The Sari Project: Perhaps the most versatile garment in the world, the sari is an incredible design contribution from India. Its drape is referenced the world over and worn by millions of women on a daily basis. Though, what can be worn in over 100 different ways has overwhelmingly been whittled down to one recognised style of draping, known as the Nivi drape: Clockwise from top left: Ritesh Uttamchandani for Raw Mango; Manou of Wearabout; Creative Commons; Rawky Ksh; Nimish Jain; Manou of Wearabout. Concept Through film, Border&Fall will address a perception shift required of the sari in two distinct ways by: Creating the first digital anthology of drape, documenting how-to drape 82 sari styles through s…
Industry News, Opinion & Insight
As we publicly embark on our cultural documentation of the sari through short film, I would like to share why we decided to participate in an ongoing conversation about its relevance with a project of this scope and magnitude.
We seem to read, use and speak these terms all the time, as both makers and consumers. However most are self-defined … ambiguous, self-regulated and therefore open to interpretation.
Obscured by distance and fed largely by what filters through Bollywood, it appears the more recent wave of design thinking emerging from India is likely going unnoticed by its own who live on foreign shores.
As an unstitched piece of cloth, the sari and its drape has adapted to utility, climate and culture. This article explores five regional sari drapes which have historically enabled the work of the wearer.
Himanshu Verma is known in a few ways: as the ‘Saree Man’, Ghenda Phool, or one who ends emails with the salutation, ‘Jai Sari!’.
Over the years, Sabyasachi Mukherjee has wielded influence over the way Indian women dress, or aspire to. In this interview he shares why the sari is a symbol of national dress in India in support of our sari project.