To commemorate 30 years of her label, Madhu Jain's ramp collection showcased a carefully-picked selection that highlights the rich tapestry of weaves. By Ankita Jain
Uncomplicated tops with statement tassels and pants cut comfortably away from the body. Both come in relaxed cotton ikat with precise geometric prints and a palette that reflects the warm tones of the earth. Practical styling, you might think. But to Delhi-based designer Madhu Jain, it’s an inventive linear narrative on ikat.
“I wore only natural fibres even during my college days,” says Madhu. One can trace her intense love affair with natural fibres and handlooms to her childhood. “I was influenced by my grandfather who, being a freedom fighter, espoused the cause of India’s traditional small industries. So, it was no surprise then, that when I formally entered the design and fashion world, it was to promote our 2,000-year-old glorious textiles tradition. To serve this sector, my humble contribution has been to evolve new textiles by combining two weaves from different states and regions. As a craft revivalist and textile conservationist, R&D is therefore essential to my work.”
Madhu’s showcase at the ongoing fashion week is like a retrospective of 30 years of her work with ikat, Nakshiantha and Dhaka muslin among others. “I keep away a few favourite items from each of my collections. Over the years I’ve built a veritable treasure trove of all the textiles I am proud to have produced. As this on-ramp show is to commemorate three decades of the Madhu Jain label, I have pulled these out especially for the show.” There are samples from her latest range, featuring influences from Uzbekistan. “Around the globe, there are huge variations in how ikat is crafted, from the difficult-to-render double ikat weave found in only four countries, to the single ikat found in a larger number of regions. Ikat from Uzbekistan is distinctive in that the looms are only about 10 inches wide. Also, Uzbeki ikat is known for the use of jewel-toned colours and bold motifs to appease the royal tastes of monarchs and rich merchants for whom this textile was especially crafted. My ramp collection does indeed include my take on Uzbeki ikat which has been woven by my master weavers. Each outfit has an Indian twist to it. Uzbek ikat is not adaptable to Indian climatic conditions; it’s barely a strip of fabric. And they have two varieties — Adras, worn by all, and Atlas, worn by royalty, which is darker, richer.” So, Madhu Indianised it and got it woven in Andhra and Odisha. “Design intervention, where the weaver is concerned, is very important,” says the designer, whose first show was held nearly 30 years ago. It was also the first time she could afford to use the expensive Odisha ikat. Several trips to the North Eastern states opened her eyes to the potential of bamboo. “It’s so versatile. People call it the poor man’s linen. But to me, it meant limitless possibilities. Bamboo blends so well with other fabrics, is eco friendly, safe on the skin and easy on the pocket,” she explains.
Her experiments with the eco-friendly bamboo fibre were recognised by the Textiles Ministry in 2003 when she collaborated with supermodel Milind Soman to put together the first ever bamboo fibre exhibition. “I presented a bamboo textiles line that I combined effectively with silk, Chanderi, and cotton. I also used bamboo textile as a base for the giant Kalamkari Tree of Knowledge installation that I put together for the opening ceremony of the 2010 Commonwealth Games. Both events remain high points of my career.”
Madhu says she has lasted this long because she wants to contribute to the weaving communities. “Through crafting new designs and weaves, I am doing my bit to safeguard the livelihoods of our weaving communities by ensuring marketing and a fresh infusion of new craft forms.”
Photos: Pankaj Kumar