HOw indi to the resi HERE is another east- west story in the ongoing series on materials we use in the home. Let me introduce it in the words of Sir John Mandeville who traveled to India some 650 years ago: “There grows there a won- derful tree which bears tiny lambs on the endes of its branches. “These branches are so pliable that they bend down to allow the lambs to feed when they are hungrie.” Sir John may have had bad eye sight when he wrote this strange tale about India’s cotton trees, but he was certainly taken seriously. The German word for cotton is Baumwolle or “tree wool.” And of course, even today we still have many uses for “cotton wool.” The colorful tale of cotton from India started with traders who plied the sea route from Europe to India for centuries. Along with tea, porcelain and lacquered furniture from China, they brought spices from Malaysia and cotton from India —- goods that dazzled the western world. Lightweight, soft and cool to the touch, cotton created a sensation. The first shipments were regarded with astonishment and wonder: nobody had ever scen such vibrant colors and exotic patterns. Few people knew that India was a few thousand years ahead in turning the fruit from indigenous cotton plants into brightly colored lengths of cloth. Likewise, nobody was aware of the long-standing traditions tied to the weav- ing, dyeing and printing process. The colors repre- sented another novelty — not just their brilliance, but also the fact that the fabrics could be washed over and over without losing their brightness. The oranges, vellows, reds and deep indi go blues appeared almost garish in countries which did not have the hot sun- shine and steamy jungles of India. The patterns, however, created even more astenish- ment. Thev showed flowers and animals that were com- pletely unknown — a fantas- tic and intertwined world of tigers, birds, snakes, orchids and other unusual plants. The intricate process of cotton manufacture was, like that of so many ancient materials, handed down through the family and refined over many genera- tions. The secrets of producing dyes were closely guarded. You may see this Indian heritage in many of today’s chintzes and cotton prints. It results from an interesting cultural exchange. Many merchants saw the market potential of their exotic imports, and in an effort to make the patterns appear less fantastic and more familiar to western eyes, they sent to India ‘drawings of western fauna and flora: roses, tulips and anemones. The Indian artists, in turn, replaced pomegranates with tulips and parrots with robins, but kept the exotic background and colors of the lush plant and animal life. If you are, by chance, sit- ting on a chintz or cocvton print, take a close look. a gave cotion of the wort The robins and morning glories are still in that jungle land- scape and do look more colortul than we know them. You may even be leaning against a paisley print, a well-known pat- tern of Indian tex- tile heritage. It looks a bit like an upside down comma. The pattern is based on the growing shoot of the date palm and has been a symbol of fertility since Babylonian times. Tt was eventu- ally adopted by weavers in the Scottish town of Paisley where it was successfully reproduced for the shawl market. Indian cotton became a huge success and was in | “THERE grows there a wonder- ful tree which bears tiny iambs on tha endes of its branches. Thesa branches are so pliable that they bend dow to allow the lambs to feed when they are hungrie.” So said Sir John fiandeville of his introduction to the cotton tree during his 14th century travels in !ndia. At that time India was a few thousand years ahead in turning the fruit from indigenous cotton plants into brightly col- ored lengths of cloth. demand for clothing and home decorating. An entire fashion indus- try depended on cotton and chintz. Buc the unrestricted imports did create a prob- lem for the importing coun- tries: a growing trade deficit and protest from local man- ufacturers who could not compete with the quality and price of the imported fabrics. The problem may sound familiar, but the solution was rather harsh. It was not a free trade agreement, but a total pro- hibition of cotton imports from India. The loss of this lucrative trade created much hardship for India which had estab- lished a prosperous textile industry that was dependent on export. If these dark days of win- ter have left you with a yearning foz bold colors, you may want to pay a visit to the Indian textile mez- chants at Main and 49th Street in Vancouver. Although the patterns have been somewhat adapt- ed to western tastes, the col- ors areas brilliant as ever, and you will even find the famous paisley. Edith Saatkamp practises and teaches interior design on the North Shore. CANADIAN CLOSET | “A family owned business since 1984" N. Van. 986-4263} Friday, December 27, 1996 — North Shore News — 15 aa. ‘ NEWS photo Mike Waketietd Westhaven garden a winner By Layne Christensen Community Reporter EVELYN and Randy Campbell could charge admission to their garden but they don’t. A waterfall, goldfish pond, gazebo, rock garden and meandering paths have trans- formed their Westhaven property into a magical place. There is even a lighting and sound system that son Robert installed last * Second Time Around 4428 Main St St. 879-2313 When the Campbells entered the North Shore Gardens Contest last year, Evelyn says “things just got crazy.” The couple entered to win. And win they did. Then the garden was selected for show on Guerilla Gardener, a televised garden show hosted by Grahame Beakhurst, who toured the Campbells’ garden last August. TV viewers can tour the garden Thursday, Jan. 2, at 10:30 a.m. when the half-hour segment airs on the Discover Channel (Cable *7).