Kalakshetra Saris

The Initial Weaving Centre of Kalakshetra was established on September 19th, 1937. It comprised of only one loom, in a thatched shed, on the Theosophical Society grounds at Chennai.

More looms were added over the years and in 1954 with the assistance of the All India Handicrafts Board a spacious building was constructed to house the weaving centre in kalakshetra. The building was highly favoured for its architecture as it had high roofs to accommodate the height of the loom, with plenty of light and air for the weaver to work efficiently.

This was opposed to the cramped spaces the weavers usually worked in. The building was designed by F.B.Pithavadian of Prynne, Abbot and Davis, who were well known architects.

Venugopal, the foreman at the weaving centre of Kalakshetra, was only 7 years old when the first loom was brought in at the Theosophical Society Grounds.

His entire family, consisting of his father, Balasundara Mudaliar, his mother and his brothers Subramaniam and Perumal, along with another weaver, Damodara Mudaliar, were the first weavers brought to Kalakshetra.

Rukmini Devi challenged their skills, as they were only comfortable weaving standard designs

Presently there are no foreman, there are only master weavers.

The Kalakshetra sari designs were formulated by Rukmini Devi through an inner response to particular motifs and colours which were deeply traditional in character. The only criterion applied to any design was that it should be Indian in character and aesthetic in colour and balance.

Rukmini Devi used to design her own saris suggesting certain colours and borders for plays in kalakshetra. Sometimes when colours clashed and did not seem right on stage she had no qualms about ripping it all up and starting again from scratch.

Old designs were cumulated from Kanchipuram, Kumbakonam and other handloom centers of Tamil Nadu. An existing motif would be taken up, pruned down to its essentials and embedded like a jewel in appropriate setting

Traditional colours which stirred the senses, for example a true deep purple, a golden yellow,or the reddish glow of a sunset, were transformed into rich woven silks, with an unmistakable Indian identity. New motifs were added to provide freshness to jaded layouts. The saris, even though based on traditional South Indian patterns, were hence very different in the colour combinations and design layouts, and became honored for their sophistication and elegance.

The Weaving Centre at Kalakshetra, started with a purely utilitarian motive to support the dance, soon grew into an independent activity, and gained recognition for its contribution in the field of traditional textiles. The popularity of the Saris flourished and came to be known as Adyar Saris or Kalakshetra saris.

A catalogue of traditional Indian designs was maintained and many saris using the designs in a skillful blend of colours were produced over the years which came to be known as the Kalakshetra sari.

Ultimately, the Adayar saree designs were so popular that they were copied by many traders across handloom centres 

A Kalakshetra Sari from the voice of fashion