Praant — Going Bananas Over Banarasi!

Banarasi brocade isn’t a mere fabric — it is a dwelling testomony to the subcontinent’s handweaving expertise. It’s also a personal museum of recollections, of sorts, with a grandmother or mom handing her bundle of life stories over to the next era together with her Banarasi sari.

1000+ images about ViViFor generations, the Banarasi sari has been an intrinsic part of every Indian bride’s trousseau. She is often clad in a vivid pink and gold Banarasi sari for the primary marriage ceremony ceremony, and the sari remains a cherished collectible in her wardrobe, typically handed down to the following generation as a valuable heirloom.

Banarsi silks find point out in the Mahabharata and even in some historical Buddhist texts. Banaras is believed to have flourished as a textile centre when it was the capital of the Kasi kingdom, of which Siddhartha (later often called Gautam Buddha) was the prince. In Bhuddha Sutra, when Prince Siddhartha decides to renounce worldly luxuries, he takes off his silk clothes, talked about to be woven by the weavers of Kasi to get into easiest of attires.

Banarasi hand-weaving has seen many modifications in preferences of colours, patterns, motifs, borders and kinds over the years. Between 350 Ad to 500 Advert, floral patterns, animal and chicken depictions gained popularity. By the 13th century, ‘Butidar designs had been excessively in demand. With the coming of the Mughals, Islamic patterns like birds, florals and ‘Jali or ‘Jaal came in vogue. Later within the 19th century, Indian designs started showing a close resemblance to Victorian type wall papers and geometrical patterns (a carry forward of the Mughal Lattice work).

Brocade is a speciality of Benaras fabric. It’s a characteristic weave through which patterns are created by thrusting the Zari threads (pure type of Zari is a thread drawn out of real gold) between warp at calculated intervals so as to evolve the design/Buti line by line. A kind of loom referred to as Drawloom or ‘Jalla is used to weave a brocade fabric. Usually, 3 artisans work together for fifteen days to six months to create a Banarsi sari, depending on the intricateness of the design. For more intricate royal designs, the artisans may even take one yr to complete the sari.

With the advancement of expertise, these at the moment are woven on Jacquard looms, which permit for pre-planning of the complete design and then going about the entire course of relatively mechanically.

Right this moment, in India, whereas Banarasi saris proceed to enchant ladies, the fabric is being creatively used in contemporary fashion. Fashionable designers have been recognized to employ traditional brocade weaving and patterns within the creation of renowned pieces or collections. Brocades are used in western style clothes like jackets, pants or dresses.

Salvatore Ferragamo created Banarasi brocade sneakers for Mission Renaissance that was held in DLF Emporio Delhi in 2013. Internationally acclaimed Indian designers Abraham & Thakore collaborated with the Ministry of Textiles to put out a contemporary bridal line utilizing Banarasi brocade at the Wills Life-style India Fashion Week in New Delhi. Other designers like Shaina NC, Ritu Kumar, Manish Malhotra, Sandeep Khosla, Shruti Sancheti, Anita Dongre and Rina Dhaka additionally actively use and promote this magical fabric of their collections.

At Praan:t, a prime trend studio in Pune, designer Monika Chordia sources Banarasi brocade straight from hand weavers in Banaras and makes use of it to create an exclusive designer assortment of trendy occasion put on and smart informal put on for ladies. At Praan:t, brocade is mixed with other textile crafts of India akin to Bhuj embroidery, vegetable-dye fabrics from Rajasthan, hand block-printed fabrics from Gujarat and clamp-dye fabrics to craft a variety of bespoke apparel for girls and conventional put on for males that are stunningly stylish yet wonderfully wearable.

Monika Chordia believes the standard handloom and textile crafts of India must be treasured and promoted. Handwoven fabrics want a premium value; the weaver and craftsman should profit economically in order that their craft endures and flourishes in the face of competitors from cheaper, mass-produced mill-made textiles.

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