Pochampalli silk is all about getting the intricate motifs and designs imprinted onto the fabric through the smoothest and finest thread-work of cotton and silk. The geometrical patterned designs are colored onto the weft and warp threads and are artistically woven into the Pochampalli fabric. The essence of the fabric consists of a unique concoction of silk and cotton. The sources and elements used in making of this saree is Naural. These Ikat patterns are intricately woven onto the fabric in geometrical designs ensuring that the entire look spreads a mesmerizing essence to the wearer as well as to the onlooker.
Pochampalli Ikat traces its origin to the 18th century, the era which witnessed the mystic beauty of this fabric emerging out of the Pochampally town. This town had 80 villages under its wing, which initiated this artwork with traditional looms.
The older and the newer generations of skilled weavers are keeping foot with the advanced consumers and hence have patronized their artwork onto other cloth items like bed sheets, bedcovers, telia rumals, dress materials, cushion covers, bags, potlis and many more adding to the creative list. Varieties of products are being imprinted by this embroidered fabric by the women weavers. In this way this cotton silk blended fabric has been touched by the wand of innovation and transformation, thus by adding more glamour to the entire look.
Ikat is a dyeing technique used to pattern textiles that employs a resist dyeing process on the yarns prior to dyeing and weaving the fabric. In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern.
A characteristic of Ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. This traditional hand-woven ikats are produced in the Bargarh, Sonepur, Sambalpur and Boudh District of Odisha.
Ikat saris are known for their incorporation of traditional motifs like shankha (shell), chakra (wheel), phula (flower), all of which have deep symbolism, but the highpoint of these saris is the traditional craftsmanship of the 'Bandhakala’. These saris first became popular outside the state when the late Prime Minister Indira Gandhi started wearing them. In the 1980s and 1990s they became popular across India. To provide protection to the weavers practicing this art, the handloom silk saris manufactured in Sambalpur and Berhampur in Odisha.
Chanderi sari weaving is a weaving tradition of chanderi village in Madhya Pradesh. The weaving tradition of Chanderi dates back to over 700 years which has evolved a great deal corresponding to the development and changes around the country. The most important milestones of its history has been discussed to understand the present state brought over as a result of continued transformation. The origins of weaving in the region has been traced back to the 13th Century, as there is an account of migration of weavers from a place in former Bengal called Lucknowti to Chanderi, bringing with them the ability to weave fine muslins, also explaining the cotton by cotton weaving tradition in the area.
The weaving of safas, pagdis, saris and yardages for garments for the royal courts took place at this time.
- At its inception it was mainly pure cotton weaving tradition with fine cotton warp and weft which was hand spun as fine as 300s count from a locally grown variety of cotton by local tribe called the katiyas, strengthened by the traditional sizing method using a local onion called the kolikanda found in the region.
- It included fine sheer muslins in the natural off white body with zari borders. Colour was always introduced at the fabric stage by the local rangrez (dyer) in the colours of their choice. It is important to understand this fine cotton weaving tradition which is evidently the base for imparting the skills for weaving the delicate texture to the Chanderi fabrics of the present time
The Chanderi weaver changed from hand spun yarn to mill made yarn. The setting up of the East India Company and the easy availability of fine mill spun counts via Calcutta (now Kolkata) wiped out the local variety of the cotton and the hand spinning skills from the region. However it was still employing the traditional method of sizing
The royal family of Scindia brought the Chanderi saree under their patronage and set up a training center as a result of which gold thread motifs came into existence in the main body of the cotton muslin saree for the first time.
The growing influence of Varanasi brought the jala technique to this region, and hence the use small butis in the body, single interlock (3 shuttle border), extra warp patterning. The motifs could have been hand picked before the development of the jala in Chanderi.
Uppada is a small beach town of East Godavari district of Andhra Pradesh India. Uppada is known for its Uppada Pattu (Silk in Telegu). Uppada sarees re done with the influences of Jamdani technique with unique designs on them.
Uppada sarees are usually made with Cotton warp. Using only non-mechanical techniques, Uppada Silk saris are defined by the length and breadth count of threads. The artisans also use a lot of zari work in the exquisite designs of Uppada Silk saris.
To history of Uppada Silk, one has to first trace the journey of the Jamdani weaving technique. After a decline in the 19th century due to the industrial revolution in England, Jamdani saw a slow resurgence in the 20th century.
Thereafter, the technique of Jamdani was introduced in Uppada in the year 1988 where it incorporated designs which were closely identified with Andhra Pradesh. This led to the birth of a new design range called the Uppada Silk sarees. However it still took about ten years for the Uppada Silk sarees to get the due recognition and popularity.
The length count of threads is 100 and the breadth count is 100 in the weaving process of Uppada Silk sarees.
Jamdani made in Uppada has two weavers working on a single loom and weaving delicate and beautiful designs on the fabric by zari work. Since this is an art practiced solely by hands, it takes two painstaking months before a superb piece of work is finished.
Recreating a Jamdani weaving process was extremely difficult in the initial phase, because to familiarize the weavers with the intricate skills of hand weaving took a lot of time. Now the weaving community procure the designs and raw materials and create Jamdani Uppada Silk sarees at their places.
With the glorious look and light weight, Uppada Silk sarees are among the more expensive varieties of Silk sarees in the world.
During the year 1988 Mr. Ghanshyam Sarode revived this beautiful weaving tradition of Uppada silks which is now become a one of the popular silks in the world.
Gadwal Sarees are traditionally woven in the interlocked-weft technique (called kupadam or tippadamu locally) and often with kotakomma (also called kumbam) in the borders and they are known as a kotakomma or kumbam saree. The silk border is either tussar or mulberry and the body is often of unbleached cotton, although it may also have colored cotton or silk checks. Pure silk versions of Gadwal sarees are also available
The design required on the saree is initially drafted on a graph paper and then the required setup to weave that design is implemented on the handloom machine using the sheet. We have experts for implementing these innovative designs on borders, body and pallu. All the required setup is made on the handloom machine by our experts before weaving the saree.
Kanchipuram Sari is a type of sari traditionally made by weavers from Kanchipuram located in Tamil Nadu, India. Popularly known as Kanjivaram Sari. Kanchipuram saris are wovened by pure mulberry silk. This industry comprises weavers and handloom weavers. To weave a Kanchipuram sari three shuttles are used. While the weaver works on the right side, his helper works on the left side shuttle. The border color and design are usually quite different from the body. If the pallu has to be woven in a different shade, it is first separately woven and then delicately joined to the Sari. In a genuine Kanchipuram Silk Sari, body and border are woven separately and then interlocked together. The joint is woven so strongly that even if the saree tears, the border will not detach. These are woven naturally and distinguished by their wide contrast borders. Temple borders, checks, stripes and Buttas are traditional designs found on Kanchipuram saris.
According to legends in Hindu mythology Kanchi silk weavers are the descendants of Sage Markanda the master weaver of Gods who is supposed to have woven tissue from lotus fiber. Also, while cotton is considered to be the favorite fabric of Lord Shiva, silk was preferred by Lord Vishnu kanchipuram became prestigious during Krishnadevaraya’s time. There were two weaving communities, Devangas and Saligars. Even today the people living around Kanchipuram take weaving as their main profession.
Maheshwari these sarees are largely produced in the town of Maheshwar in Madhya Pradesh. The origin of the Maheshwari sarees dates back to the 18th century, when the state of Indore in Madhya Pradesh was ruled by Queen Ahilyabai Holkar. Queen Ahilyabai herself created the design of the first saree. Originally, the Maheshwari saree was made of pure silk. Then in course of time, these sarees began to be made in pure cotton and with a mixture of silk and cotton (silk yarn in the warp and cotton in the weft). Nowadays, wool is also being used in the production of Maheshwari sarees. These sarees are extremely light in weight and present a sharp contrast to the Kanchipuram sarees of South India. Usually, vegetable dyes are used in the preparation of these sarees.
The unique feature of a Maheshwari saree is its reversible border. The border is designed in such a way that both sides of the saree can be worn. The motifs of Maheshwari sarees have been derived from the temple carving and the carving of the palace built by Rani Ahilyabai Holkar. Maheshwari saris are woven by men as well as women folks. The weaving done is intricate with geometric designs with no motifs on the body of the saris. Weaving is done with a fine silk warp and cotton weft. Lines play a vital role as vertical stripes, and large checks are woven to shape up the pattern.
Banarasi Sari And Brocades
Varanasi is one of the rich weaving craft centres of India, famous for Brocade saris called the Banarasi.Exclusive varieties of the saris which are made of silk warp and silk weft, on plain/satin ground base, brocaded with extra weft patterns in different layouts introducing Buties, Bels, creepers, Buttas in ground, border and Anchal. The sarees are among the finest sarees in India and are known for their gold and silver brocade or zari, fine silk and opulent embroidery. The sarees are made of finely woven silk and are decorated with intricate design, and, because of these engravings, are relatively heavy. During the Mughal period around 14th century silk weaving of brocades with intricate designs using gold & silver threads was the specialty of Banarasi saree. Other features are gold work, compact weaving, figures with small details, metallic visual effects, pallus, jal (a net like pattern), and mina work.
Jamdani is one of the finest muslin textiles of Bengal, produced in Dhaka District, Bangladesh for centuries. It is one of the most time and labor-intensive forms of hand loom weaving. The term Jamdani comes from the two words Jama (cloth/dress) and Dana (buti/diapering). Jamdani is a weaving technique that was introduced long back and gained popularity during the Moghul rule. Jamdani has its roots in Dhaka, Bangladesh. It is a hand-woven, fine cotton fabric deftly embellished with intricate motifs that are expertly woven into the fabric. Traditionally the base fabric for Jamdani is unbleached cotton yarn and the design is woven using bleached cotton yarns so that a light-and-dark effect is created.
They are traditionally woven around on the brocade loom. This is a supplementary weft technique of weaving, where the artistic motifs are produced by a non-structural weft, in addition to the standard weft that holds the warp threads together. The standard weft creates a fine, sheer fabric while the supplementary weft with thicker threads adds the intricate patterns to it. Each supplementary weft motif is added separately by hand by interlacing the weft threads into the warp with fine bamboo sticks using individual spools of thread. What’s remarkable in this weaving technique is that the pattern is not sketched or outlined on the fabric. Instead, it is drawn on a graph paper and placed underneath the warp. Jamdani is a fine muslin cloth on which decorative motifs are woven on the loom, typically in grey and white. Often a mixture of cotton and gold thread were/was used
The main pecuiliarity of Jamdani work is the geometric design. The expert weavers do not need to draw the design on paper, but instead work from memory. Jamdanis have different names according to their design (for instance, panna hajar, dubli lala, butidar, tersa, jalar, duria, charkona & many others). Present-day Jamdani saris have on their ground designs of rose, Jasmine, lotus, bunches of bananans, bunches of ginger and sago. A Jamdani with small flowers diapered on the fabric is known as Butidar. If these flowers are arranged in reclined position it is called tersa jamdani. It is not necessary that these designs are made of flowers only. There can be designs with peacocks and leaves of creepers. If such designs cover the entire field of the sari it is called jalar naksha. If the field is covered with rows of flowers it is known as fulwar jamdani. Duria Jamdani has designs of spots all over. Belwari jamdani with colorful golden borders used to be made during the Mughal period, especially for the women of the inner court.
Jamdani is the most expensive product of Dhaka looms since it requires the most lengthy and dedicated work. Jamdani patterns are mostly of geometric, plant, and floral designs and are said to have originated thousands of years ago. Due to the exquisite painstaking methodology required, only aristocrats and royal families were able to afford such luxuries.