Tag Archives: clothing

India Journal: New Delhi Textile Shopping Guide

New Delhi is a whirlwind city filled with honking cars, traffic congestion, auto rickshaws that zoom in and out inches from the next vehicle and an efficient, safe metro system. I never saw an accident but thought we would surely collide on multiple occasions. Traffic lanes do not exist although the roads are marked.

Curated textile choices at Kamayani, New Delhi

On a good day the air pollution is passable. On a good day, I could muster the stamina to visit two or three places — a museum or two, a textile boutique or emporium or folk art exposition.

Where To Shop for Textiles in New Delhi

Based on recommendations from my textile expert friends, Nidhi Khurana and Aditi Prakash and what I discovered on my journey, here is my list of where to shop for great cloth in New Delhi, India.

  • Fab India*, retail shops with fine Indian clothing and silver jewelry
  • Crafts Museum* Gift Shop, near Connaught Place
  • Kamayani* (private boutique), 16 Anandlok, Khel Gaon Marg, New Delhi. Tel. 011-262-58680
  • Kamala*, opposite Hanuman Mandir near Connaught Circus
  • Khadi*, A-1, Baba Kharak Singh Marg, New Delhi, Delhi 110001, Tel: +91 11 2334 3741
  • Anokhi Clothing and Outlet*
  • Nature Bazaar*, Andheria Mor, Kisan Haat, near Chattarpur Metro stop. A curated, rotating artisans exhibition that features vendors from throughout India. Wonderful!
  • Raj Creations, 30 Hauz Khas Village, Tel. 91-11-26963602. Clothing gallery owner Sunaina “Dimple” Suneja curates a stunning textile collection from throughout India. Don’t miss the historic archeological site at the far end of the village.

*Takes international credit cards.

Embroidery on pashmina (cashmere) shawl, Craft Museum, Delhi

Shopping Tips

  1. If you like it, buy it. You will likely never see the same thing again.
  2. Once more, if you like it, buy it. Each textile in India is unique.
  3. Fixed prices in retail shops. Don’t bargain.
  4. You can bargain in big local markets, if you wish. I didn’t. Exchange rate is 70 rupees to the US dollar.
  5. Get rupees at the airport or from your bank before you leave the USA. There’s a big cash crunch. You need cash to pay taxis and vendors. Still no $$ in ATMs throughout India.
  6. Many shops that “take credit cards” are not set up to accept international credit cards, only those issued in India
  7. Sign up for Transferwise, an easy way to wire transfer funds from your bank account to a hotel or textile artisan
  8. Ask your hotel if you can charge the car/driver to your room to save spending rupees

Bhuj bandhani and mirror work embroidery at Kamayani, Delhi

How To Get Around

The best way to get around is to hire a car and driver for the entire day at around 1200-1800 rupees (about $17-25 USD). The downside is you can sit in traffic for an hour (or more) to go a few miles. But the driver takes you door-to-door and waits for you. For intrepid travelers who like an independent approach, I say, try to adapt.

If you use the Metro, you still need to get from the Metro stop to your destination, a challenge in and of itself. Sure, you can save a few dollars but you’ve spent time trying to find a vehicle and then communicating where you want to go. It’s always a choice about how to spend your time.

Walking is impossible.

Indigo block print and shibori fashion, Nature Bazaar, New Delhi

Where To Stay

Saket Bed and Breakfast, extraordinary hospitality and accommodations, walkable to Saket metro stop. French press coffee. Great food. Dinner available. Accepts credit cards. Easy to arrange car/driver services. Clean and comfy. Currency exchange services available. Close to Nature Bazaar, Sanskriti Museum and Hauz Khas Village.

If you have any other recommendations, please add them in the COMMENTS section!

hand-woven, embroidered mirror shawl from Bhuj at Craft Museum, Delhi

India Journal: Fill in the Blanks, Stencil Art

Remember when you were a child and got a set of crayons and coloring book? The book was printed with figures and designs. It was your job fill in the color between the lines.

Stenciled design on cloth gives embroiderer stitch guide

Be careful, a parent or teacher would say. Be neat. Don’t go outside the lines. There were no blank pages on which to scribble or be creative. You got a gold star for staying inside the lines, filling in all the shapes.

Young Ahir woman honing her craft

Soon, you may have been bored and gone on to do something else. Perhaps the color intensity lessened as you hastily went on to the next page. Maybe, you went outside the lines on purpose to make your own mark.

Working on a pre-printed pattern. Is there freedom for color choice?

Yesterday we went to visit India textile expert Judy Frater at the NGO she runs in Adipur, about an hour east of Bhuj near the Gulf of Kutch and the Arabian Sea. Before starting Somaiya Kala Vidya in 2014, Judy was the founding director of Kala Raksha, another NGO dedicated to textile promotion and development.

New Ahir embroidery that will become pillow or handbag

Today she works with indigenous artisans to provide education and training programs designed for cultural sustainability, market development, and indigenous identity.

Ahir women in embroidery circle, all working on stenciled patterns

With Judy during my visit and with Salim Wazir the following day, I talked about the questions we discuss in Mexico that India shares. I suspect that these are pressing questions among artisans throughout the world.

Old embroidered Ahir textile with fine detail

  1. How do you create a sustainable craft enterprise without compromising an artisan’s innate creativity and urge for innovation?
  2. When a designer comes in to work with local artisans, employing his or her own drawings and hires the local artisan to execute them, how does this have an impact on craft preservation and design ownership?
  3. If NGO’s create cooperatives that then produce cookie cutter patterns printed on cloth that the embroiderers then fills in with silk threads in pre-selected colors, is this craft development or exploitation?
  4. If something is produced for the tourist market and not for personal or community use, what impact will this have for design sustainability?
  5. What compromises can be made to make sure that people work for fair wages, without being piece workers doing routine jobs for work they don’t own?
  6. Is paid work the only important consideration or does originality and integrity of communal design hold more value?
  7. How will textile craft survive and who will decide its future?

Workshop participant making panel for tourist market

What other questions would you ask?

How would you answer these questions? I’m interested in hearing from you!

Old mirrored embroidery on silk bandhani, imperfectly beautiful

Mexico and India are both sources for great textile artistry.  Weavers in Mexico have made cloth on back strap, flying shuttle and pedal looms for centuries and longer. In India, artisans have been weaving cloth, dyeing it with natural colors and embellishing it with embroidery since Mughal conquerors and spice trade adventurers moved from central Asia and the Levant.

She is beginning to fill in the blanks.

As tourist preferences drive the crafts market, most non-governmental agencies direct people to make things that will sell. Production uniformity is important to outside markets as collectors demand high-quality, perfect workmanship, and sophisticated design (in their point-of-view).

Whimsical embroidered blouse belonging to Wandh herding community

The whimsy of asymmetry and uneven stitches seems to be losing ground in the commercial marketplace. Only foreigners are interested in tribal textiles.

Rabari women in another workshop also follow a designer provided pattern.

If a boutique owner or retail client orders 100 handbags, he or she may expect that while color may vary, design will be consistent.  If there is deviation or variation, something may not sell and then the risk is that the worker and the organization will no longer receive orders and then go out of business.

Contemporary Rabari needlework

What price will be paid for quality consistency and uniformity? Will the naive, free-form folk art design produced for self-use disappear in favor of making something more polished that will then be sold at a higher price to foreigners?

Vintage Rabari embroidery trim on bandhani tie-dyed shawl

What about making goods for the local market vs. the foreign market? I was told repeatedly that woven goods are now being made with acrylic because it is cheaper to produce and that is what local people will buy.

Whimsical Toran in Ahir village community center

What is the cost and the loss for using cheaper raw materials and industrial mechanization?

I’d love what she’s wearing!

It is difficult to find artisans in India, as well as in Mexico, who are still working in natural dyes because the process is longer and the investment in raw materials is much higher.

Rabari embroidered storage bag, 40 years old

The tourist season in Gujarat, India is about four months long, from November through February, about the same as in Oaxaca, Mexico. It’s the dry season, easier to travel. Yet, this is the hottest December that people in Bhuj can remember. There is no global warming, right?

Sheep wool, hand-woven skirt trimmed in embroidery, pure Rabari

And, this year, because of India’s demonitization crisis and no access to cash currency, about 60-70% of international tours cancelled.  This region that depends on tourism is being hard hit. Sound familiar to those of you who visit or live in Mexico?

Rabari woman working on dress trim to be sold in a boutique somewhere

I’ve heard stories about embroidery designs from one tribal group that are co-opted and used by another because it is more popular. I have heard about a village that weaves a piece of cloth which is sent to another village for embroidery embellishment. Neither is credited with for the work.

Rabari women’s hands make quick work; tattoos and cloth, key symbols of identity.

Since cloth is about identity, does this practice contribute to loss of cultural identity? Who is responsible for this loss? How do we put value on what is made by hand? Are we willing to compensate or are we looking for a bargain, at whatever the cost to the maker?

Tools of the trade: cotton or rayon floss, needles, mirrors

I’m writing this blog post from the airport in Seoul, South Korea. It’s 10:50 a.m., December 14 here. I will be back in California, USA by 8:30 a.m. December 14. Go figure! The international news is daunting, and the prospects of a new presidency are depressing as cabinet appointees are named. I’m still apologizing, especially to the terrific Muslim people I have met along this Path to and from India.

Old block print, made with madder root, backs vintage textile.

 

 

A Day in Xochistlan de Vicente Suarez, Puebla with Merry Foss and Friends

Xochitl is the Nahuatl word for flower and Tlan de Totonaco is the literal meaning for beautiful place. Xochistlan is the beautiful place between the flowers. (You can tell if a word has a Nahuatl origin if it ends in tl.)

Ducks parade across the embroidered bodice of this blouse made by Radegundis

Ducks parade across the embroidered bodice of this blouse made by Radegundis

Here in the Sierra Norte of Puebla state, a lush landscape of rugged mountains, tall grasses, bamboo, canna lilies, orchids, bromeliad varieties, fruit trees and daisies cling to stony hillsides. Waterfalls flow like abundant rivers. The region is a puzzle of caves. Humidity seeps into everything.

Xochistlan is nestled at the base of a steep valley in the Sierra Norte, Puebla State

Xochistlan is nestled at the base of a steep valley in the Sierra Norte, Puebla State

We spent the day with Merry Elizabeth Foss who took us to Xochistlan, the village she stumbled upon seven years ago in search of artisan women who work in fine beading.

The corn crib. The chicken got away before the shot.

The corn crib. The chicken got away before the shot.

When she met the women of Xochistlan, she knew this was the place for her. She started a cooperative, created patterns to fit American women (yes, we are mostly taller and broader), and invested in relationships that have provided friendship and mutual support.

Radegundis with me and Merry. Yes, I bought this blouse!

Radegundis with me and Merry. Yes, I bought this blouse!

It’s not surprising that the embroidered and beaded images here mimic the landscape, filled with birds, barnyard animals, flowers of every variety, trailing vines, in subdued and rainbow colors.

Bedroom and sewing room combo. Nothing more needed!

Bedroom and sewing room combo. Nothing more needed!

Xochistlan is not easy to get to. It’s about an hour outside of Cuetzalan del Progreso, Puebla. First you take the winding mountain road along the spine, looking down and beyond at villages tucked into the valleys below.

A 30 year old blouse with exquisite embroidery, still fine after all these years.

A 30 year old blouse with exquisite embroidery, still fine after all these years.

Then, you divert and start descending on a road that was likely once a switch back donkey trail. You have to know where you are going! Turn right, continue straight, now turn left, straight again, Merry instructs the taxi driver.

Ducks, chickens and cat wander underfoot, peck at the corncrib.

Ducks, chickens and cat wander underfoot, peck at the corncrib.

We pull into the driveway of a humble home, filled with family, love, joy and beautiful beaded blouses. Radegundis Casilda Teresa greets us with a huge smile, warm hugs and invitation to come in for atole enriched with Mexican chocolate and milk.

Making it last! Sipping atole with a spoon.

Making it last! Sipping atole with a spoon.

She runs out with a bag of whole kernels, telling us to take a seat, she’s going to the molina (mill) to grind the corn.

Hot, delicious atole with chocolate, a favorite drink.

Hot, delicious atole with chocolate, a favorite drink, made in clay over a wood fire.

We meet her husband and grandchildren, sit down by the cooking fire to sip the delicious hot drink, sing and play games, watch the ducks and chickens peck at dried corn.

Playing a singing game with the grandchildren!

Playing a singing game with the grandchildren!

After lunch at Comedor Betty where we had perhaps the best chicken mole in the state of Puebla (Betty won a prize last year), we stopped to visit Martha and her family.

Sewing the beaded panels to the blouse fabric.

Sewing the beaded panels to the blouse fabric.

They sew the beaded panels to the cotton cloth that makes up the entire blouse. Martha, her husband and daughter are master tailors who are very particular about their finish work.

Martha shows us a fine finished blouse, ready for the expoventa the next day.

Martha shows us a fine finished blouse, ready for the expoventa the next day.

Merry also helped the cooperative open a retail shop to sell beads and fabric to other artisans in the village, and created a plan to help market the blouses in the USA.  Merry honors and recognizes the work of each woman by asking her to embroider her name on the inside of each blouse. Personalized. Meaningful.

Poster in Betty's comedor recognizing her cooking talents.

Poster in Doña Betty’s comedor recognizing her cooking talents.

Merry wholesales these finely beaded blouses, known as the China Poblana style, to upscale shops in the United States whose customers appreciate fine Mexican textiles.

Barbara and Rade with finely embroidered V-neck blouse.

Barbara and Rade with finely embroidered V-neck blouse.

Radegundis and Merry Foss, dear friends

Radegundis and Merry Foss, dear friends.

The Altar Room. Most rural homes in Mexico have one.

The Altar Room. Most rural homes in Mexico have one.

I’ve discovered that sometimes the most wonderful experiences are those when you can meet talented people where they live and work. In Mexico, there is extraordinary talent hidden in often isolated, rural villages.

La Abuela Radegundis. Grandmother love.

La Abuela Radegundis. Grandmother love.

One has to be willing to be open, explore and appreciate people for who they are, what they do, and how they live. I’m grateful to Merry for introducing us to her friends and for helping bring their talent to the world.

Brightly colored beaded bodice in Radegundis' sewing room.

Brightly colored beaded bodice in Radegundis’ sewing room.

The tradition of beadwork came to Mexico from Europe with the Spanish conquest. Most were trade beads from Venice and Africa, used for ballast on the Spanish galleons that landed in the port of Veracruz. The beads were traded for food and raw materials. Women learned to embellish their garments and the these fantastic blouses were born!

A bodice strip of black and white daisies before the dressmaking begins.

A bodice strip of black and white daisies before the dressmaking begins.

 

Que Supresa! Oaxaca in San Diego, California

As I drive south from my son’s home in Huntington Beach, California, on my way to visit Barbara and David, and dear friend Merry Foss in San Diego, I marvel at how the landscape looks like Mexico, how the climate feels like Mexico. Except there is development everywhere, new houses, shopping centers, freeway congestion. Infrastructure.

Pedro Mendoza and Carina Santiago from Teotitlan del Valle, in San Diego, CA

Pedro Mendoza and Carina Santiago from Teotitlan del Valle, in San Diego, CA

When I stop at the Pacific Ocean overlook, everyone around me speaks Spanish and I take up a conversation with a young mother traveling with two daughters from El Paso, Tejas (the J is a soft H. Tay-Hass). Oh, you might think that could be Texas. Sometimes I think we are borrowing the Southwest from Mexico and the day of reckoning will come when most of us will speak Spanish and justice will prevail.

Sisters Consuelo (left) and Violante Ulrich continue the Spratling silver tradition

Sisters Consuelo (left) and Violante Ulrich continue the Spratling silver tradition

At Barbara and David’s house, I expect a small gathering. I know my Teotitlan del Valle friend Merry Foss will be there with exquisite beaded blouses from the State of Puebla Sierra Norte made by a cooperative of indigenous women that Merry started six years ago.

Jacobo Angeles with copal wood carved and painted ram from San Martin Tilcajete, Oaxaca

Jacobo Angeles with copal wood carved and painted ram, San Martin Tilcajete

I know that friends Violante and Consuelo Ulrich who continue the William Spratling silver jewelry making tradition in Taxco will be here. (I take study tour goers to meet them in Taxco during the February Textile and Folk Art Study Tour to Tenancingo de Degollado. Spaces open.)

Then, I turn the corner. Que Supresa! Que Milagro! I  see part of my extended family from Teotitlan del Valle and Oaxaca.

Shopping for Oaxaca embroidered blouses

Shopping for Oaxaca embroidered blouses

I had no idea that Pedro Mendoza and his wife Carina Santiago and their son Diego would also be there with their terrific handmade rugs. Carina runs Tierra Antigua Restaurant and Pedro is a weaver/exporter.

Or, that friend Jacobo Angeles drove a truck up from Oaxaca filled with alebrijes made by him and family members in San Martin Tilcajete, in Oaxaca’s Ocotlan valley.

Ortega's Folk Art, Tonala, Jalisco, Mexico

Ortega’s Folk Art, Tonala, Jalisco, Mexico

And, then there are ceramics from Mata Ortiz, and hand-carved whimsical wood figures by Gerardo Ortega Lopez from Tonala, Jalisco.

If you can get to San Diego this weekend, there’s a great Expoventa (show and sale) at Bazaar del Mundo, where you can meet all these artisans and buy directly from them.

Mata Ortiz pottery from Chihuahua, Mexico

Mata Ortiz pottery from Chihuahua, Mexico

Both Pedro and Jacobo tell me that tourism has dropped substantially in Oaxaca in the last month our of fear about the clashes between the federal government and the striking teachers. While Oaxaca’s economy depends on tourism, the teachers have legitimate grievances that need to be addressed. It’s complicated!

Hand-beaded blouses from Puebla, Merry Foss artisan cooperative

Hand-beaded blouses from Puebla, Merry Foss artisan cooperative

Some artisans who have visas and have come to the U.S. to do business for years, are able to cross the border and try to make up for what is lost in the local economy. Instead of talking about building walls, United States leaders need to talk about building bridges.

Mexican doll collection, home of David and Barbara

Mexican doll collection, home of David and Barbara

In the meantime, it takes people like David and Barbara, Robin and Linda, and members of Los Amigos del Arte Popular de Mexico who keep the folk art traditions of Mexico in the forefront, who host artisans for private sales, who promote that Mexico has a rich artistic and cultural heritage that remains vibrant only through support and understanding.

Oaxaca clay nativity scene, private collection

Oaxaca clay nativity scene, private collection

If you personally or an organization you are involved with would like to host an artisan visit to the United States, please contact me. I can facilitate. This means a lot to people to keep their family traditions alive and income flowing.

Pacific Ocean overlook, sunny Southern California day

Pacific Ocean overlook, sunny Southern California day

I’m returning to Oaxaca next week. I’ve been traveling for over a month. This is a great interlude to visit with family and friends. I seem to be happy wherever I am these days! I hope you are contented, too.

Pond sunset, end to a perfect San Diego day

Pond sunset, end to a perfect San Diego day

 

Chatino Textiles from Oaxaca at Santa Fe Trunk Show

The Santa Fe International Folk Art Market runs from Friday night to Sunday afternoon the second weekend of July each year. Festivities start days in advance with galleries and retail shops all over town featuring artisan trunk shows from various parts of the world. (Mark your 2017 calendar for July 14, 15, 16)

La Chatina! Vintage blouses. Photo from Barbara Cleaver.

La Chatina! Vintage blouses, embroidered + crocheted. Photo from Barbara Cleaver.

Barbara Cleaver brought a collection of vintage Chatino blouses to La Boheme clothing gallery on Canyon Road, and anyone with a connection to Oaxaca showed up to see what was in store.

Chatina blouse detail. Photo from Barbara Cleaver.

Cross-stitch Chatina blouse detail. Photo from Barbara Cleaver.

Barbara, with her husband Robin, run the Hotel Santa Fe in Puerto Escondido, and are long-time residents of both Santa Fe and Oaxaca. The coffee farm they manage is not far from the Chatino villages near the famed pilgrimage site of Juquila.

Chatino people have close language and cultural ties to the Zapotec villages of the Oaxaca valley. Their mountain region is rich in natural resources and many work on the organic coffee farms that are an economic mainstay. About 45,000 people speak Chatino. Hundreds of indigenous languages and dialects are still spoken in Oaxaca, which make it culturally rich and diverse. This is reflected in the textiles!

Barbara has personal relationships with the women embroiderers of the region and what she brought to show was the real deal!

Chatina woman wears extraordinary embroidered blouse. Photo from Barbara Cleaver.

Chatina woman wears extraordinary embroidered blouse. Photo from Barbara Cleaver.

The blouses are densely embroidered with crocheted trim.  The older pieces are fashioned with cotton threads and the needlework is very fine. Newer pieces reflect changing times and tastes, and include polyester yarns that often have shiny, gold, silver and colored tinsel thread.

We see this trend in other parts of Mexico, too, including the more traditional villages of Chiapas where conservative women love to wear flash!

The shoulder bag — called a morral — is hand-woven and hand-tied (like macrame), and equally as stunning.

Fine example of Chatino bag from Barbara Cleaver

Fine example of Chatino bag from Barbara Cleaver

UPDATED INFORMATION

A follow-up note from Barbara Cleaver about the bag:

The Chatino bags have a proper name in Spanish, which is "arganita."

Morral is also correct, in the sense that all Mexican bags are

generically called that. Also, the knotted part ( where they stop weaving and start 

knotting the woven part), is then often embroidered. In Karen Elwell's photo,

the birds in the knotting are embroidered over the knotting, rather

than being created by the knotting.
Underside of knotted and embroidered Chatino bag, from Barbara Cleaver

Underside of knotted and embroidered Chatino bag, from Barbara Cleaver

To enquire about purchasing any of Barbara Cleaver’s Chatino clothing and accessories, please contact her at  Mexantique@aol.com

Chatino shoulder bag, called a morral. Photo by Karen Elwell.

Chatino shoulder bag, called a morral. Photo by Karen Elwell.

Karen Elwell, whose Flickr site documents Oaxaca textiles, says that the flowers and birds border (above) are machine stitched and the parrots and flowers (below) are hand-knotted from the warp threads of the woven bags. (See Barbara Cleaver’s more exact explanation above.)

Barbara has many examples of these. I was just too busy looking to take good photos!

Invitation to La Boheme trunk show, pre-Folk Art Market.

Invitation to La Boheme trunk show, pre-Folk Art Market.