CONTEMPORARY EXPRESSIONS OF KASUTI EMBROIDERY
Image: A piece of cotton voile is tacked onto the ground fabric to enable the counting of the yarns of the weave for the embroidery. Image courtesy Vinay Narkar.
“In traditional kasuti attire a variety of motifs are embroidered on the fabric. These motifs are inspired by the architecture and sculpture of temples, temple rituals and nature. The motifs are temple chariots, lamps and gateways, as well as birds, animals, trees and flowers”, says Vinay Narkar, a lawyer turned textile revivalist, based in Solapur, Maharashtra state, India.
In the past decade, Vinay has been working with artisans to revive a few traditional weaves of peninsula India, namely Gadwal, Paithani, Joth and Shalu weaves. His latest endeavour has been exploring a contemporary expression of kasuti embroidery, traditionally worked in northern Karnataka state, South India, while staying true to its technique.
Image: Kasuti embroidery on the end panel of a sari. Image courtesy Vinay Narkar.
Kasuti embroidery is worked by double running stitch (in which the first line of running stitch is filled in by the second line of running stitch), zigzag running stitch, long and short stitches in straight lines, and cross stitch. The work is guided by the count of the weave and is typically done by a single thread. When the ground fabric is of a fine weave, a piece of cotton voile may be tacked onto it to enable the counting of the yarns of the weave for the embroidery.
Taking only a part of one motif (such as a part of a flower, chariot, lamp), Vinay has designed compositions that repeat this section thus creating a pattern with a rhythmic geometric/linear effect very different to traditional kasuti saris that have a variety of motifs across the field, borders and end-panel embroidered with multiple coloured threads.
The patterns designed by Vinay are typically worked in one colour and in one of the four kasuti stitches (rather than using more than one of the four kasuti stitches) for a simple and minimal effect. The embroidery is done with a double thread (unlike single thread typically used for traditional kasuti embroidery) for a slightly magnified expression of kasuti embroidery.
Image: A sari with kasuti embroidery. Image courtesy Vinay Narkar.
The work is being done on Gadwal silk textiles that are hand-woven by a three-shuttle weaving technique. The weaving involves one shuttle for each border and one shuttle for the body of the sari; the interlocking technique is used for the colour change for the weft yarns for the borders.
Vinay designs contemporary kasuti embroidery on saris, shawls and stoles. “It is important for traditional Indian traditional textile crafts to evolve, to push the boundaries and work on a spectrum of expressions while staying true to their ethos and techniques. Contemporizing kasuti appeals to the aesthetics of urban and international patrons. This helps the craft, artisans and designers”.
Blog courtesy of Brinda Gill
“In traditional kasuti attire a variety of motifs are embroidered on the fabric. These motifs are inspired by the architecture and sculpture of temples, temple rituals and nature. The motifs are temple chariots, lamps and gateways, as well as birds, animals, trees and flowers”, says Vinay Narkar, a lawyer turned textile revivalist, based in Solapur, Maharashtra state, India.
In the past decade, Vinay has been working with artisans to revive a few traditional weaves of peninsula India, namely Gadwal, Paithani, Joth and Shalu weaves. His latest endeavour has been exploring a contemporary expression of kasuti embroidery, traditionally worked in northern Karnataka state, South India, while staying true to its technique.
Image: Kasuti embroidery on the end panel of a sari. Image courtesy Vinay Narkar.
Kasuti embroidery is worked by double running stitch (in which the first line of running stitch is filled in by the second line of running stitch), zigzag running stitch, long and short stitches in straight lines, and cross stitch. The work is guided by the count of the weave and is typically done by a single thread. When the ground fabric is of a fine weave, a piece of cotton voile may be tacked onto it to enable the counting of the yarns of the weave for the embroidery.
Taking only a part of one motif (such as a part of a flower, chariot, lamp), Vinay has designed compositions that repeat this section thus creating a pattern with a rhythmic geometric/linear effect very different to traditional kasuti saris that have a variety of motifs across the field, borders and end-panel embroidered with multiple coloured threads.
The patterns designed by Vinay are typically worked in one colour and in one of the four kasuti stitches (rather than using more than one of the four kasuti stitches) for a simple and minimal effect. The embroidery is done with a double thread (unlike single thread typically used for traditional kasuti embroidery) for a slightly magnified expression of kasuti embroidery.
Image: A sari with kasuti embroidery. Image courtesy Vinay Narkar.
The work is being done on Gadwal silk textiles that are hand-woven by a three-shuttle weaving technique. The weaving involves one shuttle for each border and one shuttle for the body of the sari; the interlocking technique is used for the colour change for the weft yarns for the borders.
Vinay designs contemporary kasuti embroidery on saris, shawls and stoles. “It is important for traditional Indian traditional textile crafts to evolve, to push the boundaries and work on a spectrum of expressions while staying true to their ethos and techniques. Contemporizing kasuti appeals to the aesthetics of urban and international patrons. This helps the craft, artisans and designers”.
Blog courtesy of Brinda Gill