When Priya Khanchandani first presented her vision to London’s Design Museum in 2020, it was more than just a proposal for an exhibition. She was advocating for a fundamental re-evaluation of one of South Asia’s most ancient garments: the sari. As the museum’s Head of Curatorial at the time, Khanchandani aimed to showcase the sari’s enduring evolution and transform how it’s perceived and embraced today.
Growing up in the UK, Khanchandani observed a disconnect within the diaspora. Many, like herself, had limited knowledge of the sari, often associating it with an older generation. However, what was once perhaps overlooked as a relic of the past has, in recent times, emerged as a potent emblem of reclaimed heritage and a catalyst for social change.
The sari, conventionally an unstitched length of fabric draped elegantly around the body, possesses an inherent fluidity. This adaptable form has allowed it to continuously absorb and reflect evolving cultural influences. While some wear it as part of their daily attire, others reserve it for formal occasions, and for some, it might even be perceived as impractical. Its multifaceted identity lies in its very lack of fixed structure, enabling a myriad of interpretations and styles.
In recent years, this ancient garment has undergone a significant reinvention. Designers are pushing boundaries, experimenting with innovative hybrid forms such as sari gowns and dresses, creating pre-draped versions for ease of wear, and even incorporating unconventional materials like steel into their creations.
Khanchandani’s year spent in Delhi provided her with a firsthand glimpse into the dynamic world of the sari. She witnessed women navigating the bustling streets, gracing upscale boutiques, and frequenting designer pop-up events, all while adorned in saris that defied tradition. “The saris they wore defied convention,” she recalls. “They were bold and free-flowing, sometimes worn over T-shirts and even with sneakers. I decided audiences around the world needed to see this story. I think having been a journalist, I saw the sari through the lens of storytelling.”
Pioneering Fashion on a Global Stage
Initially curated by London’s Design Museum in 2023, “The Offbeat Sari” exhibition has now graced Australian shores, making its debut at Melbourne’s Bunjil Place Gallery. This significant exhibition features an impressive collection of 54 saris, showcasing the artistry of India’s most celebrated designers. Among them are iconic red-carpet creations by luminaries such as Sabyasachi Mukherjee, Tarun Tahiliani, and Anamika Khanna, including pieces famously worn by global figures like Lady Gaga and Deepika Padukone.
The exhibition also highlights the avant-garde creations of contemporary Indian designers, including Raw Mango, Rimzim Dadu, NorBlack NorWhite, and Akaaro by Gaurav Jai Gupta. Khanchandani remarks, “Many of these brands, I think, pioneered the sari for the modern, intellectual woman.”
The exhibition thoughtfully unfolds across three distinct sections, each offering a unique perspective on the sari’s transformation:
1. Transformations: Redefining Drape and Silhouette
This section delves into experimental approaches to the sari’s drape and silhouette. Visitors can marvel at saris crafted from unexpected materials, such as sequins meticulously cut from hospital X-ray film, and even one constructed entirely from recycled plastic bottles. These innovative pieces challenge conventional notions of textile and design, demonstrating the sari’s remarkable adaptability.
2. Identity and Resistance: A Canvas for Social Commentary
Here, designers leverage unconventional materials to embed powerful messages about pressing global issues. The saris in this section become canvases for social commentary, addressing themes of pollution, conservation, sustainability, and social change.
One particularly poignant example features a sari worn by a collective of rural women in Assam, India. These women have embroidered motifs of an endangered bird, the hargila, onto the border of their saris. They also craft intricate papier-mâché headpieces to accompany their attire. Khanchandani explains, “The sari has become not just clothing, but social commentary.”
Another compelling highlight is the vibrant pink sari worn by the Gulabi Gang, a formidable women’s movement founded by activist Sampat Pal Devi. This group actively combats corruption, child marriage, and advocates for victims of domestic abuse. Recognisable by their bright pink saris and often wielding bamboo sticks, members of the Gulabi Gang operate primarily in rural northern India, employing non-violent protests and direct intervention to protect women.
3. New Materialities: The Future of Textile Innovation
This final section showcases the astonishing advancements in textile innovation as applied to the sari. It explores the evolution from ultra-fine stainless-steel saris to surprising juxtapositions of rigid metal and flowing silk, demonstrating the garment’s capacity to embrace cutting-edge materials and techniques.
Strength, Style, and a Reclaimed Narrative
For Khanchandani, each sari exhibited serves to dismantle a pervasive misconception: the notion that the sari is inherently linked to female passivity or discomfort. “When actually, the sari has been, and was always, worn by women doing things like fishing, by labouring, housework, even sports like cricket,” she asserts. “It wasn’t just something worn by wealthy women going to parties, and I think reviving that true spirit of the sari is so important.”
For many within the South Asian diaspora, exhibitions like “The Offbeat Sari” offer a rare and valuable perspective. They take South Asian attire, which has often been confined to simplistic labels of “traditional,” “ethnic,” and “exotic,” and elevate it to the forefront of global artistic discourse.
Daizy Maan, Co-Founder of the Australian South Asian Centre (ASAC), reflects on this shift. “South Asian wear and Indian attire was not embraced while I was growing up,” she states. “We hid away from it for so long.” As a Punjabi Australian who collaborated with Bunjil Place’s community engagement team, Maan highlights the significance of exhibitions like “The Offbeat Sari” in placing South Asian fashion and history centre stage within respected cultural institutions.
“It’s phenomenal to see something as beautiful as the sari be celebrated by people from all different backgrounds,” Maan enthuses. “I don’t remember the last time I saw an exhibition focused on South Asia, bringing together so many people in Australia.”
“The Offbeat Sari” is currently on display at Bunjil Place in Narre Warren until August 30.
