An exhibition in Delhi gives classic zari sari a modern touch

In the past few weeks, Bikaner House has served as a space for constant engagement with India’s rich textile history. After the recent exhibition on beautiful ikat weaves from across 20 countries, space is all set to transform again, waiting to sparkle with the sheen of zari. 

Twenty to 25 pieces of zari will form part of the upcoming exhibition, Gold — The Art of Zari, presented by textile designers Swati and Sunaina and curated by designer Mayank Mansingh Kaul. On display will be the nearly extinct craft of Rangkaat, today practised in Varanasi by only a handful of weavers. 

This time-consuming technique requires a great deal of expertise as the weft is cut every few centimetres to introduce new colours. In one such masterpiece that will be displayed, the colour has been cut nearly 10 times in one line of weaving. Also on display will be the iconic Banaras brocades called Shikargah, with the characteristic motifs of the hunting scene translated exquisitely on the pallu, or the borders, in zari. 

Vintage textiles, sourced from private collections, have been juxtaposed with contemporary work by the designer duo. “If you look at any culture across the world, what remains is the eternal fascination with pure and precious metals such as gold and silver,” says Kaul. “But not everyone knows that there are different shades of zari.” 

In India, zari has for centuries adorned handwoven fabrics meant for royalty, aristocracy and the elite.

The exhibition, however, is an attempt to showcase the technique in a modern light to make it attractive to the younger audience as well.

“Today, women want lighter saris, which is something that we have worked on,” says Swati.

While the pattern placement remains classic, the designers have played with the borders and colours.


In one sari, they have just added a splash of colour on the pallu. “It’s contemporary and stylish while retaining the essence of a Banarasi zari sari,” says Swati. While the Shikargah saris come in traditional reds and yellows, the designers have also incorporated black in it, while also exploring the concept of negative spaces. One will also get to see museum revival pieces alongside. 

This sort of juxtaposition runs through most of Kaul’s curatorial efforts as he likes to reinforce the idea of contemporary textiles flowing seamlessly from age-old traditions. “I came across an early 20th-century textile in plain satin fabric with silver zari. The sheen of zari, sort of, mimicked that of a pearl,” he says. 

Also interesting is the cross-referencing of cultures and the sheer diversity on display. For instance, Kaul is showing a beautiful Paithani pallu from the late 19th century, which has gold at the centre but its weave is very similar to the Banarasi saris Swati and Sunaina have been working with. 

What makes a sari by the Swati & Sunaina GOLD label special is not just the visual understanding that the duo brings to the piece, but also the authenticity of the zari that goes into the work.

“We work with the only atelier in the world, located in Varanasi, that uses pure zari,” says Swati.

The zari used in the sari is certified as 98.5 per cent silver and gold plated, and a spindle of the same is contained in the accompanying packaging. 

The sari comes with a unique documentation, containing the name of the weaver, details of the techniques and yarn used.

“Most zari saris are heirloom pieces. In this way, the next few generations will know exactly what is being handed down to them,” she says.