This sari is joined as steadfast stitch of many panels. Each panel is lined with a striped edging subtly bringing out the intricate stitching involved in making a sari like this. While retaining the casual, nonchalant appeal of the sari, I added back strap loom weaves in the Pallu as the final touch.

The pallu is a continuous patchwork of smallest textile pieces bound together into vertical striped patches giving the sari a natural gravity towards a drop down drape. The reverse living of the Sari is a pin-tucked print to lift up the spirit of blues in this Sari.

About Stitching of Saris:

In 2009, when I was acquainting myself with textiles across the country, I realised how much textile waste is created as “damaged or injured” saris. While the endeavour of the handloom industry is to support the weavers and the traditional weaves, one has to make rather very small human errors in the weaves for them to be discarded as damaged. This bothered me very much.

So, the beginning of Mora was based on the decision of creating a design solution that can accommodate any shape and size of textiles, that would otherwise make it to waste hills. This decision gave me the confidence that the purpose of textile waste management is an essential aspect of Mora design. I needed to not only look at waste with different eyes in our own workshop, but create a prototype that can enable others to look at it differently too. This made me choose Saris that could be stitched! Over, few months, dupattas stoles and shawls started to emerge too and Mora was born.

A constant has been kept alive where the workshop is handled by my dear mother, who has given tangibility to this vision. She meticulously manages and segregates each smallest piece of fabric scrap that appears in the process of stitching and those become our gold mine to cull out wonders from!

We have also enabled purchases from weavers across the country of many injured and damaged saris at an equivalent price to its “good” counterpart. These purchases make my heart glow where the weaver is released from the worry of sale of products they find hard to sell. This step may not yield “great impact”, but it is my way of expressing that a small change in the way we look at textiles can accommodate inclusiveness for all that we must begin to start looking at. This is my way to express how marginalisation, discrimination, inclusion, exclusion, resource management, wastefulness works at a larger scale.