Catalogue

Cataloging my thesis project about understanding beauty, I took a distinctive approach by exploring what "beauty" is widely associated with in my country—the saree. This often six-yard piece of fabric, draped by women in multiple ways, carries diverse origins in textile, embroidery, and patterns, each rooted in the geographical history of different states.

Choosing something deeply familiar to me since childhood was intentional. I wanted to showcase the artistry of my motherland while also highlighting the saree as an epitome of feminine beauty. Given India's vast diversity, I selected four completely different states–Maharashtra, West Bengal, Jammu & Kashmir, Gujarat, and their sarees–Paithani, Jamdani, Kashmiri Aari, Bandhani, to represent this variation. The saree has always held personal significance for me, having seen it worn in my family and community since childhood.

To push the exploration further, I introduced these designs to my cohort through giving stencils of these patterns, encouraging them to experiment and reinterpret the pre-existing concepts and patterns in their own way. This exercise aimed to uncover new patterns and unique combinations by blending elements traditionally specific to a particular state's saree. The outcome was a fascinating blend of patterns, prompting reflection on whether beauty is merely a fixed notion shaped by societal acceptance of prevailing and widely embraced aesthetics? This exploration challenged the idea of beauty as a rigid standard and instead showcased its fluidity—how it evolves through reinterpretation and personal expression. By mixing traditional elements with new perspectives, the project encouraged a dialogue on how cultural heritage can be both preserved and transformed, ultimately redefining what is considered beautiful.