Indian Textiles - A Journey to Our Heritage

1
INDIAN TEXTILES
A JOURNEY
BY OORJA MAKKAD

2
Text Copyright © 2016 Oorja H Makkad
All Rights Reserved

3
To my ever inspiring mentor, Mrs Vaibhavi Ranavade, and all
the faculty at Pearl Academy for their constant support and
encouragement
To my friends and family for their love, blessings and patience

4
#KnowYourHandloom
We live in a country with one of the richest, most diverse textile
heritages in the world. Lakhs of weaver families across the country weave
the tanabana of our ancient stories every single day, and the movement
for giving handlooms and handcrafted textiles their due recognition is
gaining momentum with every new design collection and every
#IWearHandloom or #100sareepact selfie on your social media feed.
What is the deal about handwoven textiles and sarees? What makes
them so expensive and covetable? How do we differentiate an authentic
handloom from what the fabric store guy markets to us with exotic
nomenclature every time? What do all those Fabindia ‘handloom mark’
tags really mean?
All these questions are answered as this brief read takes you through a
visual journey through the some of the most iconic handloom textiles
from around the country, briefly exploring the technique and effort
behind each creation, the motif language, some interesting trivia and
storytelling around each fabric, and designer interpretations of these
textiles for a fashionable context for added perspective.
In an easy to comprehend, simplified format, this visual guide aims to
help everybody- from novice to avid Fabindia shopper to student to
designer - recognize Indian textiles with a swift glance and also know (a
lot more than) a thing or two about where the textile comes from and
what it is worth.

5
Baluchar Silks of Bengal
The first Nawab of Bengal, Murshid Quli Khan patronized the rich weaving tradition of the Baluchar village
of West Bengal. His encouragements made this art earn accolades worldwide and it flourished with the name
The master weavers were provided with cultivable land and ponds by the Nawab in exchange of the exquisite
weaves. In those times, when all the processes including cleaning & sorting of cotton, spinning, dying,
planning the pattern, laying the warp and finally weaving were completely manual, a weaver family could only
produce two to three saris in the whole year. Each sari was created with motifs based on a theme, the themes
too revolved around the lives of Nawabs.
Motifs of Nawabs smoking hookah and dancing courtesans
Baluchari Saree, on sale online at www.jaypore.com, with Baluchari motif s concentrated on the Pallu and
border, and stripe figuring on the body.

6
The Story of the Baluchari Saree
These luxury textiles are unique in that they employ no zari, achieving their glowing effects through use of
indigenous mulberry silk. Baluchar Saris capture a period of political, economic and social transformation,
often drawing inspiration from the lifestyles (real or imagined) of the native as well as European elite.
There was a time when every Bengali bride had a Baluchari sari tucked away in her cupboard. These
handwoven silk saris seamlessly meshed each family's heirloom folklore with traditional motifs — borrowed
from the epics of Ramayan and Mahabharata, religious texts and even local legends. Hence, one can see
European, Indian and Persian influences on the creation of this textile over time.
Radha Krishna Depiction
Motif Reflection: A scene from the Mahabharata is seen in this intricately detailed motif, depicting the swayamvar of
Draupadi where Arjuna attempts to strike the eye of the fish while looking at its reflection in the water pan near his feet
to win her hand in marriage. It is a part of the black saree pictured on top, which depicts various scenes of the
Mahabharata.

7
Comparative Reflections:
While traditional Baluchari sarees had rich, dense figuring on the entire body of the saree and often sported a
prominent central motif such as the paisley (see picture on right), present day Baluchari sarees as seen on
shopping catalogues (below) appear more contemporarised in motif placement, featuring dense figuring only
on the pallu and border and comparatively delicate stripes and/or butis on the body. This change could be a
way of cost cutting, saving time on production and promoting sale in a competitive market, because the
budget of the average customer of today is rarely akin to the Nawabs who commissioned these weaves in the
olden times. It can also be the weavers’ way of responding to changing fashion trends and increased
preference of a heavy, statement pallu as opposed to all over heavy patterning by their clientele.
Detail of a Baluchar silk sari, west Bengal, 19th century from the Tapi Collection, Surat featuring the then newly
arrived advent of steamboats.

8
Decline and Revival
After the flooding of a tributary of Ganga (Bhagirathi), the Baluchar village got submerged in water and the
weavers had to relocate to Bishnupur and leave behind the facilities and infrastructure provided by the
Nawab.
Bishnupur came under Bankura kingdom under the reign of Malla dynasty. Due to relocation, absence of
patrons and immense pressure from British government to make weavers switch to other professions, the
craft saw a decline and very few ardent weavers could continue.
Dubraj Das was the last known weaver of the Baluchar village, who died in 1903. He used to sign his saris like
an artist’s artworks, a rare phenomenon by any artisan.
In 1956, Subho Thakur, a famous artist himself took to revive this weaving tradition. He invited a master
weaver named Akshay Das to the Regional Design Center, where he himself was serving as Director. They
both studied the Baluchari saris procured from the family collection of Rabindranath Tagore. Akshay then
worked tirelessly to hone his skills and train the other artisans of Bishnupur. Hence, the town re-emerged as a
weaving center for the famous Baluchari silk saris.
Heavily figured Baluchari saree with six paisley design as a central component Side profile poses of women are commonly depicted in Baluchari Sarees

9
Method of Weaving
The artisans of Bishnupur now source mulberry silk from Bangalore and Mysore, which is first boiled in soda
and soap mixture and then dyed in acidic colors before weaving.
The native weavers of Baluchar used Jala looms; a Jala is a design reference through which many designs can
be made. The artisan first finalizes his design on paper, after which it is translated on to a fabric which
becomes the master sample. A copy of this is also made on loom and kept safe by artisan, just in case the jala
gets spoiled he can make a new copy from it. The saris produced were reversible, the motifs could be seen
and understood on either sides. Currently, jacquard looms are widely used to lessen the time of production.
Design plotted on a graph paper before the being punched on a jacquard loom
Marriage Inspired Motifs

10
Motif Reflections:
(L) A European Woman holding her child on her lap can be seen, below which men dining on a table are
depicted. The European origin can be made out because the figurines are wearing hats, and even from the
dress on the lady. The gentlemen can be similarly recognized to be of European origin owing to their
costume.
(Above) A similar design is seen on these motifs, with European men wearing hats, possibly seated in some
kind of vehicle/locomotive as seen by the wheels. The upper row appears to have a Nawab seated on a royal
seat, with two men, possibly courtiers, one holding a fan like object behind him and another in front of him.
There is a difference in headgear in both figurines.

11
Fashion Reference
Reflections: A DKNY interpretation of Bishnupur Baluchari for Vogue’s Project
Renaissance, the sheer and silk dress has a simple fit and flare silhouette with gorgeous, deep
red figuring. The gathers on the flared hem give an interesting texture to the motifs and bring
out the rich lustre of the silk, while the striped placement of motif storytelling typical to
Baluchar Silks is depicted in a figure-flattering manner on the fitted torso.
“The graphic red is so DKNY—vibrant, energised, colourful. It’s exciting to take
something traditional and do something completely unexpected with it.”
—Donna Karan, Chief Creative Director
(DKNY For Bishnupur Baluchari - Vogue India, 5th
Anniversary Edition, October 2012)

12
Reflections On The Weave
As humans, we have always been inspired, in one way or another, by the visuals we encounter in our lives.
The creativity within us often creates an urge to share and acknowledge the beauty we have witnessed. Going
as far back as the time of cavemen, this intrinsic urge to depict our interpretation of our surroundings
and tell the tale of our lives is expressed in a million ways – all the way from the age old paintings,
carvings, craft and weaving traditions of our forefathers to our everyday attempts at documenting,
preserving and sharing our life experiences on social media in a visually appealing way.
Baluchari weaves are a stunning example of how the everyday observances and influences of an artisan’s
environment is translated into a beautiful, meticulously planned arrangement of warp and wefts.
Every Baluchari Saree has a story to tell, depicting scenes from religious folklore that the weaver probably
grew up on, or an artistic depiction of courtly ceremonies and royal lifestyles which would appease the elite
Nawabs that commissioned these textiles.
This textile has a lustrous, rich, almost overwhelming beauty in the way it drapes around the female form and
its elegance lies in how one can never overlook a Baluchari – The intricate, motif-rich textile somehow calls
out to the viewer and makes him/her pause and behold the story it wishes to tell.
Woman with a hookah pot

13
Garad Saree of Bengal
Garad (also known as Garod) silk is one of the popular styles of saree that has its origin in West Bengal. Also
known as Gorod, the word Garad means 'White’. Garad silk sarees are distinguished by its red border and
paisley motifs. The silk yarns used to weave Garad sarees are not dyed which gives the fabric an element of
purity, resulting in this textile holding sacred importance to the women in Bengal. The Murshidabad district
of West Bengal specializes in weaving these Sarees wherein the silk yarns are woven compactly , thus
imparting a fine texture to the sarees.
The Fabric and its Making
The Garad Silk is manufactured from Tussar or Mulberry Silk. It is left undyed to retain the natural color of
the silk. The color white is regarded as a symbol of purity; hence women prefer to wear a Garad Saree for
special occasions and religious ceremonies. Bengali women prefer not to stitch a fall in these sarees to preserve
its sacred quality and wear it in its purest handwoven form.
Fine Silk of the Garad Saree with gold and red figuring of paisley butis on the body and border
Weft Figuring on Korial Saree Pallu Weft Figuring on Garad Saree Pallu
The Garad Silk & Korial Saree Connect
The Korial Saree is a close alternative to the Garad Silk Saree. Both are silk sarees that widely use the red and
white color palette.
The border of Garad sarees are mostly rich shades of red and maroon. On the other hand, Korial saree (also
known as laal paar sari) is also similar to a Garad saree except that the border of a Garad Saree is usually much
more intense in design, figuring and color.
What distinguishes Garad saree from Korial saree is that the former contains small floral and paisley motifs
across the length of the saree while the latter is more sombre in motif language and placement. Gold figuring
is considerably higher on a Garad saree. The Korial saree, like the Garad, is also worn during auspicious
occasions.

14
“Garad”means pure and white. In the context of the saree, Garad refers to the silk, which is considered to
be pure. The silk used in the Garad is of very high quality – usually a tussar or mulberry – which makes this
saree exquisite, but expensive. Tracing back its history, one would find that kings and zamindars used to drape
themselves in this saree to perform religious ceremonies and rituals.
A Garad Saree Pallu with red stripes and gold figuring in the weft, and golden stripes along the border.
The fineness of the silk and it’s lustrous sheen is evident in the way the fabric wrinkles and reflects light
along it’s fold lines in this photo.
Reflections: The paisley motif is one of the signature characteristics of this sari, used in many forms such
as tiny butis all over the body or intricate detailing on the borders. Also known as keri or kalka, this
motif is often said to represent fertility in Indian culture.

15
Reflections: The Garad Saree has a lustrous, flowing yet crisp drape with an eye-catching pallu. The
festive red, white and gold are a quintessential sight at Durga Pujo Mandals, usually worn with a large
red bindi and subtle jewellery. This saree has a twin border of a deep red band along with red-gold
figuring, separated by a thin white stripe. The pallu has stripe figuring and elongated paisley motifs..
Here, Golden Stripes along the red border meet red stripes along the pallu. Paisley motif figuring is seen
in the centre of the pallu, and smaller butis run along it’s stripes. The body of the saree also has butis all
over.

16
Reflections
The Garad Silk saree symbolizes the Bengali Woman in all her splendour along with the festivity, feasting
and fervour of Durga Pujo. It resonates the Goddess of purity and strength - the undyed, unstitched,
handwoven purity of its white combined with the bold, strong vermillion of its border, interspersed with
a rich abundance of paisley motifs in gold figuring.
A Soumitra Mondal creation from Kolkata Fashion Week. The unmistakable red, white and gold
combination is creatively presented in the form of an asymmetric gown and the use of sheer, flowy
fabric. Check patterning is seen on the white drape, gold border on the hemline and figuring in gold on
the bodice.

17
Jamdani Muslins of Bengal
Traditionally, muslin patterning in the extra weft technique is known as Jamdani. Sir George Watt
gave the fine muslins of Bengal the name of ring muslins after testing their fineness by passing them
through a ring. However, this was no secret to the earlier generations; The Mughal conquest of the
region was in no small part an attempt to capture the centres producing these fine diaphanous textiles.
An apocryphal story relates to how Princess Zeb-Un-Nissa was severely reprimanded by her father,
the Emperor Aurangzeb, for being apparently clad in nothing and desecrating the high dignity of the
Mughal court, to which she calmly replied that she had not one but seven jamas (garments) on her
slim body.
Poetic names such as Abi-Rawan (Flowing Water), Bafta-Hawa (Woven Air) and Shabnam (Morning
Dew) were justifiably given to these fine muslins for their sheer translucency during the Mughal Era.
On the right, the light reflected in this beautiful muslin, akin to a cloud draped around the body while
highlighting the graceful weft figuring.

18
Jamdani is a technique used to decorate the plain mulmul or muslin with the addition of
supplementary extra cotton wefts, to create dense patterning against a semi-transparent background.
The process of weaving jamdanis has not changed much over the centuries. The throw shuttle pit
loom has been replaced by a fly shuttle loom. The traditional color palette of white, off white or grey
grounds has been added to, and today jamdanis are woven in all colours.
Reflections: Hand-picking of warp yarns to form patterning on the weft is seen in this labour intensive
art of weaving. The photographic angle makes one see the weaver through the fine textile being woven
in the first two photos, highlighting the delicate translucency of the fabric.

19
Reflections on the Weave:
Jamdani has rightly been called the Queen of Muslins. The beauty of this weave lies in the unique
structural process used in weft figuring. Unlike other forms of brocading or figuring where the extra
weft runs in floats from selvedge to selvedge and appears on the right side at precise locations to form
a pattern, the figuring for Jamdani motifs is in a manner where the supplementary weft of each motif is
woven at a particular area only for that motif; it begins and ends at the motif it forms. Hence, there are
no floats that are cut on the reverse side. The weaving of this fine muslin is like embroidery on the
loom. The soft, delicate, sheer muslin saree is the perfect drape for the Indian summer, offering
coverage yet hinting at the silhouette of the feminine form it envelopes like a cool, sheer cloud.
The extra weft figuring for each motif is seen the neat, smooth reverse side of this fabric

20
Kotpad Weaves of Orissa
The tribal weave of Kotpad village in Koraput District is traditionally woven in heavy cotton ranging from
counts of 10s to 20s. Like all tribal cultures across the world, the world view of the artisans and weavers of
Koraput has given rise to an elegant creativity, with nature as its inspiration. The fabrics of Kotpad, when
woven in the traditional manner, are completely organic in nature.
The Kotpad weavers, also called ‘Mirgan,’ make saris, gamchas and tuvals. Typically, these minimalist
saris indicate the wearer’s identity and mark the rites of passage in a woman’s life. Depending on the
occasion, the saris vary in elaboration of figuring. The dimensions of the sari varies from the short knee-
length eight haath (one haath is the length from fingertips to elbow) to the ankle-length 16 haath.
( R) Kotpad Dupatta, with interesting tribal motifs such as pots, fish, a man, and other geometric, nature
inspired patterns.
Kotpad Dupatta, Source: Available online at Jaypore – www.jaypore.com

21
A thick sludge of finely grownd aal powder and boiling water is stirred vigorously and the hank of fine
yarn is dipped and wrung through with the dye.
The fibers are wrung with the feet, completely impregnating them with dye. They are then returned to
the dye pot to soak for the rest of the day in the sun.
The dyepots are given a black tikka of charcoal to protect against evil eye while they are getting their all
day sun bath. The pots slowly turn redder as they sit in the sun. Only clay pots are used for this process.
The aal can be made browner by the adding iron dust to the dye pot. The fibers are always dyed and
dried at least twice.
Once the entire fabric is woven, Shikakai and Reetha are used for the first wash, which is a soft wash so
as to make the color permanent and strong.

22
Weaving Process: A Glimpse
 Kotpad weaves are created using a laborious, elaborate and completely natural process right
from the fibre stage till the final product.
 The rich reds, browns and maroons come from Aal root (Madder) and iron dust obtained from the
local blacksmiths.
 Cotton yarn is treated with cow dung, wood ash and castor oil, the time duration of the process
sometimes going up to nearly a month.
 Despite the use of castor oil there is no shine or smell. Instead the cloth becomes soft and the colors
lustrous and fast.
The untreated natural cotton yarn is often bleached whiter. This bleaching is done using natural
prodcuts - Castor oil and cow dung paste are massaged into the hanks of yarn by foot and they are
soaked in ash water baths and then dried in the sun for 12 days before weaving/dying.
Aal bark only grows in the wild, it is collected from the jungles and left to dry in the sun

23
The designs used in Kotpad weaves have a motif language largely inspired by nature. They also produce
many discontinuous supplementary weft motifs placed in rows in the field such as leaves, snakes, axes,
pots, fish, crabs, conch shells and other objects encountered in tribal daily routine. Even non-traditional
items such as umbrellas and aeroplanes are seen.
Motif Reflections: A rich variety of motifs inspired from fauna are seen. Peacock, cheetah, and fish
motifs on the border and pallu, along with bulls driven by their herders. Women are also seen filling
water in pots in this interesting rural depiction of the tribals’ daily life and their harmony with nature.

24
Reflections on The Weave:
'Simplicity is the ultimate sophistication,' said the famed artist Leonardo Da Vinci. Nothing exemplifies this
more than the earthy, minimal and artistic Kotpad weaves.
The simplicity and harmony of the tribal way of life has been captured and crafted elegantly in these
handwoven, nature-sprung fabrics. The color palette and motif language give it a Bohemian vibe, and Kotpad
weaves continue to retain their eclectic charm even when fashioned into a modern design template like
dupattas and stoles, apart from the traditional sari.

25
Sambhalpuri Ikats of Orissa
What is Ikat?
A weaving technique wherein the fabric is tie-dyed at the yarn stage, the process of ikat weaving begins with
the formation of a design by the yarns being repeatedly tied and dyed in desired places. The number of times
the tying and dying is repeated depends on the complexity of the pattern. The simple interlacing of yarns, in
plain weave or tabby, produces the design. For single ikat, either the warp or weft yarns are tied and dyed and
require accurate positioning. In double ikat, both warp and weft are tied and dyed and need to be accurately
placed with precision for the desired pattern to be woven. Combination Ikat is a textile featuring both single
and double ikat in different patterns.
A single ikat saree. Source: Indianroots, www.indianroots.com
Sambhalpur in Orissa is home to an intricate style of ikat weaving with a unique motif language and it is
characterized by the use of woven figuring in combination with Ikat patterns. Sambhalpuri Ikats feature
single, double as well as combination Ikat patterning, usually in stripes along with woven patterns. Ealier,
coarse fabrics were said to be woven but in the last 30 years very fine fabric upto a 150 count have also been
introduced. Tussar and Mulberry silk yarns are also used for Sambhalpuri ikats.

26
Ikat, especially double Ikat requires complex mathematics to accurately translate the design into the
threadcount and placement of threads, but in spite of this complexity the weavers of Sambhalpur make no
calculations on a graph. Instead, they transfer the design onto the warp or weft mentally, merely by looking at
the paper design and tying the necessary threads without the use of markings.
Unlike a lot of communities that produce exquisite textiles, the villagers who produce ikats are also
consumers of this fabric and most local women can be seen wearing ikat weaves, assuring these textiles
of a local market. A number of colleges and government institutions have made it mandatory to wear
the ikat fabric as a dress code, in an effort to help sustain this indigenous craft.
Reflections:
The Bicchitrapuri sari of Sambhalpur, with its trademark red and white checkerboard pattern and elaborate
rows of wildlife-inspired motifs – lions, deer, elephant, fish, swans – is a bold statement in color palette and
motif language. The black, red and white patterns have become symbolic of ikat weaving in Orissa.
Ikat saris also feature motifs inspired from the temples of Orissa. The use of every motif has a certain
symbolism and meaning behind it, and together they lend a sense of balance and completion to each
other’s vibe. For instance, the peacock, swan, parrot and deer are symbols of peace while the lions and
elephants signify strength. Along with them, the horse signifies advancement. One can understand why Ikats
were historically given spiritual and religious reverence, given the complexity of their construction and the
story each ikat tells in its weave.
The beauty of Ikat unmistakably lies in how the jagged lines denote the coming together of warp and weft in
absolute precision to form patterns and motifs that narrate the imagination of the weaver and his/her rich
culture of origin.

27
Balarampuram Weaves of Kerala
Historical Trivia: Handloom weaving at Balaramapuram has a history that spans 300 years. At the behest
of Balaramavarma, Maharaja of erstwhile Travancore, as part of an agro-industrial development plan for the
state, the dalawa (chief minister) Ummini Thampi, brought seven saliyar (weaver) families from Valliyoor in
Thirunelveli district, Tamil Nadu, to Balaramapuram (circa 1798 to 1810). The weavers used to produce fine
mundum-neriyathum for the royal family. The tradition spread from them to the local weavers. Many of the
weavers still use throw-shuttle pit looms to make cotton saris with pure zari (an even thread traditionally
made of fine gold or silver).
What is mundum-neriyathum?
Mundum neriyathum (set-mundu or mundu-set) is the traditional clothing of women in Kerala. It is the
oldest remnant of the ancient form of the saree which covered only the lower part of the body.
The most basic, traditional piece consists of the mundu or lower garment which is the ancient form of the
saree denoted in Malayalam as 'Thuni' (meaning cloth), while the neriyathu forms the upper garment.
This two piece garment could be worn in either the traditional style with the neriyathu tucked inside the
blouse, or in the modern style with the neriyathu worn over the left shoulder.
There Comes Papa, Raja Ravi Varma (1893)[Public domain], via Wikimedia Commons.
Reflections: The mundum neriyathum is beautifully depicted in this painting by Raja Ravi Varma. One
can see the lustre of the gold zari stripe border, accentuated further by its unique drape. The
neriyathum is tucked in at the bust instead of being draped over the shoulder.

28
Onam, and, to a lesser extent Vishu, are the busiest times of the year for weavers of this saree. Also known as
the Kasavu saree or Kerala saree, it is popularly worn by women as part of their traditional festive attire. The
off white, superfine cotton sarees have rich figuring in gold and depict interesting motifs, typically
interspersed with red or green stripe patterns and figuring.
Reflections: The peacock motif is a popular theme in Kerala Kasavu Sarees, along with paisleys and
floral depictions. These motifs are often combined with golden stripes and temple border inspired
triangular motifs. Kasavu sarees have a distinctive, typical color palette of rich yellow-gold, cream, red
and or/green which have come to symbolize the Malayali woman.

29
Reflections: A contemporary take on traditional Kerala Sarees, this half-and-half saree is made of fine
Kerala Cotton and the upper half, including the pallav, has a sheer transparency and tissue weave, i.e
golden zari yarn is woven along with cotton to give it a silken lustre, also known locally as “dhoop-
chao”
Indianroots, (2015), Kasavu Saree, Amodha [ONLINE]. Available at: http://www.indianroots.in/off-
white-golden-kerala-cotton-saree-67151 [Accessed 16 March 15].

30
Fashion Interpretations:
A collection of Kerala Kasavu ensembles inspired from the rich heritage of God's own land, Anneha is a
social enterprise that believes in development through design. This venture is an initiative by
Kudumbashree, a Kerala Government organisation, to promote women's self employment and
empowerment. The collectioin features interesting usage of Kerala Kasavu textiles in a contemporary
approach.
(Top Left) A peplum top with pintucks and woven golden stripe running over the centre and a gold
border stripe at the hem. Another interesting garment is a pink, gold and white kurta, with a mandarin
collar and bold central placket. (Below) Striped top with golden shoulder epaulets. (Top) Asymmetric
hem on an empire line kurta with an interesting mix of woven checks and stripe detailing.

31
A simple, chic kurta with pink and gold stripes on the bust and sleeves and elephant motif block print at
the hem
Empire line kurta featuring green and gold stripes with a bolero jacket inspired attachment, an
interesting use of striped borders to that forms clean lines and a sense of minimalism.
Reflections: The elegant color palette, crisp yet soft drape and cool comfort of superfine cotton makes the
Kasavu a very versatile textile to experiment with and reinterpret as fashion garments. The garments from
Anneha mix contemporary silhouettes and traditional textiles, using the borders and brocading of this weave
in a very interesting manner to form crisp, clean, elegant silhouettes ideal for workwear and casualwear.

32
Another interesting trend in traditional Kasavu sarees is the incorporation of traditional handpainted Kerala
murals and figurines on the saree, which adds a beautiful splash of colour and festivity to the austere cream
and gold. These handpainted sarees are becoming increasingly popular among consumers of the textile.

33
Kanjivaram Silks of Tamil Nadu
The temple town of Kanchipuram, south of the city of Chennai in Tamil Nadu, has been a famous centre of
pilgrimage for almost two millennia. It is known as the Silk City for its rich heritage of figured and brocaded
silk woven saris. Ancient southern texts talk of rich silks from the area as early as the 2nd
century and
historians believe that the industry could have started with the migration of Pattu Saliyar silk weavers from the
maritime city of Kaveripoompattinam, submerged in the sea.
Kanchipuram’s silk industry prospered because of a happy combination of royal patronage, temple
patronage and trade, the latter facilitated by trading routes on the river Palar. Temples had weavers of their
own who were given land within the temple premises and all temple yardages including wall hangings, flags,
chariot decorations celebrating the Puranas and other Hindu epics were woven by these weavers. They also
wove nine yard sarees for the deities and the ladies of the royal households.

34
Weaving Process:
The weaving of a Kanjivaram saree is a slow process, and is done on a throw shuttle pit loom . The process is
started by degumming and dyeing of Mulberry Silk bought from Mysore and Bangalore. The pattern maker
translates the necessary design to a graph paper, which is used as a guide when working on the loom. For
lifting of the warp threads for figuring, an indigenous version of the jacquard loom locally known as an adai
frame is utilised.
Now, however, to save time and labour, jacquard and dobby machines have started replacing these
traditional techniques for figured weaving.
The great speciality of the Kanjivaram sarees is the solid coloured borders and pallus are woven separately by
interlocking yarns, making it possible to have a pure, contrasting colour. Gold zari of varying thicknesses
and silk yarn are used for the extra warp figuring in the border and extra figuring in the body.

35
Many Kanjivaram designs are permutations and combinations of vertical or horizontal stripes (rekus) and
checks. In more elaborate saris, geometric and floral motifs cover the entire surface of the body. The above
image depicts peacocks within the checks and another variation of the peacock motif in the border.
The veldhari or neli - curved lines with dots and muthuchir – horizontal lines of dots resembling pearls

36
Flora and fauna is a popular theme in the Kanjivaram motif language, sarees are richly figured in gold
with elaborate nature inspired floral motifs, creepers, birds, peacocks, horses, bull, deer, and swans.
Birds like parrot and peacock are most popular. The rudraksha fruit motif is also widely used.

37
Big floral butis are formed on the body of the saree with a golden stripe on the border. The golden
stripe features a creeper on its edge.
The ever-popular paisley is also widely used in kanjeevaram sarees, in different forms and varying
degrees of intricacy

38
The iruthalai pakshi is the twin headed version of the classic mythical bird, the annapakshi. Iruthalai
literally means two heads in Tamil. With its two heads pointed in two opposite directions, the bird
conveys a rich symbolism of time and the duality of the past and present.

39
Fashion Reinterpretation:
Kanjeevaram Silks in fusion with Handcrafted Kalamkari Textiles in Gaurang Shah’s “Ardhangini”
Collection (LFW Winter/Festive 2012):
“Ardhangini” meaning “wife” or “better half” in Hindi, this collection depicted an innovative fusion
of Kalamkari printed textiles and rich Kanjeevarams, in their traditional saree form as well as in new fashion
templates such as anarkalis, kurtas, lehengas and dupattas.
(Top) A richly figured kanjeevaram saree with thick gold border paired with a kalamkari blouse and a
Kanjeevaram floor length anarkali with gold figuring on the thick border at it’s hemline and sleeves,
paired with a Kalamkari cape.
A kanjeevaram blouse co-ordinated with a Kalamkari lehenga with Kanjeevaram border

40
Kanjeevaram Anarkali with a crisp, pleated fall accentuating it’s lustrous sheen. It has a thick gold twin
border.
Another interesting garment is the Kanjeevaram churidar-kurta on the left. The kurta has a straight cut
and a thick Kanjeevaram border, paired with a Kanjeevaram dupatta with all over figuring on pink silk
and bold golden border.

41
Reflections on the weave:
The rich, elegant and luxurious Kanjivaram silks are an essential part of every South Indian bride’s
trousseau. Its rich gold figuring, lustrous sheen and stately drape have made it a symbol of South Indian
grandeur. When speaking of Kanjivarams, one can never forget to mention Rekha’s eternal style –her
statement of exquisite Kanjeevaram silk saree, paired with her classic red lips and long flowing hair – the
actress’s undying devotion to the weave has significantly added to its acclaimed status and made it a
covetable possession in the wardrobes of women from all communities, an effect that Bollywood patronage
always tends to have on Indian consumers. The Kanjivaram saree is truly a timeless textile, the rich figuring
and motif language befitting it’s royal origin.

42
The Inspiring Success Story of Gaurang Shah:
Gaurang Shah is a self-taught designer, the man behind the eponymous label “Gaurang”. He learnt on the job at his
family textile store, and although georgette and chiffon were all the rage back then, he nurtured a certain nostalgia
for traditional Indian textiles. He believes that bringing back happiness in the weaver communities is the true
essence of culture and revival of tradition, and took up the challenge of reviving traditional Indian handlooms and
bringing them back in vogue.
The label “GAURANG” personifies elegance and envisions to captivate not only Indian consumers but consumers
around the world with the beauty of traditional handlooms and weaves, created using Jamdani weaving technique
with pure zari on cottons and silks. Traditional motifs, inspired by the sculptures of South Indian temples, floral and
geometrics drawn from the nature are the hallmark of his creations. Immense care is taken to preserve and
accentuate the aesthetic appeal of its beautiful textures. GAURANG now supports around 500 weavers across India
in the states of Andhra Pradesh, Maharashtra, Tamil Nadu, Gujarat and Uttar Pradesh.
Reflections: It is always inspiring to see the work of self-taught designers and study the inspiration that drove
them to creative success, for it takes a great amount of courage and passion about a subject to be able to realise
what one envisions without having had a contextual formal training in the field.
Gaurang Shah’s breathtaking interpretations of traditional weaves, from the Patan Patola to Kanjeevarams to
Kota and Jamdani muslins, serve as an inspiring example of how the spark of nostalgic awe we all possess
towards Indian textiles as design learners can be nurtured and channelled into creating exemplary innovations
in fashion, which not only represent the beauty and rich cultural heritage we are blessed to be a part of as our
niche market, but also have a positive social and cultural impact on the lives of weavers and artisans around the
country who spend laborious amounts of time and skill in preserving our heritage, despite their living
conditions, the stiff competition they face from retail giants and decline in patronage of traditional handlooms.

43
Ilkal Saree of Karnataka
Ilkal saree takes its name from the town of Ilkal in the Bagalkot district of Karnataka. Ilkal sarees are woven
using cotton or rayon warp on the body and art silk or pure silk warp for border and the pallav portion of the
saree. The distinctive feature of the Ilkal is the adjoining of the silk warp with the cotton body by an
interlocking technique locally known as Tope Teni, and the bold red and white serrated motifs on the pallu
– a characteristic symbol of the Ilkal weave, as seen in the image below.
The distinctive motifs at the end region of the pallu are made up of different styles of "teni" or
spokes. They are named after their shapes, like "hanige" or comb tooth, "koti kammli" or fort
ramparts, and "rampa" or the shape of a mountain range. The pallus are woven first and require
much hand manipulation of the red and white silk shuttles to get the symmetrical sawblade edges
of the stripes.

44
Uniqueness and Trivia:
 One of the distinctive features of the Ilkal saree is the joining of the body warp with pallav warp, using
a series of loops in a technique locally called as tope teni technique.
 The transition of the cotton body to the silk pallu requires a join in the warp by interlocking.
Locally called "kondi" or locking, the threads are hand tied on end by end - there are almost
5000 plus ends in the sari. An experienced weaver can tie these in 2 hours.
 They dip their fingers in ash water as it helps to bind and compress the threads as they are twisted
together.
 The sarees have silk pallus and cotton/rayon grounds. Traditionally, only cotton and silk were used,
but lately rayon grounds have been introduced because it is cheaper to use and the market favours
it’s shiny aesthetic. The ground color warp threads are usually black cotton, while the weft is
rayon/colored cotton.
 The red and white pallav design is known as tope teni seragu. This unique design has been regarded as
a state symbol and symbolizes the Ilkal weave.
 A must in every bride's trousseau is the Chandrakali saree - indigo-black with crimson borders
and tope-teni pallu is presented to her on Sankranti. The ground fibers were traditionally dipped
14 times in an indigo vat to get a particular hue of black-blue. However, these colors are
increasingly being made with synthetic dyes to save time and cost of production.
A chandrakali dupatta with deep blue hue and crimson borders typical to the Ilkal weave

45
The Ilkal saree makes a strong statement with it’s simple elements of design, bold color palette and
distinctive identity in motif language.
The most defining feature of an Ilkal saree is its bright red traditional woven border and a matching bright red
pallu, inspired perhaps from the bright ruby red granite mined in Ilkal – their chief source of income apart
from handloom weaving.
The geographical placement of the Ilkal region can be cited as one of the reasons it also looks similar to sarees
from its two influential neighbours – Andhra Pradesh and Maharashtra, both having their own unique
handloom weaving traditions. A comparison can be drawn between Ilkal and Narayanpeth in terms of border
design, as shown in the picture on the left.
The borders of the Ilkal saree with it’s Rudraksha motif repetitions are somewhat similar in design to the
border stripes on Narayanpet Sarees, which are made in Andhra but are also popularly worn for festivities
in Maharashtra The geographic proximity of the three regions is reflected in the similarities of their
weaving style. However, every weave has a distinctive identity of it’s own, and can be recognized by
these properties – for instance, the interlocked pallav in bright hues of red and white silk is an
unmistakable trademark of the Ilkal saree.
The rudraksha motif can be seen depicted in a slight variation in the weaves of the two regions. Both are
placed within a narrow stripe and have two vertical stripe divisions between each rudraksha motif,
however a difference in shape and material used is visible.
Ilkal Saree
Narayanpeth Saree

46
Chanderi Weaves of Madhya Pradesh
Chanderi is a small town in the high dry hills of North central Madhya Pradesh. It has been famous for its
handlooms since the reign of the Scindia royal family. The craft of weaving this fabric, first recorded in the
13th
century, has lived on in Chanderi, has been passed on through generations of weavers. Chanderi, now in
the Ashok Nagar district of Madhya Pradesh, at one time produced fine cotton, as delicate as the Dacca
muslins. The cotton was hand spun and the cloth hand woven.
There is a legend pertaining to this gossamer textile which says that a yardage of Chanderi cloth once gifted to
Mughal Emperor Akbar was of such fineness, that it was presented to the emperor in the hollow of a bamboo
stick; and when drawn out from the packaging, the finely woven muslin was enough to cover an elephant.
Chanderi is typically a fine, translucent, lustrous and lightweight textile with woven buttis in zari all over the
body. It has a soft, flowing drape.
Tissue Chanderi Pallav on a Chanderi Silk Saree – The fine, delicate translucency is truly akin to ripples
on the surface of water – one of the reasons why these famed textiles were likened to woven air and
flowing water in Mughal poetry like the Jamdani muslins.

47
How the Chanderi got its Silk:
Chanderi saris are known for their glossy transparency and a sheer texture, the fineness making it extremely
lightweight. The material was very expensive and exclusive even in medieval India, with clientele ranging from
the royal households of Baroda, Gwalior, and Nagpur among others. Chanderi weavers thrived under the
royal patronage.
In the olden times, Chanderi was primarily woven using handspun cotton warps and wefts . It was spun
as fine as 300 counts, and was as prized amongst cotton fabrics as the famed muslins of Dhaka. However, the
Industrial Revolution sounded the first blow on this beautiful textile. The British imported cheaper 120 to 200
count cotton from Manchester, which greatly eroded the market for the more expensive handspun and
handwoven Chanderi cloth.
In the 1930s, Chanderi weavers discovered Japanese silk. They began substituting this in the warps in cotton
sarees, and also developed a silk-by-silk variety in which their profit margins were higher.
Chanderi is made in cotton, cotton-silk and pure silk. The technique, centuries old, produce lightweight
textiles with intricate borders. Three kinds of thread- the cotton, silk and Zari (metal or gold thread) are used.
The cotton thread is primarily white. The warp of the cloth is silk and the weft is cotton. The typical Chanderi
has are delicate gold Zari buttis all over the body and gold bands across the pallav and borders.

48
(L) Weft figuring of buttis on the loom
(Above) A paisley border design plotted on a graph card in order to translate it to the weave while working on the
loom
Initially, Chanderi sarees were only white. They were dyed in saffron for a golden beige color and subtle
aroma. Now fast acting chemical dyes are used to get a larger range of colors, though the preferred saris are
still light and golden in shades. A further innovation has been hand block printing designs on the sari,
especially with the Rajasthani Bagru prints, or embellishment with sequins and embroidery.
Government owned bodies such as MP Handloom Weavers Cooperative, MP Handicraft Development
Corporation and the State Textile Corporations now provide the weavers with marketing support so that
their unique craft remains flourishing and gives pleasure to countless women who possess the coveted
Chanderi saris.
Sarisafari.com, (2015). Sari Safari - Chanderi Handloom Sarees, Chanderi Sari. [online] Available at:
http://www.sarisafari.com/tour/chanderi.html [Accessed 23 Mar. 2015].

49
Sheer, translucent and fine textiles have always been prized in our historical heritage, and the Chanderi is no
exception. It has a delicate elegance and charm in the way it drapes the body in a soft, flowing manner without
being clingy. Chanderi can be a very versatile textile to experiment with in terms of weaving as well as surface
prints or embellishments. For instance, tissue Chanderi, i.e introduction of zari yarns in the weft to create an all
over golden sheen or dhoop chao effect has a stunning impact when incorporated in sarees and dupattas. The
sheer texture make it the perfect textile for the sweltering Indian summers, and its simplistic beauty gives it good
potential to be explored further to create new fashion templates.
Pinterest.com, (2015). [online] Available at: https://www.pinterest.com/pin/308496643197036908/ [Accessed 23 Mar. 2015].
Roposo, (2015). white chanderi anarkali salwar suit. [image] Available at: http://www.roposo.com/product/white-chanderi-
anarkali-salwar-suit/9e9e0f1a-7b3a-4011-9420-5fc2337b7e02 [Accessed 23 Mar. 20

50
Patan Patola Ikats of Gujarat
Patola weaves from the area of Patan in the North Gujarat region of western India are a glorious heritage of
exquisite double ikat textiles, formed with utmost precision and revered as an heirloom. It has no reverse side.
Both the sides of a patolu have equal intensity of color and design. Legend indicates that sometimes in the
12th Century AD, King Kumarpal of Solanki dynasty, invited 700 families of patola weavers from Jalna
(South Maharashtra) to settle down in Patan in North Gujarat.
The Salvi family of Patan is one such family of weavers who have continued to practice this traditional art and
protect it as a private legacy.
Patan Patola is an exquisite double ikat weave – the warp and weft are both tie dyed according to a
meticulous calculation of how the desired motifs should be placed on the final fabric, and then woven with an
uncanny precision that ensures the patterns are formed exactly the way they should in accordance with the
tie-dye placement on the yarn. One can only imagine the wondrous amount of skill and dexterity a Patola
weaver possesses, and the arduous efforts that go into the creation of this textile.
The motifs of a Patan Patola are inspired from the Rani ni Vav (pictured above). A lot of the patterns and
designs from this ancient monument in Patan are translated into the Ikat weaves. It was built during the
Solanki dynasty and has been inferred the status of a UNESCO World Heritage Site.
(Clockwise from Top Left) Different varieties of Patan Patola Sarees, distinctively recognized by their motif
language. Chhabdi Bhat, Navratna, Vora Gajji Gulbas, Undali.
Patanpatola.com, (2015). Patan Patola- the ancient art of double ikat weaving. [online] Available at:
http://www.patanpatola.com/inside.html [Accessed 10 Mar. 2015].

51
The Awe Inspiring Process behind making a Patolu Saree:
The yarns are tied by hand according to a precise calculation of how the motifs should form, before being
woven
Tied yarns
The yarns are then dyed, the tied threads forming a resist which helps create the required patterns

52
The tie dyed yarns are then set on the warp of the harness loom. Notice the precision, one can already make
out the pattern being formed.
The patola is woven on a primitive hand operated harness loom made out of rosewood and bamboo strips.The
loom lies at a slant, with the left side being lower than the right side. The bamboo shuttle is made to move to
and fro through warp shades.
Each weft thread is thoroughly examined and matched with each part of the warp design pattern while
weaving.
Reflections on the weave: Stunning imagery is created on Patan Patola weaves with accurate positioning of
warp and weft threads to form ikat patterns. Unlike single ikats that have jagged, blur edges which give them
their unique aesthetic value, the beauty of a Patan Patola double ikat motif lies in how the double ikat
technique is carried out with such finesse and precision that there will seldom be any exaggerated jagged lines,
the warp and weft always meet at perfect precision to form smooth, pixel like motifs composed of several
minute checks. The Patan Patola exemplifies pure handcrafted, bespoke luxury.

53
Fashion Interpretation:
Gaurang Shah brought the Patan Patola to the runway at LFW 2013. He incorporated this weave to anarkalis,
lehengas, shararas, ghagras, saris and khadi dupattas. His line was based on ‘Streedhan’ representing
Gujarat. He infused some some new colors like pink and cyan blue, and fused traditional designs with parsi
embroidery and zardosi work.
L: Patola Lehenga paired with a khadi dupatta featuring an amalgamation of Parsi Gara and Zardozi
embroidery motifs with a Patola weave border on it’s inner face
Above: Khadi Dupatta with similar Zardozi meets Gara embroidery combination with a Patan Patola on the
reverse side.

54
An interesting colour combination of feroze, yellow, green and red motifs on white paired with a Patola
dupatta of similar color palette. The color palette is a new take on the traditional colors that are typical to the
Patan Patola.

55
The economic instability of post-independence India forced many weavers to shut shop and seek alternate
livelihoods. But despite many ups and downs, Kantilal Salvi, a master weaver and national awardee (1978)
held on to the family legacy of double ikat patola weaving. Now only four families with three of them living in
Patan that consist of 13 weavers make the authentic Patola with double ikat weave.
 Each piece, woven from silk yarn, takes four to six months to make if four people weave it for 6 hours
a day.
 Fiercely protected by the Salvi family as a private legacy, the Patan Patola remains out of sight even in
the richest retail markets of the Middle East and India. They can be obtained only on commission.
 The Salvi family collectively makes four to five saris a year provided all of them work assiduously
throughout the year.
 For an authentic, autographed Patan Patola (the inside corner has the weavers name and date of
completion), the waiting period is three years or more – longer than a Hermes Birkin bag.
 Each piece costs above 3.5 lakh, going up to 8 lakhs depending on design intricacy. Moneyed
Gujarati families often commission such a sari like a piece of precious jewellery, revering it as an
heirloom.
Reflections:
The Patan Patola is bespoke, limited edition luxury in the way only the finest artisanal products of the
world are. The fine silk in it’s rich colors and intricate ikat detailing is elusive and exclusive. This
nature of the Patolu lies in the difficulty of its production technique and the limited number of highly
skilled weavers remaining to sustain this craft. The Patan Patola legacy is definitely one of the finest
executions of the double ikat technique in our textile history.

56
Gharchola and Panetars of Gujarat
Each community has its own set of accessories or attire that have its unique identity. Among the assorted
range of textiles specially created for social and cultural ceremonies, Gharchola and Panetar are one such
significant variety of wedding Saris. Each of these is specially created and bought for wedding trousseaus and
becomes a life time treasure of every married Gujarati woman.
What is the difference between a Gharchola and Panetar?
 A typical Gharchola sari is marked by large zari checks; 12 section patterns known by the name of 'bar
bagh' and the 52 square patterns known as 'baavan bagh'. These checks carry small bandhini motifs,
the most common are those of peacocks, lotus, human figures, floral patterns and the like.
 A Panetar sari has a white body with rich red border and palav. The plain white body is woven in
Gajji silk with linear stripes or checks in gold zari. The Border and Palav are dyed red and are often
adorned with bandhini or brocade figuring in gold.
 A gharchola and panetar both form the typical wedding attire of the Gujarati bride. The Panetar is a
wedding Sari which is gifted to the bride from her maternal family, symbolic of her last gift from her
parents, while the gharchola is offered to the bride as a gift from her mother- in-law – This signifies
that the bridegroom’s family is ready to take her responsibility from that day onwards.
 Traditional Trivia: In certain families, this symbolic act of gifting the panetar and gharchola is
regarded so importantly that the bride is expected to immediately change from her Panetar to the
Gharchola sari when it is received by her. Nowadays, after the bride receives her Gharchola, she
drapes it over her head and shoulder for the wedding rituals. During the seven pheras, one end
of her Gharchola is tied to the shawl worn by the groom .
Reflections: A panetar saree with white body and red pallav and border, featuring paisley brocade figuring in
gold and green. The Gharchola is draped over the head and shoulder and tucked in at the waist. Elephant motifs
in bandhini are prominent. It is draped in the Gujarati style, with the pallav falling over the shoulder at front.

57
A typical Gharchola sari is marked by the large zari checks, 12 section patterns is known by the name of ‘bar
bagh’ and the 52 square saris are known by the name of ‘baavan bagh.’
Where more than twocolors are used, the design isknown as ‘phulwari’ orgarden and where animalmotifs
predominate it is known as ’shikari’ which means hunting scene. The main color used is red, with white
and yellow dots, though green Gharcholas are also fabricated based on personal request of the clients.
The entire body of the saree is covered with repeat designs in squares and when the saree is opened out, it
looks like a number of gardens complete with beds of flowers. Each square encloses a motif such as elephants,
dolls, flowers. Other popular patterns are Bhavan Bagh, Fifty Two Gardens, Raas Leela etc.
Floral and elephant motifs are seen in the first two Gharcholas, while another innovative style of gharchola
(Right) features all over embellishment and combines the white body of the panetar with the red grid pattern
of the gharchola on either sides of the same fabric.

58
 Only a population of 300 weavers’ family with 200 handlooms is keeping the tradition of
manufacturing Gharchola sarees. The looms used are pit looms with no new tools or equipment
attached. Although weaving and tying work is done at Khambhat, but for dyeing and block printing
on sarees, it is usually sent to Jamnagar where brilliant shades can be produced on the textile due to
superior quality of dyeing industry. The art of Gharchola saree making has also spread to other cluster
like Joravarnagar, Kataria under Surendranagar district.
 The main marketing centres of the saree are Bhuj – Kutch where big weavers/ master weavers have
the required linkages to push off products at a larger scale which smaller weavers cannot always
manage to do. As a result, small weavers usually prefer to work under the master weavers.
Reflections on the Weave:
Every community in our culturally diverse country has their own rituals, customs and specific
conventions when it comes to weddings. These are often integrated with the textile and
costume history of the region, thus setting every community apart with its own distinctive
identity.
Red, the color of love and energy, is considered an auspicious colour to wear for brides in
several communities of India. The panetar saree befits this symbolism – the white
symbolising purity and the red symbolising prosperity and the celebration of love.
Gharchola and Panetar weaves hold an important cultural significance in the Gujarati
wedding. Incorporating brocade weaving techniques in its stripes and/or figuring as well as
traditional surface techniques such as intricate bandhini tie dying, these beautiful weaves
symbolize the beauty and festivity of the Gujarati wedding and their rich craft heritage,
thereby holding an important meaning to every Gujarati woman, for it is the adornment of
these textiles that mark a day of transition in her life.
Kota Doria Weaves

59
The Kota area of Rajasthan is famous for its forts, its unique miniature paintings and for a delicate, translucent
muslin called Kota doria or Kota Masuria
Legend has it that it was a general in the Mughal army, Rao Kishore Singh, who was responsible for bringing
weavers from Mysore to Kota in the late 1600s giving the fabric its name of Kota Masuria - Kota and Mysore.
Traditionally woven in cotton, the fabric is made of soft checks with or without golden thread with a
characteristic square check pattern. Each square unit consists of 14 yarns - Eight of cotton and six of silk,
called a khat. The typical sari has 300 khats and a width of 46 inches.
Extra wefts are used to create a gold border. Kota doria woven entirely in silk is a new product development
in this weave. Another innovation in the Kota doria is the introduction of zari yarns as a regular weft yarn to
form an all over sheen, known as tissue kota, which makes it more festive and evening-wear appropriate.
(L) Hand block prints are common on Kota Doria weaves, since both textile crafts hail from Rajasthan
(Above) Tissue Kota saree, for sale on Indianroots. The tissue weave lends a festive shimmer to the fine
muslin.
Originally, Kota dorias were patronized by the royal family of Kota as the fabric for the official headgear.
Later, the Oswal community started using this fabric as sarees for religious ceremonies, considering it
auspicious.

60
Kota Doria is woven in many villages in the Kota, Bundi and Baran districts of Rajasthan. However, the oldest
and biggest concentration of weavers is in Kaithun, about 15 kilometres from the town of Kota. The yarns of
the Kota Doria weave are painstakingly sized using a thin paste of rice and the juice of a special variety of
onions on the stretched warp. The sizing is applied with the help of a special brush to reinforce the cotton
yarn, made of coniferous leaves brought to the weavers by the brush makers of Kashmir. This process makes
the fine yarns strong enough to withstand the weaving process, apart from giving the fabric a subtle lustre and
stiffness.
The unique weave structure of the Kota Doria makes it a translucent, light and airy textile. Kota saris have a
timeless, summery charm and enjoy a domestic clientele, being ideal for the Indian heat.

61
References:
Baluchar Silks
Hali. 2014. Baluchar Silks of Bengal. [ONLINE] Available at: http://www.hali.com/news/baluchar-silks-bengal-mumbai/.
[Accessed 13 March 15].
Gaatha. 2014. Baluchari Sarees. [ONLINE] Available at: http://gaatha.com/baluchari-saree-bangal/. [Accessed 12 March 15].
Livemint, Shefalee Vasudev. 2014. Bengal Beauties. [ONLINE] Available
at:http://www.livemint.com/Leisure/Zj2nwZWDBPxu73UpmjOVjO/Bengal-beauties.html. [Accessed 12 March 15].
IMAGES:
Jaypore, (2014), Baluchari Saree [ONLINE]. Available
at: https://www.google.co.in/search?q=baluchari+kalka&es_sm=93&source=lnms&tbm=isch&sa=X&ei=VTsEVZWTH9CKuwT
HkoHwCw&ved=0CAcQ_AUoAQ&biw=1093&bih=498&dpr=1.25#tbm=isch&q=baluchari+silk&imgdii=_&imgrc=gg7F7Dt2W
OMldM%253A%3BrCh29w3D0b0HoM%3Bhttp%253A%252F%252Fst1.travel.india.com%252Fwp-
content%252Fuploads%252F2013%252F05%252FBaluchari-saris-mothers-
day1.jpg%3Bhttp%253A%252F%252Ftravel.india.com%252Farticles%252Fmothers-day-special-unique-gifts-for-her-this-
year%252F%3B640%3B360 [Accessed 11 March 15
Abhijna-e-Museum, (2014), Baluchar Tales [ONLINE]. Available at: http://www.abhijna-emuseum.com/interwoven-tales-
the-rich-tradition-of-baluchari-sari-from-west-bengal/ [Accessed 11 March 15].
Unnati Silks, (2014), Baluchari Saree [ONLINE]. Available
at: https://in.pinterest.com/search/pins/?q=baluchari%20silk [Accessed 11 March 15].
Culture Buy, (2014), Baluchari Handwoven Silk [ONLINE]. Available
at:https://in.pinterest.com/pin/210261876324248581/ [Accessed 11 March 15].
West Bengal Handloom Division, (2003), Baluchari Silk [ONLINE]. Available
at:http://www.westbengalhandloom.org/htm/home.html [Accessed 11 March 15].
Baggout, (2003), Silk Baluchar Saree [ONLINE]. Available at: http://baggout.com/product/SILK-BALUCHARI-SAREE-
MEHROON-COMB/834384 [Accessed 11 March 15].
Hali, (2014), European Baluchari Motifs [ONLINE]. Available at: http://www.hali.com/news/baluchar-silks-bengal-
mumbai/ [Accessed 11 March 15].
Tulsi Vatsal, (2014), Kalka [ONLINE]. Available at: http://www.hali.com/news/baluchar-silks-bengal-mumbai/ [Accessed 13
March 15].
Abhijna-e-Museum, (2014), Woman Smoking Hookah [ONLINE]. Available at: http://www.abhijna-
emuseum.com/interwoven-tales-the-rich-tradition-of-baluchari-sari-from-west-bengal/ [Accessed 11 March 15].
West Bengal Handloom Division, (2003), Mahabharata [ONLINE]. Available
at:http://www.westbengalhandloom.org/htm/balucharisilk.html [Accessed 11 March 15].
Hali, (2014), Steam Engine, 19th
century [ONLINE]. Available at: http://www.hali.com/news/baluchar-silks-bengal-
mumbai/ [Accessed 11 March 15].
Jaitley, RJ, 2015. Tanabana - Handwoven and Handcrafted Textiles of India. 1st ed. Mumbai: Mapin Publishing.
Nadia Sultana Tarakki, (2013), Jamdani Weaving [ONLINE]. Available
at:https://www.google.co.in/search?q=flickr+jamdani&espv=2&biw=1093&bih=498&tbm=isch&imgil=9lEctp094Ay
W1M%253A%253BRDqs76d7h_DJXM%253Bhttp%25253A%25252F%25252Faishlife.tumblr.com%25252Fpost%
25252F78932830437%25252Fbang1adesh-the-jamdani-maker-by-nadia-
sultana&source=iu&pf=m&fir=9lEctp094AyW1M%253A%252CRDqs76d7h_DJXM%252C_&usg=__iEPK2ja_eJc-
nO_VICmqWXlMrTE%3D&ved=0CCgQyjc&ei=gY8OVY38J4fluQSv3oGoAw#imgrc=9lEctp094AyW1M%253A%3
BRDqs76d7h_DJXM%3Bhttp%253A%252F%252F40.media.tumblr.com%252Ftumblr_maw2msCv2t1ru51xro1_1
280.jpg%3Bhttp%253A%252F%252Faishlife.tumblr.com%252Fpost%252F78932830437%252Fbang1adesh-the-
jamdani-maker-by-nadia-sultana%3B640%3B480 [Accessed 22 March 15].
Nadia, (2013), Jamdani Texture [ONLINE]. Available at: https://www.tumblr.com/search/jamdani[Accessed 22
March 15].
T. Williams, (2012), Jamdani Artisans [ONLINE]. Available at: https://www.flickr.com/search/jamdani[Accessed 22
March 15].
Sources:
Williams, MW, 2009. KOTPAD - for the love of natural dyes. Sari Safari, [Online]. 3, 30. Available
at:http://www.sarisafari.com/tour/kotpad.html [Accessed 21 March 2015].
Craftmark. 2013. Koraput Weaving. [ONLINE] Available
at:http://www.craftmark.org/sites/default/files/P030%20Koraput%20Weaving.pdf. [Accessed 22 March 15].
Craftisan. 2015. Kotpad Weaving. [ONLINE] Available at: http://craftisan.in/craft-kotpad-weaving. [Accessed 22 March 15].
Process Photos: Melinda Williams, (2009), Kotpad [ONLINE]. Available
at: http://www.sarisafari.com/tour/kotpad.html[Accessed 22 March 15].

62
Product Photos:
Indianroots, (2015), Kotpad Stole [ONLINE]. Available
at: http://www.indianroots.in/catalogsearch/result/?q=kotpad [Accessed 22 March 15].
Jaypore, (2015), Kotpad Dupatta [ONLINE]. Available at: https://www.jaypore.com/shop-collection/tribal-sway-handwoven-
kotpad-sarees-and-dupattas-from-odisha-628 [Accessed 22 March 15].
Jaypore, (2015), Kotpad Sari Handwoven [ONLINE]. Available at: https://www.jaypore.com/shop-collection/tribal-sway-
handwoven-kotpad-sarees-and-dupattas-from-odisha-628 [Accessed 22 March 15].
Motif Language Photos:
Craftmark, (2015), Kotpad Motif [ONLINE]. Available
at:http://www.craftmark.org/sites/default/files/P030%20Koraput%20Weaving.pdf [Accessed 22 March 15].
Craftisan, (2015), Kotpad Dupatta [ONLINE]. Available at: http://craftisan.in/catalogsearch/result/[Accessed 22 March 15].
Sources:
Williams, MW, 2009. KOTPAD - for the love of natural dyes. Sari Safari, [Online]. 3, 30. Available
at:http://www.sarisafari.com/tour/kotpad.html [Accessed 21 March 2015].
Craftmark. 2013. Koraput Weaving. [ONLINE] Available
at:http://www.craftmark.org/sites/default/files/P030%20Koraput%20Weaving.pdf. [Accessed 22 March 15].
Craftisan. 2015. Kotpad Weaving. [ONLINE] Available at: http://craftisan.in/craft-kotpad-weaving. [Accessed 22 March 15].
Process Photos: Melinda Williams, (2009), Kotpad [ONLINE]. Available
at: http://www.sarisafari.com/tour/kotpad.html[Accessed 22 March 15].
Product Photos:
Indianroots, (2015), Kotpad Stole [ONLINE]. Available
at: http://www.indianroots.in/catalogsearch/result/?q=kotpad [Accessed 22 March 15].
Jaypore, (2015), Kotpad Dupatta [ONLINE]. Available at: https://www.jaypore.com/shop-collection/tribal-sway-handwoven-
kotpad-sarees-and-dupattas-from-odisha-628 [Accessed 22 March 15].
Jaypore, (2015), Kotpad Sari Handwoven [ONLINE]. Available at: https://www.jaypore.com/shop-collection/tribal-sway-
handwoven-kotpad-sarees-and-dupattas-from-odisha-628 [Accessed 22 March 15].
Motif Language Photos:
Craftmark, (2015), Kotpad Motif [ONLINE]. Available
at:http://www.craftmark.org/sites/default/files/P030%20Koraput%20Weaving.pdf [Accessed 22 March 15].
Craftisan, (2015), Kotpad Dupatta [ONLINE]. Available at: http://craftisan.in/catalogsearch/result/[Accessed 22 March 15].
Sources:
Indianroots. 2015. Anneha. [ONLINE] Available at: http://www.indianroots.in/catalogsearch/result/?q=anneha.
Utsavpedia. 2015. Anneha. [ONLINE] Available at: http://www.utsavpedia.com/motifs-embroideries/simple-and-
gorgeous-kerela-kasavu/. [Accessed 23 March 15].

63
Balarampuram. 2015. Design Diary. [ONLINE] Available
at:http://www.designdiary.nic.in/handcrafted_textiles/Handcrafted_Textiles_Saris_Balarampuram.html. [Accessed 23
March 15].
Wikipedia. 2015. Raja Ravi Varma's There Comes Papa (1893). [ONLINE] Available
at:http://en.wikipedia.org/wiki/Mundum_Neriyathum#/media/File:Raja_Ravi_Varma,_There_Comes_Papa_(1893).jpg.
Sari Safari. 2015. Kerala's Best Kept Secret. [ONLINE] Available
at:http://www.sarisafari.com/tour/balarampuram.html. [Accessed 23 March 15].
Images:
There Comes Papa. 2015. Steve Art Gallery AB in Malmo Sweden Europa. [ONLINE] Available
at:http://www.steveartgallery.se/special/size-60660.html. [Accessed 23 March 15].
Indianroots, (2015), Kasavu Kurti by Anneha [ONLINE]. Available at: http://www.indianroots.in/off-white-kerala-
cotton-kasavu-kurti-111480 [Accessed 16 March 15].
Wikimedia, (2015), There Comes Papa [ONLINE]. Available
at:http://upload.wikimedia.org/wikipedia/commons/2/2b/Raja_Ravi_Varma%2C_There_Comes_Papa_%281893%
29.jpg[Accessed 23 March 15].
Dolls of India, (2015), Kerala Mural Sarees [ONLINE]. Available at:http://www.dollsofindia.com/product/sarees-in-
cotton-and-silk/off-white-kasavu-saree-with-golden-zari-border-and-hand-painted-temple-murals-on-pallu-
HP55.html [Accessed 23 March 15].
Sari Safari, (2015), Balarampuram Motifs [ONLINE]. Available
at:http://www.sarisafari.com/tour/balarampuram.html [Accessed 23 March 15].
References:
Jaitley, R. (2008). Kanchipuram Silks. In: Sarabhai M Tanabana - Handwoven and Handcrafted Textiles of India. Delhi: Mapin
Publishing. 58-62.
Women in Luxury. 2013. Jamdani Weaves: In Conversation With Gaurang Shah. [ONLINE] Available
at:http://luxpresso.com/news-style/jamdani-weaves-in-conversation-with-gaurang-shah/20864. [Accessed 22 March 15].
The Hindu. 2013. Threadbare. [ONLINE] Available at: http://www.thehindu.com/todays-paper/tp-features/tp-
metroplus/thread-bare/article4014731.ece. [Accessed 22 March 15].
Utsavpedia. 2013. The Magic of Gaurang Shah on Indian Closet. [ONLINE] Available
at:http://www.utsavpedia.com/ethnicalley/the-magic-of-gaurang-shah-on-indian-closet/. [Accessed 22 March 15].
Images:
Wed Me Good. (2014). 10 Modern Ways to Style a Kanjeevaram.Available: http://www.wedmegood.com/blog/10-modern-
ways-to-style-that-kanjivaram/. Last accessed 16 March 2015.
Sarangi. (2014). 6 Yards of Simplicity. Available: http://sarangithestore.com/. Last accessed 20 March 2015.
Jaypore. (2015). Kanjeevaram Silk Sarees. Available: https://www.jaypore.com/pink-golden-zari-kanjivaram-silk-saree-
p41023. Last accessed 20 March 2015.
Indianroots. (2015). Kanjivaram Silk Collection. Available: http://www.indianroots.in/catalogsearch/result/?q=kanjivaram.
Last accessed 23 March 2015.

64
Williams, M. (2009). The Ilkal sari of Karnataka. Available:
http://www.sarisafari.com/tour/ilkal.html. Last accessed 23 March 2015.
Unnati Silks. (2015). Ilkal Saree. Available: http://www.unnatisilks.com/sarees-online/by-indian-
states-sarees/gujarat-sarees/karnataka-sarees.html. Last accessed 23 March 2015.
The Economic Times, (2015). Ilkal's saree story - The Economic Times. [online] Available at:
http://economictimes.indiatimes.com/ilkals-saree-story/articleshow/31067899.cms [Accessed 23 Mar. 2015].
Handloomsofindia.com, (2015). Ilkal Saree - Blue & Maroon Handlooms Of India. [online] Available at:
http://handloomsofindia.com/ilkal-saree-blue-maroon.html [Accessed 23 Mar. 2015].
Flickr.com, (2015). Flickr Search: ilkal | Flickr - Photo Sharing!. [image] Available at:
https://www.flickr.com/search/?sort=relevance&text=ilkal [Accessed 23 Mar. 2015].
Utsav Fashion, (2015). Buy Saris Online: Indian Sarees Online Shopping for Women. [image] Available at:
http://www.utsavfashion.in/saree/ilkal.htm [Accessed 23 Mar. 2015].
Esamskriti.com, (2015). Ilkal Sarees::Karnataka. [image] Available at: http://www.esamskriti.com/photo-detail/Ilkal-
Sarees.aspx [Accessed 23 Mar. 2015].
Utsavpedia:, (2013). Narayanpet Silk: Different Types and Style of Narayanpet Silk Saree. image] Available at:
http://www.utsavpedia.com/textiles/narayanpet-silk-cross-culture/ [Accessed 23 Mar. 2015].
Unnatisilks.com, (2015). Buy designer Narayanpet traditional handloom sarees online, Unnati Silks. [online] Available at:
http://www.unnatisilks.com/sarees-online/by-popular-variety-name-sarees/narayanpet-handlooms-sarees.html [Accessed 23
Mar. 2015].
Handloomsofindia.com, (2015). Ilkal Saree - Blue & Maroon Handlooms Of India. [image] Available at:
http://handloomsofindia.com/ilkal-saree-blue-maroon.html [Accessed 23 Mar. 2015].
References:
Chanderi Sarees Online | Shipping Across Globe, (2015). Chanderi Sarees | Premium Indian Handwoven Sarees | Sarees India.
[online] Available at: http://www.chanderisarees.in/about-chanderi-sarees/ [Accessed 23 Mar. 2015].
India1001.com, (2015). The Famous Chanderi Fabric - India1001.com. [online] Available at:
http://www.india1001.com/blogs/news/6380038-the-famous-chanderi-fabric [Accessed 23 Mar. 2015].
Mp-tourism.com, (2015). Madhya Pradesh: Chanderi. [online] Available at: http://mp-tourism.com/chanderi.0.html [Accessed
23 Mar. 2015].
Indian History and Architecture, (2015). Chanderi – A Stone-kissed Town. [online] Available at:
http://puratattva.in/2012/01/08/chanderi-a-stone-kissed-town-1433 [Accessed 23 Mar. 2015].
Chanderiheritage.in, (2015). Weaving | heritage.chanderi. [online] Available at: http://chanderiheritage.in/weaving/ [Accessed
23 Mar. 2015].

65
Chanderi Sarees Online | Shipping Across Globe, (2015). Chanderi: A marriage of Cotton and Silk. [online] Available at:
http://www.chanderisarees.in/about-chanderi-sarees/chanderi-a-marriage-of-cotton-silk/ [Accessed 23 Mar. 2015].
Images
Chanderisarees.in, (2015). Kareena Saree. [image] Available at: http://www.chanderisarees.in/wp-
content/uploads/2012/09/Black-Kareena-Chanderi-Saree.jpg [Accessed 23 Mar. 2015].
Indianroots, (2015). Green Chanderi Saree. [image] Available at: http://www.indianroots.in/women/saree/chanderi-
sarees/green-chanderi-saree-89359 [Accessed 23 Mar. 2015].
INTERNATIONAL, (2015). Green Chanderi Saree. [image] Available at: http://www.indianroots.in/women/saree/chanderi-
sarees/green-chanderi-saree-89355 [Accessed 23 Mar. 2015].
INTERNATIONAL, (2015). Brown & Golden Zari Woven Chanderi Saree. [image] Available at:
http://www.indianroots.in/women/saree/chanderi-sarees/brown-golden-zari-woven-chanderi-saree [Accessed 23 Mar. 2015].
Flickr.com, (2015). chanderi-4 | Flickr - Photo Sharing!. [image] Available at:
https://www.flickr.com/photos/byronic501/405912594 [Accessed 23 Mar. 2015].
Flickr, (2015). Gopilal-sari.jpg. [image] Available at: https://www.flickr.com/photos/byronic501/443190500 [Accessed 23
Mar. 2015].
Flickr.com, (2015). Chanderi | Flickr - Photo Sharing!. [image] Available at:
https://www.flickr.com/photos/57327001@N08/5353271617 [Accessed 23 Mar. 2015].
References:
Desai, C. (1988). Ikat textiles of India. San Francisco: Chronicle Books.
Vasudev, SV, 2012. Powder Room. 1st ed. India: Random House.
Flickr.com, (2015). Flickr Search: patan patola | Flickr - Photo Sharing!. [online] Available at:
https://www.flickr.com/search/?q=patan+patola [Accessed 23 Mar. 2015].
http://www.patanpatola.com/. 2015. Patan Patola. [ONLINE] Available at: http://www.patanpatola.com/. [Accessed 20
February 15].
The Big Fat Indian Wedding. 2013. GAURANG'S PATAN PATOLA COLLECTION & KIRON KHER'S SURPRISE DANCE {LAKME
FASHION WEEK 2013}. [ONLINE] Available at:http://thebigfatindianwedding.com/2013/gaurangs-patan-patola-collection-
kiron-khers-surprise-dance-lakme-fashion-week-2013. [Accessed 21 February 15].
www.patanpatola.com, (2015), Patola Sarees [ONLINE]. Available at:http://www.patanpatola.com/motifs.htm [Accessed 21
February 15].
References:
Tanabana - Handwoven and Handcrafted Textiles of India. (2007). New Delhi: Mapin Publishers, p.74.
Indianroots, (2015). Red Hand Block Printed Kota Doria Saree. [image] Available at: http://www.indianroots.in/red-hand-
block-printed-kota-doria-saree [Accessed 23 Mar. 2015].
Indianroots, (2015). Tissue Kota Saree. [image] Available at: http://www.indianroots.in/tissue-kota-off-white-saree
[Accessed 23 Mar. 2015].

66
References:
Craftofgujarat.com, (2015). Gharchola and Panetar | Handloom Weaving | Arts and Crafts | Home | Buy
products and crafts directly from Gujarat Artisans. [online] Available at:
http://www.craftofgujarat.com/showpage.aspx?contentid=25 [Accessed 23 Mar. 2015].
Silkmarkindia.com, (2015). Gharcholas of Gujarat | Silk Mark. [online] Available at:
http://www.silkmarkindia.com/blog/?p=101 [Accessed 23 Mar. 2015].
Liyahandicrafts.com, (2015). Gharchola Saree,Maroon Gharchola Saree Manufacturers in
Kutch,Gujarat. [online] Available at: http://www.liyahandicrafts.com/gharchola-saree.htm [Accessed 23
Mar. 2015].
The Big Fat Indian Wedding, (2012). Vijayeta & Chintan's Gujarati Kutch Wedding. [online] Available
at: http://thebigfatindianwedding.com/2012/vijayeta-chintans-gujarati-kutch-wedding [Accessed 23 Mar.
2015].

Indian Textiles - A Journey to Our Heritage

Recommended

Recommended

More Related Content

What's hot

What's hot (20)

Similar to Indian Textiles - A Journey to Our Heritage

Similar to Indian Textiles - A Journey to Our Heritage (20)

Recently uploaded

Recently uploaded (20)

Indian Textiles - A Journey to Our Heritage