Registered with the Registrar of Newspapers for India under R.N.I 53640/91
Vol. XXXIV No. 18, January 1-15, 2025
Anakaputhur is a suburb of Chennai that is home to a community of handloom weavers. It is especially well-known as the source of the famous Madras handkerchief, a nine-yard piece of colourful plaid cotton. For centuries, the fabric – now known the world over as Madras checks – was widely used by the populace in and around Madras. It was introducedto the world by Portuguese merchants in the sixteenth century and quickly became a popular item of trade in colonial-era European and African markets. The Kalabari people of Africa gave the textile the name injiri – meaning ‘real India’ – and adopted it as a sacred fabric in their religious and cultural rituals, thus forging a cultural link between African and Indian textile heritage; and the Madras handkerchief found its way to the Americas and the Caribbean, where it soon gained favour. Madras checks itself retained its popularity until as recently as the twentieth century when it was seen as something of a fashion statement – the fabric was widely used to make stylish garments for both men and women, appearing in brands like Ralph Lauren, Tommy Hilfiger and Brooks Brothers. However, its star began to wane with changing trends and technological changes in the textile industry.
As for Anakaputhur, the weavers were able to sustain a global market for the Madras handkerchief until the seventies, with Africa making up the bulk of its exports. But a change in the region’s political dynamics brought about a ban on imports, crushing what little demand was left for the product. The Telugu-speaking weavers of Anakaputhur sustained significant losses. They pivoted to produce Madras checks fabric instead and also branched out into weaving silk and cotton saris.
Today, things are not quite as they once were – there are only around fifty handloom weavers left in Anakaputhur. One of them is C. Sekar, a third-generation weaver who runs the Anakaputhur Jute Weavers Association. They still use traditional handloom techniques to make their wares, though their new focus is the production of clothing made from natural fibres like banana, aloe vera, pineapple and lotus. The dyes used to give colour to the fabrics are also natural and made from fruits and vegetables. By ensuring that its products are biodegradable and safe for the environment, the Association has positioned itself as a player in the sustainable fashion movement.
The body is also actively engaged in training local artisans in the craft of weaving natural fibres, particularly women and unemployed youths, empowering them to earn a livelihood. Women are employed at various stages of production, from fibre extraction and dyeing to weaving and finishing. In 2011, the group created a catalogue of sarees with 25 natural fibres, a feat which made it to the Limca Book of Records. Today, the garments they produce are exported to the US, Singapore and Malaysia.
Though Anakaputhur is scripting a new chapter in its history, challenges remain. Handloom weaving is a time-consuming craft, and the workers have limited access to tools that can help with processing natural fibres. The market is increasingly dominated by cheaper synthetic alternatives that are getting harder to compete with. Consumer awareness is not quite widespread about the benefits of natural fibres. The group also lacks financial support, which restricts plans for large-scale production. Sekar believes that government support in terms of infrastructure development, and establishing marketing avenues can provide a large boost to the initiative and help revive the glory days of Anakaputhur.