Everyone loves to gaze at the stars. Those tiny dots in the dark night sky, though they may look similar to the naked eye, are each unique in their own way. So do the dots on an authentic Madurai Sungudi sari woven through the traditional tie-and-dye technique, kai kattu or kai mudichu.
'Sungudi', which is derived from the Sanskrit word 'Sunnam' (round or zero), refers to the circle or dot like pattern made on a cotton sari,” says AK Ramesh, secretary, Federation of Tie and Dye Associations (FTDA) and former secretary, Madurai Sungudi Sarees Association.
A fifth-generation Sungudi sari manufacturer, 68-year-old Ramesh recalls the rich history of the six-yard wonder, as narrated to him by his forefathers.
Around 500 years ago, Saurashtrians from Gujarat migrated to Vijayanagar, where they earned their livelihood by weaving. After the Mughal attack in the 1500s, they were brought to Madurai by King Thirumalai Naicker and settled around the Thirumalai Naicker Mahal. Known as ‘Pattu Nool Kaarargal’, the Saurashtrians performed the role of making silk and cotton clothes for the royals.
"To add more value to the clothes, they developed the Sungudi design," says Ramesh. However, unlike other tie-and-dye techniques like Bandhani and Shibori, Sungudi is done only on cotton.
Making Sungudi involves tying thousands of small knots on a cotton sari — using thread and then dyeing the sari. After that, when the knots are removed, there would be circular white dot-like patterns across the sari, wherever the dye could not percolate due to the knots.
Vasumathi (60), Ramesh’s wife, who has been doing kai kattu since childhood, says, “If the knots are loose, the dye would leak into the knot. If it’s too tight, it will damage the cloth. You can only make around 300 knots per day without breaking your back,” she adds.
Initially, only vegetable dyes were used to make Sungudi saris, but after the entry of the East India Company, chemical dyes started being used.
Likewise, powerloom replaced handloom, and wax printing replaced the handmade knots to meet the growing demand. The couple has kept the traditional Sungudi alive by teaching it to nearly 2,500 people, mostly students. They also research on producing more colours through natural dyes.
On the other hand, wax printing introduced a variety of designs. TK Gopi Krishna (69) explains, "After weaving, the saris are washed and sent to printing and dyeing units where the saris are spread over a wooden slab coated with fine sand. Wooden hand blocks with intricate designs are dipped into molten wax and stamped across the saris to form different designs. Separate hand blocks are used for the borders and body of the saris."
Each worker prints at least 50 saris per day, which are then dyed with vibrant colours characteristic of Sungudi saris and are boiled in a furnace at 120 degree Celsius to remove the wax. The saris are then starched and ironed before they finally adorn our cupboards.
Despite receiving a Geographical Indication (GI) tag in 2005, many Saurashtrian families have stopped making kai kattu Sungudis as its modern variants took over the market. Yet, a kai kattu sari still sells among loyal customers, though it is expensive.
To make it affordable to all, Raani M Senthil Kumar, proprietor of Heritage Rani RMS Sarees 1948, sells them in three different categories — standard, premium, and superior. "The stereotype of wearing only silks for celebrations should be broken. Younger generation could make it a trend by starting to wear Sungudis in different forms like kurtis, shirts, and pants, etc."
True to his words, final year students of the Fashion Department, National Institute of Fashion Technology, are incorporating Sungudi in their projects, proving that the traditional craft has captured the hearts of the next generation.