Designer Wendell Rodricks’ new book on Goan costume history traces the impact of religion,revelry and political rule on clothing

In the preface to her 1996 book Clothing Matters: Dress and Identity in India,Emma Tarlo makes a pertinent point. “Even within the constraints of a given tradition,whether ancient or modern,there is room for individuals to negotiate and to act. The clothes of the peoples of India are not so indelibly fixed to labels as our museums and photographs would sometimes have them. And if clothes are badges of identity,they can,like badges,be removed and replaced,” she wrote.

Writing a book on costume history is like an identity badge. The chronicler must mark the gripping influence of ritual practices on costume,and then,as an extension of the same act,cast them aside to accommodate the imprint of class conflicts,wars,personal rebellions and pop culture. Veteran designer Wendell Rodricks,also one of India’s most applauded fabric artists,has done exactly that. His book Moda Goa: History and Style (Harper Collins,Rs 3,999),to be launched tomorrow at Jaipur Lit Fest,more than fulfills a historian’s “duty to preserve”. It is the result of an 11-year old study,of which nine went into arduous research,including residencies at museums and costume history departments in global universities. Rodricks explores Goan traditions in weaving,jewellery,heirloom and worship — of Hindus and Syrian Christians; the impact of various ruling dynasties as well as the Portuguese inquisition of Goa. It combines insider-outsider perceptions to unveil a memorable volume.

Yet,this is not a grim,academic tome. Replete with beautiful pictures,it has an emotional connect for the designer. “I could feel the sorrow my ancestors went through during the Portuguese inquisition,” says Rodricks. When he heard stories of his great-grandmother hiding away in her drapes,a small statue of Ganpati and her nose ring,lest they were confiscated by the colonisers,Rodricks says he wanted to cry. History brought him solace. “I had to read a dozen books that all but gave me a paragraph,just to find out the fabrics that Vasco da Gama wanted in Calicut and the gifts he brought for the Hindu ruler Zamorin during his first voyage,” he says.

In the introduction,Rodricks writes that it was Goan cartoonist Mario Miranda who set him out on this quest,having suggested that he write a chapter on Pano Bhaju,the traditional costume worn to dance the mando for a compilation edited by Goa-based journalist Mario Cabral e Sa. The mando is a local song of passion,separation,longing,joy and nostalgia — the emotional range Rodricks usually fuses his clothes with. That book never got published,but by then the designer was already curious.

Rodricks,as anyone who knows him will swear by,is committed to Goa like a lover,son,and soldier all at once. “I was born a Goan Catholic by no choice but I worship Ganpati with as much devotion as I do other gods. I have a visceral and ancient relationship with this land,” he says.

Moda Goa also sets Rodricks apart from almost all other designers in the country (except Ritu Kumar) as no one else has written a costume history or documented influences on contemporary design. Rodricks does not hesitate to point out that he has never been a navel-gazing lotus-eater surfing on sun and sand. “It is difficult being a pioneer. But I had the experience of my design career. In the sea of Indian colour and embroidery,I gave my country an aesthetic in clothing based on minimalism,yoga,Ayurveda,temples,spiritual calm,resort wear ease… all inspired by Goa,” he writes.

Revival work and resort wear fashion have been the twin focus of Rodricks’ label Retreat ‘N’ Style. He has worked with models and stars from different decades since the late Seventies to now,from Anna Bredemeyer to Lakshmi Menon to Deepika Padukone,but when he brought the revived and modernised Kunbi sari to the fashion ramp in 2010,he chose textile expert Jasleen Dhamija to introduce his work to the audience.

Those who thought Rodricks was a “cool” resort wear designer will be introduced to the historian in him with this book. For those who thought he was just hysterically crazy about Goa,may now realise that it needs a fanatic to dive into history. “My book will be read by Goans,both natives and the diaspora all over the world,as it tells them about their region unlike any other,” he says,adding that no book has delved into Goan gods so far. “Research students,fashion and design institutes and people with a culturally curious mindsets may find it relevant too,” he says.

Launch events for the book planned in various cities make a comment on the importance of Wendell Rodricks in India’s fashion industry. In Jaipur,cultural czar Rajeev Sethi will launch it,while in Goa,Rosemary Crill,senior curator of Victoria and Albert Museum of London,will do the honours. In Mumbai,filmstar Rekha will launch the book. “I have told her that for the event,she will have to compete in dressing with the ancient courtesan on the book cover,” says Rodricks. A politically correct launch by FDCI President Sunil Sethi in Delhi and a craft-conscious one by Umang Hutheesing,founder-president of Hutheesing Heritage Foundation in Bangalore,maps Rodricks attempt to voice his most passionate declaration: Goa is not just about Goa; it is about India.