"Pristine Threads: The Timeless Saga of Paithani Sarees and Artistry"

The chatter of the classroom sessions is continuously ringing as I could hear the murmurs of my teachers on the blackboard. My mind skipped a beat and went blank. Shoot to 2010, and here comes the rambling of the market and handicraft collection, where the raving and rantings of the Paithani sarees are the talk of the day. Come let me take your time and journey to the discussions of our very famous Design Guru Gaurang Shah and share his inspirational inputs in this part of my blog writing.

India’s love affair with handloom spans the course of centuries, with precious weaves preserved and passed down from mother to daughter as a treasured heirloom. Headlining this roster is the Paithani sari. The cultural significance of its kaleidoscopic color palette is underscored when you factor in the fact that it has been favored by Maharashtrian brides for centuries. Gaurang Shah, the textile maestro, spoke about the distinctive ethos that makes the Paithani sari stand out in a famous international diaspora and went on to say that the best way to honor this weave is in your own wardrobe.

The Paithani sari has its origins in antiquity, hailing from the royal dynasties of the medieval town of Paithan near Aurangabad. Named after the town, the sari is believed to have been originally made with the finest silk threads from China and pure zari that was spun locally. This sari signifies years of superfluity and the finesse of Indian handloom, and every piece is characterized by the luxurious and liberal use of gold as well as floral and bird-inspired motifs. The modern iterations of the sari from Paithan and Yeola are crafted from homegrown silk threads from Bangalore, while the zari is sourced from Surat. To create a genuine Paithani sari, around 500 grams of silk threads and another 250 grams of zari threads are used for a regular six-yard piece, while the nine-yard iterations use more raw material and can weigh up to 900 grams.

Which motifs are usually found on a Paithani sari?

The lustrous weave makes for a joyful intermingling of hues that creates the delicate illusion of shifting colors. The traditional motifs include parrots, peacocks, and lotuses; however, during the Peshwa period, the Hans motif, the Ashraffi motif, and the Asawalli were equally popular. The pallu usually consists of Muniya, a kind of parrot that is woven into the borders in green with a whimsical touch of red at the mouth. Some of the other designs found on the pallus include the Panja, a geometrical flower-like motif most often outlined in red; the Barwa, which consists of twelve strands of a ladder and three strands on each side; and the traditional Mor (peacock).

So how has the textile evolved over the years?

Over the years, Paithani has evolved from a cotton base to a silk base. Silk is used in weft designs and in the borders, whereas cotton is used in the body of the fabric. Contemporary versions of the Paithani sari don’t have a touch of cotton. On the design front, besides the intricacy of designs and reviving traditional complex patterns, the big change is that weavers have moved away from the small borders to bigger ones, thus changing the silhouette of the sari that can now accommodate a range of motifs—including those transplanted from other regions, such as the Tree of Life. After years of working with the weavers and plugging all flaws, the contemporary Paithani color scheme is dazzling, even featuring statement numbers in chocolate brown gold zari weft with sunflowers. The experimental color palette also makes space for violet warp with gold zari weft and pink roses, as well as navy blue with silver weft. Weaving this fabric has been an inventive journey, and the Calico Museum taught us all and the design team of weavers a whole new way of exacting finesse from the threads by drawing patterns and mastering the motifs. One particular Paithani collection had us supply 100 kilos of yarn in the varied colors that were required for the design. Such is the story behind every Paithani.

Paithani saris are an integral part of Maharashtrian culture. Considered the queen of saris, it is what the Kanchipuram sari is to the south. Needless to say, it is a must for every Maharashtrian for auspicious occasions, festive moments, and weddings. A Paithani weave is like gara embroidery; it leaves no threads hanging. It is all sealed and doesn’t get entangled with accessories, which always makes brides heave a sigh of relief.

Over the years, this heritage weave has been given a contemporary update as modern brides find newer ways of embracing their roots. Most brides opt for tucking the pleats on the sides and draping the remaining yardage around the neck like a dupatta. Other unique ways to style this sari include swapping the conventional blouse in favor of white shirts and jackets, well-cut tank tops, or a T-shirt for the pre-wedding ceremonies. If you wish to channel the royal grace of the fore, look to Maharani Chimnabai's signature Nauvari drape, usually paired with a long jacket blouse. Brides can also choose to drape the sari like a gown, reminiscent of the style attributed to Suniti Devi, Maharani of Cooch Bihar.

So, what is the process and time required for weaving this fabric, in short?

The preparation of the loom is an essential factor in guaranteeing the accuracy of the weave. The timeline to produce the sari depends on the weaver’s measured and unhurried harmonization of hand, foot, and eye to create a free-flowing, handmade sari. The creation of a Paithani sari can take anything from six months to two years, depending on the intricacy of the design. The body of the sari bears no extra weft-forming figures. The figuring weave is obtained by a plain tapestry technique, and the three major types of weaving include the split tapestry weave, interlocking method, and dove-tailing method.

How can one tell a real handloom Paithani sari apart from a fake?

A distinctive characteristic of a Paithani is that both sides of the sari look exactly the same. This makes for a valuable way of distinguishing it from the plethora of Paithani saris made on a power loom and other fakes in the market. Look for the popular colors such as reds, yellows, sky blues, magentas, greens, peach-pinks, and purples, as well as the traditional motifs—the Narali (coconut) is usually seen on the border along with pankha or fan shapes. Weaving this fabric is a continuous learning process. Designers and revivalists have recreated the Bangadi-Mor (bangle-peacock) motif of Paithani. It was an arduous process, and the trained weaver warns us that it could take up to three years. This pattern had two rows of overlapping one-and-a-half-inch bangle patterns, between which peacock motifs measuring three-quarters of an inch were sandwiched. When you visit the Calico Museum of Textiles in Ahmedabad, you will observe the Mughal motifs on khadi Paithanis, and it will make you mesmerized that the textile designer inside me would see bountiness of joy and happiness. What I saw were a few floral motifs that appeared circular from a distance, but upon closer look, you’d find delicate petals that were woven in the squares. These little details can be found in our painstakingly crafted Paithanis, making them timeless classics for connoisseurs.