Indian royal families have come together to protect local crafts through this exhibition

It has never been more relevant, and urgent, to preserve the past for the future. 2020 has magnified the need to not just revere that which is time-honoured, but also commit to its longevity. This mindset is echoed in the mandate of The Karkhana Chronicles—a trio of installations in Indian palaces and forts meant to encourage a dialogue on the sustenance of Indian textiles—that launches today. Endorsing and driving the cause is a trinity from erstwhile Indian royal families: Maharani Priyaraje Scindia of Gwalior, Yuvraj Chaitanya Raj Singh of Jaisalmer and Jema Akshita Manjari Bhanj Deo of Mayurbhanj.  

Not only do the three families have historical ties, but have been equally focused on bringing contemporary relevance to their spaces and legacies, while honouring their traditions. Their respective foundations to promote the arts, culture and textile trails of their districts makes this an even more likely alliance. With the devastating impact of the pandemic serving as a catalyst, the concept for The Karkhana Chronicles was developed in tandem with social impact agency, Purpose.

“There is a growing need for cultural exchanges that move from the bottom up in India. More importantly, these need to happen outside of metropolitan cities,” says Bhanj Deo. “Our campaign draws parallels between historic properties and their age-old ties with the karigars. The idea is not just to promote the region’s textiles and handicrafts but also to learn about the local communities.” While each family chose a craft closely linked to their cultural legacy, they all set out with a common mission: to invite patrons to view textiles as works of art, and with the same pride and fascination as they do historical monuments.

In Gwalior, the conversation is about Chanderi weavers, an industry the royal family has long championed. More recently, they have enabled design interventions by collaborating with the likes of Rahul Mishra, Sanjay Garg, Fabindia and the FDCI. ‘The Woven Crown’ showcase at Jai Villas Palace’s HH Maharaja Sir Jiwajirao Scindia Museum brings forth a collection of Chanderi fabrics, saris and dupattas and angarakhas worn by the present and former rulers; while also highlighting the Shindeshahi pagdi—ceremonial pagdis worn by Scindia Maharajas, made using stretched cotton Chanderi. “For years, we have been working on the state’s infrastructure, and with national ministries to help artisans gain access to schemes the government already has in place for them,” explains the Maharani. “Through this campaign, we get to rewrite the cultural conservation of our memories and the weavers’ stories with renewed passion.”

At Jaisalmer Fort Museum, you will witness an installation inspired by indigenous communities, conceptualised along with third-generation textile artist Santosh Rathi. So you have a cloak made of pattu paired with local cotton dhoti pants, and a traditional turban made from locally-sourced ajrak. “The bright geometric patchwork quilt on the floor and backdrop is called ralli work—an upcycled quilt made by sewing several layers of old fabrics, with an upper layer of new cotton,” adds Singh. “The elements come together to highlight everyday pieces worn by the karigar community, and have then been flourished with local silver jewellery. They highlight Rajasthan’s intricate and diverse artistic spirit and identity, formed by years of being part of the Silk Route metropolis.”

Mayurbhanj is the home of Odisha’s phuta sari. So naturally, the installation at Bhanj Deo’s ancestral home Belgadia Palace, highlights this indigenous weave, along with kacha (the Santali tribal sari drape) and dokra jewellery. Bhanj Deo with local designer Lipsa Hembram of Galang Gabaan, who works with the state’s tribal kotpad fabric, and also modernises her native Santal phuta sari. “Tribal art and culture is missing from mainstream discourse in the fashion industry,” according to the princess. “So, we wanted to conceptualise a garment installation that spoke of Lipsa’s heritage and Mayurbhanj's vibrant culture. In fact, we had to call in her parents to learn the precise draping of the sari!”

Bhanj Deo hopes to take all three installations to different parts of the country, and work with families and palaces from north-east and south India as well. The next phase is to include nationwide historic properties and iconic landmarks to connect consumers to local artisan clusters; document dying art forms; and facilitate residencies, academic collaborations and design innovations. “The need to preserve the histories and stories of our communities in this fast-changing world is dire,” she signs off.

The respective museums and palaces will house the exhibits till January 31, 2021. You can also view the installations here

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