Tracing the roots of Banarasi saris: How Varanasi’s pride became a wedding staple

Exploring the rich history behind Banarasi saris

“Since the Vedic period, Varanasi has been a prominent center for the silk weaving industry,” said Mehra. Banarasi textiles, that peaked during emperor Akbar’s era, graced the wardrobes of Indian royalty and were staples in princesses’ dowries.

A model wearing a Benarasi sari (Source: Roliana)

Varanasi’s pivotal position on the Silk Route facilitated the exchange of goods, ideas, and artistry, introducing Chinese silk and Persian designs to its looms. Weavers used specialised techniques like “Jamdani,” known for its labour-intensive detailing, and “Kinkhab,” famed for its lavish use of gold and silver threads, making these fabrics so luxurious they were called the “cloth of the gods”. “Kin means gold and khwab means dreams, making it a golden dream and very precious,” Mehra said.

Sagrika Rai, founder and creative director of Warp ‘n Weft, said, “The Vedic and Buddhist periods saw fine muslin fabrics, referred to as Kasav or Kasika. The Mughal and Persian invasions introduced sumptuous silken fabrics, and the Vijayanagara Empire celebrated opulent gold-threaded brocades. The textile history of Banarasi shows a unified evolution and transition in yarns and patterns across eras.”

According to Rai, Banarasi silk stands the test of time and is perceived today as a slow luxury due to its painstakingly indigenous and age-old weaving techniques.

A peek into the weaving process

“The process of weaving a Banarasi sari begins with the careful selection and dyeing of silk yarns,” said Mehra. “The dyed yarns are set to dry and then loaded onto the handloom, where skilled weavers use various techniques like Kadiyal, Meenakari, Tanchoi, and Kadhwa to intricately weave the silk threads.”

Kadiyal involves weaving with multiple silk threads to create a vibrant border that contrasts with the body of the sari. Meenakari incorporates colourful resham (silk) threads into the weave, creating elaborate patterns depicting nature, mythology, or royal motifs. The craftsmanship is evident in the intricate weave, each perfect “Boota,” and the soft folds of “Janglas” and “Kinkhabs”. Other popular motifs in Banarasi weaves include latifa boota, kalgi boota, dollar boota, and anaar boota.

 

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“The motifs and patterns of Banarasi silk weaves have undergone a slow, deliberate transformation over centuries. Early designs may have been plain textures or stripes, then progressively featuring floral, animal, and bird patterns, which were popular between 350 AD and 500 AD. By the 13th century, ‘Butidar’ designs gained prominence,” said professor John Varghese, School of Fashion, World University of Design.

“The 16th-century Mughal influence introduced Islamic patterns like florals and ‘Jali‘ or ‘Jaal‘, while the 19th century saw a blend of Indian designs with Victorian-style geometrical patterns. Butidar brocades, Jangla featuring foliate patterns spread all over, Tanchoi with multi-coloured silk inter-lacings are all-time favourites,” he added.

How to identify authentic Banarasi saris

“An authentic Banarasi must be a pure handloom weave created on the traditional pit loom; it takes months to complete,” said Rai. “The touch and feel of these saris, along with government authentication of Geographical Indication (GI) for Banarasi saris and brocades, are key indicators of authenticity.”

According to Mehra, an authentic Banarasi sari can be recognised by its elegant fluidity and delicate lightness of its zari work. The reverse side is nearly as refined as the front, with minimal thread tails and an almost invisible weave of zari. She also stressed on the beauty of human flaws. “Anything made by hand cannot have the exact same weaves printed across, there will always be some difference, some curves and threads that will not perfectly match,” she said.

Radhika Merchant wore a Banarasi lehenga designed by Manish Malhotra for her wedding celebrations. (Source: Instagram/Manish Malhotra)

Challenges faced by the industry

“The slow, meticulous art of handloom weaving is losing appeal among the younger generation, drawn to faster, more lucrative job opportunities,” said Mehra. “This cultural shift, coupled with the slow pace of handloom production, pushes many weavers towards power looms, which offer quicker production and lower costs but lack the unique, intricate quality of hand-woven sarees.”

Shedding light on the economic challenges faced by weavers, who are often underpaid and undervalued in a market dominated by middlemen, who control both wages and work distribution, Rai said, “Traders promote power looms for faster production, reduced costs, and higher profits, sometimes even mixing art silk in the warp to cut costs.”

This raises an important question: Banarasi fabrics are booming, are they truly handloom? Are we safeguarding our heritage and supporting our artisanal community, a craft-skill that is a national pride for India?

And that’s what I’d like to leave you, the reader, with.