Katra ni Sari

Patchwork of handloom cottons with back strap loom weaves in Pallu
Spoken for

This sari is joined as steadfast stitch of many panels. Each panel is lined with a striped edging subtly bringing out the intricate stitching involved in making a sari like this. While retaining the casual, nonchalant appeal of the sari, I added back strap loom weaves in the Pallu as the final touch.

The pallu is a continuous patchwork of smallest textile pieces bound together into vertical striped patches giving the sari a natural gravity towards a drop down drape. The reverse living of the Sari is a pin-tucked print to lift up the spirit of blues in this Sari.

About Stitching of Saris:

In 2009, when I was acquainting myself with textiles across the country, I realised how much textile waste is created as “damaged or injured” saris. While the endeavour of the handloom industry is to support the weavers and the traditional weaves, one has to make rather very small human errors in the weaves for them to be discarded as damaged. This bothered me very much.

So, the beginning of Mora was based on the decision of creating a design solution that can accommodate any shape and size of textiles, that would otherwise make it to waste hills. This decision gave me the confidence that the purpose of textile waste management is an essential aspect of Mora design. I needed to not only look at waste with different eyes in our own workshop, but create a prototype that can enable others to look at it differently too. This made me choose Saris that could be stitched! Over, few months, dupattas stoles and shawls started to emerge too and Mora was born.

A constant has been kept alive where the workshop is handled by my dear mother, who has given tangibility to this vision. She meticulously manages and segregates each smallest piece of fabric scrap that appears in the process of stitching and those become our gold mine to cull out wonders from!

We have also enabled purchases from weavers across the country of many injured and damaged saris at an equivalent price to its “good” counterpart. These purchases make my heart glow where the weaver is released from the worry of sale of products they find hard to sell. This step may not yield “great impact”, but it is my way of expressing that a small change in the way we look at textiles can accommodate inclusiveness for all that we must begin to start looking at. This is my way to express how marginalisation, discrimination, inclusion, exclusion, resource management, wastefulness works at a larger scale.

Buyer Empowerments

Diverse cotton fabrics bound together into a sari along with back strap loom weaves in the Pallu.
One of a kind wearable textile where Up-cycled textile remains of injured, reject textiles are contextualised with subtle use of back strap loom woven border narrow panels. A subtle representation as a prototype of what potential resides in the dormant textile scrap when seen with fresh eyes.
Weather/ Mood
Pleasant: not warm not cool.
Not fragile
Dry Clean only; Needs “Airing” in shadow, not direct sun. Do not wring.
Sari is ready to wear. All saris come with blouse fabric(s). No fall/ beading required. The blouse used in photoshoot is for representation only and may not be the same blouse available with the sari. The blouse fabric given with the sari will be more in alignment with the aesthetics intended.
Few fabrics mill spun mercerised cotton yarn with Azo-free dyeing. Other sourced fabrics, soul of yarn unknown.
Casual, fun, light-hearted, modern
Slow production. Fabric scrap Up-cycling to reduce textile waste.
Back strap loom weaves are made in support of the ancient loom and the weavers who have carried forward the lineage.
Solidarity with weavers of Nagaland- grassroots rural home production.
Upholding stitching as a necessary yet disappearing textile skill.
Back strap weaves woven by weavers of Nagaland.
Patchwork management by Madhu Mittal.
Stitched by Gurmel Singh, Jalalabad, Punjab.
Beadwork: Param, Bathinda, Punjab.
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