Ajrakh is a form of block-printed textile traditional to the Dhamadka region in the Kachchh district of
Gujarat since the 16th Century. Its double-sided print is distinct because of its blue, red, black, and white handcrafted floral and geometric designs which are carefully aligned. The craft’s origin, continuation, and evolution are attributed to the Khatri community, native to Sindh. The use of natural ingredients such as indigo and maddar for dyeing gives a rich jewel tone to the fabric. The textiles are also renowned for their slow, complex procedure leading to highly refined cloth. Ajrakh artisans are extremely precise and skilled, who develop highly intricate designs.
The term ‘Ajrakh’ is said to be derived from an Arabic word for Indigo-- ‘Azrakh’. It is also deciphered by the locals to stand for a starry night sky, owing to the usage of white in the design which imitates constellations. Another origin story that the locals like to tell is of a Sindhi King who liked the Ajrakh design on his bedspread so much that he told his servant not to replace it by saying “aaj rakh”, meaning “keep it today”.
Significance
This is one of the oldest known printing techniques, therefore, the craftsmen do not need to use electricity for it. The dyes are all made from natural ingredients, often found in the area. This means that its carbon footprint is little to none. Made from durable material and is printed with ethnic motifs makes it a sought-after fabric globally. Due to this, Ajrakh is becoming an increasingly important trade for the locals. It has also become an integral identifier of the Khatri community, who have been involved in the trade for 8-9 generations.
Nature is of great significance in Ajrakh as demonstrated by the choice of the colours. Traditionally, the darker colours being used to represent different aspects of nature. The bright red is associated with earth and red soil and the indigo blue is associated with twilight. The contemporary designs use more colours like shades of yellows, browns, and oranges.
The significance of the fabric is also dictated by who wore it. Originally, the Ajrakh artisans were brought to India by the royal family who insisted that they make clothing only for them. This made the already attractive fabric more desirable and added to its sense of complexity and mystery.
Ajrakh fabric continues to have an impact on the latest fashion. There are between twenty five to thirty traditional ajrakh patterns, however there is a large repertoire of ajrakh prints. These prints have been influenced by various other cultures and people. Aspects of the original ajrakh designs like islamic hanso borders and kungri floral designs are combined with designs made by various modern designers as well as those drawn from other significant historical motifs, mainly from Western India. These prints are sold within the country as well as international like in Canada, the United States of America, UAE, Italy, Nepal, Singapore, and Mauritius.
Ajrakh and block prints are also produced for India’s top fashion institutes-- National Institute of Design (NID) and National Institute of Fashion Technology (NIFT). Due to this, artisans get a chance to work closely with many designers, which leads to ajrakh appearing on elite runways in Mumbai and Delhi Fashion Weeks. Designers such as Aneeth Arora, who have worked with ajrakh artisans are actively trying to bring the prints into the mainstream and change the way the fabric is viewed. The current perception of it is that ajrakh is just a local, ethnic fabric. But, Arora attempts to showcase how it can also be high fashion and belongs on this runway. Her brand Péro features it heavily and she has made a considerable impact on the fashion industry by also winning fashion funds from Vogue.
