Fashion star: What goes into the making of a pure gold zari sari?

India has a proud hand-weaving legacy, and till about a century ago, textiles woven in pure metallic yarns made of real gold and silver were intrinsic to this culture. A waning craft today, the possession of handlooms featuring pure zari work is the mark of a connoisseur. Its preservation is what Kolkata-based designers Swati Agarwal and Sunaina Jalan are committed to with their label Swati & Sunaina.

Their designs are centred around introducing pure zari—made with 98.5 per cent silver and plated with 24-carat gold—to classic Benarasi saris. They work with some of the last remaining artisans who still weave by hand on jacquard looms, with the zari being created in the only remaining workshop in the world (in Benares) known to use pure gold and silver. The duo gives Vogue the ultimate masterclass in zari, delving deep into everything from its history to its weaving process.

Tell us about the history and origin of zari work. What makes it such a luxury?

The oldest reference for fabric made with gold is found in the Rig Veda from more than 3,000 years ago. Come to think about it, the use of metallic gold thread and yarns has been a distinguishing feature of historical textiles around the world. From European brocades and Iranian velvets to Chinese silks and Indian saris, its continuing relevance in contemporary times reflects an enduring human fascination with notions of purity, nobility and precious materials.

The idea of using precious metals is expressed in India through metallic yarn. Known as zari in many parts of the subcontinent, it was originally used in sacred symbolism and to hand-weave fabrics for aristocracy and the mercantile elite. It is one of the rarest and most fascinating weaving traditions from India, where molten silver is processed to become spools of silver threads, electroplated with gold, and then woven into a textile of silk or cotton. Such metallic yarns have also informed the artistry of handmade textiles in other parts of the world such as Europe, China and Japan.

Our label is based on the ideology of reviving and supporting the craft and craftsmen with purity of intent, materials and design. All the handloom saris are made on the pit looms of Benares with a technique that has been passed down for generations. The use of pure certified gold zari to weave saris with artistic mastery is the hallmark of our label that consciously chooses quality over quantity. All our saris come with a spindle of the zari yarn that was used in weaving it along with the name of the craftsman and a certificate of authenticity.

Tell us about the process behind zari work?

The process of zari making involves large chunks of silver being moulded into very fine yarn through various stages. It is hand-intensive, time-consuming, and requires constant supervision and control, along with skills that can only be developed over several decades.

Zari-making is an improvisational, artisanal process. We have worked with changing the shade of zari depending on the colour of the fabric. Adding almost 20 shades each of gold and silver are [made] possible by manipulating the plating process.

What fabrics does zari lend itself best to?

Zari weaving is best done on a silken yarn or very fine and high grade cotton yarn. Fabrics that can be made are pure silk by silk, satin by silk, satin by satin and muslin or cotton by silk.

Your latest exhibit married zari and gyaser fabrics. How did you achieve this?

Gyaser is a variety of silk-brocade fabric patterned with Buddhist and Chinese symbols. This is the weave for our new collection, woven using pure zari. Historically, gyaser is densely woven using a complex technique of discontinuous supplementary weft. We have followed through with that while innovating it to suit the drape of a sari.

Our latest exhibit presented by Czaee Shah is called ‘Between land and the sky, woven gold from Gyaser tradition’, and is curated by Monisha Ahmed with scenography by Mayank Mansingh Kaul. This collection, which was many years in the making, is special for many reasons. The key one being that using gyaser to weave saris has never been attempted before. A special zari was created in 98.5 per cent silver (highest form possible) and electroplated with 24-carat gold to achieve the bright tone required in a gyaser textile. We had to work on increasing the width of the fabric to 45 inches from its customary 25 inches, and then reduce its weight while retaining the complexity and visual richness of the craft. In the process, gyaser was transformed into a soft and malleable sari.

How long does it take create one pure zari sari? And how many people does it require?

It is difficult to generalise, but it takes two weavers anywhere between four weeks to 36 weeks to weave a sari, depending on the intricacy of the design. Weaving an authentic zari Benarasi sari can take up to nine months. We create only about 80 to 100 single-edition pieces a year for our ‘Gold’ line.

Are there different kinds of zari?

There are plenty of weaving and embroidery styles, but not zari. For instance, hand-weaving using zari can be done in multiple ways—each more complex than the other—but the process of creating this pure metallic yarn remains constant.

How do you modernise zari through your work?

As textile revivalists, we focus on reintroducing zari in its purest form possible. Some weaves such as the Rangkaat are nearly extinct—no one else is developing them at present. Other complex weaves such as the kinkhwab, (which means ‘woven like a dream’), and the jamdani take months to produce.

The most important aspect is to first revive a vintage weave. You can then play with colours that will lend it a contemporary context. An example of a sari that is historical in technique and weaving but modern in its overall interpretation is the kaynaat: a continuous pattern of jangla runs through a katan-mulberry silk sari, where four different patterns are repeated in the middle. This sari is technically complex as it is woven on a large 320-hook jacquard loom to engineer the changing patterns and uses the kadhuwa technique.

Where are your artisans based, and what are the challenges they face?

We work with about 40 to 50 weavers in Benares who work on as many dedicated pit looms. Today, we enjoy the beauty of zari, but is just a superficial or commercial understanding. When customers appreciate the rarity of these textiles and invest in them, it will create a demand that will then lead to fair wages, encouraging the next generation of weavers to embrace this art form. The real challenge remains in willing the younger generation to enter the field, and invest the requisite number of years to acquire this skill.

Visit the ‘Between land and the sky, woven gold from Gyaser tradition’ show at Gallery Maskara from 17 to 20 April 2019. Address: 6-7, Third Pasta Lane, Railway Colony, Apollo Bandar, Colaba, Mumbai