Homegrown labels are breaking away from pre-draped sarees to re-embrace Indian craftsmanship

If ruffles and feathers have you fatigued, a coterie of labels is making a case for a traditional design crafted to stand the test of time

As wedding season continues in full swing across India, microscopic attention is paid to not only what the bride chooses to wear on her big day but also what wedding-goers are opting for. A recent trend dominating the scene is the proclivity for contemporary styles that favour ruffles and rhinestones in lieu of traditional Indian wear as we know it. While these compact, new-age wardrobe solutions might be the convenient  choice for the serial wedding-hopper, will this templatised dressing continue to serve in the future? Amidst the excess of brands catering to the overdone trend of pre-draped cocktail sarees and feathered capes lies a flock of labels that aim to spotlight the beauty of undiluted traditional gear—highlighting age-old techniques and pursuing the young consumer to try the original offering.

The Revival of Forgotten Craft 

A skim through the visual landscape of the Mumbai-based label Re-ceremonial transports you to an old-worldly realm—one where assi kalli (80 panels) ghagras unfurl decadently alongside jamas crafted from vintage silk and dyed with marigolds.  The brand, founded by Ateev Anand, a former footwear designer, delves into the genesis of silhouettes and techniques of the past to enliven them in the present day. With the Maharani of Cooch Behar and the Princess of Kapurthala gracing his mental moodboard, Anand dedicates the label to re-exploring the likes of Himroo, a 14th-century kinkhaab-inspired weave that is a confluence of the work of Persian weavers from Delhi with Paithan weavers of Maharashtra. However, beyond the surface is a dedication towards building a brand focused on sustainability. “Recycled textiles often sit in a very ‘hippie’ aesthetic. I wanted to make a palatable and refined product. We work with waste yarn to create handlooms using the techniques inherent to West Bengal, Bhuj, and Karnataka. The fabrics are dyed using flowers, coconut shells, and onion skins, often incorporating offerings from Siddhivinayak Temple [in Mumbai]. Studying  archival pieces along with my curiosity for sustainability is what drives the brand,” shares Anand. 

A similar pursuit—to stay close to one’s roots—is observed in Aratrik Dev Varman’s Tilla. The Ahmedabad-born label draws from the rich craft history of Gujrat and the neighbouring areas to integrate craft traditions such as wooden block-printing, folk embroideries and Rogan art into their garments. “For us, the focus has always been on savoir faire and creating something wellmade for which one's appreciation grows with time. I am amazed at the sophistication of an old piece of embroidery—I aspire to create that degree of elegance, and so we don't follow any colour forecasts or trends,” he shares. 

This very exploration led Varman to collect vintage embroidery samples for over 20 years. During the unexpected pause of the pandemic, he revisited these pieces which kickstarted The Vintage Project. With lesser-known embroideries such as the Gujarati ‘kelia beli’ design and techniques originating from Balochistan and Sindh, statement pieces including kaftans and jackets in silk and organza were crafted with the embroidery at the crux. What began as a solitary idea has gradually translated to become a part of the brand’s permanent vocabulary through a constant documentation of old textiles.

Synonymous with its headquarters in the capital city, Delhi Vintage Co prides itself in burnished, gilded pieces. The concept is one of rebellion, to court younger consumers to wear more handloom, with the added layer of cool exuded through zardozi-embroidered mini skirts speckled with vintage coins or structured gilets intricately embellished with mukaish and dabka work. “For our collection ‘Anonymous’ we created 30 one-of-a-kind pieces that are wardrobe heroes, ensemble elevators, and definitive heirlooms. We embroider the wearer’s initials on the inside. Plus the fabrics are handwoven at our looms in Varanasi and comprise motifs that draw from ancient [Indian] texts, mythology, and stamps. The idea is to make something unique in limited quantities,” shares founder Manish Chhabra.

The Long Run 

These ideologies and dedications to traditional crafts don't exist in isolation. Closing the loop is a consumer who is slowly yet discerningly building their wardrobe with investment pieces, especially for their wedding day. The impetus is varied, with longevity as the common goal. For Namrat Klair, a public relations professional, paying homage to her Punjabi heritage was key as she strayed away from the modern trappings of mainstream designers. “In my quest for the perfect wedding outfit, I wanted to look beyond the current trends in order to highlight my cultural identity. For the Anand Karaj ceremony, I chose a lehenga by Shakun Garg whose brand is rooted in the craft traditions of Patiala. Designed in silk tissue from Varanasi, the piece is embellished with zardozi, dabka, nakshi, and cut dana hand-embroidery. In this conscious design journey, I aimed to create a timeless look that echoed the regality of Punjab's legacy,” she shares.

The idea of relevance was equally important to Sanaa Choksi when it came to her bridal outfit.  The co-founder of The Livingroom Story gravitated towards an ensemble by Raw Mango. “I wanted to wear my mother’s vintage jewellery so I worked backward and built the outfit around it. It had to be something evergreen that I’d want to wear even after a decade. Most importantly, I didn't want the outfit to wear me; I wanted to look like myself.”

However, for some, the offering of traditional Indian gear equates to high impact with low effort, as is the case for Kochi-based content creator Gayathri Mohan. While innovative imagery and a contemporary personal style dominate her Instagram presence, when it comes to Indian clothing she chooses the traditional route. “Growing up, seeing my mother and grandmother wearing traditional sarees has influenced me deeply. The vibrant colours, intricate embroidery, and understated sheen inherent to Indian textiles do 90 per cent of the job of elevating an outfit. I also end up re-wearing my saree blouses as crop tops, depending on the occasion.” 

Handloom on loop

The merits of choosing traditional craftsmanship, however, aren't just fuelled by aesthetic but a diverse and personal value system pertaining to brands and echoed through consumers. “Our consumers are individuals who are self-aware and want to make a conscious choice. They want to add meaning to their lives in a slow, mindful way and wear materials that age well both physically and stylistically, ones they don't tire of wearing,” shares Varman.

These informed consumers—oftentimes brides—are looking to buy pieces that promise multiple wears over the years. Anand tactfully inculcates this through silhouette; for instance, a neutral gota patti blouse fastened by drawstrings that expands and contracts with an evolving body—an antidote to frequent alteration. “When you drape the pleats of a saree, you interact with the fabric far more deeply and engage in a deeper bond. We use temple flowers to dye our clothes because those energies are transformed from garment to skin. An overtly synthesised look seldom creates room for surprises, and you need that sense of recipe,” concludes Anand.

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