Apparel September 2019 Apparel September 2019 issue | Page 73

UNIQUE INITIATIVE
their financial constraints and not being able
to do anything about it, I felt helpless. I wanted
to carry out real work and provide them with
substantial opportunities but was unsure of how
to. I went to the United States (US) to work with
a professor on natural dyes so I could bring the
knowledge back home and help the artisans out.
Whilst working with the professor, I developed
various natural dyes with different types of colour
fastness, and also worked with some artisans
weaving quilts, which led me to understand
their marketing process, and how they project
themselves and their products.
After the completion of the project, I was
motivated to undertake a PhD on the crafts of
Karnataka, which would help in the sustenance
of not just these crafts but also the artisans.
In Bengaluru, I worked extensively with KHDC
and travelled to villages across Karnataka for
a year, collaborating with numerous artisans.
During this time, I came across many weaves
that people spoke fondly of but did not have a
sample or even a photograph of the same. That
was when I realised it to be a serious issue.
To ensure a constant flow of work, KHDC had
converted many skilled artisans into makers
of plain materials; their creativity was killed
under bureaucracy and corruption. Later, I met
Sangaya, a former freedom fighter and also a
90-year-old weaver who narrated a beautiful tale
of patteda anchu, an ancient weave from North
Karnataka. My heart broke upon knowing that
there were no samples as they had stopped
weaving it long ago. This is where my journey of
reviving and conserving traditional crafts began.
IN THE PROCESS OF UNRAVELLING
THE HISTORICAL DETAILS AND
SAMPLES OF PATTEDA ANCHU,
I STUMBLED UPON SAMPLES
OF GOMI TENI, LAKKUNDI, HUBLI
SARIS, AND MANY MORE.
CAN YOU RECOLLECT YOUR INITIAL
DAYS IN THE FIELD OF TEXTILE
CONSERVATION?
In the process of unravelling the historical details
and samples of patteda anchu, I stumbled upon
samples of Gomi teni, Lakkundi, Hubli saris,
and many more. But since my heart was set on
patteda anchu, I continued with my ethnographic
study in ten villages and met people who would
have some knowledge of the fabric. Sangaya had
mentioned a certain Yellamma temple; he had
spoken about a devadasi who may have some
clue about the fabric so I headed there to speak
to people in and around the temple. From the
temple priest, I acquired some more information
but it was only after another six months that I
met the former devadasi, who had a 150-year-
old patted anchu, which she had received from
her grandmother. This helped me to recreate the
traditional colour palette, signature chequered
pattern, and other details of the sari.
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