Banarasi Silk-A New Approach

Mitali *

Introduction-
"Benares is older than history, older than tradition, older
even than legend, and looks twice as old as all of them put
together." -Mark Twain
Banaras, Varanasi or Kashi is one of the most important
pilgrimage centres of India. Being one of the holiest cities of the
country, devotees flock into this divine destination from all over the
world. It is situated in the eastern part of Uttar Pradesh on the banks
of the holy river Ganga. It is believed that whoever dies here attains
moksha- libration from the cycle of birth and death.
The evolution of numerous generations of human life has
been witnessed by this holy city. Varanasi has witnessed the
advancement of human society since antiquity. The city can be
rightfully called the cultural capital of India.
The city can be seen as confluence of several cultures. Not
only Hinduism and Buddhism, it also has connections with Jainism.
The Jains revere this city very much because three of their
Tirthankaras were born here.
Since the city was situated on a very important trade route, it
flourished as a prominent centre of trade and commerce in the 7th century.
It has the distinction of being the oldest constantly inhabited
place in the world, yet there is a seemingly timeless about the city
of Varanasi. It has many ghats symbolizing the various facets of
life, its countless temples represent an unending sacred poise, its
natives a friendly and cheerful bunch and the river Ganges which
gives the city its meaning is the cascade of life and stimulation for
generations.

*Centre Manager, Centre of Fashion Design & Technology, Institute of Professional Studies, University of Allahabad 119
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About Varanasi, P.V. Kane aptly said-

"There is hardly any city in the world that can claim greater
antiquity, greater continuity and greater popular veneration than
Banaras. Banaras has been a holy city for at least thirty centuries.
No city in India arouses the religious emotions of Hindus as much
as Kashi does."
Varanasi has been a symbol of Hindu renaissance.
Knowledge, philosophy, culture, devotion to Gods, Indian arts and
crafts all flourished here for centuries. Varanasi has always been a
famous centre of arts and crafts and of music and dance. Varanasi is
famous for its production of silks and brocades with gold and silver
threadwork. A renowned carpet-weaving centre is at Bhadoi.
Wooden toys, bangles made of glass, ivory work, and brass ware
are also produced in Varanasi.
Apart from being the centre of the country’s spiritual
compass, the city is equally important as a brocade-weaving centre.
Motivation of Study
Banarsi silk has, for generations fascinated the fashion world
and has been a great source of inspiration to the costume connoisseurs
all over the globe. This study attempts to analyze how Banarsi silk is
now being viewed in a new light. Instead of modernizing this ancient
weave, some designers are working for reviving this craft without
tampering with the design of the textile. The main motivation of this
study has been the efforts of top designers for the revival and
preservation of Banarsi silk in its original form.
Silk Weaving Tradition in India
A fabric with a thousand years of history, silk is celebrated
for its soft, shimmering texture and comfortable drape. It is
considered as the queen of all fabrics. Silk has been interwoven
with the life and culture of India. It is always regarded as an item of
luxury and one of the most important commodities traded in the
ancient world. Silk acquires a very prominent place in the lives of
Indian people throughout the length and breadth of the country,

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from east to west and from north to south. It is known as‘Paat’ in

East India, ‘Pattu’ in South India and ‘Resham’ in North India.
It is a well known fact that India is the world’s second
largest producer of silk after China. We Indians are also the largest
consumers of silk.
The silk fabrics of India are the best example of the brilliant
craftsmanship of the weavers of the country. It is not just the yarn
that is woven but the feelings and emotions are also woven along.
India has a number of silk weaving centres spread all over the
country, having their individual and characteristic styles. For Indian
ladies, silk is the ultimate choice. Silk is always woven and
interwoven with the way of life and customs of a region.
The Indian weaver puts in his best to translate the motif designs,
colours, pattern and versatility into an exclusive piece of silk.
Banarasi Silk
Banarasi silk is a fine variation of silk weaving. Banarasi
silk is an unmatched example of excellent artistry. Varanasi boasts
of a great force of expert weavers, who have been creating
intricately woven designs on silk for generations. The designs are
inspired by traditional motifs mainly floral and fauna. The Banarasi
silk is distinguished from the silks of other Indian state, in terms of
design and weaving distinctiveness.
The most celebrated product of Varanasi’s handlooms is the
Banarasi silk saree. Banarsi silk saree is an essential item in every
Indian woman's wardrobe, traditional or contemporary. From an 80
years old grandmother to a 25 years old grand-daughter, Banarasi
silk may have changed its silhouette but the spirit remains the same-
regal and opulent. This spectacular silk is amazingly grand and
statuesque, and is the perfect representation of the rich textiles
bequest of India. The changes in this fabric, over the years,
represent the history and cultural exchanges of this diverse nation.
Banarasi sarees have unparalleled place and magnificence.
This is because of the high quality silk, which is used to create
extremely eye-catching, elaborate woven patterns on the sarees.

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Brocade of Varanasi
The word Brocade is derived from the Latin word "brochus"
denoting to transfix. Fine heavy gauge silk yarns are woven
intricately as warp and weft along with gold and silver threads
(zari) to create elaborate brocade designs. In detail, the weft thread
passes over and under the warp thread, weaving the silk base of the
saree where gold and silver threads are transfixed in between by
skipping the passage of the regular weft over a certain number of
warp threads as per the design.
The brocade textiles of Varanasi are known for their appealing
patterns, precious materials and complex techniques of production.
A characteristic feature is the use of gold or silver zari along
with coloured silk threads to create various motifs. The zari used
for weaving is of a special kind and has been produced in Varanasi
for centuries.
Varieties of Banarsi Silk
In Varanasi, two weaving sectors are very prominent
Alaipura and Madanpura. There is a visible distinction between
their weaving techniques and both have their own composition of
motifs. While the Madanpura weavers stick to traditional fine and
delicate patterns, the weavers of Alaipura are known for innovating
new techniques and designs. The Madanpura fabric is finer in
comparison to that of Alaipura, in terms of finish. Apart from these
two areas other weaving centres are-Pilikothi, Lohta, Lallapura,
Bajardiha, Khojwan and Rewaritalab, etc.
Kalabattu is a specially prepared silk thread with metallic
mounting of silver and gold. Kinkhab is the most well known
variety of Banarasi brocade. It abundantly uses gold and silver
threads making the silk background almost invisible. It is a heavy fabric
and mostly used for furnishings. Alfi, Tashi, Baftan/Katan or Pot
Than, Himru/Amru are the different varieties of kinkhab depending on
the technique and amount of gold and silver threads used.
Amru, Jamadani, Tanchhou, Cut work, Katan, Kora,
Mashru, Rangkat are some other varieties of Banarasi brocade.

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Patterns & Colours

Most motifs of Banarasi silk get their inspiration from
nature. Single motifs are called butis or butas. These motifs are
arranged in various forms like-badambuti, kairi buti, chaand buti,
asharfi buti, paan buti and pankha buti.
Persian influence can be seen in jangla pattern making use of
the most colour silk threads. Intricate jangla patterns and motifs of
vegetation are spread throughout the fabric, with embellished gold or
silver creepers of flowers. Another adaptation from the Persian
prototype which became the speciality of Varanasi is latifa buti.
In the past only vegetable dyes were used, the colours were fast
and lasted for generations. Today, chemical dyes are in vogue as they
are cheaper, less time consuming and have a variety of palette.
Crisis in Banarasi Silk Industry
In the mid-1980s, the first signs of trouble began to emerge with
the growing popularity of power looms. Power loom weaving
competition has rapidly increased since then. Though machines have
reduced the time taken by a weaver to less than one fifth, but they still
haven't been able to replace the quality and the intricacy of handwork.
Since it is not easy to distinguish between the two,
consumers often opt for the cheaper variants.
The downfall began when Surat developed the technique for
copying traditional handloom designs on power looms. Banarasi
sarees are still woven with natural yarns. These are expensive as
well as do not lend themselves to experiments. In contrast, the
spinning mills in Surat are capable of producing large volumes of
synthetic and polyester yarns which look just like the pure silk
produced by Banaras.
Handloom is expensive as it involves more time and much
more accuracy and precision, in comparison to the power loom
weaving so, handloom brocade is less in demand. Handloom is now
associated to only a few high end costumers, who can afford it. The
price of raw silk has also increased in the recent past, making it

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costlier than ever. Cheaper silk import from China has worsened the
poverty of Varanasi silk weavers.
An article in the Economist called ‘Looming Extinction’
highlights the decline of the traditional silk weaving industry in
Varanasi, sighting Western-style dress influence as one of the
causes in falling demand, and the fact that women often now prefer
the cheaper, brighter machine-made sarees.
The weavers have to depend on middle men for the sale of
their products, who have little concern for their plight. As the cost
of production is very high, with the earning very low, it is difficult
to maintain a huge business. In a cyclic process, they fall prey to the
brokers. Majority of them are uneducated. They have very little
networking, negotiating, organizational skills. Being in an
unorganized sector where accounts aren’t efficiently maintained,
most work is undertaken on the basis of trust alone.
The artisans are not in touch with fashion trends. They are
totally unaware of the fashion industry and the demand of the saree
they weave for national and international consumers. Electricity
crisis is another big problem for both power loom as well as for
handloom. Most of the weaving is done at tiny palaces in villages
and there is not enough space for display and storage. Noise of
handlooms and power looms also create health hazards like hearing
impairments, irritation and stress etc.
Fashion Renaissance
The queen of all fabrics is still very gorgeous, but there is a
dearth of her lovers. Younger beauties have taken over as they are
more alluring and ever-changing. But now it is time for the queen to
assert her power again and with a little help from all quarters, she
will shine and gleam like never before.
For the past years the entire market is on a path of revival
and there have been innovations in this front. Top Indian as well as
International designers are putting in a lot of efforts to employ
traditional Banarasi silk weaving and patterns in the creation of
renowned pieces or collections.

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In the last few fashion seasons, the industry witnessed many

technically inventive and impactful designs from Varanasi.
In 2009, ‘Banaras Brocades and Sarees’ secured Geographical
Indication (GI) rights, a notification that covered silk brocades,
textile goods, silk sarees, dress materials and silk embroideries.
Many designers are trying to modernize the designs of
Banarsi silk, they are introducing new patterns and weaves. A lot is
being done in terms of trendy motifs, compact weaving, metallic
visual effects, placements and colour schemes that to make it
relevant to today’s wardrobe. In this process, this prized possession
is losing much of it artistry and character. In the recent past many
top designers have asserted again and again there is the need to
make a traditional textile contemporary but there is no need to
move away from its special motifs and characters. The time has
come to go back to the roots and reclaim the lost heritage.
Renowned designers like Sabyasachi Mukherjee, Manish
Malhotra, Ritu Kumar, Anita Dogri and many others are making
efforts to bring the traditional weaves back into the limelight to
revive this old world charm.
Modern designers have been known to employ traditional
brocade weaving and patterns in the creation of renowned pieces or
collections. Alexander McQueen's saree-esque dresses with Banarasi
borders and Marc Jacobs for Louis Vuitton’s created beautiful saree-
dresses inspired by the Banarasi weave. Salvatore Ferragamo created
Banarasi brocade shoes for Project Renaissance.
Internationally acclaimed Indian designers Abraham &
Thakore collaborated with the Ministry of Textiles to put out a
contemporary bridal line using Banarasi brocade at the Wills
Lifestyle India Fashion Week in New Delhi.(Pi 3.)
Lakme Fashion Week, along with designer-politician Shaina N C
launched an initiative called ‘Reinvent Banaras’, to revive
Banarasi handlooms.
At Lakmé Fashion Week Winter/Festive 2015 leading
designer Ritu Kumar, India’s most prolific and internationally
well-known textile revivalist, presented “Varanasi Weaves”,
incorporating old naksha and vintage designs. She brought back

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traditional motifs like, Kyari, Shikargah and floral butis in her

unique collection of timeless designs.
In line with Anita Dongre's philosophy of reviving, sustaining
and empowering this craft, her collection, Banaras: A Woven Story
presented at Lakme Fashion Week, Winter/Festive 2015 included
handwoven lehengas in breathtaking Banarasi weaves, exquisite
Banaras brocades in gold and silver amidst lehengas in hues of reds and
peaches with signature flamingo motifs. She also presented a small
documentary with the same name.
Sabyasachi Mukherjee is among the first Indian designers
to experiment with these traditional weaves. He has extensively
included vintage banarsi silk in his collections. He is of the view
that these timeless beauties do not need to be modernized; they
should be used in their original type. His spring summer collection
2016 ‘Banarasi Bride, showcased some of the most exquisite and
intricate designs of rich hues of like Crimson, Teal, Green, Blue,
etc. His creations push the designs by improving quality and
infrastructure. But his label never claims to be designed by
Sabyasachi, it always says ‘handpicked and curated by Sabyasachi.
According to him “weavers have already done them so beautifully,
why should I add to that and disrupt their creativity?”
In November 2016, Vogue India, featured actor Deepika
Padukone in Sabyasachi creations all in Banarasi brocade.
Sanjay Garg, the founder of Raw Mango has been
working in close association with the weavers of Varanasi.
Collections are developed using the peculiar kadwa brocade
technique of Varanasi. Kadwa implies to the ornamentation of
motifs using extra weft. The patterns, etched in gold against silk
background achieved a remarkable clarity of pattern and forms with
gem like enameling. His collection called Mashru, comprised of
sarees, lehengas, wide sleeved blouses, long kurtas and salwars in
bright hues like magenta, green and red. The silhouettes were clean
and simple, embroidery was limited to motifs, the centerpiece of the
collection was the woven fabric itself – Mashru, silk woven with
cotton, and traditionally worn by Muslim men.

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In his 2016 collection Regal Threads, designer Manish

Malhotra has made use of handcrafted Banarasi silk. Then this fabric is
beautifully embraced by elegant sarees in bold checks, voluminous
lehengas and feminine blouses with high-waisted skirts and flowy
kalidars. With this collection Manish has experimented with bold
colours instead of muted ones, normally associated with his designs.
He believes in not only promoting Indian crafts, but also
showing the world what India has to offer. Speaking about the
revival of Banarasi silk, he says, “Silks and our traditional weaves
depict the richness of India. I want to maintain the old charm and
essence of the Banarasi saree but revive it to suit today’s world.”
Delhi based designer Rinku Sobti, working with Bajardiya
weaving cluster in Varanasi, showcased her latest collection, Tassels, at
the Lakmé Fashion Week. She finds the weavers of Varanasi very
receptive to incorporate any suggestions.
In 2017, an exhibition organized by Abeer Gupta, Suchitra
Balasubramanyam and Dr. Anamika Pathak, at National museum in
collaboration with India Foundation for the Arts, Bangalore, has
displayed over hundreds of weaves of Banaras under six sections
including artifacts from the private collections.
Recently
inaugurated Trade
Facilitation Centre
(TFC) is a 200-crore
project spread over
an eight-acre space
that promises
advisory services, as
well as a skill
development centre
to encourage the
next generation to Pic 1.Exhibition area of Handloom, Handicrafts & Carpets “Traditional to
carry forth the Contemporary Style, Weaves
Centre (source:handicrafts.nic.in)
& Fashion” at Trade Facilitation

legacy. Banaras is
also part of the 28 weaver service centers functioning across the
country (Pic.1).

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All the efforts and dedication is not going unnoticed. The

costumer’s approach is already changing. Perception and awareness
of designers, who are collaborating with master weavers, is
definitely paving the path for translating India's prized crafts into a
contemporary, engaging and lasting experience. Banarasi silk
exudes majestic charisma. The consistent efforts of the designers
and weavers have put Varanasi back on the map. The rich Indian
heritage fabric is making headlines and taking centre stage in high
fashion.
A lot is still to be done. Hope that it will reach higher limits;
efforts are being put continuously towards its glorification.
References
 Mehta, R.J. 1984. Masterpieces of Indian Textile. D.B. Taraporevala &
Sons, Bombay.
 Silk Brocades (Roli Books) – Yashodhara Agarwal
 Mathur, A.R., 2002, Woven wonder: The tradition of Indian textiles,
Rupa and Co., New Delhi.
 Thomas, A., 1985, Banaras Textiles. The Indian Tex. J.
 Banarasi weaves take the ramp to revival by Rajeev Dikshit available at
https://timesofindia. indiatimes.com/city/varanasi/Banarasi-weaves-
take-the-ramp-to-revival/articleshow/52821947.cms
 What India’s most prominent designers are doing to revive traditional weaves
by Surkha Kappa Bose, available at https://www. thebetterindia.com/
34441/india-designers-revive-traditional-weave-banarasi/
 Sabyasachi Mukherjee weaves his magic into the all new, stunning, ‘Banarasi Bride’
collection, available at http://www.southindiafashion.com/2015/10/sabyasachi-
mukherjee-banarasi-bride-collection.html
 Designers to recreate Banarasi weaves at Amazon India Fashion Week posted
by Aparna Singh available athttp://indiatoday.intoday.in/ story/designers-
such-as-sabyasachi-mukherjee-tarun-tahiliani-and-jj-valaya-to-recreate-
banarasi-weaves-at-amazon-india-fashion-week/1/487565.html
 SANJAY GARG FESTIVE available at http://www.rawmango.in/
collection/sanjay-garg-festive-/
 Wikipedia - Banarasi saris. available
 at:http://en.wikipedia.org/wiki/Banarasi_saris.

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