The varying colours of Indian and Tibetan arts & crafts

Dastkari Haat Samiti 2015

Jaya Jaitly, President of Dastkari Haat Samiti brings the best of Indian and Tibetan art at the 29th edition of Dastkari Haat Craft Bazaar at Dilli Haat, INA.

Dastkari Haat Samiti 2015

The Dastkari Haat Samiti is once again gearing up for its annual display of the finest handicrafts from all corners of India. The hugely popular craft bazaar has an added attraction this year—the intricate and beautiful handicrafts from Tibet, ancient craft handed down through generations of painstaking work and dedication.

Dastkari Haat Samiti 2015

The Dastkari Haat Samiti, now in its 29th year, is the brain child of Ms Jaya Jaitly, a renowned social activist who has dedicated four decades of her life and career to crafts and innovating newer ways to sustain craft and its people. She has also been a founding member of Dilli Haat, a single platform for craftsmen from the remotest areas the country to display and sell their finest wares.

Dastkari Haat Samiti 2015

Hundreds of items, the best of products of Indian and Tibetan artisans have been specially selected for the bazaar. This is also a great opportunity for the artisans to exchange their views at the Tibetan-Indian crafts and skill exchange workshop. The special feature every year is a workshop for International artisans. This time Tibetan crafts persons will engage in work with Indian counterparts from Arunachal Pradesh, Jharkhand, Uttar Pradesh and Madhya Pradesh.

Dastkari Haat Samiti 2015

Visitors will also get to enjoy traditional music and dance performances. Traditional Ramdev folk singers from Kutch, Chhau dancers from Jharkhand and Tibetan traditional dancers will enrich the atmosphere throughout the day.

Dastkari Haat Samiti 2015

What- Dastkari Haat Samiti’s 29th Annual – Dastkari Haat Craft Bazaar

When- 1st to 15th January 2015

Where- Dilli Haat, INA New Delhi

Time- 11.00am -09.00pm daily

Entry- Rs 20

The Alchemy of Handloom by ‘MOAVI’ : An ode to India’s heritage weaves

Maovi

Moavi draws its roots from old Indian textiles in an attempt to reinvigorate traditional weaves and give them their much-deserved limelight in today’s world of fashion.​ The brand is working towards re-introducing weaves that are on the verge of extinction—they are incorporating Muga silk, Pat silk, Eri-silk, Tusser silk, Linen, Mercerized-cotton and real Zari, creating pure magic beyond boundaries.

Maovi

To start with, Moavi has introduced clusters from, Assam, Rajasthan and Madhya Pradesh and they plan to cover all states eventually to create designs, which will procure holistic aesthetics of our traditional and contemporary eccentricities.

Maovi

Having great passion for both fashion and sustainability, Kavita and Anmol ​Badsra, ​each with years of experience in design and consulting, lead Moavi. Moavi wants to be known as an organisation that uses design as a means to address the most important issues of our times by providing sustainability in life of our weavers​ and artisans.

Maovi

Textile industry, despite being the second largest employment generator segment in our country has not been able to provide sustainable livelihood to our highly skilled handloom weavers in almost all states. We believe, the industries of fashion, textile and design offers unique effective opportunities for designers, craftsmen and consumers alike to contribute to the alleviation of poverty by being ethical about one’s fashion choices without sacrificing style.

Maovi

About the Collection: Ekam—Ekam is literally Moavi’s first step towards envisioned future of Indian handloom sector. This collection draws inspiration from Indian mythology, ‘Ramayana’ depicting each khand/stage of the tale in every product through hand-weaving, hand-embroidery or intricate block printing techniques.

Maovi

The color palette brings forth bright Indian hues like, haldi yellow to sindoori red, deep indigo to metal tones of gold and silver, each shade narrating a different story. We have started with hand-woven saris and dupattas and are working towards expanding the collection further to constructed blouses, jackets and kurtas, wherein planned silhouettes are simple yet feminine and perfectly suitable for work-wear, as well as light occasion wear.

Contrasting Colour Palettes at Lakmé Fashion Week Winter/Festive 2014

Sanjay Garg

Textile designer Sanjay Garg’s label ‘Raw Mango’ brought forth a mesmerising collection featuring gorgeous Indian textiles. Sanjay’s revival of chanderi, mushru and craft traditions of West Bengal and Akola for his hand-woven textiles is nationally renowned.

Sanjay Garg

Bringing back the beauty of Indian textiles, Sanjay displayed hand-woven engineered fabrics that created a panel size repeat of large curvilinear designs. Having researched and worked in various weaving clusters in India, Sanjay selected Varanasi for this intricate design and pattern. The gorgeous collections were created in the kadwa brocade technique of Varanasi, where the ornamentation of motifs use extra weft.

Sanjay Garg

Dividing the collection in jewel tones of shocking pink, deep blue, peach, gold, white and parrot green the gorgeous gold motifs of flowers, birds and intricate traditional designs were stunning visions. Remaining loyal to a limited variety of silhouettes for the regal garments—empire line midi, simple maxi, quilted jackets and sherwanis, lean kurtas, waisted-frocks, paneled gowns, saris, lehengas, pajamas and shararas—swirled down the ramp on graceful models.

Soumitra Mondal

Bringing unique weaves and the juxtaposition of patterns, motifs and techniques in embroidery, Soumitra Mondal for his label ‘Marg’ presented ‘Woven Royalty’—a revival of classic Indian heritage at Lakmé Fashion Week Winter/Festive 2014.

Soumitra Mondal

Inspired by the attire and lifestyle of vintage royal Indian families, Soumitra had skilled craftsmen to recreate the fabrics. The jamdani, khadi, silk and cottons with a twist in the weaves, displayed a predominantly beige colour story with hints of pink and gold. Aimed at modern Indian woman who adores the aristocratic look, Soumitra offered silhouettes that ranged from A-line, knee, and ankle-length for bundgalas, tops and jackets. Saris appeared in gorgeous weaves to appease the desires of the traditional dresser.

Soumitra Mondal

Saris were elegantly regal with tiny butties splashed all over or with luxurious resham borders showing hints of glitter. Stylish bundgalas with parallel pants, capris with kurtas sported tonal embroidery, flared mini kurti and a reversible waistcoat were ideal for semi formal wear. Going in for more intense embellishments, Soumitra had silk motifs that cascaded down shoulders to waist for garments often teamed with wide flared pants. Mirror work gradually crept in for a long sleeved kurta and the final peach lehenga, choli and dupatta were ideal wedding attire.