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September 3, 2014
Praant — Going Bananas Over Banarasi!
Banarasi brocade is not a mere fabric — it is a living testament to the subcontinent’s handweaving abilities. It’s also a personal museum of reminiscences, of sorts, with a grandmother or mother handing her bundle of life tales over to the subsequent generation along with her Banarasi sari.
For generations, the Banarasi sari has been an intrinsic part of every Indian bride’s trousseau. She is normally clad in a vibrant crimson and gold Banarasi sari for the primary marriage ceremony ceremony, and the sari remains a cherished collectible in her wardrobe, usually handed all the way down to the next generation as a valuable heirloom.
Banarsi silks find point out within the Mahabharata and even in some historic Buddhist texts. Banaras is believed to have flourished as a textile centre when it was the capital of the Kasi kingdom, of which Siddhartha (later referred to as Gautam Buddha) was the prince. In Bhuddha Sutra, when Prince Siddhartha decides to renounce worldly luxuries, he takes off his silk clothes, mentioned to be woven by the weavers of Kasi to get into easiest of attires.
Banarasi hand-weaving has seen many changes in preferences of colours, patterns, motifs, borders and styles over time. Between 350 Advert to 500 Advert, floral patterns, animal and chicken depictions gained reputation. By the thirteenth century, ‘Butidar’ designs were excessively in demand. With the coming salvatore ferragamo belt clearance of the Mughals, Islamic patterns like birds, florals and ‘Jali’ or ‘Jaal’ came in vogue. Later in the 19th century, Indian designs started displaying an in depth resemblance to Victorian style wall papers salvatore ferragamo belt clearance and geometrical patterns (a carry ahead of the Mughal Lattice work).
Brocade is a speciality of Benaras fabric. It’s a characteristic weave in which patterns are created by thrusting the Zari threads (pure form of Zari is a thread drawn out of real gold) between warp at calculated intervals in order to evolve the design/Buti line by line. A sort of loom referred to as Drawloom or ‘Jalla’ is used to weave a brocade fabric. Often, three artisans work together for fifteen days to six months to create a Banarsi sari, depending on the intricateness of the design. For more intricate royal designs, the artisans could even take one 12 months to finish the sari.
With the advancement of know-how, these at the moment are woven on Jacquard looms, which permit for pre-planning of all the design after which going about the entire course of somewhat mechanically.
At this time, in India, while Banarasi saris proceed to enchant ladies, the fabric is being creatively utilized in contemporary fashion. Trendy designers have been recognized to make use of conventional brocade weaving and patterns in the creation of renowned pieces or collections. Brocades are utilized in western type clothing like jackets, pants or dresses.
Salvatore Ferragamo created Banarasi brocade footwear for Project Renaissance that was held in DLF Emporio Delhi in 2013. Internationally acclaimed Indian designers Abraham & Thakore collaborated with the Ministry of Textiles to put out a contemporary bridal line using Banarasi brocade on the Wills Life-style India Vogue Week in New Delhi. Other designers like Shaina NC, Ritu Kumar, Manish Malhotra, Sandeep Khosla, Shruti Sancheti, Anita Dongre and Rina Dhaka also actively use and promote this magical fabric in their collections.
At Praan:t, a high fashion studio in Pune, designer Monika Chordia sources Banarasi brocade immediately from hand weavers in Banaras and uses it to create an exclusive designer collection of fashionable occasion wear and smart casual wear for ladies. At Praan:t, brocade is combined with other textile crafts of India reminiscent of Bhuj embroidery, vegetable-dye fabrics from Rajasthan, hand block-printed fabrics from Gujarat and clamp-dye fabrics to craft a range of bespoke apparel for women and traditional put on for males which can be stunningly trendy but wonderfully wearable.
Monika Chordia believes the normal handloom and textile crafts of India should be treasured and promoted. Handwoven fabrics want a premium worth; the weaver and craftsman must benefit economically in order that their craft endures and flourishes within the face of competition from cheaper, mass-produced mill-made textiles.