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Costumes and culture
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“Indian Costumes” by Anamika Pathak captures the richness of the Indian textile tradition
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Status Symbol A zari-embroidered choga from Kashmir, 19th century
Beetle wings dazzle between gold threads in a turban band. Genuine peacock feathers are used to embellish the plume of an embroidered peacock. These two examples merely hint at the richness of the Indian textile tradition.
“Indian Costumes” by Anamika Pathak is a history of this tradition. Pathak, the deputy curator (Decorative Arts and Textiles) at the National Museum, New Delhi, used two decades of experience and the museum collection to come out with a book that demonstrates how costumes establish cultural identities. Clothes are understood not as necessities only, but as historical texts as well.
The clothing cultures of northern, eastern, north-eastern, western, central and southern India are examined separately. While regional styles might differ, the love affair with colour and craftsmanship continues. The text is interspersed with numerous pictures. Drawing from other visual media like sculpture and painting, the book chronicles the development of Indian costumes from the Indus Civilisation (2600 – 1400 B.C.) to the post-Mughal period (18th -19th Centuries).
Pathak says the book works at different levels. She hopes it will benefit students as well as the museum. She often notices textile students of fashion institutes walking through the museum. This book, she hopes, will be useful to them. The National Museum’s collection of over 500 costumes is not well known. The earliest garment dates back to the early 18th Century. Pathak hopes this book will help publicise the collection.
While the magic of hand-worked embroidery and intricacy has depleted over time, Pathak is optimistic. She says, “Many different people and groups are working on the revival of traditional techniques and fabrics. The NID, the State Crafts Councils… they have all been doing serious work.”
She gives the example of kantha embroidery, which was on the decline but is today available in the national and international markets. With a smile, she adds, “Indian fashion designers, Bollywood, television, they are all responsible for adding innovations and helping in the revival.”
Pathak goes on to explain that today textile conservation is on the rise. “Since it is organic material, it is difficult to conserve materials and fabrics. Each material requires a specific treatment.” Conservation itself is a complex procedure. For example, all fabrics have to be protected from UV rays to ensure their longevity, but zari has to be specially protected from moisture.
To conserve certain delicate types of embroidery, net is attached at the back. Darning has to be masterful enough to be made invisible.
Restoration requires dating. Pathak elaborates, “It is a lengthy process to date costumes. You look at the fabric, the technique. And then you compare it with paintings and sculptures to deduce the time period.”
Flipping through the book, today’s fashion can be seen in 200-year-old clothes. This continuum shows that costumes which date back to the 19th Century are still intrinsic to today’s wardrobe, with few variations. Our traditional costumes are our direct link with our history.
NANDINI NAIR
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