Making the case for Nauvari

“Everything I’m wearing, except the juttis, is at least 80 to 90 years old—some pieces are even older,” says Radhikaraje Gaekwad. Pic Courtesy/Lodovico Colli Di Felizzano

For Sabyasachi's 25th-anniversary show, the invitation had one directive: strictly black. The fashion world is notorious for classism, where status often overshadows style. But Sabyasachi Mukherjee believes a dress code can level the playing field. "When you bring such a diverse crowd together, a dress code creates a sense of equality. It eliminates hierarchies and makes everyone feel equal," he explains.

Among the 700 well-heeled guests, one woman stood out - not for the usual reasons, but for the story behind her outfit. "It belonged to my father-in-law's eldest sister, Mrunalini Devi, the Maharani of Dhar. It's her mother-in-law's saree," says Radhikaraje Gaekwad, of the erstwhile royal family of Baroda, married to Maharaja Samarjitsinh Gaekwad. She was referring to her century-old cotton Paithani saree.

The saree features a real zari border and delicate narali (coconut) motifs, traditionally woven in gold. Paithani, from Paithan in Maharashtra, is known for its intricate tapestry weave, with elaborate motifs crafted using split tapestry and interlocking techniques giving it a distinct embroidered look.

Gaekwad wore the saree in the traditional nauvari (nine-yard) style, a drape dating back to the 17th-century Maratha Empire. While the nauvari is often associated with lavani dancers [a folk dance known for energetic performances and satirical lyrics on social and political issues], fisherwomen or reserved for weddings, Gaekwad chose to reclaim its lost elegance. "It's a beautiful drape with so much history. I want to bring it back and show how heritage can shine in modern settings," she says.
"I love fashion, but I'm comfortable with what I already have," says Gaekwad. For her, textiles and heritage go hand in hand. "Sustainability is second nature to me - rediscovering items from my family's cupboards has always been my practice."

To complete her look, Gaekwad paired the saree with classic Marathi jewellery. The sat lada necklace (a layered design worn in counts ranging from three to even 1001 as mentioned in the Arthashastra), emerald bhikbali earrings (historically worn by Brahmin men or the Peshwas), and the Basra pearl jhumkis, and ivory and gold bangles, passed down from her grandmothers. These pieces add layers of personal heritage and significance to the ensemble.

And here's the kicker - while the saree may look black at first glance, it's actually a deep, dark blue. "Back in the day, they used natural indigo dye and would keep dyeing it until it got as close to black as possible," she reveals.