When Kolkata-based textile designers Bappaditya Biswas and Rumi hit the rural route in 2002 to work with traditional weavers of West Bengal, they discovered that when it comes to versatility there’s nothing quite like the humble handloom. They gently pushed the frontiers of design and came up with an all-new spin on traditional weaves, and today, copycats call them the “Bailou” saris! Making it a win-win situation for themselves and the weavers, Bailou that began with two looms has a network of over a thousand looms across the State. Their signature jamdanis, saris with sheer pallus or inventive sequins weaving and warp printed techniques can be spotted on the red carpet, on the big screen and in Parliament.
Excerpts from an interview with Bappa (as he is referred to in the textile circuit), who is in Chennai for a two-day exhibition beginning on Friday at Usha's Gallery, Dr. Thirumurthi Nagar, Nungambakkam.
What does Bailou mean? What made you focus your attention on traditional weaves?
Bailou reflects the spirit of expression. A name can bind you to a certain region or space. But we wanted our brand to have an identity of its own. Our vision was to keep traditional skills alive, create fresh textures, experiment with the structure of weaves and evolve a new language in design. Most designers are involved only with surface embellishment. Few create a solid base for weavers to nurture and further their skills. That’s exactly what we set out to do.
The way Bailou has worked with weavers is a model for others to follow. How have you managed to sustain the weaving community and succeed in your business as well?
To bring about change, you have to delve deep into history, tradition and the way of life of the weavers. When we started out, we used to take the first train to the village and the last train back. We purchased a plot in the village, spent time in the loom, worked with the weavers and showed them what we wanted. But our ideas were so radical. It took a while for them to realise the market was open to fresh takes on tradition. Gradually, they started believing us. Also, designers leave a group once they complete a collection. We stuck around and continued work with weaver groups directly. We made them entrepreneurs to instil a sense of accountability and pride in what they do. The idea was to make them create products that people love to buy, and not because they want to HELP. Besides design, our USP has been our price points and quality. In order to sustain the looms, we work with a need to roll our capital quick enough to give more assignments to the weavers.
How open are traditional weavers to contemporary tastes?
Once you earn their trust, there’s no resistance. As long as the changes suggested are within the boundaries of their skill, there is no problem. We guide and update them on market demands and what it takes to adapt to the changes.
What kind of R&D work is involved?
We start from the yarn stage. Innovating and experimenting with yarns, weave structures and also loom parts. That’s how the Bailou look evolved. When it comes to design, there’s space for spontaneity. We also stumbled upon some big innovations through mistakes! We refer a lot to history, old textiles and folklore.
Tell us about your association with the Crafts Council of India.
The Crafts Council of Delhi was the first platform from where we showcased our experiments. From then on, we have been participating in various shows put up by the different Crafts Councils.
You are from NIFT and your wife is a textile designer from NIFD. How has your respective educational backgrounds helped in shaping Bailou?
Our educational background has been our asset. Also, I feel my short stint as an apprentice at the Fabric Workshop and Museum in Philadelphia, where I got to work with different contemporary artists who used textiles in their art work, made a huge impact on how I view traditional textiles today.
What kind of customer-sensitisation is required to promote and sustain handlooms?
I feel more than customer sensitisation we have to look at what we are offering them as a product. People should buy it irrespective of it being a handloom product. I feel people are much more aware and sensitive these days.
How did the UNESCO Seal of Excellence come about?
The concept of creating pockets with double cloth and slipping in sequins or fabric strips or cut outs into it created quite an impact and it got us the seal of excellence from UNESCO.
Have you done any collaborative work with nationally-know designers?
No we haven’t. I feel they do not understand handlooms the way it works nor do they relate to the lifestyle of the weavers which impacts their craft.
Many celebrities can be spotted in a Bailou creation...
Late Rituparno Ghosh was a great admirer of our work and has used our textile in his films. Aparna Sen, Moon Moon Sen, Tabu and Kiron Kher are other famous people who are regulars. Vidya Balan wore it to the IFFA Awards and Sonakshi Sinha wore Bailou creations in the film ‘Lootera.’ Politicians such as Sonia Gandhi, Priyanka Gandhi, Deepa Dasmunshi, Brinda Karat and Suhasini Ali are the others. Radhika Roy of NDTV is also a huge admirer of our work.
Give details of the collection you will be showcasing in Chennai…
Broadly, there are saris, scarves and dupattas. Bailou’s signature Jamdanis, sequin weaving, traditional cotton nakshas, abirs, linen saris, silk-cottons, various textures in twisted cottons, pompom edged saris for the young, tussars with woven borders, natural dyed Indigo woven saris and printed saris on fine 200s counts khadi will be showcased.
