ASHDEEN OPENS HIS REPOSITORY OF ANTIQUE PARSI TEXTILES, BOOKS AND DRAWINGS FOR AD.

Ashdeen Z Lilaowala is known for his research, revival and contemporisation of the Parsi gara but few know that he is also an author and an avid collector of antique heirloom Parsi crafts.

- ANUSHUTI KRISHNA

While his book, Threads of Continuity: The Zoroastrian Craft of Kusti Weaving, documents the significance of the kusti, his extensive archive of the Parsi crafts includes saris, borders, books and drawings. AD visits his Noida workshop to witness the collection.

Parsi embroidery, explains the designer, has its roots in the Indo-Chinese trade: Indian Parsis travelling to China brought embroidered fabric back home, and the Parsi women began wearing it on their saris. With time, the work became more attuned to the needs of the Indian consumer and Parsi gara (above) got its own identity but oriental influences remained.

The lilac silk sari with a typical kor and pallav—border and palla—is a fine example of this amalgamation. The top row, with smaller and rounder paisleys, reflects the Indian ambi, while the bottom row, more rectangular, with petals at the bottom of the motif, signifies the seat of the Buddha. Most pieces, says Lilaowala, have similar references to nature and cultural elements.