At a time when machine-made garments and lifestyle products are inundating markets worldwide, one can take pride in some Indian families for their adherence to distinct embroidery styles and other handicraft techniques. A number of individuals and organisations have over the decades put their energies to ensuring that the indigenous arts and crafts of the country do not become extinct in the era of mass production.
Notable among these is Dastkar, founded in 1981. Among its many projects is the popular annual Dastkar Design Fair, currently on at Nature Bazaar opposite the Chattarpur Metro Station. At the exhibition, which continues till January 27, talented design entrepreneurs are showcasing products and artworks using various crafts from across the country.
Innovative craft design in handloom textiles, regional embroidery styles, garments, jewellery, accessories are on display.
According to Dastkar founder Laila Tyabji, who has been working with craftspersons for decades with the aim to provide livelihood opportunities to women, the focus is on young entrepreneurs and designers working with crafts. “We identify craftspersons through our outreach programmes involving non government organisations and entrepreneurs. Others apply on their own. It is heartening to see that youngsters are continuing these traditions in the hope that they would find suitable markets in India and abroad.”
Mohammad Bilal Khatri from Bagh village of Madhya Pradesh follows a family tradition of block printing with natural colours. “No chemicals are used. We first buy the cloth from the market; remove the starch and then mix it with goat dung, raw salt and castor oil to make natural detergent. After immersing the cloth for 24 hours, we pound it with a heavy object,” he says, describing the process of preparation of the fabric.
“Assisted by the tribal, he churned out ghagra (skirt) and lugra (dupatta). Then my grandfather modernised it further and I have further innovated it,” says Khatri, who is displaying bed sheets, suits and saris here.
Though Khatri has got wide international exposure, he is a worried man because the number of families involved in this design are decreasing.
Despite Bagh prints having received the geographical indication in 2008, only five of the 25 families in his village are continuing the tradition of the Bagh prints. “The Bagh kala will become extinct unless the Ministry of Textiles does something substantial for its revival,” says Khatri.
From the Valley, Asif Jeelani Shah is showcasing Kashmiri craftsmanship in zari and Pashmina, which is made from the hair of changthangi, a special breed of goat indigenous to the high altitudes of the Himalayas.
“Pashmina comes from Ladakh through Kargil to Srinagar, where it is transported to villages where poor, unlettered women meticulously remove the hair through a cutter. Later, they weave it by hand,” says the entrepreneur.
However, fewer families are now engaged in this age-old practice, a tedious process that requires patience and perseverance. “We gave Rs.70,000 for working on a shawl which took two years to complete. But now this practice is being discontinued. The new generation, benefited from higher education in medicine, engineering and other fields, is getting better remuneration.”
Describing herself as a collector of old textiles, Nisha Meherish from Gurgaon says she has been procuring brocades from Gujarat. “I use brocade in an innovative way on newer organic fabric. My craftspersons, hailing from Rajasthan and Haryana, use appliqué technique and hand embroidery.”
Further on, aesthetic Assamese silk is vying for attention where Jeenu is showcasing stoles, mufflers, fabrics and blankets prepared in her factory at Kokrajahar.
“My brother, a lecturer, started the factory to make available soft skin-friendly silk products.”
The exhibition concludes on January 27.
