Part aromatherapy and part nostalgic stimulus, the fiber pieces hang from the ceiling as delicate, sheer curtains that are accessible from all sides. Padukone weaves and embroiders using thread that’s covered in a wax-and-resin substance she developed through trial-and-error. “The testing phase for the coated yarn involved sampling weave structures and embroidery techniques that were best suited for the yarn. I kept a record of swatches as a test of their durability and how long the scent and color last when exposed to heat and light,” she says.
Infused with clove, vetiver, jasmine, citronella, sandalwood, or rose, the cotton yarns also are hand-dyed naturally, pulling out the golden color of turmeric and rusty tones from cutch and beets to pair with a corresponding aroma. “It’s ironic that I happened to choose scent during a time when wearing masks is the new normal,” Padukone tells Colossal. “While the beauty of olfactory art is that it has to be experienced in person, I use textiles, patterning, and color as a way to visually represent my depiction of the fragrance’s personality.” A yellow and green patchwork, for example, emits the grassy, lemon-like aroma of citronella, while sweet, musky sandalwood is paired with thick, abstract coils of yarn on sepia-toned silk.
Although the scents are embedded in many of the works, tiny accessible pockets cover the undyed organza in “Jasmine II,” ensuring Padukone can replace the flower buds. She’s currently exploring other methods that allow replenishment considering most fragrances last between one and three months. The transience of sent, though, is part of its appeal. She explains:
I find beauty in impermanence and how each textile’s color, structure, fragrance changes over time. In this collection, I have incorporated handspun recycled sari silk and cotton for my weaves and embroider on organza silk. I am drawn to the sheerness of the fabric, the way it interacts with light to visually evoke the ephemeral experience of fragrance.