Indian Inspiration: A Tapestry of Textiles

India is synonymous with vibrant colours and rich textiles. Indian style is unique and arguably among the most beautiful and recognisable in the world. Saris are the icon of Indian clothing, and fashion designers from all corners of the globe look to India as a source of inspiration. Ingelise Jones takes a look behind the scenes of the textile manufacturing industry in Tamil Nadu and meets some of the special people who make it happen. India has a long and rich heritage in textile production. As the world's second largest producer of both cotton and silk, textiles are a vital part of the country's domestic and export wealth, and a major source of employment. Today, the textile industry employs 35 million people including five million cotton farmers. About 60 million people rely on income from the textile industry, and textiles represent 14 percent of India's industrial production. But as globalisation grips the nation and Western influences rapidly increase, the industry must adapt in response to fluctuating domestic and international textile markets and to the needs of the evolving Indian consumer. There are two ends of the textile manufacturing spectrum, factory power looming and hand looming. Tamil Nadu is well known for the production of both silk and cotton fabrics, and especially famous for its saris. To understand power looming, hand looming and how saris are made, we visited four different locations in Tamil Nadu. These included a cotton spinning mill, a cotton dyeing factory specialising in tie dyed saris, a cotton sari hand loom weaver, and a village full of silk sari hand loom weavers. Learning about some of the different aspects of the industry was fascinating, but perhaps even more so, was meeting some of the people who make it possible. Our cover photo features Mariammal, 60, a hand loom weaver from the small village of Andipatti. While her simple and humble existence was in some ways confronting, spending time with her opened my eyes to a traditional art that is also a way of life. Like thousands of local people around the Madurai area who work in the textile industry, Mariammal exudes a sense of pride in her work and radiates happiness from within. The Loom Boom

In recent years, the Indian textile industry has seen a significant boom, growing at 8-9 percent per year, following a steady increase of 3-4 percent per year for the past 60 years. The strength, versatility and absorbency of cotton make it one of the most popular and practical fabrics available, and silk with its variety of thicknesses, softness, lustre and sheen is considered the most luxurious fabric in the world. Both cotton and silk rapidly absorb colour, bringing designs to life and enhancing wardrobes everywhere.
"Spending time with her opened my eyes to a traditional art that is also a way of life" India is also known for its hand dyeing, block printing, intricate embroidery and embellishments. Fine textile craftsmanship has been passed down through the generations for hundreds of years,

but it is now under threat. As young people have more opportunities for education and careers, they are less inclined to follow in their parents footsteps. It's also due to the changing Indian consumer, and of course to the industrialisation of the textile market, with an increasing demand for mass produced clothing. Indian Chic: Goes Global Indian fashion designers are making their mark in the West, and Western designers are taking their inspiration from this exotic land. Indian chic is going global. The success of Bollywood films has no doubt been a major influence in catapulting India into the imaginations of people all over the world, but the passionate exchange between India and the West is two way. Western films and Western media continue to creep into the consciousness and wardrobes of the Indian public. Once a luxury only for the wealthy Indian, or seen in Bollywood films, fashion is now on the radar of an increasing number of Indian consumers eager to engage in a little luxury. Opportunities for study and careers are greater and more plentiful than they have ever been. New technology and wealth in an old country has created a new wave of people with more disposable income. "The Indian consumer is no doubt changing. Many aren't just interested in functional products anymore. They want to wear brands as statements and try on luxury for size" Retail as a phenomenon in India is not dissimilar to the West. You only have to walk into India's two big department stores RmKV and Pothy's to get the sense of scale and popularity of Indian clothes. Shoppers certainly look like they are seduced by the lure of new clothes, especially saris. But the Indian consumer is no doubt changing. Many aren't just interested in functional products anymore. They want to wear brands as statements and try on luxury for size.

At the recent Wills Lifestyle India Fashion Week (WIFW), held 6-12 April 2011, internationally renowned Delhi-based fashion designer Neeru Kumar spoke out about the need for Indian fashion designers to be inspired by their own country's textiles. She paid tribute to Indian textiles on the runway with her blend of traditional Indian and contemporary Western styles made strictly from Indian hand woven textiles.
To the outsider, the Indian clothing industry feels like a powerhouse of tradition. Almost every woman in India wears the sari, whether it is for everyday attire or for special occasions. Saris vary greatly in quality and price, with everything from simple cotton saris to the showcase of fine craftsmanship of delicately hand woven silk. Extravagant bridal saris in particular, are the centre piece of every Indian wedding and keep the art of silk hand looming alive. Indian fashion for women also includes items such as the salwar kameez, kurti and lehenga. For men, it is clothing such as the kurta, sherwani and pathan suits. But depending on where you go in India, you also see more and more Indians dressed in Western clothes. It's an interesting mix to observe, as so much varies with regard to the type of clothing and to which parts of the body are

acceptable to be exposed or tightly hugged. Between Indian and Western, there is an entirely different notion of shape and form, flattery and function. Cotton Tales With archeological evidence from Northern India dating cotton use back around 5,000 years ago, cotton is the oldest fabric known to humankind. It has been an essential fabric to people of many cultures across the world, from the ancient Egyptians to the Romans to most people living today. Cotton textile production is a part of India's heart and soul, but it is an industry that has seen highs and lows. Under British rule, India's cotton production experienced a slump, allowed only to export raw cotton to Britain, where it was processed, and then sold back to India as a textile. But the British did help transform the cotton industry with the industrial revolution of the late 18th century and early 19th century. New looms and spinning processes enabled the mass manufacturing of clothing and started the modern clothing revolution, helping to catapult fashion and retail into the phenomenon it is today. Fulfilling the world's demand for cotton is an ongoing challenge. India makes up 25 percent of the world's cotton, and production is expected to reach an all time high of 35 million bales in 2011-12. The rapid growth is partly due to the adoption of genetically modified cotton. It has been a controversial move due to concern over health risks, toxic effects on soil and harm to the environment. Farmers have rapidly adopted the new strains of cotton because it has initially increased yields and reduced pesticide use. However, it remains a hot debate rife with issues which are unlikely to be resolved any time soon. The relationship between the domestic and international market is also complex. In recent years, India's domestic cotton prices have begun to mirror world prices. In 2010, the Indian Government responded to excessive export of cotton yarn by imposing an export ban. The ban reduced domestic prices and enabled surplus stock to be consumed internally. It was a relief for spinning mill owners who couldn't cope with rising domestic prices which they were unable to pass on to the market for fear of affecting sales margins. But the benefits were only temporary as stocks soon overtook domestic demand. The ban was lifted this year, but limitations on export remain to help discourage cotton exportation. At the time of writing this, domestic prices were declining and there was a strong push from the sector and experts to allow more exportation. About 2,000 textile mills across Tamil Nadu participated in a one day national strike on 23 May 2011 in protest to the government curbing exports and withdrawing incentives which would lead to mass losses for the mills. India's role in the future of world cotton production will continue to be instrumental, but the memory of this ban and its associated ongoing issues could linger to affect India's reputation as a reliable source of cotton.

Wheels Keep on Spinning Textile mills are the backbone of Tamil Nadu's industrial development. Almost half of India's medium and large sized spinning mills and the majority of small spinning mills are located in Tamil Nadu. Cotton fabric made using power looms keeps much of the domestic textile and fashion market alive. Jheeva Rekhaa Textiles, a cotton spinning mill in the Theni District in Tamil Nadu, is enjoying the rapid growth of the domestic textile market. On meeting factory owner Mr Bharath, it is clear that business is good. He employs local men and women who live within 30km of the factory. He is particularly proud to tell us that his factory has substantially increased its capacity since it was established in 1997. "We started with just six machines and 14 employees and produced 20,000 metres of fabric per month, now, we employ 143 people and operate 48 machines. We now make 450,000 metres per month," Mr. Bharath said.

On a tour of the factory, one can see the impact that the development of technology has had on the industry. The cotton spinning process involves a series of steps. Firstly, raw cotton that has been put through the ginning process before arriving at the mill undergoes 'drawing' to straighten and combine the fibres. Yarn is then made by 'spinning' the fibre together, before thinning and twisting the fibres to create different quality or thread counts. The yarn is then fed through a pirn winding machine. Pirns are tapered bobbins or spools. Finally, the yarn is weaved into fabric using a power loom.
The factory certainly seems busy and workers are only too pleased to demonstrate their jobs to us. But as we move from the older part of the factory to see the 'newer' power looms, I notice that less people are required to operate the machines. Mr Bharath is noticeably excited by the new power looms because better technology equates to better efficiency. But I can't help but feel the flip side of this advancement: surely better technology threatens much needed jobs! Like any industry developing at the hands of technology, it's a bit of a mute point. Considered to be a medium sized spinning mill by Indian standards, Jheeva Rekhaa Textiles has no competitors within a 70km radius. Within the factory, nothing is wasted and everything is recycled. Imperfect fabric is sold as seconds to local markets. The factory also subcontracts other mills in the area to weave additional fabric by providing yarn and then buying the fabric back. The fabric is sold to customers who then dye and manufacture products such as sheets and clothing. Their biggest customer is Sri Lankan apparel giant Brandix. Mr. Bharath would like to see his mill continue to grow and hopes to increase his exports to include Western customers. To Dye For

Cotton fabric that has been produced using power looms is sent to dyeing factories such as those in Chinnalapatti, the village under the spotlight for Madurai Messenger's 'Village Voices' this month. Chinnalapatti is famous for its cotton and silk sari manufacturing. A tradition that has been passed down through generations, the people of Chinnalapatti have been making saris for over 500 years. Today, the village has over 60 small factories providing employment to much of the population. We visited one small Sungudi cotton sari factory where tie dyeing was done by hand. Sungudi saris are worn by most women in India. Cotton is much cooler to wear in the warmer months and ideal for everyday use. The saris are sold to customers in Mumbai, Delhi and Calcutta, as well as overseas customers, who each request specific designs. The fabric comes from Tirupur. It is natural in colour and comes in bundles. They use about two to three bundles per day, each bundle makes about 100-130 pieces. Each sari uses about six metres of fabric and is hand dyed to fulfill individual customer requests. They dye between 500 and 1000 every four days, depending on demand. The factory employs 15 women and men who are all highly skilled. They work from 6 a.m. 7 p.m. each day, sometimes longer if necessary to fill the orders. Watching the workers in action was almost like a concert of percussion. Each step of the process was like a rhythmic task requiring precise coordination between workers. Knots are tied in the fabric, before being folded into a square and laid on plastic paper. The fabric is then rolled up and placed length way between two 'marakkattai' or wooden sticks measuring about 30 cm by 5 cm. The ends are then tightly stuffed with cardboard to prevent the dye from entering the fabric in the wrong places and then dipped in dye. It all happens so fast. It was hard not to marvel at such a streamlined process and ultimately at the beautiful colours and patterns being created. After the dyeing is complete the fabric is unfolded and left to dry flat on the grass in an open space outside. Perhaps the alarming thing to our Western eyes was the lack of health and safety in the factory, with no gloves or protective gear being worn by workers. Apparently the dye washes off their skin with the use of bleach and there have not been any reports of associated health problems, but whether this is accurate remains unclear. Despite this, all the workers seem content and tell us that they very much enjoy their work and are proud of the brightly coloured saris they create. Speaking to the factory owner's wife, she told us that their work flow depends on demand. Fluctuating cotton prices will affect how much saris are sold for, but if prices are too high, customers tend to lessen orders. This has a knock on effect on the factory and ultimately, the workers. Homespun Happiness On the other end of the cotton sari making spectrum, is the traditional cotton hand looming which uses dyed yarn to intricately weave threads together. But it seems that this hand spun art is being taken over by the mass produced cotton saris made with fabric made by power looms. We visited a small village called Andipatti, where we met a hand loom weaver named Mariammal, 60, who works seven days a week to support her husband and son. From the moment we set foot

inside her tiny workshop, we were struck by her warmth but mostly by her unmistakable happiness. "While she has no choice in what she does, she believes one should live for the moment. She can't read or write, but somehow she enjoys what she does and smiles to reveal an inner peace" Mariammal's weaving workshop is also her home. It measures about six by three metres. Her hand loom, known as a 'Kai Thari', takes up about half of the space, while the other half is filled with an array of fabric, cooking utensils and what seem to be the family's worldly possessions. The mind boggles at how three people live here in this tiny windowless concrete shed-like space. Her only source of ventilation is through the two doors that open onto the street. Natural light comes through these doors and also via a kind of skylight made of partially transparent fiberglass which is covered in dirt and cobwebs. It is desperately hot inside her workshop and my friend and fellow volunteer, Umberto, is feeling the heat as he literally drips with sweat on his first day on the job. The dirty cobweb laden fan looks like it's never been used. Hand looming requires constant focus and precision. Mariammal's creations are bright and colourful, using cotton and polyester / cotton blends. She is commissioned by the government to make the saris which are given to poor people in villages surrounding Madurai. She is provided with dyed yarn which she looms into saris and sells back to the government for Rs. 100-200 each. She makes about four saris a week. Her income after costs is only about Rs. 220 per week. To make the saris, the loom needs to be stocked with yarn, a process which takes one or two days to complete, a service that is provided by the government. One roll of yarn makes about 40 saris. Her loom has been in the family for over 200 years, but sadly Mariammal has no one to pass it on to. Her son is disabled and her husband can no longer work due to failing health. It is her sole job to provide for the family, so she works hard. She says that she understands her destiny. While she has no choice in what she does, she believes one should live for the moment. She can't read or write, but somehow she enjoys what she does and smiles to reveal an inner peace. Incidentally, she only has four saris herself. I couldn't resist but to buy one while I was there. Mariammal was one of those special people you meet briefly, but their expression of joy stays with you forever. Mariammal is just one of many hand loom weavers struggling to make a living and facing the sharp decline in the demand for hand made cotton saris. The future of handmade silk saris, however, looks a little more promising. Simply Silk Indian silk is renowned for its bright colours, strength, durability and texture. Its textures and sensuous qualities have made it one of the most sought after textiles known to humankind. The earliest evidence of silk dates back to around 3000 BC. According to legend, a silk worm cocoon fell into Chinese Empress Xi Ling Shi's tea. When she pulled the cocoon out of her tea cup, it began to unravel and she had the idea to weave it. She is also believed to have invented the hand

loom. For 2000 years, the Chinese kept the rearing of silk worms, known as 'sericulture' a closely guarded secret. Depending on which history book you read, the date of the earliest silk trade varies. It has been found in an Egyptian tomb dating 1070 BC, and adoration for silk was documented by ancient Romans and Greeks in as early as 400 BC. Around 300 BC, the desire for this coveted and expensive fabric prompted the development of the 'Silk Road', a network of trade routes to connect Asia to the rest of the world. The art of silk rearing spread to Korea around 200 BC with Chinese immigrants, and soon after, to Japan. Sericulture didn't' reach India until around 300AD. Sericulture in India has steadily grown over the past few decades and today accounts for 15.5 percent of global silk production. Types of silk include Mulberry, Tussar, Oak Tusssar, Eri and Munga silks. Tamil Nadu is the fourth largest silk producing state in India and produces mainly Mulberry silk. Raw silk must undergo 'twisting' before being fed into looms. The weaving of silk is then either done using hand looms or power looms. Silk saris and dhotis are made with hand looms, while silk fabric which is printed is made on power looms. The demand for silk is increasing. Adored by consumers all over the world, its popularity is likely to get greater. India has fantastic opportunities to provide silk for the world. To help meet the demand and foster better production, diversification and quality of silk, the Government of India set up a Central Silk Board. Support includes technical improvements such as modern rearing and cocooning equipment, drip irrigation kits and the importation of automatic silk reeling machines from China. Generally, the silk market is strong, but it can be affected by weather. About 10 years ago, the silk sari market experienced a severe slump due to the monsoon. If the silk worm cocoons get too wet, it is not possible to create the fine silk. The following season saw a recovery and business seems to have been steady since. The Art of Elegance

The silk sari is the height of Indian elegance, requiring fine artistry in its creation. It is a trade which is unfortunately becoming rarer, with fewer young people training to become weavers. But despite the influx of Western clothes, we were delighted to discover that the silk sari remains a staple of the Indian wardrobe, and certainly the essential attire for every Indian bride. We visited some hand loom weavers to learn about this elegant art.
"Tamil Nadu is famous for its beautiful silk saris, and one of its most notable hubs of creativity is the village of Veeravanallur" Tamil Nadu is famous for its beautiful silk saris, and one of its most notable hubs of creativity is the village of Veeravanallur in Tirunelveli. A collection of 400 small adjoining light blue concrete

houses are sprawled throughout the village. Each home houses a hand loom. Originally from northern Gujarat in west India, the people of Veeravanallur migrated to Tamil Nadu as skilled silk workers by invitation of the King of Madurai some 1010 years ago. Ramesh Babu, 49, invites us into his home. We are instantly captivated by the bold colours and superbly detailed saris he is creating, not to mention the scale and complexity of the hand loom. His living room-cum-workshop is suddenly full of people as several of his family members join us, all eager to take part in the interview. Ramesh has been making silk saris for about 27 years, having begun at 22 after a year of training. He shows us dozens of different saris to demonstrate the myriad of designs that are possible. The gold thread is particularly divine and adds significant value and desirability to the saris. He explains that depending on the intricacy of the design and use of gold or copper thread, silk saris made here can sell for anywhere between Rs.1000 and Rs. 50,000. His wife, R, Parameshwari, shares the workload like so many couples, interchanging throughout the day to keep the flow of work consistent. All throughout the village you can find teams of wives and husbands working on the looms, making an average of one sari every five to six days. Concerned about the future of hand woven silk saris, I asked whether he felt there was a threat of declining business. "So long as there are Indian weddings, the demand for silk saris will remain strong," Ramesh explained confidently. It is with great pride that Ramesh speaks of his two daughters and their own beautiful silk engagement and wedding saris, which he made. We were privileged to meet one of his daughters who showed us her stunning engagement sari. "So long as there are Indian weddings, the demand for silk saris will remain strong" Ramesh and his wife used to have two looms, but gave one to their eldest daughter as a wedding gift. Now that they are getting older and their daughters are grown up, they manage comfortably with the work load and income from one loom. His father sits in the background during our interview. He's a spiritual leader and has quite a presence. Most noticeable are his unusual piercing blue eyes and happy disposition. It is obvious that the whole family share an enthusiasm for this family trade. Krishna Moorthy works on an even bigger loom which takes up much of his house. He has been making saris for over 50 years. Surrounded by pictures of Hindu gods, he works tirelessly. Operating one of these hand looms feels akin to playing a musical instrument, perhaps a piano, as his feet and hands work together in unison. He is in hot demand as the only person within four local villages who is skilled enough to fix any imperfections found in the saris made by others.

Raman, 40, has been making saris for 15 years, and trained for three years to perfect his silk crafting.

His wife, Ramira, assists him when she's not fulfilling her duties as head of the local women's self help group. Their loom seems even more sophisticated with parts of it passing up through the roof and out of sight. Being in Veeravanallur for the day, one gets the feeling that silk saris aren't just an occupation or an art, they are a way of life. Fashion Forward

India's cultural and financial landscape is transforming as a result of new pressures from the outside world, and from within. It seems inevitable in such an excitingly diverse and rapidly growing country. Textile production is engrained in the Indian culture, but at the same time, it is advancing with increased use of technology. And although progress can be challenging, the players within the industry must find a way to adapt. As it is the livelihood for millions of Indians, they will have to.
"Indian style is unlikely to disappear out of the creative minds of fashion designers within or outside India, let alone in the imaginations of people all over the world" Fortunately, even though fashion in India is changing, there is definitely still a desire to honour tradition. The art of hand looming certainly needs to be preserved and while it does appear to be declining, the change is slow. So long as there are traditional Indian weddings, this fine art is likely to survive. Western influence on the other hand, is growing, and it feels fast and instant. But perhaps there is a balance. Perhaps the way forward is a fusion of East and West that uses both technology and artistry, and continues to centre around two of the world's most popular fabrics, cotton and silk. Depending on which way you look at it, there are positives and negatives. Like any cultural shift, there will be pockets of adoption and there will be those resistant to the outside, remaining firmly embroidered in their heritage. But one thing is certain: Indian style is unlikely to disappear out of the creative minds of fashion designers within or outside India, let alone in the imaginations of people all over the world.