Kalamkari peacock motif
with Mangalgiri kalidaar
Spoken for
My first trip to Sri Kalahasthi in Andhra Pradesh was in the first year of Mora, i.e. 2009. Completely naive to textiles, I was fascinated by the elaborate process that goes into making natural Kalamkari textiles.

The painting in Kalamkari is a process of resist dyeing by creating a relationship between the mordant, dyeing agent and tannins to bring out variation of colours. Beautiful motifs range from floral, animal and bird patterns to elaborate story telling of mythology from Ramayana, Mahabharata and Bhagwad Gita.

They are brought out by using natural mordanting and dyeing resources like cow dung, jaggery, buffalo milk, alum, myrobalan, mango bark, madder, lime, indigo plant, wood of tamarind tree and many others.Days of soaking, fermentation, boiling creates a relationship between the cloth and the dyes.

Kalamkari artisan works with experienced hands in the most fascinating science workshop lending colours to cloth, layer by layer.

Buyer Empowerments

Involves traditional handloom weaving and skilled stitching skills to bind a multi-pleat Kalidaar.
One of a kind wearable textile that highlights the craftsmanship of Kalamkari, set in contrast with bold colours that form the essence of Kalamkari craft.
Weather/ Mood
Pleasant for summers
Not fragile
Dry Clean only; Needs “Airing” in shadow, not direct sun
With Reverse-side finishing- no fall/beading required- ready to wear. Unstitched blouse fabric included.
Kalamkari crafted on mulmul. Mangalgiri cotton for Kalidaar- source of dye unknown.
Grassroots production of Kalamkari. Slow production.
Celebratory, Elegant, festive, flow-y, celebrating Indian classic form. Evokes swirling.
Kalamkari by Subbarao, Sri Kalahasti.
Cotton yarn from Salem, Tamil Nadu.
Stitched by Gurmel Singh, Jalalabad, Punjab.
Beadwork by Param, Bhatinda, Punjab.
For photoshoot, I wore earrings by Karmasuthra by Divya Thomas.
Imperfections in the weaves reflect handmade
Irregularity in the dyes reflect natural process
Innocent spots in the textiles reflect being homemade
A work of nature cannot be sterile and error-free
A choice to still buy what we make is a step
Towards supporting original culture
Of people
Of nature
Of craft

A celebration of humanness.
Mora Collective 2024
designed by: MIDTOAN