The Fabric of Indian Culture…

Every collection by her is a tribute to the Indian arts of textile texturing, with each design reflecting a one-of-a-kind weave. Considered the first designer in the Indian context, RITU KUMAR reveals her dedication to reviving the lost history of Indian fabric. By RANVIJAYSINH JHALA

Contemporary fashion in India is now coming of age. The number of Indian designers that showcase their work on international platforms, with a truly global clientele, is growing every season. While India is being welcomed into the new era of contemporary international fashion, the rich heritage of traditional garment and fabric that we have here, already has a place for itself on the international fashion front.

The world today realises the sheer richness and quality of Indian silk, brocade, khadi, embroidery, the various kinds of weaves, and a wide range of prints influenced from India’s diversity. However, this visibility of Indian textile art was not always as great as it is today. Over the last few decades, there has been considerable increase in people’s perception and appreciation of Indian fabric. Of the many people that have helped achieve this is Indian designer Ritu Kumar.

A DESIGNER BY CHANCE, Kumar had no specific interest in textile or apparel design before she started out. As a student of Art History in Kolkata, Kumar gradually developed an interest in the art of textiles. “It was in the ‘60s when I stumbled across the myriad craft sectors in and around Kolkata through my research,” she says. “I was intrigued by the rich history of textiles in India,” she recalls. With no background in designing or knowledge of fabrics, Kumar was keen to learn more about the various prints and weaves that she had read about. It was here that she began her research and exploration of Indian fabric. “I was fascinated by the history, or should I say, the ‘lost history’ of India and the handicrafts we have here. I took several trips to Rajasthan, Uttar Pradesh and Delhi. In Delhi especially, I met people who were working in an atmosphere charged with national pride,” she recollects. Spurred by the same feeling, Kumar found it easy to relate to these craftsmen. “There was a definite and desperate effort being made back then to connect with India’s past. We were all searching for our roots — the fabric we were made of. It was very important for us to be able to maintain that hereditary thread,” she elucidates.

In spite of the abundance of the art and craft of Indian cloth, there wasn’t enough information documented about it. In her quest for prints and weaves, Kumar realised the need for some kind of database that one could use for reference. “Unfortunately, India had nothing like the textile museums one sees abroad,” she adds. “That posed a major challenge. It was difficult to come by various kinds of art, but once I did, there was limitless scope for further experimentation,” she states. Getting into areas of the country where these arts originated, required Kumar to work from villages, which of course came with its own set of problems. Communication via phone and roadways was difficult. Kumar ponders, “Working out of such village guilds wasn’t easy at all. However, looking at the kind of exposure these arts are drawing today certainly makes all that worth it. The awareness about various fabric crafts has increased a great deal over time.”

PLAGIARISM DISGUISED UNDER REVIVAL of the ancient arts has been a by-product of this awareness and rising popularity of India’s textile heritage. “There have been several forms of imitation in every stream of design. In fact, I have won several cases of plagiarism against big textile mills in Ahmedabad,” Kumar divulges. However, she also feels that reworking just the basic method of ancient art doesn’t necessarily amount to plagiarism. “A lot of Indian designs are lifted and contemporised, especially if it does belong to our tradition,” she states. “Our textile arts are common knowledge as most of the crafts that are being revived possess a history that doesn’t belong to any one individual,” she explains. However, Kumar is quick to point out that while celebrating this traditional art, one must consider its use in modern times. She advises, “Never design without a vision that is not based on contemporary needs. One can use the motif, the design and anything characteristic of the school of design, but in a way that it works in the present-day scenario.”

A NICHE IN INTERNATIONAL FASHION has been created for Indian textile and print, through the efforts of many. Combined with an appreciation for Indian weaves is a growing fascination for Indian designs. Kumar states, “Several prints seen in international collections are inspired from Indian design. The best example is the paisley. Although reinvented in colour and texture, it is quintessentially Indian.”

When asked how it feels to be an ambassador of Indian design and craftsmanship abroad, Kumar reveals, “It does feel very rewarding as Indian designs are really appreciated by people who understand what it is that we stand for.” The environment for Indian fashion abroad is still in the warm-up stage. With multinationals purchasing designs from Indian designers and even retailing them under the original labels, the scope has widened and the atmosphere is continuously changing.

FUSION OF THE EAST AND WEST has been around for a long time now. With Indian trends making bigger waves abroad, the scope for fusion has also increased. Many Indian designers are incorporating Indian prints in Western silhouettes, and Western cuts in essentially Indian pieces like the kurta. This combination of different schools of design has evoked diverse reactions. Kumar opines, “In a world going global, with change and innovation, there is no harm in fusion.”

Another dimension to this globalisation is the growing number of international fashion labels coming to India. In less than three months, Gucci, Jimmy Choo and Bottega Veneta entered India last year. As the international fashion industry begins to realise the potential of the Indian market, India too is waking up to the plethora of international brands. Whether that has affected the way we dress is still debatable.

“The Indian woman’s preference for traditional clothing has ensured that global fashions remain on the periphery of Indian wear,” points out Kumar. “Though seen in small urban pockets, western wear does not make a national statement,” she adds. The entry of global brands in the country will however raise the standard for Indian labels. “As brands enter India, the setup will get more professional,” feels Kumar.