MAGAZINE THARANI (SINGLE PAGE2)

ART

THE HOW
COUTURE SABYASACHI
STORY
MADE
ANITA SAREE
DONGRE HAUTE
WEDDING
DIRECTORY THE
TIMELESS
HANDMADE
JEWELRY

JULY 2022 / TEXTILEART MAGAZINE 1

2 JULY 2022 / TEXTILEART MAGAZINE

EDITORS

LETTER

I’m writing this Editor’s Letter on Day — hang on, What I care about is us reflecting the world,
lemme check — 42 of self-isolation, or, as my Malaysian participating in it, and doing our bit to make it better.
people call it, iso. We’re going through every emotion, Finally, I want to say a special thanks to our cover star,
it seems, daily. From passive acceptance to impotent the high-quality Brit Carey Mulligan, for heading to
frustration to rage to anxiety to... the wineglass. Hey, Paris for our last shoot before the lockdown. “Come
whatever gets you through, man. The one thing we can to Paris!” I said. “It’ll be fun!” I said. Well, things
cling to is that this is an experience we are all having changed rapidly, and I left early to return to New York.
at the same time. I read a beautiful piece by Garrett Carey, however, kept calm and carried on, shooting
M. Graff in The Atlantic a few weeks ago in which he on location in bad weather with a tiny crew. Our
wrote, “The most isolating thing most of us has ever subscriber cover image of Carey in front of the Eiffel
done is, ironically, almost surely the most collective Tower is one of my favorites. It seems a world away
experience we’ve ever had in our lifetimes.” now, but it also reminds us of grandeur, of beauty, and
The TextileArt magazine team has that of a life that we are yearning to go back to.
collective experience three to four times a week in But a life essentially modified by this “collective
little individual boxes on a morning Zoom call. I am experience.”
indescribably proud of all of them: as they pulled Enjoy the issue. Thinking of you all.
together this issue by remote, shooting our inspiring
cast in quarantine and on Skype using friends as Tharani
photographers (Questlove’s buddy Grace Harry);
sending accessories to photographers’ homes; and THARANI NARAYANAN
reporting stories swiftly, with heart and good humor. Editor in Chief
We even made a self-care video with Grover from
Sesame Street.
All of this underscores that we are, first,
journalists. In fashion magazines, much of the work of
journalism is tied to the industry’s rituals, which are
in themselves old-fashioned (spending two months a
year at runway shows comes to mind). Because we’re
sequestered at home now, uncluttered by meetings
and appointments, a real sense of hustle comes back.
The mission of journalism becomes clear again, like
that giant jellyfish in Venice’s Grand Canal. InStyle is
one of the few women’s magazines that are retaining
their monthly frequency during the coronavirus crisis
rather than combining issues. It’s not a daunting task,
though; it’s motivating. Assembling a magazine now
comes down to inventiveness and good.

JULY 2022 / TEXTILEART MAGAZINE 3

CONTENT

Editor

1 letter

4-5 Sabyasachi
Wedding
Collection

6-7 Handmade
Jewelleries
Sabyasachi

8-9 Embroided
Collection

4 JULY 2022 / TEXTILEART MAGAZINE

10 - 11 The Saree
Weaving
Secret

14 - 15 Kanchipuram
Silk
Saree

6 Jaipur
Embroidery

JULY 2022 / TEXTILEART MAGAZINE 5

SABYASACHI
WEDDING

COLLECTION

6 JULY 2022 / TEXTILEART MAGAZINE

In New York, Sabyasachi Mukherjee can He was also wearing necklaces for the first Now Sabyasachi is looking to become not
almost be anonymous. He takes morning time in his life — two of his gold Sabya- just India’s pre-eminent designer but one
runs in Central Park; walks through sachi logo necklaces and a ram’s head — of its most high-end exports. As he opens
Times Square, looking up at the billboards at the behest of his jewelry team. If these his New York store this fall, he will also
like a little kid; dines at family-run evolutions had all been made in prepara- be finalizing a beauty line and preparing
Chinese restaurants, the kinds of places tion for his American debut, the greatest for next year’s jewelry pop-up (his third)
where he’s unlikely to be photographed evolution was in the garments he intend- inside Bergdorf Goodman. (At an earlier
with a mouthful of food. Whenever he ed to sell. He pulled up a PDF to show me pop-up, one Indian arrived to shop from
sees anyone from South Asia, he veers in on his phone. Ten days earlier, listening to Spain in the morning and flew back home
the opposite direction, hoping to avoid Leonard Cohen, he decided he needed to in the afternoon.)
an awkward encounter. But run-ins are design an exclusive New York collection If his global expansion takes off, Sabyasa-
inevitable, as when a fan stopped him that was a little more Western. He began chi will establish himself as a sort of Indian
recently coming out of the Plaza Hotel — visualizing his customers, channeling Ralph Lauren. “He sold the idea of good
a doctor from India, eager to exchange a characters he would dress: “When you’re American living to middle-class Ameri-
word with India’s most famous fashion going through divorce or when you’re go- cans,” Sabyasachi said of Lauren, “and I’ve
designer. ing on your first date or when you want sold the idea of good Indian living to mid-
This month, I sat with Sabyasachi — as he’s to go on a power trip, what is it that you dle-class Indians.” His West Village store
known in the industry — in a labyrinthine would like to wear?” The American line will, he hopes, introduce Americans to the
retail space on Christopher Street. The would be available only in New York; an painstaking art and exuberance of Indian
walls, dressed in nostalgic floral papers Indian who wanted it would have to trav- weaves, embroidery and craft. When a
he designed, were lit by overlapping el or send a friend. He swiped through friend fretted to him about the location’s
chandeliers with floral fabric shades. the initial designs — evening gowns with not being near a designer hub, Sabyasa-
More than a million dollars’ worth of embroidered Indian borders and brocade chi answered: “I’ll create my destination.
art, some of it from the 17th century, was coats, everything in a palette of mustard, When you build something very beauti-
stacked five frames deep against the walls. black and brown, inspired by the Bengal ful, people will find you.”
Sabyasachi was here for the decoration tiger. It was a departure from the colorful, I discovered Sabyasachi while trying to
of what will soon be his first store in the crafted saris and lehengas (traditional full get a handle on what to wear to an Indian
West. Among the items of furniture being skirts worn with cropped tops) that made wedding — my own Indian wedding —
installed, the one closest to his heart was him famous. It was also a big bet. He had from a studio apartment in San Francis-
a massive, 12-foot-tall antique wedding a 15-year lease. co. In desperation, I turned to Pinterest,
chest made in Syria and inlaid with Throughout an era dominated by oppres- and eventually realized that everything
mother-of-pearl. sive minimalism, Sabyasachi’s clothes I was saving — stately emerald Banarasi
It was a fitting choice, because Sabyasachi remained refreshingly maximalist, a cel- saris with gold brocade pallu (end piec-
is not just the most famous designer in ebration of Indian decorative arts, a me- es), velvet lehengas in regal maroon with
India but also arguably the world’s most nagerie of interlocking embroideries en- metal aari (chain stitching) reminiscent of
influential creator of wedding wear. tirely outside Western trends. “He is the armor — had been designed by a single
Over the past five years, he has outfitted king of color,” Shefalee Vasudev, editor in man. His website was perpetually “being
brides and grooms for all of the biggest chief of The Voice of Fashion, told me. He renovated” (this is still the case years lat-
Bollywood weddings: Priyanka Chopra sells a kind of Old World beauty, marry- er), but his Instagram offered a trove of
and Nick Jonas; Anushka Sharma and ing different traditional specialties in a what might be described as heritage high
the cricket star Virat Kohli; Deepika way that looks completely natural. And fashion. He photographed his clothes at
Padukone and Ranveer Singh; Alia Bhatt according to Sabyasachi, some 2,600 Indi- the country’s Mughal palaces. His models
and Ranbir Kapoor. He also dressed Isha an brides a year have bought that beauty, wore low buns with center parts.
Ambani, the daughter of India’s richest the bulk of them.
man, for her wedding festivities, during
which Bollywood stars served food and
Beyoncé performed. “He has completely
dominated the bridal industry in India,”
Aishwarya Subramanyam, a former editor
of Elle India, told me. “And it’s not easy to
do in a place like India. Different regions
have their own customs, but he has
managed to cut across all of that.”

At 48, he has a Bengali baby face that
lends him the look of a precocious child:
, delighted, determined. He tends to dress
entirely in items from Uniqlo, cropped
khakis with elastic ankles and white
button-up shirts, which he buys once a
year, in person, 20 at a time. His Uniqlo
garments had taken a turn toward retro.

JULY 2022 / TEXTILEART MAGAZINE 7

HANDMADE

JEWELLERIES

SABYASACHI

Couturier Sabyasachi Mukherjee is the Colossal uncut diamonds are fearlessly
rare Indian fashion designer who has paired with polished varieties in fancy,
cracked the complex code of establishing brilliant and mutual cuts. Rubies and
a successful fine jewellery brand emeralds share space on designs with
“There is so much to do with precious unusual varieties like the green apple-
jewellery that I don’t think it’s possible to hued chrysoprase, iridescent moonstones,
do it all in this lifetime,” says Sabyasachi spinels, cat eyes and fluorites, peridots and
Mukherjee. One of India’s most popular even crystals. Also part of the collections:
couturiers, Mukherjee launched face-framing naths (nose rings) and
Sabyasachi Jewellery in 2017, extending maangtikas which the brand takes credit
his crafts-led maximalist aesthetic to the for repopularising among Indian brides
play of precious metals and gemstones. in recent years. Earlier this year, the
Since then, he has dressed hundreds brand also launched the Royal Bengal
of brides from Kovalam, Kerala to Mangalsutra—made with brilliant and
Montreux, Switzerland in his decadent rose cut diamonds, Zambian diamonds
baubles and this year, the brand found and rubies on a base of 18K gold, it is
its way to American luxury retailer priced at a relatively affordable ₹195,000.
Bergdorf Goodman’s New York store While jewellery for women dominates
with a collaboration that continues till the collections, Sabyasachi Jewellery also
September. offers a selection for men.
While many international fashion brands, In an interview with The Voice of Fashion,
including luxury houses like Dior and the couturier speaks on his evolving
Chanel, have established their presence jewellery collections, challenges of a
in the fine jewellery segment, similar generational industry, the importance of
examples in the Indian fashion industry unique design and inroads into affordable
are often limited to capsule collections pricing.
and special collaborations. Sabyasachi
Jewellery may be the rare instance when The foundation of a jewellery business
an Indian fashion designer has cracked cannot be laid overnight. Though people
the complex code of establishing a might look at Sabyasachi Jewellery as a
successful jewellery business, with an recent development, the journey to its
extensive repertoire of designs and a success started 20 years ago. My first foray
into jewellery was costume jewellery that I
clientele which includes Bollywood used to make and sell in plastic tiffin boxes
to hawkers on the streets of Calcutta.
A-listers, entrepreneurs and influential This first venture didn’t last long. But I
fashion insiders. promised myself a second inning once I
Mukherjee’s jewellery, much like his had a little bit of capital.
couture, is luxurious and larger than life—
defying the boundaries of traditional craft Over the past 20 years, I have had many
techniques with idiosyncratic shapes jewellery collaborations, first with the
and interplay of material and colour. World Gold Council and Tanishq, and
Handcrafted bridal chokers and bibs are the last, a signature line of diamond
carpeted with gemstones and fringed earrings, with Forevermark (a subsidiary
with delicate gold drops; multi-strand of De Beers). rom Sanjay Leela Bhansali’s
pearl necklaces are anchored by statement Guzaarish to the catwalks of New York , a
pendants reminiscent of Art. Middle Eastern royal family to Bergdorf.

8 JULY 2022 / TEXTILEART MAGAZINE

If one talks about nepotism, nowhere does it exist more than
in the jewellery industry. It might be closely guarded, but the
biggest myth about the success and the integrity of generation-
al businesses is this—apart from sourcing, navigating a rather
murky backend, there is no other advantage in these kinds of
businesses. Just because the father or grandfather was a success-
ful jeweller does not mean the new generation will be successful.
In fact, just like how the Indian clothing industry was once dom-
inated by clothing wholesalers till the apple cart was toppled by
designers starting their own labels, I see the same disruption
happening in the jewellery industry.
There are enough courses worldwide that teach people sourcing
and manufacturing. Design on the other hand is a different mat-
ter altogether. I believe that design cannot be taught. It can only
be honed. The future of the Indian jewellery industry is going to
be about professionally run businesses, with founders possessing
a unique design edge.
A big problem earlier on with the jewellery industry was that a
lot of people used jewellery to hoard undeclared wealth. Because
of this, resale value and buy back were the deal breakers in the
purchase of jewellery. However in contemporary times, people
have started to understand the merit of clean money, and jew-
ellery is slowly moving from investment to consumption. How-
ever, while the price of jewellery is in part based on the precious
material, the real value will now be added by the craftsmanship
getting more and more rare. Very soon jewellery will be sold like
art; the only difference is that along with perceived value, there is
intrinsic value in jewellery as well.

JULY 2022 / TEXTILEART MAGAZINE 9

EMBROIDED
COLLECTION

10 JULY 2022 / TEXTILEART MAGAZINE

Anita Dongre’s Embroided
Saree Wedding Collections

At this very minute, in a cluster of villages in India’s west coast, a
group of women are probably embroidering pieces that will make
their way to showrooms in New York. Not in a dimly-lit airless
factory where they are invisible cogs in the global machine that
makes the clothes we wear and discard, but at home, practising
a craft that comes as naturally to them as, to use a cliché, riding
a bike. It’s a craft that adorns their clothes and their homes—
needlework as comforting as knitting but a lot more intricate
and painstaking. The women are part of SEWA (Self-employed
Women’s Association), and if you’re marvelling at the intricate
ari work on your friend’s Anita Dongre lehenga, thank them.
The designer has been working with these women for over
three years, commissioning work that adorns her Grassroot and
bridalwear lines. On a recent visit to Bakutra, one of the villages
on the outskirts of Ahmedabad where SEWA operates, Dongre
allows us a peek into an oasis of colour in an arid land.

“Gauriben lives in Bakutra and is the leader. Women
from the surrounding villages come to her, and she then
distributes the work. She’s feisty, she’s spirited... These are amazing
women. They lead such a hard life because the conditions are
difficult but they’re always smiling. I love how they dress, I love
their spirit and their attitude. When I first met them I was moved
by their passion and their determination to succeed. And that’s
what pushed me to work with them and succeed in what we had
set out to do together.”

“They do a lot of stitches but we primarily work with
ari, soi and bharatkaam. We, though, use contemporary colours.
Grassroot is a luxury brand—it’s for a very global consumer and
most of what they make is selling in New York—so we use colour
combinations that are more relevant and now. The colours on
their lehengas are beautiful, but they don’t work for our more
contemporary designs. You should, however, never touch the
craft. We’re here to modify the design, not the craft. It has to be a
design intervention— you can’t do a craft intervention.”

“Embroidery is a big part of their lives. They have
embroidered panels on the walls. Embroidery, for them, is
therapeutic. They love to finish their chores in the morning and
sit on their embroidery. Like how one knits. And living off it
gives them a sense of pride... I didn’t know there were so many
stitches. My work there has just begun and there is so much to
learn. There are other organisations, too, that are working on
teaching the next generation some very difficult stitches that
the younger generation doesn’t want to practise. So there’s more
that needs to be done. I’ve just begun. It’s a slow process. I’m still
trying to take it further.”

It reemphasises our commitment to our artisans and
conscious practices while creating art that is carefully
crafted, designed to last, and a labour of love and
passion, instead of just labour. Helping us become
a proponent of fashion that not only looks good but
does good too.By investing in this product, you are
directly contributing to sustainable fashion while
supporting Soi’s.

JULY 2022 / TEXTILEART MAGAZINE 11

the saree

weaving secret

Saree is one of the most popular ethnic They are in bright contrast
Indian garments that enjoy the exclusivity to the ‘body’ which is in a single or a
of being reincarnated. It is an integral part family (shades) of colours with tonal
of Indian cultural heritage. In the last few contrasts. Weavers use the ancient craft
years there has been a grand revival of the of 3-shuttle weaving and interlocking weft
saree as a popular cultural wear across to get this effect (korvai). The saree
the nation. Globalization and social is ornamented with pure gold zari. The
media have been highly influential in motifs are from temple sculptures —
this resurrection of interest in traditional religion, architecture or nature-based.
wear. It all started when two Bengaluru- The petni technique changes colours,
based friends Anju Maudgal Kadam and extracted from leaves, barks and seeds2,
Ally Matthan, agreed to wear their sarees 3. Ilkal is a small town down the hill ( it
100 times before the end of 2015 and, takes its name from ‘Illekallu’ or the ‘slope
through social media, encouraged others down the hill’ because of its location) in
to do the same. They intended to bring North thick cross over stripe of 2” at the
the traditional Indian saree back into their pallau and body junction place. The silk
lives, and in the process of reviving the saree produced with these techniques is
ethnicity they also became storytellers, considered as high quality saree. The silk
recounting the histories and narratives sarees produced without these techniques
woven into each of their sarees. Thereafter having the colour spread irregularly for
the #100sareepact became an Internet 2 - 4” because of tie-dye warp are
sensation, attracting media attention considered as low quality sarees.
across the world. This paper would like Hence, it is highly essential to
to trace the journey of the Indian saree train the young weavers to practice and
and also analyze how the saree-pact has make them confident to produce the
forged virtual friendships among women silk sarees with these techniques. Very
in the Zuckerbergian cyberspace. Apart rich looking solid colour pallau, body
from creating a new fashion statement and border sarees, ornamented with
across the world it has also resulted in the gold zari for ceremonial wear are always
revival of interest in the traditional Indian in good demand in the local market. The
weaves. weavers, who are well practicing these
The traditional handloom techniques, are considerably earning
weavers of India are ‘Artisans’ who by better. Hence, this study aims to record
themselves could able to translate the the methodology of these techniques
required designs and colour concepts systematically in order to make the present
in the cloth with their artistic skills. generation of textile technologists to
They are also equally ‘Technicians’ understand the strength of the traditional
having complete knowledge to evolve technology and transfer the same to the
different techniques time to time and weavers in the scientific way.
adopt the same to achieve the desired Solid colour in any part of the
effect1 . These traditional techniques saree is obtained by using similar colour
and the technical skills are very in warp and weft. Weaving pallau,
simple, scientific and result oriented with border and body in solid colour is one
available resources. Many traditional of the features of traditional sarees of
techniques practiced in different India1 which is shown schematically in
handloom cluster of India, have been the Fig. 1. Out of 5.5 m length of
getting transferred from generation to saree, the first ½ to ¾ m of the saree
generation by having hands on practice is called ‘pallau’. It is in solid colour for
without making any record about the its full width – say blue. The purpose of
technology1. Kancheepuram pattu (silk) having solid colour for the pallau is to
sarees are the traditional handloom silk have it as back ground.
sarees of Tamil.

12 JULY 2022 / TEXTILEART MAGAZINE

Authenticity of the weaving Chanderi, Ashok nagar District,
practice lies in the continuity of traditions Madhya Pradesh known to have been a
and techniques. The traditional weaving major urban centre since the 11th century
practices are inherited from one AD, the town of Chanderi has a rich
generation to the next. The skill comes history that was shared between Pratihara
naturally by virtue of families carrying kings, Delhi sultans, Mandu sultans,
out the ancillary activities along with the Bundela kings and Scindias of Gwalior.
weaver, leading to learning traditional Located on the borders of the cultural
techniques. These settlements are intact regions of Malwa and Bundelkhand,
and authenticity is maintained. Chanderi was on an important arterial
Saree weaving in India. The route to the ancient ports of Gujarat as
Saree is undoubtedly distinguishable well as to Malwa, Mewar, Central India
as the Indian woman’s traditional attire and Deccan. Chanderi’s setting made it
and is essentially a valuable Indian into a natural bastion. The living tradition
contribution to the world’s cultural of weaving has been prevalent since the
heritage and diversity. Rooted in past six hundred years and continues to
history and maintaining continuity as a sustain almost half of the population of
contemporary garment, the saree survives Chanderi.
as a living traditional clothing. Traced to The town of Chanderi is
the Vedic civilization, evolving with cross- divided into mohallas or residential
cultural influences of trade, confluences of neighborhoods. The mohallas of the
techniques and patterns, the saree still has different communities of the weavers are
innovations in its production processes. important part of the urban morphology.
As an unstitched garment for women, The 13th century Moroccan visitor Ibn
it has no parallels in terms of versatility, Batuta remarked: “it is a big city with
richness of colour, texture, and variety of thronged market places” like sadar bazaar.
weaving techniques using different kinds The sadar bazaar of the city is today
of yarn, including cotton, silk, gold and stocked with shops of gossamer sarees.
silver thread. The three storied shops, projecting one
However, the craftsmanship is not only over other, originally planned to be on the
limited to the final product i.e. the saree level with riders on elephants, on horses
but also in the space in which they are and on foot, give a unique profile to the
produced. The houses of craftsmen are street.
example of vernacular architecture, where The spatial design of the weaver house
the architecture has evolved over a large was integral to the production of the cloth
span of time. The Plan of a weaver’s house and its quality. The house form of weavers’
developed from the livelihood needs of houses in Chanderi is determined
the inhabitants. Built from local materials by the saree weaving techniques and
and available technology, they aptly cater requirements. Platforms built outside the
to the needs of the craftsmen. This pan- houses provide additional work areas and
India serial comprises of sites from five for stretching yarns. Architecture also
Indian states: Madhya Pradesh, Uttar serves as an inspiration to the craftsmen.
Pradesh, Maharashtra, Andhra Pradesh. The motifs on sarees are largely inspired
by ornamentation on buildings.

JULY 2022 / TEXTILEART MAGAZINE 13

14 JULY 2022 / TEXTILEART MAGAZINE

JULY 2022 / TEXTILEART MAGAZINE 15

KANCHIPURAM
SILK SAREE

Design for auspiciousness

While Tamil Nadu’s Kanchipuram sarees find a prized place in saree
collections across the country, the state is also known for its Kooraina-
du silk sarees and light-weight silks, among others.
In India, silk sarees serve as a cultural and fashion statement –
six yards of beauty, and elegance. Every state boasts of a silk saree that
is unique in weave and design, and for Tamil Nadu it is the Kanchipu-
ram silk saree. This distinctive saree finds a prized place in wardrobes
across the country for its classic look, luxurious feel and the history
that comes with each design. And in Kanchipuram, the city of a thou-
sand temples, weavers meticulously create the sarees in vibrant colours,
embellished with motifs and a zari (border) made of fine gold or silk
thread, to be worn at weddings and celebratory functions.
Chennai-based textile researcher Sreemathy Mohan says that
the designs for Kanchipuram sarees draw inspiration from historical
and cultural influences. Take for example the Gopuram (temple tow-
er) bordered sarees. “These borders are famously known for being in-
spired by the town’s architecture and the towering Gopurams of tem-
ples in particular,” says Sreemathy.

16 JULY 2022 / TEXTILEART MAGAZINE

In this quintessential Kanchipuram saree, threads in re-
splendent colours are used to create line designs and buttas against
a complex Korvai border to form rows of large interlocked trian-
gles to replicate the structure of Gopurams. In a Korvai weave,
the colour of the body of the saree is in contrast to its border.
She also points out that animals, birds, nature influence
the motifs, designs and colours used in Kanchipuram sarees. In
her blog the Indian Saree Journal, Sreemathy observes that the
use of jewel-toned colours has been inspired by nature – from
the dark blue borrowed from heavy rain clouds and the turquoise
with a tinge of green from the peacock to the verdant Ilai pachai
(leaf green) and killi pachai (parrot green). Then you have chilli
red, mango yellow, mustard coloured Kanchipuram sarees, where
the exact shade has been inspired by fruits and vegetables. In the
Ganga Jamuna sarees – named after the two rivers – the borders
on either side of the saree are in different colours.

JULY 2022 / TEXTILEART MAGAZINE 17

THE ART OF EMBROIDERY

Jaipur is a name that brings to mind the vibrant colors and intricate embroidery of India. In this article, we
will walk you through 10 of the most famous handicrafts in Jaipur – from paintings to jewelry.

Jaipur is a popular tourist Jewellery is another popular handicraft in Jaipur is one of the most popular tourist
destination in India and one of the most Jaipur. This includes items such as bangles, destinations in India and for good reason.
famous places for handicrafts. There are necklaces, and earrings. Jewellery is often With its rich history, vibrant culture,
many famous handicrafts from Jaipur, made from semi-precious stones or gold. and beautiful architecture, Jaipur has
including arts and crafts. It can be delicate or elaborate, depending something for everyone. While you’re in
Arts and crafts from Jaipur are on the artist or artisan who creates it. town, don’t forget to check out some of
some of the most popular items in the Painting is also a popular the most famous handicrafts in Jaipur –
world. They are made with a great deal of handicraft in Jaipur. This includes items arts and crafts like sandals, ivory carvings,
skill and care, and they often have a unique such as murals and paintings. Paintings and intricate beadwork. Not sure where to
design. Some of the most famous arts and can be large or small, and they can be very start? Here are five of our favorite shops
crafts from Jaipur include jharial (a type colourful andDetailed. Murals are often where you can find amazing examples of
of brocade), lacquer work, metalwork, painted on walls or ceilings indoors or these traditional crafts.
textiles, and wood carvings. outdoors. They are a popular attraction If you are looking for something
There are many different shops for tourists in Jaipur. special to do in Jaipur and don’t want to
in Jaipur that sell arts and crafts. If you’re Jaipur is home to some of the just tour the city, consider checking out
interested in buying any of these items, best handicrafts in the world, and one some of the more famous handicrafts
be sure to visit them during your trip to of the reasons why is because of the hot, here. Handicrafts are an important part
Jaipur. In Jaipur, India, there are a number dry climate.Handicrafts are often made in of the culture in Jaipur, and there are a
of famous handicrafts that are often seen climates that are not optimum for textile number of interesting crafts that you can
in tourist destinations around the world. production. This is because a climate that visit.
Among these crafts are textiles, jewellery, is too hot or too humid can cause materials One of the most famous handicrafts
and paintings. to shrink, warp, or even disintegrate. in Jaipur is Jaipur weaving. This is a
One of the most popular handicrafts Jaipur has a hot, dry climate that is perfect traditional art form that uses beautiful
in Jaipur is textiles. This includes items for textile production. This means that weaves and colors to create fabric pieces.
such as clothing, bedsheets, and curtains. there is less risk of materials shrinking, You can find examples of Jaipur weaving
Textiles are often intricately designed and warping, or disintegrating. In addition, at many tourist spots in Jaipur, as well as
colorful. They are also very durable. Jaipur has a rich cultural heritage. at some local markets.

18 JULY 2022 / TEXTILEART MAGAZINE

SABYASACHI

JULY 2022 / TEXTILEART MAGAZINE 19

20 JULY 2022 / TEXTILEART MAGAZINE