Is sari an identity product of the past or does it have a modern metamorphosis? From loom to luxury, First Look maps design interventions in the landscape of handwoven saris.

In several of his interviews, Hyderabad-based designer Gaurang Shah, founder of label Gaurang, has reiterated that growing up, he felt women were ready to move beyond georgette and chiffon saris if presented with alternative fabrics, textures and patterns. So, as Gaurang provided women with that alternative, how would he deconstruct the label’s hallmark sari positioned as a cultural identity product?

“Well to begin with, I introduced a big border, hitherto never used. This presented a whole new option of sari indulgence to the woman who loves embracing sari for her favourite occasions. Our innovation in Jamdani woven sari collections such as “Ardhangini”, “Muslin’ and ‘Neel’ have given a new face to Indian handlooms. Another example of our inventive approach is the fine Dhakai jamdani saris woven with 300-count muslin, staying true to the original style of Jamdani weaving from Dhaka, Bangladesh, and such a sari took the weavers three years of labour,” says Gaurang. While the weaving of Jamdani patterns using 300-count yarn is a painstaking process, the result is rewarding. While the visual vocabulary of brand Gaurang fuses geometric patterns, florals and motifs inspired from Mughal paintings and Chintz,  the unique brand positioning stems from its unique trend of fusion – from Paithani and Srikakulam, Kota (Rajasthan) and Uppada (Andhra Pradesh)  Jamdani to an amalgamation of Paithani, Sambalpuri ikat and Uppada with Jamdani. Today, the Gaurang label encompasses more than 700 weavers across the country, the saris bear a stamp of individuality.

In one of the collections, a khadi Jamdani sari with a Tree of Lite design, came to life through an amalgamation of varied textures of the finest moga yam, pure zari and silk. In another sari, the designer used organza with a border in silk and moga and a pallu in satin. In yet another sari, he juxtaposed five different types of borders using varying yarn textures effectively. Silk by moga for its substantive solidity, tissue by tissue for its sheen, silk by silk and the sheer organza to play off different transparencies. All Gaurang saris have extra yardage enabling comtortable draping and also offer two blouses. Some existing Shrujan saris have already been extended and lengthened from five to seven metres.

The Sari Demographic: Diversity and Inclusion

Who is the new textile sari consumer? Is it only restricted to occasion wear and women on the other side of 40? Women with exposure to handlooms, the necessary purchasing power and belonging to a shared sorority of sari worshippers, or clubs where saris hold a cultural-emotional value? Or is the new generation hooked too, albeit looking tor newer ways to wear and style it? “I feel a handwoven sari is a statement in itself, no matter which generation it is worn by. With the draping of the sari being reinterpreted over the years, the modern generation is always looking out for

“We didn’t disrupt but recreate the way textiles were sold.”

– PALAK SHAH

a greater variety when it comes to wearing a traditional sari. The beauty of a handwoven sari is that it can be draped in various ways as per the choice of the wearer and the occasion for which it is being worn,” says Archana Jaju. Recreating the way handwoven saris were sold is Ekaya Banaras, a brand with 120 years of legacy with a community of over 10,000 weavers contributing to the continuing legacy. A younger take on the sari, the Arohi x Ekaya collection follows the principle ot ‘less is more’ with a play on colours and stripes. It is meant for a younger consumer. Palak Shah, co-founder and CEO of Ekaya Banaras, defines the younger, millennial sari buyer as “oscillating between going back to the roots and choosing to wear something lighter and easier to wear and carry”.

“To begin with I introduced a big border and this presented a whole
new option of sari indulgence.”

– GAURANG

Gaurang has often mentioned that the label’s major sari consumer is defined by a ‘mature’ set of women. When asked about leveraging this sari demographic, the designer says, “While the majority of my clients are a mature set of women, over the years the label has also garnered admiration from the younger generation due to new design interventions and being all-occasion wear.” The classic examples of young women endorsing Gaurang saris are actors Taapsee Pannu and the “evergreen” Vidya Balan.

“The younger audience is now looking out for comparatively lighter and more wearable versions of the sari, which can be worn for various purposes, may it be casual, semi-formal, or occasional. This is why the contemporary draping style gives a new and unique meaning to the handwoven sari and makes it a captivating way for telling a story through a cultural piece of garment. While the handwoven sari has had its journey of passing through generations, no matter how old it gets, it will never go out of style and will be acquiring a distinct identity with the coming times,” seconds Jaju.

Repurposing and Reloving: Sari As Luxury

The brand website says Ekaya was established with the vision to change the way handloom textiles were sold and presented globally. “We didn’t disrupt but recreate the way textiles were sold. We brought craftsmanship to the forefront. highlighting the labour and technical expertise that has gone into creating a sari as opposed to highlighting its look and feel or its aesthetic value,” says Shah.

“The younger audience is now looking out for comparatively lighter and more wearable versions of the sari.”

ARCHANA JAJU

The enduring appeal and value of an Ekaya Banaras sari, for that matter any Banarasi sari, lies in its timelessness. “Every time it is worn, it looks new. It is sustainable and can be passed on from one generation to generation; it can be reworn and reloved every single time one wears it,” says Shah. In a unique approach, the brand adopted the collaboration model between renowned designers and weavers, elevating textiles as a global luxury product.

Repurposing and repackaging handwoven saris as luxury products viewed, sold and consumed through the lens of desire and attractiveness requires both art and several other dynamics. Realising that younger buyers were looking for lighter and less formal textures, Gaurang combined textures like organza in the body alongside silk with the traditional long and broad borders and made use of pure zari of 400 gms liberally back in 2012-13 at a time when duplicates and power loom saris reigned.