Gujarat is one of the most vibrant states in India known for its culture, food and, most importantly, its textiles. So much so, that it is also known as the textile state of India. The region has a flourishing textiles industry which contributes heavily to the arts and crafts of India.
It is these textiles that, owing to the variety offered and beauty, are very popular among the end consumers, not just in Gujarat or India but overseas as well. Each traditional textile in the state carries with it its distinct history and heritage that it has derived from belonging to different communities, tribes and regions in the state.
Saree is a commonly worn garment in Gujarat and is worn by adult women of all ages. It’s a traditional piece of clothing worn by married and older women that has slowly made its way, from being ‘traditional’ attire to a ‘fashionable’ one that is worn by young women too.
The rich textiles
The state’s rich textile history has played a significant role in the diversity and popularity of saree as well. In Gujarat, there’s a wide variety of textiles that depend on factors such as the raw materials used, the combination of yarns, techniques used, as in modern or the age-old traditional techniques. Gujarat is popularly known as the Manchester of the East and the arid Kutch region is, interestingly, the richest in the state when it comes to cultural heritage of this nature.
One of the most famous fabrics from Gujarat is the Patola fabric. It is a very old textile and has a name in Sanskrit as well, known as Patta. It originated in Gujarat region in an area called Patan and by Salvi community.
Earlier, only these people would manufacture Patola – the community had migrated from Maharashtra and Karnataka to Gujarat during the reign of Solanki dynasty’s king, Kumar Pal, in the 12th century.
Stories behind fabrics
A hundred families had migrated then. But today, only three such families remain. The original place for manufacturing is Patan, however, now it is also manufactured in Khambat and Rajkot. Some weavers also settled in Pochampally and make ‘ikat’ design which is similar to Patola. Pochampally saree or Pochampalli ikat is a saree made in Bhoodan Pochampally which is in Yadadri Bhuvanagiri district in India’s Telangana State.
Patola is made from pure mulberry spun silk and so is less shiny. As far as colours are concerned, most Patola fabrics are coloured in red, green, yellow even white and black but in Patola sarees, maroon is the dominating colour.
The common motifs, also known as bhat, are: Elephant- Kunjar bhat, Tiger and Elephant – Vagh Kunjar bhat, Parrot and Elephant – Tota Kunjar bhat, Peacock and Parrot – Mor Tota bhat, Flower design – Phul bhat, Leaf design – Paan bhat, Walnut design – Akrot bhat, Diamond or Kite – Patang bhat and Gopi and Krishna – Raas bhat. Elephant is considered to be very auspicious and so, the most common among the designs.
Traditional textiles
Another popular textile that has made its mark in Gujarati sarees is the Bandhani. The mere mention of Bandhani brings to mind bright colours and beautiful patterns. Bandhani is a tie-n-dye technique that is used at the fabric stage. It is different from Patola because in the latter, the same tie-n-dye technique is used at the yarn stage.
Bandhani work was started by the Khatri community of Gujarat which is where it originated. Even today, the main centers are Kutch, Bhuj, Jamnagar and Rajkot. The term ‘Bandhani’ is derived from the word ‘Bandhan’ that translates to ‘tying up’.
The Bandhani textile is made from a very old technique that is mainly used in Gujarat and Rajasthan. For this textile, traditionally fine cotton and fine silk is used but today, crepe silk, georgette even chiffon can be seen in tie-n-dye prints. Colours used are mostly bright hues and the popular designs include elephant, floral, kalash, swastik, dancing doll and geometrical designs.
Saree for auspicious occasions
Patola silk and Bandhani sarees, both traditional sarees, are very popular among Gujarati women even today. Among the Bandhani designs, there are two types that are very popular in Gujarat. The Chunnadi is brightly-coloured with white dots and golden border and then there’s Gharchola which is generally green or red in colour.
Gharchola is derived from ‘ghar’ which means home and ‘chola’ which means clothing. Here, home is the bride’s home, the new one, where she is married to. So, traditionally, a newly-married woman or the bride enters her new home wearing a Gharchola.
Gharchola originated in Khambat region of Gujarat, also known as Cambay – once a very busy port and trading centre of the Indian subcontinent, till the 16th century. They are typically made in the ‘auspicious’ red colour, and its many variations, and are widely used by women of the Hindu and Jain communities in Gujarat.
Gharcholas have a characteristic chequered pattern, formed in multiple combinations. The most popular permutation is that of the 9, 12 and 52 squares’ patterns. So, the 12-squared grid is also known as bar bhag and the 52-squared one bavan bhag. In Gharchola, every box is tied and dyed to create Bandhani patterns.
Gharchola is closely associated with auspicious occasions and wedding ceremonies in Gujarat. In India, in many cultures, a piece of clothing holds tremendous significance and value in terms of customs and rituals and Gharchola is one such garment in Gujarat. It is the commonly-worn traditional attire in Gujarati weddings.
The traditional Gujarati wedding attire is called Panetar and is usually gifted to the bride by her maternal uncle. This bridal wedding ensemble is characteristically red and white in colour and the bride wears heavily embellished Panetars, draped in Gujarati style. The saree is pleated and tucked at the waist on one side so that the pallu falls over the shoulders and the loose end of the saree is tied to the groom’s stole during the pheras (an important ritual in Hindu wedding, where the bride and groom circumambulate a consecrated fire seven times reciting specific vows with each round.)
One for every occasion
The Ajrakh fabric is created with wooden blocks of different designs, dipped in different colours, stamped on the fabric and then left to dry. Kutch is known to manufacture these fabrics that come in bright colours such as yellow, green, maroon, red and blue with tiny white or contrasting dots as patterns.
The traditional hand printing method dates back to 4,500 years ago. The Khatri community living on the banks of River Sindh initiated this and later, in the 16th century, migrated and settled in Kutch’s Dhamadka due to its proximity to a river where they could wash their fabrics. Dhamadka lies in Anjar Taluka in the Rann of Kutch. After the 2001 Gujarat earthquake, many artisans moved to Ajrakhpur. Today, Ajrakh sarees come in a range of patterns and colours.
The Asavali saree has derived its name from Asha Bhil, the 11th century ruler of Ahmedabad. This saree has rich brocaded patterns that are embedded into the gold surface, similar to the Meenakari work done in jewellery. It is believed that this pattern is influenced from the brocade traditions of Benaras through the migration of Gujarati weavers. The Asavali were made by Khatris and Patels mainly for the royalty earlier.
Then there’s Nagari saree, worn mostly by rural women in Gujarat. It is a coarse cotton saree with a maroon background and black dot designs printed on it.