Revolutionising Kanjeevaram saris for younger generations

Since its inception in 2003, Palam Silks has stood for one thing above all else—reimagining the iconic Kanjeevaram sari for the modern woman without losing the essence of its heritage. At the heart of this transformation is Jeyasree Ravi, the founder, who has made it her mission to bring the elegance of Kanjeevaram silks to younger generations.

The challenge of modernising a timeless weave

“When we launched Palam, youngsters saw the Kanjeevaram as something only their mothers or grandmothers would wear—something for temple visits or muhurtham,” says Jeyasree. “They appreciated the grandeur but found it heavy, stiff, and hard to drape. We had to change that.”

Jeyasree began identifying pain points—stiffness, heavy textures, and dated colour palettes. With her team of expert weavers and loom technicians, she began tweaking both yarn and texture to create a silk that was lighter, softer, and more fluid. At the same time, Palam introduced contemporary colours—pastels, rare combinations, even black and white in the early 2000s—and started experimenting with design placement, borderless styles, and modern motifs.

“We didn’t want to just stick to the traditional border and butta format,” she explains. “We’ve launched over 80 design concepts. For example, Angarika had patterns placed like a salwar yolk, and Pravah was a play on borders—one only on the top half and one only at the bottom. Perfect for shorter women who want a sari that flatters their height.”

Among her favourites are Quatre, which uses just four buttas placed strategically, and Copper Glow and Silver Line, which featured saris woven entirely in silver and copper zari—launched way back in 2014 and 2018, well before they became a trend.

But transforming a legacy weave is not without challenges. “You cannot remove the traditional aspect from a Kanjeevaram,” she stresses. “It’s the fabric of our culture—used even to drape deities. The question was never about changing the core. It was about presenting it differently—making it appealing and accessible to young women.”

One major move in that direction was Corporate Pattu—light, zari-less saris with geometric patterns and minimal ornamentation, perfect for boardrooms rather than mandapams.

Jeyasree’s approach to motif and colour reinterpretation is equal parts art and strategy. “Concepts like Doodil are inspired by Zentangle art, while Palam Hues plays with four or five colours on a single sari in a way that feels elevated, not loud. Then there are collections inspired by culture and history, or Concert, which weaves in a Carnatic Sabha stage on the pallu. Resonance, a more contemporary collection, was inspired by musical instruments—from the valves of a trumpet to South American tribal drums. We’ve even done Marapachi, based on the traditional dolls.”

Ultimately, it’s about changing the narrative around the sari itself. “Young people now know that nothing gets them compliments like a sari,” she laughs. “If you’re feeling low, just wear a pattu sari and step out—you’ll feel beautiful. Every sari tells a story—who gifted it, when you wore it, what it meant. That emotion? That’s what keeps the Kanjeevaram alive.”

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