Reinventing traditional textiles in current day fashion

Edward De Bono once said, “Creativity involves breaking out of established patterns in order to look at things in a different way.’’ My approach to fashion and reinventing traditional textiles stems from the same root of thought.

Hand-woven textiles are mesmerising… in fact, rivetting, and are the ultimate source of fascination for me. My passion for textiles is so deeply ingrained that I would go to any lengths to explore and experience the weaves — from interiors of Orissa to the fearsome North East, to unhygienic pit looms of Benaras.

My fervour for fabrics, my firm belief that our textile heritage was one of the pillars of our at-once ancient and modern culture well worth preserving, coupled with the near-poverty-stricken state of the weavers compelled me to recreate traditional fabrics, infusing modern patterns and weave variations imbued with  eco-friendly dyes (vegetable/organic/ natural/indigo), wherever possible.

In the realm of Karnataka textiles, I’ve explored two weaves extensively — the Mysore crepe silk in state-centred looms and weaving Eri saris in Bangalore’s rural looms, and am now on the path of discovery of two others — Ilkal checks from Karnataka and Upaada from Coastal Andhra.

Where the Mysore crepe silk sari was concerned, I wove intricate and ornate patterns out of gold threads onto the body of the sari — threads that carried more gold content than ever before on any textile, resulting in a supple, drapey, luxurious avatar of the traditional crepe sari. I went a step further in weaving patterns with coloured threads on Mysore crepes, hitherto unheard of on crepe sarees — making crepe silk a loom-finished product.

Having carried out extensive research on the creation of soft, supple Eri stoles and shawls imbued with vegetable and indigo dyes, I took the R & D further in weaving a range of Eri sarees at looms located around Bangalore. This made it easier to monitor progress and clear any stumbling blocks in the weaving process at an early stage. For the Eri sarees in particular I am using jali designs, giant floral motifs and most importantly, the Sanskrit script.

Simultaneously, I have been doing research on modernising and contemporising the Ilkal checks sari and have recently begun to explore the realm of  Upadas, extensively used in my bridal collection. Incorporating traditional motifs on a modern weave are always the challenge, and I am trying to bring in the palmette, the scroll, and glimpses of Hampi onto the current canvas.

The weaving process is a long and arduous one — it begins with the concept, developing the storyboard and then the motifs and the weave. Therein follows the technical part — the dyeing, warping, the weaving and then the additional warp or weft motifs….monitoring the weaving step by step till it nears completion.

There is also a great deal the government can do to create a climate of exchange and progress.

For one, the government can play the part of the facilitator — should I as a designer, approach the textile department for guidance, they should be able to put me on to the appropriate weavers, who I can work with and begin the process of R & D towards the creation of a new design or textile. In the bargain, the encounter allows the weaver to be exposed to a new train of thought, to new ideas and design patterns, which will in turn help him to improvise in his work.

I have always believed that as designers we have to carry forth the torch for our glorious textiles, even if it means running that extra mile...

By blending silks and natural fibres to create finer new age textiles, Deepika has sought to weave together the fabric of two civilisations — the warp of the ancient and the weft of the modern.

— Deepika Govind, Fashion designer