Kanishka Rawat

Semester 6
TDUG21

THREADS OF TRADITION
Design Project - III
Heritage Textiles
Course Duration: 8 weeks

Course Faculty: Sucharita Beniwal

Year 2024
B.Des. Textile Design
National Institute of Design, Paldi, India
 CONTENT
Introduction To The Course
Understanding The Craft-Ply Split Braiding
Personal Understanding of The Craft
Inspiration
Chosen Direction

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 The rich creative history of India has had many forms of arts and crafts,
changing with the people, region and their culture. India’s craft is what has
built up India’s heritage value. One such heritage craft is ply split braiding,
a craft practice that gained prominence in areas such of Gujarat and
Rajasthan, due to the practising nomadic communities living there. It
became particularly associated with camel belts, showcasing the region’s
unique interpretation of this technique.

To understand the craft as novices, The course began with a field visit to
Barmer, Rajasthan; to visit the camel girth artisans and see & learn the
craft from them. There we met the artisans and their family in their home.
We tried to understand the relevance of the craft from them in terms of their
ecology, economical aspects and the social environment. I personally loved
to know about their lifestyle intricately because it gave such an explaining
context about how and why they were still practising the craft. Visual and
verbal notes were one of the most important parts of the trip. After having a

INTRODUCTION
rapid yet in depth understanding of the craft from the master craftsman
himself, we came back and the class cumulatively shared their learnings
and understanding of the craft from the visit. The next step was to meet
some more designers who are continuing their practice of ply split braiding.
The sessions with them added up to what we had understood already,
making it more refined and precise; also giving the course a more sturdier
direction.

After collecting all of such different views from everyone, we started

practising ply split braiding, starting from smaller samples and moving on to
a more narrowed down range of techniques based on our personal interests
in exploring the materials and techniques. Halfway through the course, we
finalise our concept for our end result which may vary from having a
tangible piece/product to having a visual narrative that responds to the
craft, artisans and technique to working with a simple system for the ease
of artisan, any community or a social intervention; responding to textiles,
ply split craft particularly.

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 Ply-Split Braiding is a technique commonly found in regions of Rajasthan
and Gujarat in India, where it’s been used to make things like camel girths
and animal accessories. Traditionally, men who looked after camels and
goats would make these braids, which often feature intricate patterns and
designs.

Understanding The Craft

PLY SPLIT BRAIDING

(Source: Bandhej; Archana Shah, December 2020. Artisan in Frame: Tejsinh Dhanabhai, Banni, Kutch)

Currently, fiber artists employ the ply-split braiding technique to craft a

variety of handmade decorative pieces, ranging from neckwear and bags to
household decorations, garments, and three-dimensional structures like
baskets and sculptures.
(Source: Homegrown.co; Vaasvat Sarkar, April 2023)

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 The traditional makers of ply split braiding are often found in regions like
Rajasthan and Gujarat in India, where the technique has been passed down
through generations. Historically, men primarily practiced this craft while
tending to their herds of camels and goats. They would create items such as
camel girths and animal regalia using ply split braiding techniques. These
traditional makers have deep expertise in creating intricate patterns and
designs using this method, showcasing their skill and creativity in the craft.

One such finely talented artisan and a master craftsman is Ghenaramji from
Barmer. He lives in Mewaniyo ki Dhani named after Mewaramji- their
grandfather, a small residence for their family a mere 30 away from the
central part of Barmer. He is 65 year old and has been practising the craft
ever since he was a child, as his father also used to do it. His brother,
Thanaramji and his son also lived with him. Apart from the craft practice
that he continues; he also owns a kirana(grocery) shop in the village.

Traditional Context of Use

TRADITIONAL MAKERS
Ghenaramji; A
Camel Girth Maker &
Ply Split Braiding
Master

Barmer, Rajasthan

(Source: Self-Clicked )

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 They start their day early in the morning at 4 AM and head to bed
by 8-9 PM. Their diet is very simple and extremely regional
consisting mainly of bajra rotla and dry sabzi like panchkoota. They
get fresh milk from cows, goats and camels. During festivals they
make dishes like heeru(sheera J, laapi(laapsi) and pakora. They
also make camel milk kheer. They have 6 female goats, 3 baby
goats and 2 male goats. They get yarn made out of their goats
hairs by the weavers and spinners in the village. They care for
their animals like one would care for their own children. They used
to have camels earlier when there weren’t a lot of financial and
legal issues about keeping camels, as it was the sign of wealth and
pride in their culture. They know a great deal about camel
Camel Belt Done by Ghenaramji
husbandry. While Thanaramji doesn’t practice the craft, he
supports his brother and companies him most of the time. They
don’t do it commercially a lot lately but they do it during their
leisure time. Upon visiting Ghenaramji’s house we also found out
that he used to weave beautiful daris and carpets.

One thing that I found fascinating was that their wives also did
local applique work for sales and their daughter was in Roshni
Foundation working as an embroidery artist. I found it really intere
How each of their family members held onto a craft to pass their
leisure time and to make money at the same time.
.

Thanaramji;
Ghenaramji’s
Brother

An Old Worn Out Camel

Belt Made by Ghenaramji
Patched Up With Saree

(Source: Self-Clicked )

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For ply-splitting, it's important to have
cords with a lot of twists. Since these
cords aren't commonly available
stores, many people make their own. In
the past, they used handspun goat hair,
but now materials like cotton, linen, silk,
rayon, or even rug yarn work well.
Traditional Context of Use
THE PROCESS
For ply-splitting, the main tool used is
called a gripfid, also known as chaabi. It
comes in various sizes, and you choose
one that fits the diameter of your cord.
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Saabi (Chaabi), A Gripfid
A small knotter's fid has an added grip, a
shaft that ends near the point with a vee
that acts as a jamming cleat. For Ply-Split
Braiding the using the point separates
in
plies, and another cord is tucked inside
the Gripfid and pulled back through the
split cord. Although a latch-hook may be
used instead of a Gripfid, the latter is
much preferred. Gripfid is sometimes
Chaaku spelled gripfyd as well, tho in most cases
Pocket Knife To Cut the previous one is preferred.
The Yarn
Modern Gripfid With The Hollow Front;
Made out of Stainless Steel
Ghenaramji’s Traditional Chaabi;
Made Out Of Wood
Goat hair yarn
How A Gripfid Works
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 Khaat weaving is a very taditional
method of creating seating between a
four legged wooden frame, creating a
traditional seat to lounge or sleep in;
called khatiya or khaat. Similar to ply-
split braids, both techniques require high
twist yarns for durability and strength in
the final product. These yarns are crucial
for maintaining the integrity of the weave
or braid, ensuring it can withstand
tension and use over time.

Khaat Weaving
Traditional Context of Use
Appliqué of Dhanau
The appliqué work of Dhanau,
Rajasthan, involves the
intricate art of layering and
stitching fabric pieces onto a

OTHER CRAFTS base fabric to create vibrant

and detailed designs.
Traditional motifs and patterns
are often used, reflecting the
cultural heritage of the region.
Woodwork of Barmer

The woodwork of Barmer, Rajasthan,

is characterized by intricate
carvings and vibrant colors. Skilled
artisans use local woods like mango,
neem, or sheesham to create
furniture, decorative items, and
architectural elements. The designs
often feature geometric patterns,
floral motifs, and traditional
Rajasthani motifs, giving it a very
luxurious look.

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 Traditional Context of Use
COLLECTORS
Shown above in picture is an interesting adornment called
Ghorbandh. Traditionally seen as a decorative piece for
camels; It is a type of harness or strap used to secure
loads on a camel's back. It typically consists of sturdy
ropes or straps that are wrapped around the camel's body
to hold cargo in place. This harness is essential for
ensuring that the load remains stable and balanced during
transportation.
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We got the opportunity to see this fantastic piece at
Antique collector Kheemraj Nandalal Raathiji’s home.
This was a recent piece with a lot of white plastic buttons
used to decor the Ghorbandh. It Consisted of 3 different
pieces, that made an set: Jhoolan(swinging belt) for the
back, A big web like structure that coveres the camel’s
front legs and chest- Ghorbandh; and a choker-like neck
piece.
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 colourful Ghorbandh with mirror The Choker neck-piece from the Camel Saddle, Made out of heavy
work done. Decorated with a lot of set. metal; and a camel belt put over it.
coloured plastic buttons.

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 After The Field Visit, We had the
opportunity to meet a couple of
wonderful Ply split artists. The
sessions were oriented towards
learning various techniques and
processes from them. We got to know
about how they got introduced to the
craft, What was their initial response
to it, How did they come to imbibe it in
their lives and what was their key
learning about the craft. All of them
have been doing intensive research on
ply split throughout their lives. We
also were fortunate enough to see their
Understanding bodies of work. Here is a list of the
master craftsmen that we had classes

THE MASTERS with:

Erroll Pires
Shubra Singh
Rajendra Patel
YN Vivekananda
(Source: Deccan Herald)
Shailesh Makwana
Sourendu Das.

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 Erroll is a graduate of NID, He has spent years of
his life dedicatedly researching and reviving the
craft of Ply Split. He became captivated by hand-
braided camel belts and bags, dedicating himself
to preserving this nomadic craft amidst
urbanization. He sought out a master ply-braider
in Rajasthan, Ishwar Singh Ghatti, who agreed to
teach him under three conditions: daily practice,
sharing the craft, and prioritizing preservation
over profit or fame.

Understanding The Masters

ERROLL PIRES

Erroll not only learned but also taught a variety

of skills, producing an extensive range of camel
belts, bags, and wearable art, including jewelry
and dresses. Often seen with tangled cords
around his neck, he transformed them into braided
pieces by evening.

19 (Source: Authindia )
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 One of Erroll’s work-pieces shown during Erroll’s Groundbreaking Ply-Split Braided
class, made using Plain Oblique Technique Dress
(POT) (Source: Garland Magazine )

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 Shaileshbhai is one of the very talented artisans
of ply split braiding. He’s currently working in
NID ane helps us on improving our skills
everyday. We have had the fortune of seeing a
few of his work samples that really gave us a
direction in terms of technicalities of ply split.
one thing I found very interesting while looking at
his work was how he had immense respect for the
raw materials and how he’d not overuse them. He
has also worked with materials like water
hyacinths.

Understanding The Masters

SHAILESHBHAI
MAKWANA

He also helps student learn the craft and teaches

them new techniques. Even though he’s not a
designer by profession, he has made some really
intricate Ply-Split designs.

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 Table Runner Designs with fancy yarn

Stretchable Ply Split piece

Chain linked structure,Single Course Oblique Technique (SCOT);

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 Sourendu graduated from NID in 2002 and he’s
right now works in Weavetex, Delhi. When he was
a student in NID he found his calling for ply-split
braiding. He also found the influence of Erroll on
his journey and throughout his life, he has
maintained his passion for ply split braiding and
have made some excellent pieces that have also
been part of multiple exhibitions.

Understanding The Masters

SOURENDU DAS

He puts importance on how it’s very important to

be consistent with this craft in order to master it
and to do something repetitively to a point where
your brain doesn’t have to engage into what
you’re making and your hands would still do it.

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 Three Dimensional Self Portrait Using Wall Hanging Piece Three Dimensional
Structure of a hand POT of a Tree using POT Structure of a Foot
using SCOT. wearing A Slipper,
Using SCOT

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 The feild trip had introduced us to the craft of ply split and then the
sessions from the masters introduced us to the various technicalities of the
craft. We started from under standing the very basic structure of ply split
braiding that can mainly be divided into three groups; POT, SCOT & TLOT.
POT - Plain Oblique Twining
SCOT - Single Course Oblique Twining
TLOT - Two Layered Oblique Twining (Ply Plit Darning)

One can also find multiple variations like Potholes & Perforations, Twined
Linking and Ply Split lino, etc; which are ultimately derived from POT,
SCOT or TLOT.

My Understanding of

PLY SPLIT BRAIDING

(Source: Angela Ghosh, CEPT 2022; Braids Of Joy )

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 WHAT?
Crumpled textured abstract piece with the direction of the twining
changing.

WHY?
One of the key charecteristics of ply split for me is the way
it can hold a shape really stiff and accurately. So keeping
that in mind i wanted to try and make a crumpled sort of
shape usng SCOT and check how many times i can change
the direction before the form starts drooping down.

RESULT
A really stiff structure going all the way up. Doesn’t
droop down easily. Even when you try to bend the
shape by force, It remembers the shape and takes it
back.

#1

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 WHAT?
Wanted to make a five pointed star/flower shape; Continuing the
exploration of how well it can hold a form.

WHY?
I wanted to see if it was possible to make sharply pointed
edges/corners with ply split braiding. By using the SCOT
technique, instead of flipping over after the row is over,
you take the last cord that opened up and pass it through
the row without flipping over. For the point you open it
half twist down and pull the rest of the threads and it
creates a beautiful pointy look.

RESULT
Successfully achieved four points and the first and
last half adjoining, creating the fifth point.

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IDEATION
 WHY?
I wanted to experiment with the adding and removing of the cords
to give the piece a petal like structure; thinner from the beginning,
wider at the centre by adding more threads to again thinner in the
end. I started with 12 yarns, added 8 more gradually by the
centre point and kept removing one till at the end it was just 6
cords left. it created a beautiful orange peel/ flower petal like
texture which was easily foldable, just like the actual orange peel
and had a sturdy yet foldable shape. Oneof my ideas consists of
making 5 of these petals, exploring joinery options i.e., sewing,
knotting, metal rings, etc. 5 of these petals make a spherical
structure resembling an orange. Yet to figure out joineries and
what to do with extra removed yarn from each peel. it was also
great to hold onto just one technique and working on it for long
enough to learn it in depth.

WHAT?
An Orange Peel Jewellery case where you can fold a peel and put
small jewelleries like ring, earrings inside.

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 RESULT
Managed to achieve the petal shape,
foldabality feels very similar to that of an
orange peel’s. Still a work in progress.

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 STRETCH IT.
My initial explorations were a lot surrounding the shape holding part of the ply
split braiding. So, naturally i had an perception of ply split being extremely
stiff and compact piece of twining. But when i saw the stretchable ply split
piece made by shaileshbhai, i got really fascinated with how the same material
who wouldn’t loosen up a shape could stetch so well. SO i think for my chosen
direction ahead i’d like to explore something around the stretchablity part of
the craft.

0 & 1
MI also find it super interesting about how the ply split braiding is a binary

IDEAS & TRIALS

system. one would say, so is weaving, but the micro size of yarn in weaving
makes it extremely difficult to keep a track of the binary system. on the other
hand, in ply split braiding, you only have a certain number of cords, that too
thicker and bigger; making it easier to keep a track of the movements. it oddly
reminds me of abacus. i want to explore if there is any fun way of learning
basic maths through ply split.

TWINE-PLAY!
How about a card game that gives instruction about what to do ahead in your
ply split piece, making it fu for anyone to leatrn. i.e.,
Remove a row cord from your piece, add one more cord, do not flip the
twining, flip the twining after next round, et cetra.

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 Wanting to explore the stretching quality of the technique, I was thinking of
pieces I could make that both show the use of stretchabity involved and at the
same time also can be used as a decorative piece in the household.This is
some of my inspiration images:

INSPIRATION

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 The final outcome is the idea to make a half window sized wall/window hanger.
The materials used will be cotton two ply cords varying from the size of 1-2 cm
to add more textural details. Here are some sketch layouts for a better idea.

CHOSEN
DIRECTION

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