Ritu Kumar spent almost two decades researching this book. Here she speaks to Archana Jahagirdar about India's rich textile traditions
Indias never followed one fashion except in this century where the medias played a part in it. In the past, despite successive invasions, we absorbed a lot, yet retained our originality. Currently, were in an evolutionary stage vis- a- vis modern design, but we have a rich heritage. We just have to give it the right direction.
Royalty apart, who were the other patrons of textiles?
The temples. Also, the export of textiles helped develop many new styles. For instance, the patolas were made particularly for the Indonesian market, the Dhakai malmal for Persia, the kalamkari for the Mughal and the Vijayanagar courts, as well as for export.
How did Indian design evolve?
There were many different schools; each school had a different idiom. For instance, the way the ambi developed in Kashmir is very different from Jaipur or Andhra. India knew the use of vegetable dye, but it was kept secret till the 17th century, which is why no other country could colour or dye like us. Hence the demand for our textiles.
May be in the 80s, but in the 90s we seem to have lost track because of over- ornamentation.
But times are changing, clothing needs to be functional, not just ornamental. Doesnt western wear score here?
Theres space for both Indian and Western styles of dressing. One style need not be abandoned totally for the other.
Whod you say are the patrons today?
Women, really. They have been tenacious in persisting with traditional styles of clothing. Men have taken to Western clothing a long time ago.
If its traditional, aesthetically classical and has a beautiful drape, it will. A lot of saris seem to have lost these qualities. Saris or their counterpart, the odhni, will continue. There s no substitute for it worldwide. The Indian woman is changing, but the sari will survive.