| Zari-embroidered velvets (ZEVs), i.e., plain velvet embroidered in gold or silver, have been produced in India for the Nigerian Kalabari market for at least 100 years. I researched their contemporary design in the context of their Indian production and export and publications on Kalabari textile consumption.;Data collection and analysis proceeded from the concept ecumene of textile tradition, integrated from "commodity ecumene" (A. Appadurai, 1986) and "textile tradition" (S. Baizerman, 1987). ZEVs are produced in intimate proximity to other textiles bound for ethnic and mass fashion markets in India and abroad. Design elements move between overlapping ecumenes through shared decision makers---i.e., embroidereds, manufacturer-exporters, components wholesalers, wholesale buyers, and consumers, all of whom make decisions affecting ZEV "social life." Such decisions influence design, whether the individual is consciously designing, deciding aspects of textile manufacture and trade, or deciding how to wear ZEVs on the body.;Between Nigeria's 1976 ban on textile imports and 1997, five distinct ZEV design lines emerged, responding to a changing production and trade network and social, political and economic developments in their destination market and the world. Through a sequence of size, materials, embroidery, and production technique changes, Kalabari-bound ZEVs became unrecognizable from their origins in Indian tradition.;Export to expatriate Kalabari brings these ZEVs under the influence of British and American negotiators of Multifiber Agreements (MFA) with India which define the India Items list of textiles of Indian tradition. West African wholesale buyers bring foreign textiles to Chennai for copying. Ecumene mapping of ZEVs reveals a "global factory" (M. Blim, 1992) engaging decision makers of a worldwide range of castes, classes, nations, cultures, and religions. Kalabari engage in "cultural authentication" (T. Erekosima & J. Eicher, 1981) of ZEVs, but simultaneously value them as imports. Conversely, Indian decision makers practice cultural de-authentication of ZEVs, yet have a personal stake in the tradition because its design holds their market share against local and global competition. Thus, a global context is required for understanding design development within the ZEV tradition. Research results suggest ecumenic study of other ethnic textile traditions will similarly reveal their global character. |
