Rani by Bhargavi Kunam celebrates heritage Kanjeevaram weaves with a contemporary twist
When choosing key pieces for a trousseau or any other special occasion, a classic heritage textile often tops the list—and the Kanjeevaram sari remains a perennial favourite. Bhargavi Kunam, one of India's most distinctive couture sari labels, is redefining heritage dressing through a rare balance of craftsmanship and contemporary vision with its new Kanjeevaram sari collection, Rani. A timeless expression of the weave, the collection is designed for the woman who honours her roots while rising in her own power. Founder and designer Bhargavi Kunam shares the inspiration and thought behind the collection.
A contemporary take on the Kanjeevaram sari
What drew you to working with Kancheepuram silk for this collection?
My connection with Kancheepuram silk goes back to childhood. I grew up watching the women around me treat these saris as something deeply precious—kept separately from their regular saris and brought out only for the most important occasions. There was a reverence around them that stayed with me. It made me think deeply about how I could become a part of those precious moments in people's lives. That is where my journey with Kancheepuram truly began.
I am also fortunate to work with master craftsmen from generational weaving families who can realise my vision completely. They bring an intuitive understanding of the loom that simply cannot be taught.
What modern elements have you introduced to the traditional Kanjeevaram sari?
There is a general perception that Kancheepuram saris are static and stiff. That is exactly what I set out to change. Through deep expertise and close collaboration with our master weavers, we have managed to bring suppleness and wearability to the fabric without compromising the integrity of the weave.
The other modern element is colour—fresh, unexpected combinations influenced by master paintings and art, while remaining completely rooted in the originality of the Kanjeevaram tradition.
How did you choose the colours, motifs and textures? Is there any significance behind these choices?
This season is a celebration of rich, deep Indian tones—reds, pinks, emerald greens, navy blues, wine purples, saffron oranges, bottle greens and yellow ochre. These are eternal Indian colours, and colour is my greatest strength.
What makes a Bhargavi Kunam sari distinctive is how I work with colour within the construction itself. I use anywhere between two and eight colours in a single sari. The body warp is one colour and the body weft another, creating extraordinary depth. The upper and lower borders are often rendered in completely different hues, rooted in the traditional Ganga Jamuna border tradition but pushed further through fresh, unexpected combinations.
The motifs draw from Dravidian temple architecture—yalis, gopurams, lotuses, elephants and pillars—rendered as geometric, balanced repeat patterns within the classic Kanjeevaram format. Every combination reflects the influence of master paintings and a lifetime spent studying art and architecture.
How do you see younger women engaging with heirloom textiles like Kancheepuram saris?
I see a genuinely exciting shift. Younger women today are reconnecting with their roots with remarkable confidence. We saw it at Cannes this year, where so many chose saris and textile-inspired ensembles. That is not nostalgia—it is a generation finding its Indian voice, loudly and proudly.
This is a tremendous moment for designers like us to experiment. I do a great deal of pre-draped sari customisation for clients, making the Kanjeevaram more accessible without taking away any of its grandeur. The Kancheepuram sari is no longer just an heirloom reserved for weddings—it is becoming a powerful statement of identity.
Do art, films or travel influence your design process?
Artistic influences—absolutely. Cinematic may not be the word I would use, but art and craft are the very foundation of how I design. Films influence me selectively; certain moments in the work of Mira Nair and Mani Ratnam resonate deeply, particularly the way they handle colour and visual storytelling.
My strongest influences, however, come from textile archives. I spend significant time in museums and craft exhibitions across Delhi, Mumbai and internationally, studying original textiles and historical references. I also read extensively, and textile-focused books remain a constant source of inspiration. Every collection becomes a conversation between what India's textile history has already achieved and what I believe it can still become.
What role does jewellery play in this collection? Was the statement jewellery intentional?
Jewellery is part of the complete visual composition—it is never an afterthought. I am deeply fascinated by Chettiar jewellery and that intimate tradition where goldsmiths would sit within the home crafting pieces specifically for a family. The close-set diamonds, the interplay of rubies and diamonds, and the sheer richness of visual treatment are unmatched, and I try to bring that sensibility into my shoots. I am equally drawn to the Nizami tradition, the Cartier Tutti Frutti aesthetic and Victorian jewellery. Despite their differences, they all share a sense of colour, precision and opulence. The contrast with the saris was entirely intentional. When a sari is this considered, the jewellery must rise to meet it.
Prices start at Rs 25,000. Available online.
—manuvipin@newindianexpress.com
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