A Glorious Weave
It’s been a good year for fashion designer Madhu Jain. At 57, she has come into her own, with awards for her work as textile revivalist as well as a show at the Amazon Fashion Week in October of three weaves: the coarse bamboo, subtle silk, and damatic i
How has your work in the technique of ikat progressed?
Ikat is a highly specialised weaving technique and like all traditional art forms, is passed on from father to son. When I work with weavers, my input is design intervention and a clear idea of what I’d like the finished weave to look like. However, this means that I have to keep their sensibilities in mind, even when I’m trying to reinterpret “their” weave. For instance, before fashioning my Indo- Uzbeki ikat line, I learnt from master weavers in Uzbekistan.
Is ikat indigenous to India? And if so, how did it go all over the world and what are the lessons in this for the Indian weaver and designer?
Ikat, a tie and dye technique, uses a unique resist dyeing process on either the warp or weft threads, thrives across several regions in the world. Considered to be one of the most ancient of weaving techniques, scholars believe that it probably originated independently in Japan, Southeast Asia, Central Asia, Africa, and Central and South America. Across all of these regions, you’ll find that the distinctive ‘ blurriness’ of the weave remains a constant because of the particularly tough resist- dyeing technique that characterises it and which even master weavers can take years to perfect. Ikats across the globe play around with the three types of ikat– the warp ikat, the weft ikat, and the double ikat. The last is the most difficult to render, and interestingly, this weaving form is to be found only in four countries— India, Indonesia, Japan, and Guatemala. India is home to one of the largest and finest ikat belts in the world and the Indian states that specialise are Odisha, Andhra Pradesh, Telengana, and Gujarat. I have combined a variety of traditional ikat motifs from different countries— but woven in India— to head- turning effect.
My Indo- Thai and Indo- Uzbeki collections were my most recent innovations. Until now, where my latest textile creation is playing centrestage: the bamboo- silk ikat, a first in the world!
Is it time to patent all these weaves?
Weaves don’t belong to individuals. They belong to the country of their origin. They are a 2,000- year- old legacy gifted to us. Yes, I do think our government needs to patent our indigenous weaves before they are claimed by others.
The ministry has revived weavers’ clusters with design intervention. What more needs to be done?
There is a lot that can be done to better the lives of craftspersons, who are fighting to save their livelihoods. For one, we need to formalise our arts and crafts sector. Our artisans, which includes weavers, would benefit enormously if they were given subsidies. Then, re- skilling of artisans could also be a way forward as many have migrated from their villages to cities. Also, we need to pump in more resources for R& D and design intervention inputs. Finally, we need to build demand using celebrity endorsements to further their cause.
What is the scope and future of textiles and handlooms?
Each state in India boasts a tradition of ancient craft forms that are indigenous to the community. And each textile is as different as chalk and cheese. However, to prevent design and weave stagnation, it’s important to infuse new design sensibilities to ensure freshness, while sticking to the time- honoured integrity of the textiles’ weave. This, coupled with experimenting with cuts and silhouettes can ensure longevity for our traditional Indian textiles.
What drew you to design in the first place?
I inherited a respect and love for khadi and handlooms from my grandfather, who was a freedom fighter. In our home, handwoven textiles were almost revered as they bore the stamp of India and self- sufficiency. Growing up in old Delhi, inside the walled city, I drew inspiration from the vivid colours, and architectural beauty and vibrancy that surrounded me. It was hardly surprising when, about 30 years ago, I professionalised my interest in natural fibres and fashion design with the Madhu Jain label.
The guru of Indian textiles, according to you?
To my mind, Empress Nurjehan was the real forerunner of Indian textiles. During her reign, and at her behest, crafts and textiles flourished. Did you know that Dhaka muslin was her favourite textile? And that she insisted that this be the base fabric of many a fine ‘ poshak’ in Mughal courts? She patronised Kalamkari, and decreed that court costumes use zardosi and chikankari. She also loved fine Kashmiri shawls and it was through her efforts that the shawls gained prominence.
Should Indian handloom to be upgraded to luxury and be re- introduced to India and the world, and is the pricing competitive?
The price point is what makes handlooms a niche marke, not only in India, but everywhere in the world. It is easy to churn out mile after mile of factory- produced cloth. But little do we realise or appreciate that each hand- woven textile bears the inimitable stamp of the craftsperson who has laboured hours, weeks, months to produce it. And that the weaver’s expertise is an art form that had been learnt and carefully fine- tuned through generations. If we have a conscience and a sense of history, we would be happy to pay for such exquisite craftsmanship. After all, you’d be happy to shell out a small fortune for, say, a painting by an artist because you realise the worth of that art form. But, having said that, Indian handlooms can sometimes outprice even the deepest of pockets. Which is why we need to nurture and grow our artisanal wealth and better their working conditions.