New Delhi: Renowned fashion designer Tarun Tahiliani has always been popular for the way his traditional outfits are draped. Noted for his use of historic Indian textiles and motifs, he goes over Saffronart’s auction catalogue of Carpets, Rugs and Textiles, talking about his love for shawls and their popularity in contemporary designs.
Q. Can you tell us a little about your collection of shawls? What drew you to them, and do you have any particular favourite pieces?
My first beautiful shawl is something I inherited from my mother. It was an agonizing decision for her because it was a men’s size and being a naval wife, she had limited resources, so a huge kanni jamewar was something extraordinary – however I do not think except for very old families, the taste for these wonderful Indian heirlooms was overtly developed yet.
Subsequently while living in Delhi one got more exposed to the world of these shawls and seeing the Calico Museum’s collection really sealed this passion – for colours, motifs and finesse I have not seen much in this caliber and I particularly love the matte feeling of the wools being as they are in wool. For complex pattern and colours some of the shawls are literally greater works of art than much that is merely conceptual today. So I started to collect them – often finding amazing pieces in the New York and French flea markets. Before treating, they must have been necessary accessories but now can sometimes, however beautiful, feel a little cumbersome to manage. Oh to find something that looked like a jamewar but felt like a shahtoosh!
Q. You incorporate the rich history of Indian textiles in your contemporary creations in several ways. What motivated you to do this?
I have always loved the rich Indian textile history and eye of colour, and of course motif. However since most of our fashions were woven to be draped, we had issues with more sculpted fashion which embroidery allowed us to do. I have done jamewar saris on chiffon and used it as a basis for my digital prints as well. Next season, we are doing jamewar inspired embroideries with dull sequined borders. The permutations and combinations are endless.
Q. To own and wear a shawl from Kashmir was a ‘fashion statement’ in 18th century Europe, and Empress Josephine is believed to have had an extensive collection. As a designer today, do you think traditional Indian textiles and techniques can be fashion forward?
Of course heritage can be fashion forward if worn in a contemporary way. It is as much how you wear something as what you wear. Attitude is so important. We once cut up and draped a shawl from Punjab on Isabella Blow to make an asymmetrical draped shawl dress which looked amazing. It’s how you pair things as well. We find our own fashion forward.
Q. What are some of your favourite motifs from traditional Indian textiles?
Paisleys, florals and jaalis. All incredible when layered.
Q. Which is your favourite Shawl from the November Carpets, Rugs and Textiles Auction?
I love the Kanni Jamewar – lot 66. It is really beautiful with almost a tribal feel to the colours and the long central medallion motif.
Lot 66 – A JAMAVAR KANNI SHAWL, Early 20th Century, Approx. 10ft 6in x 4ft 4in (325.1 x 134.6 cms), Pashmina wool Image courtesy Saffronart
Carpet connoisseur, Dhruv Chandra shares his insights on old and antique carpets
New Delhi: Old and antique carpets are more than just floor coverings, and like all other works of art, have represented the aspirations, lifestyles, attitudes and limitations of their times. What makes these carpets valuable and works of art are their rarity, originality of design, quality of raw materials used, natural dyeing techniques and the skill and mastery of the weavers.
The key word I would ascribe to old and antique carpets is ‘quality’. Weavers used the best raw material they could afford. You will find that most antique carpets have been made with the finest clothing grade wool and sometimes even Pashmina or Cashmere, that would be used in clothing today (which is not what is used in contemporary carpets).
The dyes used in the olden days were generally all natural or vegetable dyes. Natural dyes are extracted from plants, rocks, minerals and sometimes even insects such as Cochineal or Laque emanating a resplendent Magenta pinkish-red hue. The other advantage with natural dyes is that they do not generally fade and can last a lifetime. The problem with new carpets is that they are generally manufactured using chemical dyes and have a tendency to fade with exposure to sunlight.
Tribal Afshar- South West Iran Circa 1930s Vegetable/natural dye Approx. 7ft x 4ft 10in ( 213.4 x 147.3 cms) Image Courtesy: Saffronart 24-Hour Auction: Carpets & Rugs, March 14-15, 2012 For more details: http://www.saffronart.com/customauctions/PostWork.aspx?l=6482
The primary thing to understand with old carpets is that they were completely made by hand and created as a ‘labor of love’, not manufactured with the intention to resell them. So they used the best skilled weavers who took a lot of pride in their work to create bespoke carpets.
If one were to buy a carpet let’s say a 100 years ago, one would not have gone to a carpet shop. One would have called a renowned carpet weaver and had the luxury to select a design from his hand drawn maps or khartouns which are also called ‘nakshas’. Then one would have selected the colors and purchased the raw materials such as wool, Pashmina, or silk, and dyes etc. for the weaver. It would be like commissioning a painting today.
Kashgar Carpet- Central Asia Circa 1920s Madder – Indigo Blue natural / vegetable dye Approx. 8ft 4in x 4ft 6in (254 x 137.2 cms) Image Courtesy: Saffronart 24-Hour Auction: Carpets & Rugs, March 14-15, 2012 For more details: http://www.saffronart.com/customauctions/PostWork.aspx?l=6480
For modern interiors that embody cleaner lines, minimalistic accents and the efficaciousness of geometric patterns, carpets like Afshar, Shiraz, Quashgai, Samarkand, Kashgaar Khotans, Tibetan prayer rugs, Kazaks and Hamadaans are an ideal option.
Khotan Carpet, Pomegranate Design- East Turkestan Circa 1930s Approx. 7ft x 4ft 7in (213.4 x 139.7 cms) Image Courtesy: Saffronart 24-Hour Auction: Carpets & Rugs, March 14-15, 2012 For more details: http://www.saffronart.com/customauctions/PostWork.aspx?l=6483
The Samarkand Khotan carpets from Uzbekistan embody influences from the Northwest Frontier Province, Turkmenistan, Persia and China, reflecting the multi-cultural iconographies of ancient Samarkand. One such iconographic motif prominently displayed is the pomegranate fruit. Traditionally, the pomegranate symbolizes abundance, fertility, lusciousness, generosity and union. Used in many cultures as a symbol of marriage, fertility and love, the pomegranate with its leathery outer skin and its pink juicy, sweet interior is a symbol of encompassing bliss, reminiscent of passion and luxury. According to the Quran, pomegranates grew in the ‘gardens of paradise’. The Prophet is said to have encouraged his followers to eat pomegranates to ward off envy and hatred. In Christianity, the pomegranate is a symbol of the resurrection and the hope of eternal life. Primarily it was also used as a symbol of aspiration, for us to tap into the luxurious side of life – recognizing the richness, abundance and wonder that surround us at every turn. They also used the seeds to make red dye and skins of the fruit to make yellow dye.
In keeping with this inspiration, these carpets have a rich vibrancy in their color palette: spectacular pink, orange and lavender hues combined with a unique aesthetic sensibility. Invariably, the designs of a Samarkand-Khotan are multicultural, one of a kind, displaying a rich array of medallions, Grecian pillars, stylized vases, Lotus blossoms, cloud-bands and sometimes even fantastical dragons. The lines are neither too ornate nor geometrical, just perfectly balanced. All these factors make Samarkands hugely versatile acquisitions, that fit into traditional as well as modern interiors.
Like any work of art, choosing a carpet is a very personal thing. It’s not just about making a judicious investment but buying something that you will live with for decades to come. The carpet has to please you, not your decorator, or your relative or friend who accompanies you in the purchase. The carpet you choose should be the one you love, it should ‘sing to your senses’ and ‘talk to you’. I would recommend really doing your research before you make your purchase. Carpet catalogues, seminars, museums and auctions are a great way to train your eye and hone your taste.
Carpet collecting is still at a very nascent stage in India. There are a growing number of Indian collectors who have been bitten by the ‘Carpet Bug’ and are beginning to understand the fine nuances of buying a good Oriental Carpet and about carpets as an asset for investment.
Shiraz Kilim- South West Iran Circa 1930s Approx 8ft 5in x 5ft 1in (256.5 x 154.9 cms) Image Courtesy: Saffronart 24-Hour Auction: Carpets & Rugs, March 14-15, 2012 For more details: http://www.saffronart.com/customauctions/PostWork.aspx?l=6498
With our economy doing substantially better than the world markets, and enormous wealth being created here, there is a huge demand for a trusted source of fine and rare carpets, Kilims and textiles. The pie of old carpets is limited, and people who possess such pieces do not wish to part with them that easily. If they do, then they want a premium price for their ‘treasures’. In my view, it is because of this shortfall in supply that it is obvious that the price of collectable antique rugs will go in one direction only.
Dhruv Chandra is a second generation Collector and Curator of old and antique carpets, Kilims and textiles and owns The Carpet Cellar which also houses India’s largest private collection of antique rugs. As part of his drive to revive the declining trade in carpets, he offers talks and seminars at The Carpet Cellar in New Delhi. He is working on opening a first of its kind Carpet Museum in India.