Handloom is a term that conjures images of exhibitions in dilapidated museums, artisans at work in dimly-lit factories, and stiff saris worn by heads of state. But in 2019, the word means more. I’m discovering this as I click on link after link, skim-read several articles and speak to the people who work with the craft—finally coming to the conclusion that there’s so much more I haven’t covered. For instance, did you know August 7 is National Handloom Day? Neither did I.
Perhaps it’s the approaching Election Day; or a reflection of countries turning inward, protecting their boundaries, crafts and communities; or simply part of a larger movement towards a slower pace in the age of social media, but handmade and hand-done is clearly making a return. Only two weeks ago, the capital celebrated 100 years of khadi with a show line-up that included heavyweights like Abu Jani Sandeep Khosla and Rajesh Pratap Singh, and Ruchika Sachdeva of Bodice made her Woolmark win not so long ago on the basis of her contemporary use of handloom fabrics.
But for millennial consumers like you and me, how does handloom become more than a buzzword? If you, like me, associate the term with forced trips to sari exhibitions with your mum, read on to know how millennial designers are doing handloom for the next-gen of buyers. Kshitij Jalori spins Benarasi into beach-worthy swimsuits, Sweta Tantia of Tahweave turns ikat and jamdani into tiered maxis, Aratrik Dev Varman creates jobs for the women weavers in North East India via his label Tilla, and Bodice by Ruchika Sachdeva brings a subtle and sophisticated look to traditional crafts.
From the difference between handloom versus machine loom to the common myths and misconceptions, the designers tell all. Call this your guide to handloom 101. We suggest you keep it handy.
Why is handloom a preferred product when I can buy synthetic fabrics that feel smooth and last long from the high street?
Kshitij Jalori: Handloom fabrics are essentially fabrics that are woven by hand on a manually-operated loom, with the most commonly used one being the pit loom. Most handloom fabrics are made using natural fibres, which feel significantly better against one’s skin as they are processed with lesser chemicals, or in some cases, grown organically without any use of chemicals—thereby making them eco-friendly and also putting less pressure on the environment, as they are easily biodegradable. The body also tends to breathe easier in handloom fabrics. Having said that, all synthetic fibres/fabrics aren’t bad as many are developed keeping a certain utility in mind.
Ruchika Sachdeva: Handloom is more sustainable and uses minimal resources like electricity without causing any damage to the environment. The handloom industry involves a community that has been practicing an artisanal skill or technique for generations, where each person has a specific role and contribution. Investing in handloom means doing your bit in preserving a traditional craft and supporting an artisanal community.
Aratrik Dev Varman: They also come from a long and ancient tradition which distinguishes different communities from each other and gives each a distinct identity. They can be as narrow as four inches in Tripura, or be woven as nine yard saris in Kanjeevaram.
The tag on something handmade is always followed by a few zeros. Millennials who are either young adults finding their feet in their respective fields or starting families, or perhaps still students, can’t afford the luxury of handmade. Can the price tags on these garments be validated?
Kshitij Jalori: Generally speaking, handloom fabrics tend to be more expensive than the synthetic mill counterparts owing to the hand labour involved and limited production capacity when compared with power looms. Not all handlooms are expensive, and it totally depends on the fabrics or the yarns being used. Sometimes, it also depends on which region the handlooms are coming from, as techniques of weaving differ from place to place.
Sweta Tantia: The level of artistry and intricacy achieved in handloom fabrics is unparalleled, with certain weaves and designs still beyond the scope of modern machines. While India provides about 95 per cent of hand-woven fabric in the world, sadly there is very little demand for handloom products in our country.
How do you make handloom more exciting for a millennial?
Kshitij Jalori: With the current buzz around handloom textiles, there is more demand for it [now] (some more than the others) than at any other given point of time, but simultaneously the quality of handloom is deteriorating day by day. A lot of power loom fabrics are getting passed off as handloom, thus giving genuine handloom fabrics a stiff price competition. For the longest time, we’ve seen Indian handloom fabrics being limited to ethnic wear. Educating the new-age customer through presentations and group travels to certain [artisan] clusters to actually showcase the painstaking work that is put into the development of these fabrics, will ensure the growth of this industry.
Sweta Tantia: Every craft takes time to execute as it involves complete human involvement, so unless [the artisans] get the right buyer who is ready to pay a price for their skill, it does not lead them to earn what they deserve. So, when we choose a handcrafted product by paying its right price, we are indirectly encouraging the artisans to continue to practice the art, thus saving it from entering the endangered list.
Aratrik Dev Varman: The secret to appreciating handloom cloth is in its touch. The unevenness of the hand and spontaneity with which patterns can be created are far more diverse than machine-made cloth.
Handloom equals simplicity and ethnic wear. What are some common misconceptions you’d like to clarify?
Kshitij Jalori: A common misconception that I believe has been alleviated in the past couple of years is that [handlooms] are only good for ethnic wear. I believe with use of the right construction techniques and a good understanding of silhouettes, handloom fabrics can be used for a wider variety of clothing.
Ruchika Sachdeva: As it is a hand-woven fabric, it might have some irregularities that arise on account of being made by hand. But these are intrinsic to the beauty of the textile and should not be considered as defects.
Aratrik Dev Varman: That handlooms are boring or old-fashioned and need to get sexier. I think we need to educate the customer better and appreciate the sophistication that a weaver embeds into traditional designs.
Why is it that certain weaves are more popular than others? Everyone knows about Benarasi, what with Sanjay Garg and others increasing its awareness, but what about jamdani?
Kshitij Jalori: Well, one reason is the end use of the product, as Benarasis tend to be used as occasion wear since they appear more affluent owing to a higher use of golden zari threads. Jamdani and Benarasi employ very similar techniques of weave ornamentation in the sense that both are extra weft-based weaves, however a jamdani, owing to its use of cotton in both the base fabric as well as the extra weft patterning, does not have a similar effect as a Benarasi—especially in the eyes of the end consumers.