Preserving our Textile Traditions: The Calico Museum of Textiles

While I was writing my previous post, I started drifting back to the time when we had visited Ahmedabad in the early 80’s. The most vivid memory of the visit was a trip to see the Calico Museum of Textiles – My father had suggested that we take a trip to see the museum since we did not have much to do with ourselves during those holidays (needless to say it was before people got addicted to TV shows or video-games !!)
Gira Sarabhai, the daughter of philanthropist Ambalal Sarabhai, was a keen collector of fine old Indian textiles and had conceived establishing a Museum of Indian Textiles. In this endeavor, she collaborated with John Irwin, who was then keeper of the Indian Section of the prestigious Victoria and Albert Museum in London. It was appropriate that the museum, which was concerned with both the historical and technical study of Indian handicraft and industrial textiles, should be established in Ahmedabad, a town with a long history of fine woven, printed and embroidered textiles. By the early 50's however, the Museum started to concentrate its energy on the vast field of handicraft textiles.

The museum was like nothing I had expected. Set within the Sarabhai Retreat amid spacious lawns, the collection of old textiles was housed in two different structures: the Sarabhai-ni-Haveli, and another complex of buildings known as the Chauk. Dating back to 1930, the sprawling Haveli, with its inlaid-marble floors and spacious rooms situated within a picturesque garden, served for many years as the residence of the Sarabhai family. The Haveli now houses the vast collection of religious textiles and artifacts. The visitor is first greeted by a small reconstructed shrine to Shrinathji, before being guided to the gallery of Pichchwais and patachitras which record the stories of the Vallabh Sampradaya. The Haveli is also home to a comprehensive collection of miniatures, Jain artifacts and South Indian Bronzes. The Chauk, a complex of old buildings around a swimming pool has been transformed by facades of carved wood and mud construction to resemble typical traditional Gujarati houses. Kalamkaaris, Mughal court textiles, woven and brocaded fabrics, yarn resist-dyed textiles and tie-dyed textiles are all housed within the Chauk. Also displayed nearby are the larger pieces such as Mughal tents and carpets.

The museum is unique in the sense that it not only houses over 5 centuries of India’s rich textile heritage, it also does so in a setting that transports the visitor to another era. The design of the museum is itself beautiful as well as functional in the purpose that it serves. It is appropriate that these beautiful textiles are displayed in such an aesthetically pleasing setting. Much thought has gone into the preservation of these textiles which are therefore displayed in a strictly controlled environment. Light and humidity are carefully monitored as is the crowd at any given time. Not only is the museum important from the point of view of preserving the large collection of heritage textiles, it also serves as the leading source of reference material for surviving craftspeople. An ambitious Publications program was launched by the museum in its early days and has gained a world-wide reputation for its scholarly publications. Based on research by eminent Indian and International scholars, these publications have aimed at providing a focus and setting a standard for all who wish to see Indian textiles studied seriously from a historical as well as technical point of view.

To say that I was awestruck during my visit to the museum would be an understatement. Perhaps this was where my love of Indian textiles and design began.

Please visit the Calico Museum if you find yourselves in or around Ahmedabad.

Revival of Mashroo - A dying fabric tradition

Many years ago, Calico Mills in Ahmedabad, India, used to be at the forefront of innovative textile design and manufacturing. My mother's generation used to love visiting the exclusive Calico Mills showroom in Pondy Bazaar in Chennai to check out their latest selection of sarees. My mother's loyalty probably had something to do with the fact that my father had worked at Calico Mills in Ahmedabad and we had spent some years there. At the time I was in college, my mother and I had picked up the latest that Calico Mills offered - the Mashroo saree; Calico sarees were semi-synthetic with a blend of cotton and polyester, and this particular creation was named Mashroo after the vertical striped design. I still remember mine, in vivid shades, typical of Gujarat - saffrons, reds and greens.

The original Mashroo, sadly, is a dying textile traditon. The literal meaning of the word, 'Mashroo' means 'permitted' in Arabic. Traditionally, the use of pure silk was prohibited for Muslim men and it is possible that this weave evolved as a result of weaving traditions prevalent in the Middle-East. The Mashroo is usually composed of a silk warp and a cotton weft. The ground material is therefore cotton, while the top layer is smooth and shiny - satin cotton augmented by silk. Even though historically, Mashroo was woven in all parts of India, it survives today only in Gujarat.

The most prevalent colours were orange, red and green in bold combinations of stripes. Designs also evolved to include other resist techniques such as Ikat interspersed with the stripes.

It is exciting to see that young designers in India are starting to revive such heritage textiles. Ashish, Viral and Vikrant, a trio of designers based out of Ahmedabad debuted at the Wills India Fashion Week ramp last season. Their Spring-Summer collection past September was a feast of the very Indian kalamkaris and chanderis. (See my earlier post on Kalamkari). While others toe the international fashion line, these three unearth fabrics dying a slow death. Their new collection under the label 'Virtues' will breathe new life into the wilting fabric tradition of Mashroo. “There is a lot of awareness about the organic and natural dye clothes in Japan and Europe,” says Ashish. The young designers have managed to carve out a niche for themselves in the international market with their style. After their first show, Japan’s Sun Motoyama placed an order for 46 pieces; since then they have also begun retailing from a couple of fashion houses in Kuwait.

I, for one, am waiting anxiously to make my next trip to India and revive my own love-affair with Mashroo!!

The Hindu : Metro Plus Chennai / Lifestyle : Natural norm