Saris, gowns, textiles - A showcase of Banaras repertoire

Wedding sarees in mauve, white and classic red purchased in Madras, Bangalore and Calcutta some three decades ago feature in a special showcase here of the famed Banarasi brocade textile, which is counted among the finest in the subcontinent's hand weaving skills.
The three sarees are among items that have been loaned by individuals to the National Museum for its recently opened month-long exhibition 'Unbroken Thread: Banarasi Brocade Saris at Home and in the World."
Over 100 exhibits from the Museum's textile collection and objects representing the contemporary interpretations of the Banarasi Sari from private lenders have been put on display in the show curated by Abeer Gupta, Suchitra Balasubramanyam and Anamika Pathak.

"The weaves of Banaras are the only surviving textiles in the world, where the skills of the master weavers create handlooms which are a true statement of the bespoke garment," says Ritu Kumar.
"These weaves and textiles are the most haute couture of all. Banaras weaves are almost like a monument worth preserving, like no other in the world," says the designer whose creations on display include a traditional pink brocade sari, choli with gold churidars and lehanga-choli.
Banaras an established ancient cotton weaving centre began to be known for its silk brocade weaving in the 17th century with the arrival of brocade weavers from Gujarat who migrated to Banaras.

The Banarasi sari is known for its fine detailing and naturalistic representation of human, animal and floral forms which were earlier achieved using the medieval 'naksha' technology. Since the 20th century, weavers have adapted the jacquard technology for sari weaving.

For over a century the Banaras brocades have been showcased overseas. At London's Great Exhibition (1851), at the Textile and Ornamental Arts of India in New York (1955) and at the Festivals of India abroad.
A photograph of Oscar-winning actress and playwright Ruth
Gordon wearing American courtier Mainbocher, one of the first western designer to re-envision the sari into fashionable gowns featured in the July 1947 issue of the US Vogue magazine has been incorporated in the ongoing exhibition.

Works by artist Pushpamala N, fashion designers Asdeen Lilaowalla, Sabyasachi Mukherjee and Rahul Mishra besides archival posters from the Osian's collection, furnishings from Good Earth and garments from online portal LimeRoad among other objects are also in the showcase.
Banarasi brocade patchwork on a black Mysore silk, a child's repurposed waistcoat and a child's sari are among items lent to the Museum by various individuals.
The textile is also seen featured on a bidriware (a metal inlay technique) chair with brocade upholstering signifying royalty.
Meanwhile while the Banarasi sari is viewed as a timeless and unchanging classic. Where once the silk was sourced from Central Asia and China and the zari made with pure and precious metals the Banarasi sari has now openly embraced rayon, lurex, and synthetic dyes making it accessible to a wider cross-section of the market.

The exhibition, a collaboration with India Foundation for the Arts, Bangalore is set to go on till April 25.