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VIJAYAPUR1

2ACKNOWLEDGEMENT We extend our heartfelt gratitude to all those who contributed to thecreation of the craft documentation book on Lambani Embroidery ofVijayapura, Karnataka. Without their invaluable support, thisproject would not have been possible. Special thanks to the artisansSeema Kishore and Asha Patil and craft practitioners whose talentand passion bring life to the contents of this documentation. Yourcommitment to preserving and sharing traditional crafts of LambaniEmbroidery is truly commendable, and we are honored to featureyour work in this publication. We would like to express our mostprofound appreciation to Ms. Mallika Dabhade Samant, Faculty forCraft Research and Design, for her guidance, expertise, andunwavering support throughout the entire process. Her insightfulfeedback and dedication have immensely enriched the content of thisbook. We are also grateful to the Principal Dr. Garima Bhalla andCourse Coordinator Dr. Yogesh Bokil for generously providingsupport that has been instrumental in bringing this vision to fruition.Furthermore, we would like to acknowledge the contributions ofeveryone who lent their time, knowledge, and skills to this endeavor.Your dedication and enthusiasm have been invaluable. Last but notleast, we extend our heartfelt thanks to our families, friends, andloved ones for their unwavering encouragement, understanding, andpatience throughout this journey. Your support sustained us duringthe challenging times and made the moments of success even moremeaningful. A big Thank to everyone who played a part in makingthis craft documentation book a reality. All the contributions willleave a lasting legacy, inspiring future generations to appreciate andcelebrate the rich heritage of the traditional craft of LambaniEmbroidery.

Since 1998, the School of Fashion Technology, popularly referred to as SOFT,has served as a hub for design practice, instruction, and research. In associationwith Pearson and SNDT Women's University in Mumbai, SOFT has beenworking for several years to offer its students high-quality education and careeropportunities in the fields of sustainable fashion, interdisciplinary courses,fashion and textile design, fashion communication, and jewellry design. TheSchool of Fashion Technology at MKSSS is dedicated to developing into aglobally recognized and socially aware fashion organization that empowerswomen via education. The School of Fashion Technology at MKSSS is dedicated to offering anenriching experience for all of its stakeholders. To this end, it provides input ofconscious quality and governs the necessary output to meet industrial andsocietal circumstances to the best of its ability. In addition to traditionalacademics, SOFT has been extensively involved in a variety of crafts,exploration, and development. Craft documentation is the process ofinvestigating, examining, monitoring, and experiencing the craft of a specificIndian location and recording it so that future scholars, designers, and studentscan use it as an asset and source of knowledge. For their craft documentation,SOFT's third-year fashion design students decided to travel to Vijayapura,Karnataka. The students researched hand-embroidered crafts at the resourcecenter. The students looked up hand- embroidered crafts at the resource center. Thestudents were motivated to learn and advance the subject through the"Lambani" craft. Two well-known Lambani artisans, Seema Kishore and AshaPatil assisted the students with their organisation in craft documentationthrough communication. The following document contains information onLambani, Karnataka, in addition to students' experiences and compliancesabout the Lambani craft. It includes extensive information about thecraftsman, the craft, the supplies, the equipment, and—above all—the stepsinvolved in creating Lambani. The students are grateful to everyone whocontributed to making this project practical because they had rewardingexperiences while working on it. 3PREFACE

Welcome to the world of Lambani craft, a timeless tradition woven into thecultural fabric of India. Within the pages of this documentation book, you'llembark on a journey crafted by the hands and hearts of fashion designstudents deeply passionate about preserving and celebrating the rich heritageof Lambani. Lambani is not merely a craft but a testament to the skill,patience, and artistic flair of generations past. Originating from the quainttown of Bijapur (Vijayapura now) in Karnataka, India, this craft hastraversed through time, leaving behind a legacy of vibrant colors, intricatepatterns, and unparalleled craftsmanship. As students of fashion design, werecognize the significance of embracing and revitalizing traditional crafts likeLambani. In our pursuit of knowledge and creativity, we embarked on aquest to delve deeper into the essence of Lambani, unraveling its techniques,understanding its symbolism, and exploring its contemporary relevance.This documentation book is the culmination of our endeavors—a labor oflove meticulously crafted to serve as a beacon of inspiration for enthusiasts,artisans, and scholars alike. Within its pages, you'll find a treasure trove ofinformation, from the history and evolution of Lambini to detailed insightsinto its production process, motifs, and regional variations. But beyondbeing a mere compendium of facts and figures, this book is a testament tothe enduring spirit of craftsmanship. It honors the hands that weave magicinto every thread, the minds that conceive intricate designs, and the heartsthat beat with passion for preserving our cultural heritage. We extend ourdeepest gratitude to the artisans and practitioners of Lambani whogenerously shared their wisdom and expertise, enriching our understandingand igniting our passion for this timeless craft. Their legacy lives on throughour commitment to safeguarding and promoting the art of Lambani forgenerations to come. May this documentation book serve as a guiding light,illuminating the path for future enthusiasts and ensuring that the legacy ofLambani continues to flourish in the tapestry of our cultural heritage.With warmth,Fashion Design Students4PREFACE

MOOD BOARDCOLOR BOARDSTYLE BOARDSTORY BOARDMOTIFDEVELOPMENTDESIGN DEVELOPMENTFINAL LINEUPTECHNICAL SHEETSTHE TEAMPHOTOSHOOTCREDITSCONTENT1314151617COLORSUSUAGE TOOLCULTURALSIGNIFICANCEREVIVALCOMMUNITYDESCRIPTIONEFFECTS6789101112131415181920212223INTRODUCTIONORIGINSTORIESSTITCHES & TECHNIQUESMOTIFS 12345GI TAGGING AN GEOGRAPHICAL LOCATION INTERACTION WITH ARTISANSINSPIRATION BOARD5

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Lambada embroidery (lambadi embroidery, Lambani, SandurLambani embroidery, Banjara embroidery, lepo) is the art ofembellishing clothes, practiced by the Banjara, a tribe in Sanduru,Bellary, and Bijapur in Karnataka, and Hyderabad in Telengana.Lambada embroidery consists of a combination of patchwork,appliqué, beadwork, and embroidery. Women wearing brilliant red, heavily embroidered traditionalattire, are part of the everyday landscape of Lambani homes andpeople. But their love for colour and ornamentation is notrestricted to just clothing. The Lambanis also have multiple colourson the walls of their homes, sometimes with an addition of free-style art7

ORIGIN8

The exact origin of Lambani embroidery is not well-documented, but it is believed to have evolved over centurieswithin the Lambani or Lambada community of India. TheLambani people, also known as Banjaras or Gypsies, have a richcultural heritage and a history of migration across variousregions of South Asia.It is speculated that Lambani embroidery may have originatedas a form of decorative art practiced by Lambani women toadorn their clothing and household items during their nomadiclifestyle. Over time, as the Lambani community settled indifferent regions, their embroidery techniques and designswould have been influenced by the local cultures and traditions,leading to the development of unique regionalstyles. 9

STORIES 10

According to one story, the Lambanis rose to prominence in theMadras Presidency during the rule of Vinayak Dev, the first kingof the Jeypore dynasty. Vinayak Dev ruled between 1443 and1476. During his rule, a group of citizens became unhappy andstarted revolting against his kingdom. However, with the help ofthe leader of the Lambani community, Vinayak Dev was able tonegotiate with his citizens and maintain peace in the area. At thattime, the Lambanis were known as carriers and herdsmen. It issaid that the king was extremely grateful to the Lambani leaderand to demonstrate his gratitude, from that time onwards, theking signed off his name with a wavy line at the bottom. Thiswavy line was thought to represent the rope used by people fromthe Lambani community to drag their livestock around11

There are various theoriesrelated to the origins of theLambani’s . “Some say they aredescendants of the Romanis ofEurope, while others suggestedthey migrated from the Ghorprovince of Afghanistan andsettled in Rajasthan, furthertravelling across India," saysfashion educator and researcherBeena Santosh.Lambanis, elsewhere known as“Banjaras”, who originally camefrom Marwar are semi- nomadicpeople who reside mostly inSouthern and Middle India. Aswith many tribal groups,especially those with a nomadicheritage, there is a moderntendency to either isolate orassimilate. The Banjara women, however, are holding steadfast to theirancient mode of dress, which is perhaps the most colorfuland elaborate of any tribal group in India. The Lambaniwomen practice a unique mirror and embroidery craft, whichthey mostly use for making their own traditional dresses orfor giving to their daughters for their weddings.12

STITCHESANDTECHNIQUES13

Lambada embroidery uses a combination of stitches andappliqué, along with other embellishments. Tribal women usecoins, shells, buttons, cowries, and small pieces of mirrors todecorate their colorful costumes, which include a phetiya (skirt)and kanchali (blouse). The motifs are mainly geometrical, withgrid like patterns. It involves an amalgamation of pattern darning, mirror work,cross stitch, and overlaid and quilting stitches with borders of“Kangura” patchwork appliqué, done on loosely woven darkblue or red handloom base fabric. Lambani embroidery iscommonly mistaken as Kutchi (Kachhi) embroidery because ofmirror work, but shells and coins are unique to this type ofembroidery. Also, the stitches used are different.14

The embroidery is typically done on cotton or silk fabricusing a needle and colorful threads. The designs arecreated using a combination of stitches, including straightstitches, double running stitches, and satin stitches. Themotifs often feature geometric shapes, animals, birds, andfloral patterns.The 14 types of stitches used in Lambani embroidery areKilan, Vele, Bakkya, Maki, Suryakanti Maki, Kans, TeraDora, Kaudi, Relo, Gadri, Bhuriya, Pote, Jollya, Nakra.Products made with such mbroidery have wonderful texturesand a bohemian style, making them very popular withtourists.https://www.youtube.com/playlist?list=PL6ZsJCCcuh1MobopGoOT45Wf...15

BHURIYAJODJOWALAGADRIGOLKACH& MAKKIVELEPHOOLKATRIYAGOMJAL16

MOTIFS17

The motifs of their craft are allrelated to nature as somerecords say that the communitylived in forests in the earliertimes. There’s the millipede,flowers, leaves, also corn, fishand the women’s round nosepin. Lambani embroidery is knownfor its rich and diverse motifs,which reflect the culturalheritage and lifestyle of theBanjara community. Commonmotifs include peacocks,elephants, flowers, vines, andgeometric patterns like squares,diamonds, and triangles.18

COLORS19

Traditionally, Lambani embroidery uses vibrant colors such asred, green, blue, yellow, and white. These colors are oftencontrasted against each other to create visually striking designs.There are 13 colors that aremostly used in Lambaniembroidery, out of which; redand blue are most common. Thebase cloth used is either cottonkhadi or power loom fabric andis also dyed locally, thus workingin harmony with the local smallscale industry. Although most ofthe fabric is dyed using chemicalcolours, vegetable dyes madefrom Kattha, Rathanjot, ChawalKudi, Pomegranate peel etc aregaining popularity.20

USAGE21

Some of the villages aroundHampi, where this craft ispracticedMariyammanahalli, are Kadirampur,Sitaram KeriTanda and Kamalapur. Lambaniembroidery has now reached allover the world with the export ofbed sheets and cushion coversembroidered bags but in subtlecolors heavily in flamboyantcolors remain are a favoriteamong tourists.Sandur Lambani embroidery was granted a geographical indicationin India in 2010.Other than costumes, the artformis used on a variety of productslike cushion covers, bedcovers,wall hangings, and othergarments, and accessories likebags, headbands, belts, etc. AshaPatil and Seema Kishore had onegoal in mind when they foundedtheir brand Banjara Kasuti – torevive the age-old craft ofLambani embroidery that wasslowly dying. With a passion fortraditional art and a vision toempower marginalisedcommunities who had practicedthe craft for long, the twofounded their label in 2017.22

Lambani embroidery is commonly used to embellish traditionalgarments like saris, blouses, dupattas, accessories , shrugs, and otherethnic wear. It adds a unique and intricate touch to the attire, making ithighly prized and sought after.23

TOOLS24

In Lambani embroidery, mirrors, cowrie shells, and coins arecommonly used as embellishments to add texture, shine, and culturalsignificance to the designs.Mirrors (Abhla): Mirrors, also knownas "abhla," are a prominent feature ofLambani embroidery. They are typically small, circular mirrorsthat are sewn onto the fabric usingcolorful threads. Mirros reflect light and add ashimmering effect to theembroidery. Additionally, they holdcultural significance, believed to protect against evil spiritsaccording to Lambani tradition.Cowrie Shells: Cowrie shellshave been used in adornmentsand textiles for centuries,including in Lambaniembroidery. These small, shell-shaped shells are often sewnonto the fabric individually or inclusters, adding a tactile elementand a sense of natural beauty tothe design.25

Coins: Coins are another traditionalembellishment used in Lambani embroidery.They can be sewn onto the fabric using colorfulthreads, often in patterns or rows. Coins not onlyadd visual interest but also symbolize prosperityand wealth in Lambani culture.Fabric: Traditional Lambani embroidery isoften done on cotton or silk fabric,although modern interpretations may useother materials as well.Thread: Colorful threads, often in silk orcotton, are used for stitching. Lambaniembroidery is known for its vibrant andcontrasting colors.26

CULTURAL SIGNIFICANCE27

“The mirrors reflecting light in the dark, and the brightcolour outfits, easily visible from far away, were some ofthe means of protection adopted by the community thatlived in the wild,” explains Kishore. It’s the workshop ofthe not-for-profit social enterprise Lambani thatemploys the rural women of the Banjara or the Lambanicommunity, also called the gipsies of India. Beyond its aesthetic appeal, Lambani embroidery holdscultural significance for the Banjara community. Itsymbolizes their identity, heritage, and skilledcraftsmanship, passed down through generations.28

REVIVALEFFECT29

In recent years, there has been a renewed interest in preservingand promoting traditional crafts like Lambani embroidery.Various initiatives have been undertaken to support artisans,revive traditional techniques, and introduce these crafts to a wideraudience.30

COMMUNITYDESCRIPTION31

Lambani embroidery is deeply intertwined with the Banjaracommunity, a nomadic tribe with a rich cultural heritageoriginating from the Indian subcontinent. Here's moreinformation about the community:1. Nomadic Lifestyle: Historically, the Banjara community led anomadic lifestyle, traveling long distances with their herds ofcattle, sheep, and camels. They were known for their mobility,adaptability, and resilience in harsh environments.2. Cultural Diversity: The Banjara community is not homogeneousbut comprises various subgroups with distinct customs, dialects,and traditions. Despite this diversity, they share common culturaltraits, including a strong sense of identity and community.3. Artisanal Skills: Banjara people are renowned for their artisanalskills, including embroidery, mirror work, beadwork, and otherforms of craftsmanship.Lambani embroidery is one of the mostnotable expressions of their artistic talent and cultural heritage.4. Social Structure: The Banjara community traditionally had ahierarchical social structure with a chief or leader overseeingvarious clans or groups. Each clan had its own customs, rituals,and occupational specialties, contributing to the community'soverall cultural mosaic.32

GI TAGGINGAND GEOGRAPHICALLOCATION33

Lambani embroidery originates from the nomadicBanjara tribes of India, particularly from the stateof Karnataka. Kasuti embroidery is characterizedby intricate patterns stitched mainly on sarees,dress materials, and other garments. Thegeographical region associated with thisembroidery style includes areas around Hubli,Dharwad, and Bijapur in Karnataka, but it hasgained popularity across India and internationally.Vijayapura, also known as Bijapur, is indeedassociated with Kasuti embroidery. It is one of theareas in Karnataka where this traditional embroiderystyle is practiced and appreciated. It’s the workshop ofthe not-for-profit social enterprise Lambani thatemploys the rural women of the Banjara or theLambani community, also called the gipsies of India.Back in the time of the Mughals, they were travellingtraders, selling grains and spices across regions. Somerecords say that they moved to the south of India foran assignment for the Mughal king Aurangzeb. 34

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But over time, as their traditional business became redundant,they had to migrate to different parts of the country for six toeight months a year to cut sugarcanes, harvest grapes or workas road construction labourers. The women’s rich craft, their embroidery with which theydecorate their colourful ghagra cholis with as many as 23stitches was slowly being forgotten as well. The wives had toaccompany their husbands for arduous jobs, living indifficult, unhygienic conditions, and leaving their childrenbehind in the care of their ageing grandparents. At work, itwas hard to wear a heavy ghagra and choli with a dupattaembellished with several metal coins, heavy metal jewellery,and different kinds of stitches The Lambanis do not draw any patterns on clothes beforeembroidering it. The pattern emerges organically, sometimes,by three or four women working on the same skirt or ablouse. A few of their stitches are also quite unique. The JodMuhiya in their dialect Gormati is a very fine stitch, whichlooks like a row of two crossed squares and straight stitchesrunning on the top and the bottom on alternate rows. TheChale Chundri looks like a three-triangle leaf, the Tacha isdiamonds dotted on each corner and Teka looks like a veryfine plait.The motifs of their craft are all related to nature as somerecords say that the community lived in forests in the earliertimes. There’s the millipede, flowers, leaves, also corn, fishand the women’s round nose pin36

The Lambanis do not draw any patterns on clothes beforeembroidering it. The pattern emerges organically, sometimes, bythree or four women working on the same skirt or a blouse. A fewof their stitches are also quite unique. The Jod Muhiya in theirdialect Gormati is a very fine stitch, which looks like a row of twocrossed squares and straight stitches running on the top and thebottom on alternate rows. The Chale Chundri looks like a three-triangle leaf, the Tacha is diamonds dotted on each corner andTeka looks like a very fine plait.37

INTERACTIONWITH THEARTISANS38

Every design student gets the golden opportunity of exploringvarious Crafts of India once under their undergraduate degree.Two major factors that influenced us to take up Lambaniembroidery is, the sheer interest to learn their craft and witness theuniqueness and preservation of an ancient and endangeredcommunity. On our short visit to Vijayapura, Karnataka welearnt who the lambani people are and what they do. Theirextreme hospitality and interest in our lives made us feel warmand welcome to their community. The Lambani women embroiderat least one or two Lambani costumes, in their lifetime. Thisgarment is also passed on through generations. Each of thesecostumes cost from around ₹60,000 - 1 lakh each for their intricateembroidery and precision of work. These embroideries areextremely colourful andheavytowear. In a nutshell we learnt andhad an amazing time with the artisans.39

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Inspiration Board43

Mood Board44

Colour Board 45

Style Board46

Story Board47

Motifs48

Motifs

DesignDevelopment50

Final Lineup51

Specs SheetSNEHA BHARTI52

Specs SheetAHONA GHOSH53

Specs SheetRAJSHREE CHATI54

Specs SheetKSHITIJA GHEGADE55

Specs SheetSAKSHI PATIL56

Specs SheetARCHI SINGH57

Specs SheetAALIYA EJAZUDDIN AHMED58

Specs SheetARADHANA59

Specs SheetASHIKA BHOJWANI60

THE TEAM61

62@banjaranakshiNEW POSTPHOTOPHOTOVIDEOVIDEOPORTRAITPORTRAITCAPTURING THE BEAUTY OF AUTUMNCAPTURING THE BEAUTY OF AUTUMNSLOSLOMORMORCOLLECTION

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Aaliya EjazAhona GhoshAradhana JhaArchi SinghAshika BhojwaniKshitija GhegdeRajshree ChatiSakshi PatilSneha BhartiTEAM 64

Craft Organizers: Ahona Ghosh, Sneha BhartiResearch: Ahona Ghosh, Sneha Bharti,Rajshree Chati, Kshitija Ghegade, AshikaBhojwani, Archi Singh, Aradhana Jha, AaliyaEjaz, Sakshi Patil ( All)Layout: Sneha Bharti, Ahona Ghosh, RajshreeChatiWrite up: Ahona Ghosh, Sneha BhartiMotifs: AllFinal Design: AllPattern Making: AllBoards: Sneha Bharti, Rajshree Chati, KshitijaGhegade, Archi Singh, Aaliya EjazDockets: AllArtisan interviews: Ahona Ghosh, Rajshree ChatiPhotography: AllVideography: Ahona Ghosh, Rajshree Chati,Aaliya Ejaz, Kshitija Ghegade, Ashika BhojwaniPicture Sourcing: : Ahona Ghosh, Sneha Bharti,Rajshree Chati, Kshitija GhegadeCREDITS65