Hey guys,
It’s been a while since I have started this blog and now we
are coming to the end of my research on kalamkari, it’s been a wonderful experience
for me and I really appreciate your love and support so far and I will definitely
look forward to write more blogs in future.
So in this post I’ll be talking about developing association
of kalamkari and a case study of a designer who worked with kalamkari in
his/her designs.
So for developing association there are many block printing
traditions across the country – like Ajrakh, Sanganer, Bagru to name a few,
what makes Kalamkari stand out are the beautiful Indo-Persian designs and the
fresh earthy colors that result from use of natural dyes. The designs
have a definite character; the more popular motifs being Persian like creepers,
flowers and leaf designs all spread artistically across the fabric. The rich
varieties of design elements are a result of fusion between the Hindu and
Muslim cultures.
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| Bagru |
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| Sanganer |
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| Ajrakh |
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| Ajrakh |
For case study- designer NEETA LULLA
A legend in the fashion world,
a magician in bridal trousseau, in her 20 years of design
career has always kept the quotient of royalty high in her creations with
strokes of simplicity and earthiness.
Creator of Sridevi's rustic charm in Lamhe , the lavish yet elegant Aishwarya Rai as Jodha in Jodha Akbar and Paro in Devdas , Neeta Lulla has since then made a conscious effort to recreate in her costumes an age probably forgotten in time. n her promise to revive the vintage in contemporary tones, she worked with the Hastkala Kalamkari art form of Andhra carved on her bridal line showcased at the Lakme Fashion Week Winter/Festive 2011.
Creator of Sridevi's rustic charm in Lamhe , the lavish yet elegant Aishwarya Rai as Jodha in Jodha Akbar and Paro in Devdas , Neeta Lulla has since then made a conscious effort to recreate in her costumes an age probably forgotten in time. n her promise to revive the vintage in contemporary tones, she worked with the Hastkala Kalamkari art form of Andhra carved on her bridal line showcased at the Lakme Fashion Week Winter/Festive 2011.

She went to Hyderabad where she got inspired by
the delicate Kalamkari paintings and thought of reproducing them in her designs.
The Srikalahasti style of Kalamkari was actually seen as paintings in temples
of the coastal region of Andhra Pradesh. She wanted to revive the magnificence
of this ancient art form of mythological exuberance in fashion.
She did not want to disturb the ethnicity of the Kalamkari craft.
She did not want to disturb the ethnicity of the Kalamkari craft.

But she had definitely added a touch of contemporary flavor in a
proportionate ratio keeping its classic grandeur intact while stitching it
according to the demands of the present times. In blending of different styles,
her collection showcases glimpses of Renaissance in the silhouettes and sartorial technique.
her
collection is not only inspired by Kalamkari form of art but it is also an
individual attempt to lend this almost extinct and obscure but beautiful
handmade artistic template a recognition at wider platform. So what began as an
inspiration ended being a promotion of an artistry nearing an unfortunate
closure. Fashion she believes is about experimentation in resurrection and this
is what she intended to achieve.
The prints of Kalamkari were given prime importance in her designs. She attired
it with lots of French laces, Georgette coupled with lavish velvet cut work
borrowed from the Renaissance period. In order to credit a heritage touch, she
colored her ensemble in shades of deep red, gold, Persian green and rust.
Traditional kundan and metal work on brocades of Banaras and chiffon added
a sensuous quality to the fabric and texture of her creation.
So this
is all for the research I have done on kalamkari. I hope u all liked it and I also
hope it will help some of you to understand this beautiful handcrafted art form
more. So this is the last post for my blog journey of kalamkari through my pen.
Thank you






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