Opinion Synthetic fabrics, digital prints: Team India’s Olympic outfits are a huge disappointment

A platform like the Olympics is an opportunity to showcase and celebrate Indian craftsmanship. Unfortunately, the collaboration between Tarun Tahiliani and Aditya Birla Fashion reflects a disconcerting lack of respect for this heritage

Hardeep Singh Puri, Union Minister Of Petroleum and Natural Gas of India, at an event to unveil Olympic games outfit of Team India in New Delhi, on June 30, 2024. (Express photo by Abhinav Saha)

Nirbhay Rana

July 28, 2024 11:06 AM IST First published on: Jul 24, 2024 at 03:47 PM IST

In a nation as rich in cultural heritage and craftsmanship as India, the recent unveiling of ceremonial outfits for the Indian Olympic team for 2024 generated a wave of disappointment. It stemmed not only from the aesthetic choices on display, but from a deeper, more significant issue: The dissonance between the use of traditional motifs and the choice of unsustainable fabrics, particularly in a collaboration involving Aditya Birla Fashion and designer Tarun Tahiliani. For those of us who are deeply invested in promoting and preserving India’s artisanal heritage, this moment represents a missed opportunity to celebrate and showcase authentic Indian craftsmanship on a global stage.

The design choice, an “ikat-inspired” digital print, symbolises a troubling trend in contemporary fashion where the rich and intricate art of traditional weaving is reduced to a mere pattern on synthetic materials. Ikat, a technique renowned for its vibrant and intricate patterns achieved through painstaking and precise dyeing and weaving processes, is a testament to India’s artisanal excellence. It is not just a design; it is a narrative woven with centuries of tradition and skill. The decision to use a digital print on unsustainable fabrics like moss cotton and viscose crepe, especially when such a collaboration could have honoured the true essence of ikat, reflects a disconcerting lapse in understanding and respect for this heritage.

Aditya Birla’s Aadyam initiative, renowned for its efforts to support and empower weavers across India, stands in stark contrast to the choices made for the Olympic dress. Aadyam’s mission is to sustain and promote the craft of traditional weaving, providing artisans with both a platform and financial stability. This initiative represents a commitment to preserving the intricate art of handwoven textiles, providing artisans with fair wages, and ensuring their craft is valued and celebrated. The choice to employ a digital print, however, undermines this commitment. It not only dilutes the authenticity of ikat but also overlooks the ecological and cultural significance of traditional weaving practices.

Authentic ikat weaving is an intricate process that involves dyeing threads before weaving them into fabric. This technique requires meticulous planning and great skill, with each piece reflecting the weaver’s expertise and heritage. Traditional ikat often utilises natural dyes and sustainable practices, aligning with modern sustainability values. By contrast, clothes made with synthetic fabrics and digital prints lack this connection to the environment and traditional craftsmanship. The choice of such materials not only dismisses the artisan’s hard work but also diminishes the potential for promoting sustainability on an international stage.

The choices made in designing the Olympic outfits are particularly disheartening in an era where environmental consciousness and sustainability are paramount. The fashion industry is recognising the need to shift towards eco-friendly practices, and this shift is reflected in the growing trend of using natural materials and sustainable production methods.

The broader implications of these choices are significant. The Olympic Games provide a unique platform to present a nation’s cultural and artistic heritage to a global audience. It is an opportunity to showcase not only our traditional crafts but also our commitment to sustainable and ethical practices. By choosing a digital print on synthetic fabric, the design misses a chance to highlight these aspects. It sends a message that traditional craftsmanship is secondary to modern trends and convenience, potentially leading to the erosion of valuable artisanal skills and cultural practices.

Moreover, this decision could have a ripple effect on the perception of traditional crafts. If high-profile collaborations like this one do not uphold the values of authenticity and sustainability, it sets a precedent that undermines the efforts of countless artisans and organisations dedicated to preserving these practices. The true value of ikat and similar crafts lies in their authenticity, which cannot be replicated by digital prints or synthetic materials.

For a nation that prides itself on its rich cultural heritage and commitment to artisanal craftsmanship, it is crucial to make choices that honour and elevate these traditions. The Olympic stage is not just a platform for athletic achievement but also an opportunity to showcase the best of our cultural and sustainable practices. It is time for us to rethink our approach and ensure that our actions reflect the true value of our heritage and our commitment to a sustainable future.

Rana teaches design at IILM University and is the author of ‘Threaded Harmony: A Sustainable Approach to Fashion’