Upcoming Collections - Spring 2019
We took a trip to Paris last weekend to preview the latest collection by Maku - an Indian label founded by young designer, Santanu Das.
Maku clothes are not marketed as fashion pieces – they are skilfully woven garments that promote the historic craft practices of India. Each item is dyed with Indian dye that comes with a 500-year heritage and each item is woven by skilled hand-weavers on khadi, muslin and jamdani fabrics.
Eká finds charm in the familiar - pastoral pleasures, a lilting breeze or the warmth of a lifelong friend. This spirit takes shape in soulful clothing that lives on through individual expression. Eká makes their own textiles, favouring the mechanics and raw beauty of natural fibres, regional crafts and indigenous skills.
Both Maku and Eká champion traditional Indian techniques and support paying their craftsmen a fair wage. Epitomising a side of Indian design we at Chapel Collection strive to support and make more accessible to people across the world.
We're excited to reveal that new collections from both Maku and Eká will be available from Chapel Collection soon.
The collection was started after years of living and travelling in the Far East and India.
Chapel Collection is a carefully curated collection of beautiful clothes and accessories. Apart from its own collection it also works to promote young designers in India and South East Asia.
Chapel Collection showcases traditional crafts, hand loom, block printing, embroidery, the use of natural dyes, where possible. All fabrics used are either silk, cotton, linen and wool. Only natural fibres.
A desire to create beautiful clothes and accessories. Helping small communities and keeping local crafts alive
The story of Jamdani, one of the most valuable fabrics in the world
One day, the Mughal emperor Auwrangzeb was astonished to see his eldest and favorite daughter, Princess Zeb-Un-Nissa, strolling naked in the garden. Outraged by her immodesty, the emperor demanded to know why she was walking outside without clothes. The princess calmly replied that she was wearing her “jamas”. In fact, she claimed she was wearing seven garments sewn from a jamdani so transparent and fine that to her father’s eyes they seemed invisible.
This 17th century story is one of the earliest known references to jamdani, a fine, hand woven figured muslin produced in Bengal. Thicker cotton threads are laid into the weft to produce the illusion of a suspended pattern on the surface of an almost transparent fabric. Intricate colored motifs seem to float upon the cloth. The wordjamdani is thought to have derived from jaam-daar, a Persian weaving term for floral designs in cotton thread or possibly, jama, the Bengali word for dress.
Production of jamdani reached a pinnacle during the latter period of the Mughal empire. The ultimate test of its fineness was to pass a sari width through a small golden ring. Centuries before the arrival of the Mughals, the Bengali textile industry had exported fine cotton muslins to both Roman and Chinese empires. The Greek geographer Megasthenes described Bengali muslins in the 4th Century BC. The Romans were so inspired by the fabric’s diaphanous quality they called it “woven air”. In the 17th and 18th centuries, the fabric became a much desired and expensive trade good exported west to Kabul, Baluchistan, Persia, Arabia and Greece.Jamdani continued to be produced and exported during the days of the British Raj, but the British supported their own agriculture and textile industries at India’s expense, and the quality of Bengali jamdani declined. Recently, quality has returned with revived interest in traditional Indian textiles. Today, jamdani is produced more or less as it has been for centuries.
Making jamdani is very labor intensive requiring specialization that is divided amongst workers by religion, village and, especially, gender. The work generally involves a community of artisans, often a family of weavers or dyers cooperating in accordance with years of tradition like a carefully calibrated clock. Work is scheduled according to the season of the year and the time of the day, choosing the most appropriate moments for the practice of various tasks. Most of the weavers are Muslims who believe figurative representations in art are a direct challenge to the omnipotence of God. For this reason, artisans create motifs drawn from nature or abstract designs with a geometric sensibility. Pit looms are still used, however, the original throw shuttle has been replaced by the fly shuttle, a faster and more efficient method of production that still depends upon the hand for guidance. Traditionally, the plain weave background was white, off-white or grey; today background colors are chosen from a vibrant array. The best quality jamdani is produced with locally grown, fine cotton. It is always woven during the monsoon season from June to October when the air is humid and moisture prevents the fine threads from becoming brittle and breaking. Bundles of thread are dyed in a variety of colors. The dyed thread is strengthened and softened by soaking overnight in a solution of rice water starch, allowing the women to wind it more easily onto bobbins. It is tedious work done early in the morning, usually between 4 and 9, before the increasing heat dries the thread, making it more difficult to handle. The wound bobbins are sent to another worker who prepares the warp on a beam. Afterwards, the warp is sent to the weaver’s house where it is set up on a loom. Drawings are placed under the warp as a guide. The weaver, almost always a man, may or may not follow the drawing, often preferring to work from intuition alone. Colored thread is carefully inserted and hand tied into the fine weft to create patterns on the plain weave.
The entire system of production, from dyeing the thread to setting up the loom, is determined by the length of jamdani’s most marketable end product, the sari. For this reason, it is nearly impossible to convince weavers to produce different lengths of running yardage. Looms are set up with 11 meter warps, each warp yielding two saris, 5.5 meters in length. The patterns woven into these two saris will not be repeated by the weaver again.
The Story of Injiri. Taken from Selvedge Magazine, The name Injiri means ‘real India’ and originates from a name given to prized fabrics exported to Africa in the 18th century. The driving force of the brand is the talented designer Chinar Farooqui, whose passion lies in studying traditional textile, dress and the stories behind them. As a young girl she travelled to craft villages with her mother, who filled their home with handmade cloth, such as local indigo dyed fabrics. Studying fine arts and textile design led the way to Farooqui’s own label, which Selvedge first featured on the pages of our Blue & White issue.