Ikat is also referred to as "Bandha" in Odisha, where it is primarily practised by the Bhulia, Kostha Asani and Patara communities. The weavers use a unique resist dyeing technique, tie-dyeing the warp and weft threads before weaving. This sets it apart from other ikat traditions in India. The saris feature brocade bands on the borders and pallu, sometimes with feathered edges and curvilinear designs. Notably, the fabric showcases the same design both front and back without using added yarn. Some popular Bandha sari types are Sambalpuri, Khandua, Pasapali, Kataki and Maniabandha, each with unique styles.

An integral part of Odisha’s heritage, Ikat is connected to followers of the Lord Jagannath. The artists use colours like white, black, yellow, red and green, which have symbolic meanings to the deity, representing the past, present, future, the Vedas and gods. This is also why temple architecture appears in the designs. The artists connect motifs of birds and animals, rudraksh beads, geometric patterns and dice with temple towers and pinnacles.

Crafting Ikat fabric is a meticulous and time-consuming process, demanding immense skill. Weavers have been following an eight-stage process of tying and dyeing the yarn for generations. Two weavers work together on a single sari, which takes about seven months to complete.

The double Ikat technique of Sambalpur is renowned for its unique patterns, which can be produced in home décor and accessories as well. Ikat from Odisha has been certified with the Geographical Indication (GI) tag since 2007.

The master weaver Surender Meher's creations appear in the collections of National Crafts Museum & Hastkala Academy in New Delhi and the Asian Arts Museum in San Francisco. He is a part of the Meher community of Odisha’s Barpali district, world famous for the Sambalpuri or Odisha Ikat.

The son of Kunja Bihari Meher, a renowned weaver and Padma Shri recipient, Surender has received awards of this own. These include the National Award, and three consecutive Odisha State Awards.

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