Exploring the many forms of Ikat
Textiles are rich in history; with each weave and motif
chronicling the stories of its place of origin.
This belief is ingrained in the
mind and works of crafts revivalist and textile conservationist Madhu Jain, who
courtesy her grandfather, who was a freedom fighter, was always proud of
India’s indigenous handloom legacy, particularly Khadi. Before she knew it, she
was travelling into India’s interiors to discover the artistry and brilliance
of weaver communities, all of whom had honed their craft generationally. Jain
is known for incorporating the present into the past by weaving together
historical patterns through the textiles that she develops.
Working mainly with ikat, Jain says, “As an artist I like to
have visceral connection with my work. That has happened with ikat, as I’m
fascinated by the geometry inherent in this extremely complicated ancient
weave, and am chuffed by the fact that several countries across Southeast and
Central Asia, Central and South America, and Africa are home to this ancient
weaving technique, each with its distinctive motifs and patterns.” Though,
double Ikat is found only in four countries—India, Japan, Indonesia, and
Guatemala—as it requires a rare expertise and dexterity in weaving the motif in
both the warp and weft. Interestingly, what is common across all regions is
that Ikat has traditionally enjoyed the patronage of
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Madhu Jain |
Jain’s passion for the weave has led her to blend a variety
of traditional Ikat motifs from different countries—but woven in
India—attaining a cultural confluence that has served to advance this weave. “I
have worked with the Adras and Atlas forms of Uzbeki Ikat and made it my own by
weaving it in Indian colours. I have used the Thai Mandala design in my weaves,
interlacing it with an Indian sensibility. From Indonesia, I have borrowed
traditional motifs and incorporated those into my latest creation: the
Bamboo-Silk Ikat textile, a first of its kind of textile in the world.” The
works get a modern twist by assimilating different motifs, colours, and
textiles from different regions into the ikat weaves. Jain has been
contemporising Ikat with innovation at both the design intervention and
production ends, consciously ensuring a unique character.
For Jain textile is the king and does all the talking. In
today’s context of global warming, her Bamboo-Silk Ikat textile is aspirational
for those who care about the environment. This unique textile ticks all the
right boxes that luxury brands should be seeking to emulate, says Jain, adding,
it does not deplete the earth’s resources, is biodegradable, UV-protective, and
anti-bacterial. It is also a soft and incandescent fabric that is suited for
both the punishing summers as well as winters.
If you look into Jain’s current works showcased at the just
concluded Amazon India Fashion Week 2017, you will see a royal Venkatagiri
collection from Andhra Pradesh, woven in the Jamdani tradition, where the weave
is reversible. She has used tribal motifs that exemplify being one with nature.
Another textile incorporates paintings from the Puranic frescoes of Kerala’s
Guruvayur temple complex. The aura is classic and vintage using natural dyes
and pigments.
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