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GOA'S 'KASHTI' LEAVES A TRAIL OVER TIME, RESEARCH ON GARMENTS FIND By Frederick Noronha PANJIM, Jan 11: The humble 'kashti' (loin-cloth), that survived drastic saratorial changes in Goa till much into the twentieth century, could be the single most-lasting thread that links generations of inhabitants of this small region over the ages. But across the ages, this region has seen widely differing trends in clothing -- right from jewel-studded attire of the religious hierarchy, to elaborate silverware that decorated ceremonial elephants, and the quaint mix of east-west influences as reflected in garments like the women's garment called the Pano Bajo -- according to fashion designer Wendell Rodricks. Rodricks is currently finalising a project he started two years ago, on the history of Goan clothes across the generation. It started after being asked to write an article for a book edited by journalist Mario Cabral e Sa. One of India's prominent fashion designers who earned name and fame, says he has earned the money too, and would like to put back something into society. Soon, a coffeetable book on the subject is expected to be out, possibly by the end of 2003. If Rodricks (42), one of the big names among Indian fashion designers could have his way, he plans to set up a museum of Goan clothes across the generations. In this, he has been inspired by Museu Nactional do Traje (Lisbon) director Dr Madalena Braz Teixeira. She heads the Lusitanian national costume museum, which has an amazing range of garments bequeathed down over time. Says he: "I found it so interesting (after writing the initial article on Goan clothes). Everyone said Goa (did not have costumes) of its own. But this is not true. We must research this and leave behind some (knowledge about our) clothing legacy." Rodricks says he tried to move out of simplistic divisions like dividing Goa into categories like pre-Portuguese, Portuguese and post-1961. "We started with the caves of Sattari, and the drawings there, going across the periods of the Buddhists, Shaivites, Vaishnavites and deities like Betal (till recent times)," says he. He also looked at temple sculpture, and etchings by foreign travellers who came to India, so as to get clues about clothing worn over different periods of time. "By now, the documentation is quite thick, totalling about four to five volumes," says Rodricks. For his work, Rodricks tapped the Porvorim-based Xavier Centre of Historical Research, the Goa Central Library, the Goa Archives -- one of the oldest in Asia, which has documents going back to the sixteenth century, notes Wendell. "I had to read the life of Vasco da Gama just to understand what they found when they arrived," says Rodricks, who grew up outside Goa and worked in the Gulf, before studying fashion and re-settlign back home. Three research assistants helped with looking at Islamic influences, the Hindu deities and shoes or jewellery worn. Study-visits to Portugal and the US (Costume Institute of the Fashion Institute of Technology at New York) helped trace civil and military costumes. Rodricks next dream is setting up a museum of Goan clothes. Some sites have been visited, during the ten-day programme of Dr Braz Teixeira, who head's Lisbon national costume museum. One site was visited at Margao; but it was too close to the road, and prone to pollution. Rodrick's dream is to convert the old GMC complex -- which could end up even as a mini brewery, according to some versions -- into a museum of Goan clothing and also a top-level fashion school for churning out specialists. "Money won't be a problem," he says, suggesting that some major firms with a major stake in the clothing and suiting industry have offered their support. Of course, age-old clothes need to be protected from light, insects, dust and even gravity -- "laid flat like babies", says Rodricks. He describes some amazing sarees of Indian siks at the Mohandas Naik collection in Margao. "Owners can loan us the garments and see how we maintain them. If they are satisfied, they could donate the same to the museum. Cultural value has nothing to do with monetary value. Their contribution would be widely recognised," he suggests. In Goa, the Portuguese curator went to the Viscount of Pernem (MLA Deshprabhu's) home to see swords in gold, crowns and ceremonial drapes of elephants. They are due to visit the Rane armoury collection at Sanquelim. They saw beautiful banners at the Museum of Christian Art. "Of course, the Goa of the past is not the Goa as we know it today. Its boundaries kept changing," says Rodricks. "The Konkan coast has been invaded and visited from the Greek and Mesopotamian times." Rodricks says rulers like the Kadambas probably brought in their motifs that, in time, got transferred to local garments. Muslim influences brought in the essences of colour... we earlier had only red, yellow and blue. It also brought in pastels and very soft colours to India. Clothes changed depending on who occupied and ruled Goa," he suggests. He commented how even elite Goans living in rural areas were often uncomfortable in the Western dress, at times. Vedic ideas of clothing suggested that there should be three garments, to cover the lower body, the upper body, and an over-drape. The 'kashti', an often looked-down-upon simple loin-cloth, is both practical and simple, he feels. (ENDS) CAPTION: Rodricks, prominent Indian fashion designer, gingerly handles a stone-studded bishop's headgear, while talking about plans for a museum of Goan clothes for the region. (#)
