The fabric itself is hypnotic. One can stare at the intricacy of the motifs for hours and still be unable to grasp the amount of patience, work and time needed to create it. During early 19th century the production of expensive jamdani suffered set back. The most important cause of decline and the ultimate extinction of the Jamdani industry was the industrial revolution in England, which introduced modern inventions in manufacture machine-made Jamdani with the support of jacquard and soon it began to capture the world market for jamdani. This old weaving technique has been re-introduced in Uppada during the year 1988 by Ghanshyam Sarode, a textile designer. And thus a new BRAND has been created. i.e. "Uppada Sarees" which took almost a whole one decade, and now the people are fond of the sarees.
Jamdani weaves were amongst most prized contribution to the rich textile heritage of India. The various historical references to the superb quality and the high-esteem in which these fabrics were held, are too numerous to elucidate though it can be said that they form part of some of the most valued textiles in collections all over the world. The Victoria and Albert Museum of London have a fine collection of jamdanis. The saris with their distinct decorative patterns,seem to hold an especially high status in the society. Being the work of two people in couple of months, the price for a Jamdani sari lies well above the ordinary weaves of the saree, and one of the costliest sarees.
The saris with their distinct decorative patterns,seem to hold an especially high status in the society. Being the work of two people in couple of months, the price for a Jamdani sari lies well above the ordinary weaves of the saree, and one of the costliest sarees.
1. Jamdani weaving technique with pattern of the design drawn on paper:
Woven on a simple frame or pit looms. The pattern of the design drawn on paper is pinned beneath the warp threads and as the weaving proceeds; the designs are worked in like embroidery. When the weft thread approaches close to where a flower or other figure has to be inserted, the weaver takes up on of a set of bamboo needles round each of which is wrapped yarn of a different color as needed for the design. As every weft of woof thread passes through the warp. He sews down the intersected portion of the pattern with one or another of the needles as might be required, and so continues till the pattern is completed. Very often, two persons work together on a sari. Traditionally, jamdanis were white of fine cotton, with designs in bleached white.
2. Jamdani woven with the help of jala:
Jamdani traditionally woven in Uppada refers to an extremely fine fabric cotton or zari brocading on cotton fabric. Here, two weavers work on a single loom where the design on paper, kept underneath the warp, is used as a guide in placing the cut threads, according to the design, over the warp. These are, then, interlaced into the warp with fine bamboo sticks in a zigzag manner to form the motif. This is followed by the weft thread, the process being repeated before the shuttle carrying the weft is thrown across again.
Monday, August 24, 2009
Thursday, October 9, 2008
PAITHANI SAREES
PAITHANI SAREE - WEAVING A GOLDEN LEGACY:
He has an expanse comprising the best of bests. A Paithani (also a royal family weave) sari in soft silk catches the eye. The designs themselves are recreated from the antique paintings of Ajanta, the royal brocades of the Nawabs of Bengal, Mughal architecture and the ancient temple frescos of the south. And the colour combinations are fabulous, to say the least.
Among the most gorgeous of Indian paithani sarees, of the most celebrated textile—the gold embroidered pathani saris, the royal charm, with its wonderful designs. Exemplifying the merger of the aesthetic with the symbolic, the saris today are a prized possession.
In Paithanies- Ghanshyam Sarode’s creations are understated statements of feminist, luxury and glamour. Taking the comfort of the wearer in mind, his uniqueness, in Paithani sarees, lies in creating minimalist and contemporary sarees. His aesthetics lie in treating silhouettes with subtle fabrics, passionate colors and the richness created with zari.
The collection offers a feast of dazzling colours and intricate designs that blossomed from her efforts to revive the original magnificence of an ancient textile craft that personified the glory of princely India. The collections of intricate and rare designs are a rare opportunity for all sari lovers to a see a complete Paithani collection. The collection reflects the valuable legacy that was passed from generation to generation and gives the elegance of textile and fabric that lent the splendor to the royal durbar of erstwhile India. Paithani is an art of traditional handmade textile creation in finest mulberry silk, gold and silver zari, arresting colors and intricate designs and motifs that one admires in museum as proud relics of bygone era. Factual motifs, birds, animals, figures, to this day reflect strongly the impact of tradition.
Famous in history and legend as Pratisthan, the small town of Paithan on Godavari, near Aurangabad, is one of the oldest cities of the era. Greek historical records describe it as a great centre of trade (300-200 BC). It is mentioned in the fourteenth Edict of Asoka and was the capital of eminent Andhra King in the first century A.D.
All these traces of the ancient city has now disappeared except one and all weaving industry which once achieved acclaim in the lands of Ptolemy and the Ceasers and is today facing extinction because of the enormous cost of materials and almost total lack of demand. Once wealthy weavers eke out a hand mouth living. Deft, sensitive fingers trained for generation to weave exquisite patterns of gold and silver on gossamer silks, have taken to the pick-axe and the shovel.
During the first two decades the last century the weavers worked with threads of pure gold and silver, drawing their inspiration for color and design solely from the frescoes of Ajanta practiced exclusively by a certain section of the people of paithan for the past 600 years.
The Nizam of Hyderabad was also attracted to the Paithanis and made several trips to the small town of Paithan. His daughter-in-law, Niloufer, is believed to have introduced new motifs to the border and pallav (outer end of the sari) designs.
The process of "embroidering" these patterns is unique and involves all the four requisites of excellence; much time, patience, skill and mostly the wall of silk yarn is laid on the loom with the motif, drawn to actual size, placed.
Ghanshyam Sarode
B-63,1st Floor,
D.D.Colony,
Shivam Cross Road,
Hyderabad-500 007
Phone Nos:
91 40 27425666
27428814
27421449
27428144
Mobile Nos:
9440051735
9490781666
Mail: sarode@gmail.com
He has an expanse comprising the best of bests. A Paithani (also a royal family weave) sari in soft silk catches the eye. The designs themselves are recreated from the antique paintings of Ajanta, the royal brocades of the Nawabs of Bengal, Mughal architecture and the ancient temple frescos of the south. And the colour combinations are fabulous, to say the least.
Among the most gorgeous of Indian paithani sarees, of the most celebrated textile—the gold embroidered pathani saris, the royal charm, with its wonderful designs. Exemplifying the merger of the aesthetic with the symbolic, the saris today are a prized possession.
In Paithanies- Ghanshyam Sarode’s creations are understated statements of feminist, luxury and glamour. Taking the comfort of the wearer in mind, his uniqueness, in Paithani sarees, lies in creating minimalist and contemporary sarees. His aesthetics lie in treating silhouettes with subtle fabrics, passionate colors and the richness created with zari.
The collection offers a feast of dazzling colours and intricate designs that blossomed from her efforts to revive the original magnificence of an ancient textile craft that personified the glory of princely India. The collections of intricate and rare designs are a rare opportunity for all sari lovers to a see a complete Paithani collection. The collection reflects the valuable legacy that was passed from generation to generation and gives the elegance of textile and fabric that lent the splendor to the royal durbar of erstwhile India. Paithani is an art of traditional handmade textile creation in finest mulberry silk, gold and silver zari, arresting colors and intricate designs and motifs that one admires in museum as proud relics of bygone era. Factual motifs, birds, animals, figures, to this day reflect strongly the impact of tradition.
Famous in history and legend as Pratisthan, the small town of Paithan on Godavari, near Aurangabad, is one of the oldest cities of the era. Greek historical records describe it as a great centre of trade (300-200 BC). It is mentioned in the fourteenth Edict of Asoka and was the capital of eminent Andhra King in the first century A.D.
All these traces of the ancient city has now disappeared except one and all weaving industry which once achieved acclaim in the lands of Ptolemy and the Ceasers and is today facing extinction because of the enormous cost of materials and almost total lack of demand. Once wealthy weavers eke out a hand mouth living. Deft, sensitive fingers trained for generation to weave exquisite patterns of gold and silver on gossamer silks, have taken to the pick-axe and the shovel.
During the first two decades the last century the weavers worked with threads of pure gold and silver, drawing their inspiration for color and design solely from the frescoes of Ajanta practiced exclusively by a certain section of the people of paithan for the past 600 years.
The Nizam of Hyderabad was also attracted to the Paithanis and made several trips to the small town of Paithan. His daughter-in-law, Niloufer, is believed to have introduced new motifs to the border and pallav (outer end of the sari) designs.
The process of "embroidering" these patterns is unique and involves all the four requisites of excellence; much time, patience, skill and mostly the wall of silk yarn is laid on the loom with the motif, drawn to actual size, placed.
Ghanshyam Sarode
B-63,1st Floor,
D.D.Colony,
Shivam Cross Road,
Hyderabad-500 007
Phone Nos:
91 40 27425666
27428814
27421449
27428144
Mobile Nos:
9440051735
9490781666
Mail: sarode@gmail.com
Friday, May 30, 2008
Uppada Sarees woven in Gold Jari
Uppada Sarees Pri.Ltd.
In recent years Uppada's soaring popularity has led people to back track to its root learn about the creation process of this sarees .The weaving technique is called Jamdani, which is age old technique of Dhaka (Bangla Desh). Yet after so much research and writings, people still get lured into the tale of jamdani's history, like they get lured into an old folktale, over and over again. The fabric itself is hypnotic. One can stare at the intricacy of the motifs for hours and still be unable to grasp the amount of patience, work and time needed to create it. During early 19th century the production of expensive jamdani suffered set back. The most important cause of decline and the ultimate extinction of the Jamdani industry was the industrial revolution in England, which introduced modern inventions in manufacture machine-made Jamdani with the support of jacquard and soon it began to capture the world market for jamdani.
This old weaving technique has been re-introduced in Uppada during the year 1988 by Ghanshyam Sarode, a textile designer. And thus we have created a new BRAND i.e. "Uppada Sarees" which took almost a whole one decade, and now the people are fond of the sarees.
He is a textile designer with a difference. He produces reams of material in mind-blowing patterns on handloom weaves and allows his creations to be sold by boutiques with their tag.
Inspiring Fashion enthusiasts over a period of two decades, he has woven his way through an enriching experience of textiles and varied surface treatments.
Having worked with the artisans and craft men all over the country, he has unmatched knowledge of the traditional craft forms, in entire south in weaving patterns. His stand apart quality lies in modifying these traditional crafts for the modern consumer yet preserving the richness of the craft and tradition. He is most established designer in India in terms of infrastructure and distribution; He holds the status of a revivalist in the Indian fashion industry, which has successfully bridged the gap between traditionalism and modernity. His designed sarees are well known personalities in India and abroad.
No matter how creative and original an artist, designers like Sarode have to be content with being able to push their masterpieces through the competitive market at the cost of their individuality as designers and put up with a booming pirated business. As long as patenting doesn't become a (mandatory) reality, many a master artisan is bound to an incognito existence. Jamdani weaves were amongst most prized contribution to the rich textile heritage of India. The various historical references to the superb quality and the high-esteem in which these fabrics were held, are too numerous to elucidate though it can be said that they form part of some of the most valued textiles in collections all over the world. The Victoria and Albert Museum of London have a fine collection of jamdanis.
The saris with their distinct decorative patterns,seem to hold an especially high status in the society. Being the work of two people in couple of months, the price for a Jamdani sari lies well above the ordinary weaves of the saree, and one of the costliest sarees. He holds the status of a revivalist in the Indian saree industry. Now we are relentlessly into indigenous R&D.
We have had successful shows and stand alone fashion in India including New Delhi, Mumbai, Chennai, Bangalore, and Calcutta, to name a few. We had four extremely successful exhibitions in USA, since last five years. Sarode traveled all over the world on several occasions like textile fairs mainly to UK, Europe, Hongkong, Singapore, Dubai and Korea.
1. Jamdani weaving technique with pattern of the design drawn on paper:
Woven on a simple frame or pit looms. The pattern of the design drawn on paper is pinned beneath the warp threads and as the weaving proceeds; the designs are worked in like embroidery. When the weft thread approaches close to where a flower or other figure has to be inserted, the weaver takes up on of a set of bamboo needles round each of which is wrapped yarn of a different color as needed for the design. As every weft of woof thread passes through the warp. He sews down the intersected portion of the pattern with one or another of the needles as might be required, and so continues till the pattern is completed. Very often, two persons work together on a sari. Traditionally, jamdanis were white of fine cotton, with designs in bleached white.
2. Jamdani woven with the help of jala :
Jamdani traditionally woven in Uppada refers to an extremely fine fabric cotton or zari brocading on cotton fabric. Here, two weavers work on a single loom where the design on paper, kept underneath the warp, is used as a guide in placing the cut threads, according to the design, over the warp. These are, then, interlaced into the warp with fine bamboo sticks in a zigzag manner to form the motif. This is followed by the weft thread, the process being repeated before the shuttle carrying the weft is thrown across again.
In recent years Uppada's soaring popularity has led people to back track to its root learn about the creation process of this sarees .The weaving technique is called Jamdani, which is age old technique of Dhaka (Bangla Desh). Yet after so much research and writings, people still get lured into the tale of jamdani's history, like they get lured into an old folktale, over and over again. The fabric itself is hypnotic. One can stare at the intricacy of the motifs for hours and still be unable to grasp the amount of patience, work and time needed to create it. During early 19th century the production of expensive jamdani suffered set back. The most important cause of decline and the ultimate extinction of the Jamdani industry was the industrial revolution in England, which introduced modern inventions in manufacture machine-made Jamdani with the support of jacquard and soon it began to capture the world market for jamdani.
This old weaving technique has been re-introduced in Uppada during the year 1988 by Ghanshyam Sarode, a textile designer. And thus we have created a new BRAND i.e. "Uppada Sarees" which took almost a whole one decade, and now the people are fond of the sarees.
He is a textile designer with a difference. He produces reams of material in mind-blowing patterns on handloom weaves and allows his creations to be sold by boutiques with their tag.
Inspiring Fashion enthusiasts over a period of two decades, he has woven his way through an enriching experience of textiles and varied surface treatments.
Having worked with the artisans and craft men all over the country, he has unmatched knowledge of the traditional craft forms, in entire south in weaving patterns. His stand apart quality lies in modifying these traditional crafts for the modern consumer yet preserving the richness of the craft and tradition. He is most established designer in India in terms of infrastructure and distribution; He holds the status of a revivalist in the Indian fashion industry, which has successfully bridged the gap between traditionalism and modernity. His designed sarees are well known personalities in India and abroad.
No matter how creative and original an artist, designers like Sarode have to be content with being able to push their masterpieces through the competitive market at the cost of their individuality as designers and put up with a booming pirated business. As long as patenting doesn't become a (mandatory) reality, many a master artisan is bound to an incognito existence. Jamdani weaves were amongst most prized contribution to the rich textile heritage of India. The various historical references to the superb quality and the high-esteem in which these fabrics were held, are too numerous to elucidate though it can be said that they form part of some of the most valued textiles in collections all over the world. The Victoria and Albert Museum of London have a fine collection of jamdanis.
The saris with their distinct decorative patterns,seem to hold an especially high status in the society. Being the work of two people in couple of months, the price for a Jamdani sari lies well above the ordinary weaves of the saree, and one of the costliest sarees. He holds the status of a revivalist in the Indian saree industry. Now we are relentlessly into indigenous R&D.
We have had successful shows and stand alone fashion in India including New Delhi, Mumbai, Chennai, Bangalore, and Calcutta, to name a few. We had four extremely successful exhibitions in USA, since last five years. Sarode traveled all over the world on several occasions like textile fairs mainly to UK, Europe, Hongkong, Singapore, Dubai and Korea.
1. Jamdani weaving technique with pattern of the design drawn on paper:
Woven on a simple frame or pit looms. The pattern of the design drawn on paper is pinned beneath the warp threads and as the weaving proceeds; the designs are worked in like embroidery. When the weft thread approaches close to where a flower or other figure has to be inserted, the weaver takes up on of a set of bamboo needles round each of which is wrapped yarn of a different color as needed for the design. As every weft of woof thread passes through the warp. He sews down the intersected portion of the pattern with one or another of the needles as might be required, and so continues till the pattern is completed. Very often, two persons work together on a sari. Traditionally, jamdanis were white of fine cotton, with designs in bleached white.
2. Jamdani woven with the help of jala :
Jamdani traditionally woven in Uppada refers to an extremely fine fabric cotton or zari brocading on cotton fabric. Here, two weavers work on a single loom where the design on paper, kept underneath the warp, is used as a guide in placing the cut threads, according to the design, over the warp. These are, then, interlaced into the warp with fine bamboo sticks in a zigzag manner to form the motif. This is followed by the weft thread, the process being repeated before the shuttle carrying the weft is thrown across again.
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