my firm belief that getting away from city life even for a day is rejuvenating and I live for the moments spent soaking in the wonders of Mother Earth.

Its not like I always wear sarees for these mini getaways but when I do drape my six yards on adventures we try and snap a few photos.

We don’t plan shoots, pretty much all the photos on this and my other blog as well as both my instagram handles are candid shots of me going about my monkeying activities without a smidgen of makeup or conscious styling.

The images that you see are a result of a half decent camera, a partner in fun with a great eye and my inherent need to play with fabric. With work deadlines, my side hustles, family responsibilities and other activities, I have no time to plan professional shoots.

That’s also why I don’t have time to take pictures of myself cooking and lounging around at home or share saree of the day pictures. I want to share photos where handcrafted fabrics are worn to do things like hiking and mountain biking rather than house-hold chores because that is already being done by millions of women all over the world.

I am nocturnal and in the mornings getting to work on time is a priority over putting on a full face of makeup or taking photos of what I am wearing. I’ve been wearing sarees to work for ages, long before it became a hashtag and I’ve never seen the need to make a big deal about it.

I admire those who have the energy in the morning to layer on the foundation, contouring et all and take outfit photos. Although I do love those who share their work sarees online and one day I might be organised enough to take some pictures of my business outfits incorporating my six and nine yards. But until then I am going to share photos of my monkeying.

I have a certain aesthetic I prefer to look at and that’s the one I choose to share. My posts are more than just about sarees and creative drapes. I don’t share content that I think will attract engagement or followers. I don’t follow other saree aficiondoes unless they are doing something out of the box with the un-stitched fabric.

I am not looking for validation from people I don’t know. Both my blogs along with their social media presence are visual diaries primarily for myself and then for those who choose to derive something positive from them.

A lot of people assume I am on a permanent vacation based on the visuals I share online but I am actually hustling as hard as the next person. I just choose to spend my free time in stunning natural locales because I need that to recharge my batteries. It was a conscious preference live in a coastal city with slightly tropical weather that fulfills my need to be in close proximity to nature.

My requirement for the outdoors and jungles is so great that my home is full of plants, shells, driftwood and crystals. I prefer foliage to humans and my balconies are little tropical oases because I have devoted hours planting, caring and enjoying their existence.

It is not about luck, I have worked my butt off to give myself the life that I have and the life that I am building for myself. I acknowledge that I come from privilege but I also slog damn hard to realise my dreams.