Zari 2.0

[Renita Lukins]

Zari (or jari) is an even thread traditionally made of fine gold or silver used in traditional Indian, Bangladeshi and Pakistani garments, especially as brocade in saris etc.[1] This thread is woven into fabrics, primarily silk, to make intricate patterns and elaborate designs of embroidery called zardozi. Zari was popularised during the Moghul era; the port of Surat was linked to the Meccan pilgrimage route which served as a major factor for re-introducing this ancient craft in India.[2]

Zari is basically a brocade of tinsel thread meant for weaving and embroidery. It is manufactured by winding or wrapping (covering) a flattened metallic strip made from pure gold, silver or slit metallised polyester film, on a core yarn, usually of pure silk, viscose, cotton, nylon, polyester, P.P., mono/multi filament, wire, etc. Nowadays, it can broadly be divided into three types. Real zari, imitation zari, and metallic zari.

Real Zari is made from fine silver or gold thread is drawn from silver or gold alloys, which is flattened by passing it under equal pressure rotating rollers. The flattened silver threads are wound on the base yarn that is usually made of silk. These spools with silk and silver threads are further flattened for electroplating. The threads are then plated with gold by the process of electroplating. The lustre of the gilded threads is further increased by passing them through a brightener. These threads are then wound on a reel.

In ancient times, when precious metals were cheaply and easily available,[citation needed] only real zari threads were produced. Due to industrial revolution and invention of electroplating process, imitation techniques came into existence to cut the cost of precious metals. As copper is the most malleable and ductile metal after gold and silver, silver electroplated copper wire replaced pure silver. Various modern colours and chemicals are used to create/impart a golden hue instead of pure gold. The precious metals and copper too became dearer due to huge demand in various modern industries. Thus, a cheap and durable alternative was invented with non-tarnishing properties. Metallic zari came into vogue replacing traditional metals like gold, silver & copper. This non-genuine modern zari is light in weight & more durable than earlier editions. Also, it has the sought after properties of resistance to tarnishing and knotting.

Imitation zari is made when copper wires are drawn from copper alloys. It then undergoes a similar process, except in this case, they are electroplated with silver and then wound around the base yarn, and reeled. This type of zari is less expensive than pure zari, as silver electroplated copper is more economical.

Metallic sari is a modernized version of ari and it replaces traditional metals like gold, silver and copper. It is resistant, durable and light in weight. It is non-tarnishing and maintains its lustre for a considerable period of time.[7][8][9]

Surat in the state of Gujarat on the west coast of India is the world's largest producer of all types of zari namely threads, cantile, laces, ribbons, borders, trims, fringes, edges, cordonettes, cords, etc. The art of zari making has been inherited from father to son for many centuries. It is recognised as one of the ancient handicrafts by the government of India. Women from different communities & artisans produce zari for weaving, embroidery, crocheting, braiding, etc. Additionally, there are approximately 100,000 child laborers producing Zari in India, sometimes (but not always) under conditions of debt bondage or otherwise unpaid work.[14]

Kanchipuram is commonly known as the town with a thousand looms and temples; both tone and motif are influenced by the depictions of gods and goddesses.And such are authenticity of the Sarees, Divine. The pure zari threads that run along the fabric draws towards the ancient heritage and culture.

Recently, Kanakavalli introduced a range of beautiful kanjivarams which eschew the traditional zari use for silken thread designs. We feel the beauty of this craft, and the skill in its design and execution stands up just as beautifully in this interpretation of the kanjivaram, and hope you do too.

Zari zardozi is a style of embroidery that came to India from central Asia in the 12th century. An ornate and sumptuous craft, it was patronised by the affluent and courtly classes. In current times, it has seen a popular revival, and is a favourite at weddings and on fashion ramps. Done on velvets, brocades and silks, zari zardozi uses silver and golden thread, beads and spangles.

In earlier times, actual gold and silver wires were used, along with seed pearls and gems stones. These have now been replaced by lower priced imitations, although the glitter and opulence of the style is retained. Traditionally, men worked in workshops producing for the market, while women occasionally worked at home on items for their own trousseaus or collections. This is now changing, with women too doing embroidery from home-based workshops.

While a simple needle can also be used, zari zardozi embroidery generally uses a hook-tipped awl, locally called 'ari', which makes for greater efficiency. It enables the artisan to pass the embroidery thread both above and below the fabric. Metallic threads of different specifications are used along with a variety of sequins, beads and spangles.

There are regional variations between zardozi clusters in the commonly used stitches and types of metallic threads.

In general, the work is marked by its use of metallic thread, along with sequins and beads. The hooked awl is also commonly used for embroidery.

The awl enables the artisan to work on both sides of the fabric. While one hand of the artisan holds and guides the thread below the surface, the awl wielding hand above the fabric draws the thread through.

Five to seven craftspeople can be accommodated around the adda. Each works on a different portion of the composition.

Much of the embroidery done in Old Delhi is at small workshops which house a few addas.

Her work place is an extension of the compact home where she lives with her mother and two sisters. At the other end of the room where she embroiders is her cooking space, arguably the tiniest kitchen in the world!

Farahnaaz learnt to embroider from her mother. Now, she and her sisters earn their living by it.

Two artisans fix crystals for the embroidery. While the hand on the right puts spots of adhesive on the fabric using a plastic cone, the hand seen on the left uses a wooden stick to fix the crystals in place.

A full ensemble with heavy embroidery can take a team of seven to eight artisans a few weeks to complete.

Here, zari artisans can be seen working together on a bridal lehenga-choli (long skirt and blouse).

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.

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.

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.

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.

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.

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