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#indian textiles
kaalbela · 10 months
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Rogan is an technique of cloth printing practiced in the Gujarat, Peshawar and Sindh regions of India and Pakistan. The word rogan has roots in both Persian and Sanskrit, meaning oil. In this craft, paint is made from boiled castor oil or linseed oil and vegetable dyes is laid down on fabric using a stylus.
The process of applying this oil based paint to fabric was developed among the Khatri community in Gujarat and the techniques of preparing and applying dyes was passed down in the family. As rogan printed cloth tended to be less expensive than other heavily embroidered garments but could still produce the illusion of embroidery, it was the wedding garment of choice for women from poorer families. The craft nearly died out in the late 20th century with the availability of cheaper and machine-made textiles. However, it is currently being revived mostly due to the efforts of the artist Abdulgafur Khatri and his family, who work tirelessly to spread awareness about Rogan art and teach it to young people, mostly young women from poor families in order to empower them by providing a means of livelihood as well as keeping the art of rogan alive.
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dresshistorynerd · 1 year
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How did cotton win over linen anyway?
In short, colonialism, slavery and the industrial revolution. In length:
Cotton doesn't grow in Europe so before the Modern Era, cotton was rare and used in small quantities for specific purposes (lining doublets for example). The thing with cotton is, that's it can be printed with dye very easily. The colors are bright and they don't fade easily. With wool and silk fabrics, which were the more traditional fabrics for outer wear in Europe (silk for upper classes of course), patterns usually needed to be embroidered or woven to the cloth to last, which was very expensive. Wool is extremely hard to print to anything detailed that would stay even with modern technology. Silk can be printed easily today with screen printing, but before late 18th century the technique wasn't known in western world (it was invented in China a millenium ago) and the available methods didn't yeld good results.
So when in the late 17th century European trading companies were establishing trading posts in India, a huge producer of cotton fabrics, suddenly cotton was much more available in Europe. Indian calico cotton, which was sturdy and cheap and was painted or printed with colorful and intricate floral patters, chintz, especially caught on and became very fashionable. The popular Orientalism of the time also contributed to it becoming fasionable, chintz was seen as "exotic" and therefore appealing.
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Here's a typical calico jacket from late 18th century. The ones in European markets often had white background, but red background was also fairly common.
The problem with this was that this was not great for the business of the European fabric producers, especially silk producers in France and wool producers in England, who before were dominating the European textile market and didn't like that they now had competition. So European countries imposed trade restrictions for Indian cotton, England banning cotton almost fully in 1721. Since the introduction of Indian cottons, there had been attempts to recreate it in Europe with little success. They didn't have nearly advanced enough fabric printing and cotton weaving techniques to match the level of Indian calico. Cotton trade with India didn't end though. The European trading companies would export Indian cottons to West African market to fund the trans-Atlantic slave trade that was growing quickly. European cottons were also imported to Africa. At first they didn't have great demand as they were so lacking compared to Indian cotton, but by the mid 1700s quality of English cotton had improved enough to be competitive.
Inventions in industrial textile machinery, specifically spinning jenny in 1780s and water frame in 1770s, would finally give England the advantages they needed to conquer the cotton market. These inventions allowed producing very cheap but good quality cotton and fabric printing, which would finally produce decent imitations of Indian calico in large quantities. Around the same time in mid 1700s, The East Indian Company had taken over Bengal and soon following most of the Indian sub-continent, effectively putting it under British colonial rule (but with a corporate rule dystopian twist). So when industrialized English cotton took over the market, The East India Company would suppress Indian textile industry to utilize Indian raw cotton production for English textile industry and then import cotton textiles back to India. In 1750s India's exports were mainly fine cotton and silk, but during the next century Indian export would become mostly raw materials. They effectively de-industrialized India to industrialize England further.
India, most notably Bengal area, had been an international textile hub for millennia, producing the finest cottons and silks with extremely advance techniques. Loosing cotton textile industry devastated Indian local economies and eradicated many traditional textile craft skills. Perhaps the most glaring example is that of Dhaka muslin. Named after the city in Bengal it was produced in, it was extremely fine and thin cotton requiring very complicated and time consuming spinning process, painstakingly meticulous hand-weaving process and a very specific breed of cotton. It was basically transparent as seen depicted in this Mughal painting from early 17th century.
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It was used by e.g. the ancient Greeks, Mughal emperors and, while the methods and it's production was systematically being destroyed by the British to squash competition, it became super fashionable in Europe. It was extremely expensive, even more so than silk, which is probably why it became so popular among the rich. In 1780s Marie Antoinette famously and scandalously wore chemise a la reine made from multiple layers of Dhaka muslin. In 1790s, when the empire silhouette took over, it became even more popular, continuing to the very early 1800s, till Dhaka muslin production fully collapsed and the knowledge and skill to produce it were lost. But earlier this year, after years lasting research to revive the Dhaka muslin funded by Bangladeshi government, they actually recreated it after finding the right right cotton plant and gathering spinners and weavers skilled in traditional craft to train with it. (It's super cool and I'm making a whole post about it (it has been in the making for months now) so I won't extend this post more.)
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Marie Antoinette in the famous painting with wearing Dhaka muslin in 1783, and empress Joséphine Bonaparte in 1801 also wearing Dhaka muslin.
While the trans-Atlantic slave trade was partly funded by the cotton trade and industrial English cotton, the slave trade would also be used to bolster the emerging English cotton industry by forcing African slaves to work in the cotton plantations of Southern US. This produced even more (and cheaper (again slave labor)) raw material, which allowed the quick upward scaling of the cotton factories in Britain. Cotton was what really kicked off the industrial revolution, and it started in England, because they colonized their biggest competitor India and therefore were able to take hold of the whole cotton market and fund rapid industrialization.
Eventually the availability of cotton, increase in ready-made clothing and the luxurious reputation of cotton lead to cotton underwear replacing linen underwear (and eventually sheets) (the far superior option for the reasons I talked about here) in early Victorian Era. Before Victorian era underwear was very practical, just simple rectangles and triangles sewn together. It was just meant to protect the outer clothing and the skin, and it wasn't seen anyway, so why put the relatively scarce resources into making it pretty? Well, by the mid 1800s England was basically fully industrialized and resource were not scarce anymore. Middle class was increasing during the Victorian Era and, after the hard won battles of the workers movement, the conditions of workers was improving a bit. That combined with decrease in prices of clothing, most people were able to partake in fashion. This of course led to the upper classes finding new ways to separate themselves from lower classes. One of these things was getting fancy underwear. Fine cotton kept the fancy reputation it had gained first as an exotic new commodity in late 17th century and then in Regency Era as the extremely expensive fabric of queens and empresses. Cotton also is softer than linen, and therefore was seen as more luxurious against skin. So cotton shifts became the fancier shifts. At the same time cotton drawers were becoming common additional underwear for women.
It wouldn't stay as an upper class thing, because as said cotton was cheap and available. Ready-made clothing also helped spread the fancier cotton underwear, as then you could buy fairly cheaply pretty underwear and you didn't even have to put extra effort into it's decoration. At the same time cotton industry was massive and powerful and very much eager to promote cotton underwear as it would make a very steady and long lasting demand for cotton.
In conclusion, cotton has a dark and bloody history and it didn't become the standard underwear fabric for very good reasons.
Here's couple of excellent sources regarding the history of cotton industry:
The European Response to Indian Cottons, Prasannan Parthasarathi
INDIAN COTTON MILLS AND THE BRITISH ECONOMIC POLICY, 1854-1894, Rajib Lochan Sahoo
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robert-hadley · 8 months
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Textile (India) - 18th century.
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my-kelde · 1 year
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Bengal artist. Alternative Kantha, early 20th century.
cotton ground with cotton embroidery
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sampigehoovu · 9 months
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Paintings of women from the Mysore royal family in the collection of the Amba Vilas Palace, Mysore.
The way their saree flows and creates those perfect folds at their feet is fascinating, and it repeats across time and painters. Even in certain commissioned Raja Ravi Varma's. So elegant, shows off the gold jari borders and makes me think they would float around the palace in all their splendour. Or they just wore it like this for paintings (realistic).
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fashionbooksmilano · 9 months
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Living with Textiles
Elaine Louie
Mitchell Beazley, London 2001, 144 pages, over 140 colour photos, 24x29cm, ISBN 9781840003871
euro 30,00
email if you want to buy [email protected]
Chinese silks, Egyptian linens, Afghan rugs: every culture recognizes the sensuality and functionality of textiles. Yet, too often their striking contribution to the modern interior is overlooked. Over 140 eye-opening color photos reveal what a wonderful difference they make, draping the walls, covering a bed, upholstering the furniture, warming the floors, softening the lines. Display a small hooked rug as a piece of art, or turn an obi (a kimono sash) into the perfect table runner--you're limited only by your imagination. Every page features a new application for textiles in the home, from hangings to room dividers, as well as information on particular fashions and period effects, including Indian, Japanese, African, French, and English Formal. It's inspiration and information for bringing unique style to your environment.
17/07/23
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professorpski · 2 years
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Washington DC has soooooo many museums, that sometimes people don’t realize there are some smaller themed museums including this one which I always try to visit when I am in town.
In addition to the special exhibition on Indian textiles which the Washington Post offers several pictures of in that link, there is a textiles 101 where you can learn what weaving is with enormous warp and weft to use by hand.
For more info, go here: https://museum.gwu.edu/exhibitions
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fashionbasicsgg · 1 year
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“EARTH PROVIDES ENOUGH TO SATISFY EVERY MAN'S NEED BUT NOT ANY MAN'S GREED.” – MAHATMA GANDHI
I’m Gargi Gosavi a student at NIFT, Gandhinagar. Fashion is something that has always fascinated me since I was a teenager. I made sure I had the trendiest outfits. Back then buying things from H&M, Zara and other fast fashion brands didn’t matter as much as it does now after knowing the back story of the fast fashion brands. Coming to NIFT was like a dream come true. While doing my research for the course I want to apply for textile design was something which caught my attention. After high school, I gave my entrance exam and here I'm today in Gandhinagar. Learning the subject of Fashion Basic has changed my perspective towards fashion.
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It was my first time when I was presenting. My anxiety had reached the peak. I was not very confident about myself that time. My first presentation was on “fashion according to you” my topic for this presentation was the Nike Air Jordans and Air Force which we all know are trendy. In my presentation I talked about their history, price, different types of Jordans, Air Force and how people take care of them like their own babies. On the very first day, we were told about our mid term assignment, which was to dress up reflecting our traditions and state we belong to. Coming from Maharashtra and being a Maharashtrian I was wearing a Nauvari saree(nine yard saree) which I sourced from my sister in law. I was wearing all the traditional Maharashtrian accessories from head to toe.In my presentation I spoke about the history of nauvari saree ,textiles, food, culture and festivals of Maharashtra. These presentations helped me become confident about myself.
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Fashion changed my perspective
It’s tempting to turn a blind eye in front of such flashy offers, but the planet can’t take it anymore! 
If you’re used to buying clothes without questioning how they were made, acknowledging these fast fashion facts can be the first step towards making an actual change.
I now have realised that fashion is not only about clothes and looking fashionable. It may look very glamorous from the outside but it has a dark side that very few people are aware of. We had a debate in our class on slow fashion and fast fashion which changed my perspective. Buying clothes from fast fashion brands will make you look fashionable but how about the damage it’s creating to the environment? We don't even know that the people working for these brands are even safe. Are they paid well? We all are aware of the Rana Plaza collapse in Bangladesh where around 1136 people lost their lives and 3120 people were injured. The conditions where the people are working for these brands are unsafe and promote child labour. Millions of children are forced to work in terrible conditions for the clothing we wear. We don’t even know that the women working for the clothes are even safe. We all wear clothes even if we’re not necessarily lovers of fashion but we all are responsible for the transition to this flourishing fashion industry. The materials these brands use are harmful to the environment.Fast fashion is responsible for 20-35% of ocean microplastics Another problem with polyester and synthetic fabrics is that every time you wash them, they’ll release between 700 to 4000 plastic polyester per gram.These end up in the ocean, fish bellies, and… yep, yours too if you eat seafood. Polyester now has been found in breast milk as well. Can you imagine how much worse the situation is? Fast fashion clothing relies upon planned obsolescence unlike durable vintage or ethical clothes. These items are designed to fall so that the consumers like us will keep buying new items regularly.
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Can we bring change as Gandhiji did?
Let me take you back to the time when Gandhiji started a Swadeshi Movement a movement designed to boycott imported goods and production. The citizens of India burnt all the clothes which came from the UK and started to make their clothes using the charkha. Khadi cloth became the heart of this strategy when Gandhi asked every man and woman to plant and harvest their materials for the yarn needed to create Khadi fabric. He also asked everyone, whether rich or poor, to spend time each day spinning Khadi. People of all classes came together to do as Gandhi asked, and their efforts helped the country in its bid to become self-sufficient. Entire villages adopted the movement, weaving their way to economic freedom through fashion. Let’s support our artisans and our culture by following slow fashion.
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Do slow-fashion items last longer?
Items from my grandmother and even my mother when she was young are still in pristine shape. I can not say the same for the items I bought some years ago from fast fashion brands. Why? Have you ever heard of planned obsolescence? If the stitching is not good, if the materials are not great, the piece will not stand washing and wearing. And so, eventually will not be good to be worn. Now, you need to buy a new piece, and here we go again. This is easy math, high quality = longer-lasting item. Slow fashion items are long-lasting so you can wear them as long as your heart desires. In the end, it is cheaper to purchase a more expensive item. It is a win-win for you and the environment.After the debate, I was thrilled after knowing the damage fast fashion brands are creating in the environment and that the people working for these brands are miserable and unsafe.
How You Can Make Sustainability Stylish
One of the biggest drivers of fast fashion – and its associated waste – is the consumer. After all, no one wants to be stuck wearing outdated outfits. But if you extend the life of your clothes by just nine months, you can reduce the environmental impact by as much as 30 per cent. By getting creative with your closet, you can make a difference just like I did in lockdown I had nothing to do so I used to experiment with my brother's clothes. He had a black old t-shirt which he wasn’t using anymore so I decided to make a top for myself by cutting and splitting the tshirt into two halves, folding &twisting it around my neck and chest and creating a pattern in itself. The other top was a normal top where I stitched straps of the remaining fabric and made it a tie-around crop top.
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Know what would trend in future
As a beginner in the design industry the fact that we can predict what will trend in future surprised me. I didn’t know something like this existed until I learnt about fashion forecasting.
Fashion forecasting is something that focuses on upcoming trends. Prediction of the colours, textures, fabrics, style, beauty, etc that will be presented on the runways and in upcoming seasons.
Is polyester the new Khadi?
During the pre-independence period people started to use the hand-spun cloth that remains warm in winters and cool in summers. We visited Reliance Trends to see their winter collection and overall clothes. One thing which we noticed was that none of the sweaters had wool as their material. 90-95 per cent polyester was used in sweater. Polyester is a performance textile, used in activewear, athleisure, etc. Polyester is used everywhere and is recyclable. We all know how harmful this fabric is and when I saw the amount of polyester each and every clothing item contained I was stunned! The traditional wear and the kids section clothing was mainly made using cotton. They also had the sustainable denim.
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Reviving our handloom heritage
An exhibition of the artist weaver Rajen Chaudhari was organised by CEPT University in Ahmedabad. He was a student at JJ School of Arts, Mumbai. Having interest in textiles, he went to different places in India where he could learn how to use a handloom weave. He practised hand spinning and hand weaving for a very long time. His work was stunning which had patterns using the weave, very intricate and each one of them was unique in its own way. He transformed his paintings and sketches into weaves. There was a handloom weave and a spinning wheel kept where a lady showed us how it is functioned. The process involves entwining a set of vertical threads, the wrap with a set of horizontal threads, the weft.
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The second visit was to Kasturbhai Lalbhai Museum. Kasturbhai Lalbhai was one of the pioneering Industrialists of pre and post-independent sage of India. One can see the vast panorama of Indian art history ie. Mughal, Rajput, Pahari, Bengal school – early modern and contemporary art, all under one roof is unique. Inside the house, which is now the museum there was a beautiful collection of old paintings using natural paints, betels used for the emerald colour on the gold foil, watercolours, etc. The artist back then made every painting/artwork meticulously. I was speechless after seeing those paintings which were done so thoughtfully and with intricacy. The furniture on which the exhibition was displayed was designed by the students of NID.
The next place was the White on White exhibition of Mr Asif Shaikh who is one of India’s most accomplished and acclaimed embroidery and textile artist. He’s on a 5 yr project which he started back in 2020 in which he is making 100 textiles out of which 37 are done with the help of Indian artisans. These 37 textiles were an introduction to his new collection. We could see the efforts he had put into fabricating those textiles. All the designs were very unique and were from different regions of India. His work astonished and inspired me.
The next exhibition was of Arvind Indigo museum where it has opened a world of possibilities for unexplored surfaces such as metal, stone, paper, leather, polyester fibre, glass, and wood, among others.
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Knowing the bitter reality of the fast fashion industry I’ll make sure to follow sustainable fashion as much as I can. And lastly I would like to conclude by extending my heartiest gratitude to Miss Neha Kedia and NIFT Gandhinagar for providing us this opportunity and opening windows of exportation through this educational visits and giving us a glimpse of industry life.
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sandeepsaini · 21 days
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The advent of online shopping has revolutionized the way we access materials and resources. For those looking to buy wool online in India, the digital marketplace offers a plethora of options, from local artisanal yarns to internationally acclaimed brands. This shift not only saves time but also opens up a world of exploration from the comfort of one's home.
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sillyreviewhideout · 1 month
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A Tapestry of Change: Unveiling Dynamics in the Textile Industry
The textile industry, a colossal presence in the global market, is currently undergoing a transformative journey, navigating through a mosaic of challenges and innovative trends. As of 2024, the industry's valuation stands at an estimated USD 748 billion, poised to ascend to USD 889.24 billion by 2029, showcasing a robust and consistent growth rate of 3.52% annually. However, this trajectory has not been without hurdles, especially considering the disruptions brought about by the seismic impact of the COVID-19 pandemic.
COVID-19 Impact: Crafting Resilience Amidst Turbulence
In the tumultuous year of 2020, the textile industry faced unprecedented challenges in the wake of the global pandemic. Asia, a linchpin in the textile market, bore the brunt of prolonged lockdowns and a sudden plummet in international demand. The International Labour Organization (ILO) reported a staggering collapse in global textile trade during the first half of 2020, with exports to major regions such as the European Union, the United States, and Japan plunging by approximately 70%. Further complicating matters, the industry grappled with disruptions in the supply chain, notably facing shortages of critical raw materials, including cotton.
Key Players: Anchors in a Dynamic Landscape
In the intricate tapestry of the textile industry, four major players emerge as key anchors: China, the European Union, the United States, and India.
China: Undoubtedly, China stands as the preeminent global producer and exporter of both raw textiles and garments. Its robust industry infrastructure positions it as an undisputed force in the market.
United States: Holding sway in raw cotton production and export, the United States claims the title of the leading importer of raw textiles and garments.
European Union: Comprising economic powerhouses like Germany, Spain, France, Italy, and Portugal, the EU commands a substantial share, contributing over one-fifth to the global textile industry.
India: Emerging as the third-largest textile manufacturing industry globally, India shoulders over 6% of the total textile production, adding a dynamic touch to the industry's landscape.
Market Trends: Riding the Crest of Transformation
1. Increasing Demand for Natural Fibers
Natural fibers, including cotton, silk, linen, wool, hemp, jute, and cashmere, are currently enjoying a surge in demand. Renowned for their strength and lightness, these fibers find diverse applications in garments, apparel, construction materials, medical dressings, and even automobile interiors.
Global Impact: The abundance of natural fibers, particularly cotton, in countries like China, India, and the United States, acts as a propellant, steering the global textile market toward unprecedented growth.
Versatility: Silk, valued for its finesse, graces upholstery and apparel. Meanwhile, wool and jute, celebrated for their resilience, elasticity, and softness, emerge as quintessential textile materials.
Consumer Preference: The increasing consumption of natural fibers is expected to act as a catalyst, propelling the global textile market forward throughout the forecast period.
2. Shifting Focus Toward Non-woven Fabrics
The textile industry is witnessing a deliberate shift toward non-woven fabrics, driven by evolving demographics and changing consumer preferences.
Demand Drivers: The burgeoning demand for hygiene products, such as baby diapers, sanitary napkins, and adult incontinence products, is fueling the need for non-woven fabrics.
Applications: Nonwovens, extending beyond personal care products, are making significant inroads in road construction as geotextiles, bolstering the durability of roads. In the automobile industry, non-woven fabrics are increasingly employed for both exterior and interior parts due to their inherent durability.
Market Growth: A positive outlook in the automobile and transportation industry, coupled with the cost-effectiveness of nonwovens, is expected to propel substantial growth in this segment.
The Road Ahead: Opportunities and Challenges
The textile industry stands on the precipice of a transformative era, driven by factors such as rapid industrialization and the relentless evolution of technology.
Rapid Industrialization: Both developed and developing nations are experiencing a whirlwind of industrialization, playing a pivotal role in modernizing textile industry installations, fostering higher efficiency, and augmenting revenues.
Technological Evolution: Recent innovations in textile technology assume a pivotal role in shaping the industry's future. The adoption of advanced technologies is anticipated to further elevate the efficiency and capabilities of textile production.
Conclusion: Navigating Change with Innovation
As the textile industry threads its way through challenges, it is the innovative trends that paint a promising tableau for the future. The resilience displayed in the face of the COVID-19 pandemic, coupled with a strategic focus on natural fibers and non-woven fabrics, vividly demonstrates the industry's adaptability.
The collaborative efforts of major players like China, the European Union, the United States, and India form the warp and weft of the global textile landscape. With a keen eye on sustainability, versatility, and technological advancements, the textile industry stands poised not only to overcome present challenges but also to emerge as a dynamic force in the years to come.
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kaalbela · 2 years
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Detail of embroidered skirt (ghaghra) from Ahmedabad, Gujarat, 19th century. Currently housed at the Indian Museum, Kolkata.
Via Jordan Quill
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the-cricket-chirps · 8 months
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Nelly Sethna
Untitled
(1980-1990)
(Collection of Gayatri and Priyam Jhaveri)
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bunastudio · 9 months
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A delightful play of gingham, blockprinted lotus and hibiscus florals and dainty lace. The Gossamer Pink Lace Dress to add a touch of whimsy to your summer wardrobe. https://www.bunastudio.com/products/gossamer-pink-lace-dress
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suchananewsblog · 11 months
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‘India in Fashion’ at NMACC helps define the country’s varied sources of global influence: Rooshad Shroff
Mumbai-based architect and designer Rooshad Shroff, who was the affiliate designer of India in Fashion discusses lighting challenges, documentation and exhibition design. Edited excerpts: Rooshad Shroff The exhibition has been imagined as curatorial chapters. Was there any section that was troublesome to execute technically, given the interaction of areas versus curatorial? Actually, it being…
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Runway| Christian Dior, in Mumbai
Runway| Christian Dior, in #Mumbai A thread ⬇️
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fashionbooksmilano · 1 year
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Jaipur Quilts
Krystyna Hellström
Foreword: Dharmendar Kanwar
Niyogi Books, New Delhi 2012, 203 pages, All colour; 183 photographs and 2 illustrations, 22 x 27 cm, Flexiback,ISBN  9788192091259
euro 50,00
email if you want to buy :[email protected]
Jaipur the famed Pink City of Rajasthan conjures up images of a bygone era in the mind's eye of royalty and stories of gallantry and battlefield valour; of a desert landscape poised against vivid shades of colour; of art and aesthetics and above all its vibrant people Built in ad 1727 the splendour of its palaces and forts and the breathtaking array of its traditional crafts continue to attract tourists and connoisseurs of history and art from all corners of the world The Jaipur textile industry has for long inspired countless artists and designers to create exquisite products of both beauty and utility The Jaipuri razai is a perfect example of this exclusive trend in its display of excellent traditional craftsmanship and aesthetic beauty as well as its high utility value
25/12/22
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