Vaishnavi Singh Dabi on upcycling saris and making Indian weaves global

For Vaishnavi Singh Dabi, heritage textiles aren’t relics of the past but living legacies that are meant to be revived, respected, and reimagined for the woman of today and tomorrow. Co-founder and creative director of Knari Global–House of Brands (Sanskruti Silks), Vaishnavi’s collections are familiar to Chennaites as she exhibits at Collage. Her ensembles are a celebration of Indian textile heritage, but with a contemporary tweak.

Reimagining the sari: When kanjeevaram becomes a pant suit

“I grew up surrounded by textiles, silks in particular. Saris, with their complex motifs and vivid colours, aren’t just fabrics; they’re living pieces of art, history, and legacy, crafted through a painstaking labour of love.” This reverence for the craft deepened when she began working directly with weavers. “Their humility and dedication to this time-consuming craft made it crystal clear that this is the world I want to devote myself to.”

As Indians, we’re accustomed to the opulence of our textiles, especially in their classic form as saris. “The turning point for me was transforming a heritage Kanjeevaram—from our Raja Ravi Varma–inspired collection—into a three-piece pant suit. Seeing that rich handwoven textile take on such a sharp, contemporary silhouette was spectacular. It reinforced my belief that these heritage weaves aren’t just traditional—they can evolve into timeless, modern heirlooms that speak to today’s woman, who is both global and deeply rooted.”

Working with upcycled or vintage materials comes with its own challenges. “There are really just two,” Vaishnavi explains. “First, creating zero-waste patterns so not a single inch of textile is lost—thankfully, that’s not as difficult as it sounds. Second, how the garment is lined and finished has to be done thoughtfully to ensure easy care and longevity.” This care is part of preserving the essence and emotion embedded in the fabrics. “I’d say the fabric really leads the way for silhouette creation. The design is always meant to glorify the details of the textile—whether that’s the motif or the border of the sari. The textile remains the hero, while the silhouette stays timeless enough to carry that beauty forward through the years.”

Vaishnavi emphasises that when it comes to motifs, “not at all” are they reinterpreted—each motif carries a story she wouldn’t dare change. But structures? “They definitely have to be rethought, especially for today’s woman who wants to stay rooted in tradition while also being completely functional.”

On the global relevance of heritage weaves like Kanjeevaram, Banarasi, and Jamdani, Vaishnavi points out how India’s designers are showcasing this legacy on world stages. “Designers like Amit Aggarwal dress global icons in vintage sari–converted gowns that make international headlines. South Indian influencers and Bollywood actresses embrace revived heritage saris for weddings and occasions. Every time these weaves are seen on a global stage, they shine a spotlight on the extraordinary techniques and traditions behind them.”

Can upcycling and heritage revival go hand in hand? For Vaishnavi, the answer is a wholehearted yes. “Unless the sari is over 100 years old, when it becomes extremely delicate. I’ve worked with pieces that are old, and even if they can’t be worn, they can be framed—and it’s breathtakingly beautiful.” Quality, longevity, and ethics remain non-negotiable. She stresses transparency, educating clients on weaving techniques, materials, and zari quality. “It’s essential that people understand exactly what they’re investing in.”

— manuvipin@newindianexpress.com

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