From Tradition To Elegance: The Art Of Bhagalpuri Silk Weaving

For Kamayani Jalan, true sari connoisseur and President of the Delhi Crafts Council, Bhagalpuri silk saris hold a special place—"These saris are comfortable to wear, wrinkle-resistant, and perfect for both office and casual occasions."Originating from the Bhagalpur district in Bihar, the renowned wild tussar silk fabric or Bhagalpuri silk (often used interchangeably) is distinguished by its slightly coarse texture, patterned stripes and checks of varying densities. The fabric is woven exclusively from flat yarn spun from the cocoons of the tussar silkworm Antheraea mylitta, a native species that feeds on local forest leaves.While Bhagalpuri tussar was once a coveted export to Europe during the British Raj, the advent of cheaper, synthetic alternatives and the rise of mill-produced silks in the 20th century led to a decline in production.➴Keepers Of The Craft: How These Designers Are Breathing New Life Into Heritage TextilesThis is where Niranjan Kumar Poddar's story begins. "In 1985, as a teenager, I had to leave school when my father lost his job. I started working at a Khadi Bhandar, where I learned to spin yarn," says Poddar, founder of Berozgar Mahila Kalyan Sanstha (BMKS), a prominent silk weavers’ cooperative in Bihar.Established in 1993, Poddar's non-profit organisation has helped revive tussar weaving in the Godda district in Jharkhand (65 km from Bhagalpur) through employment programmes and technical and design inputs. These efforts have led to experimental initiatives, such as the Ahimsa silk yarn, which spun from fibre extracted without killing silkworms. While the Bhagalpuri silk received the Geographical Indication (GI) status in 2013, its producers face many challenges. One of them are the middlemen who often exploit weavers with unfair prices. To address this, Poddar suggests establishing "cloth banks." "These banks would eliminate middlemen, allowing weavers to directly supply their products to major showrooms in cities like Delhi. This would ensure weavers receive fair compensation for their work," he says.➴Reviving Tradition: The Legacy Of India’s Great Textile RevivalistsThis is where designer Samant Chauhan comes into the picture. After joining the National Institute of Fashion Technology (NIFT) in the early 2000s, Chauhan was surprised to find little information about this unique silk. "People often referred to it as tussar silk. The question was, if silk from Bangalore is called Bangalore silk and silk from Banaras is called Banaras silk, then why not Bhagalpuri silk? I knew I had to raise awareness about the silk we produce," says Chauhan, who hails from Munger, 60km from Bhagalpur."When I started creating designs with the silk, people couldn't believe it came from Bhagalpur. That's when I realised its huge potential," he added.According to Chauhan, the textile's distinct texture and sheen can only be achieved only by experienced weavers, who know the precise techniques.Reviving Tradition: How Indian Designers Are Saving Indigenous Textiles From Fast FashionBy working with weavers and offering fair prices, Chauhan's efforts have not only supported the local community but also helped to revitalise the Bhagalpuri textile industry. "We measure our success by the work we've created for our hometown. For instance, if a gown requires 20 metres of fabric and we've made nearly 1,000 gowns in a year, you can imagine the number of people engaged."Convincing people to experiment was the biggest challenge Chauhan faced. "Bhagalpur lacks the integrated ecosystem that places like Rajasthan have, where weaving and various forms of printing coexist and thrive. It took significant effort to bring in resources and develop the industry. Today, the city boasts a vibrant textile sector, but this transformation was a gradual process," he said.After nearly two decades of work, Chauhan modestly downplays his role in reviving the Bhagalpuri silk industry. "People often say I made a significant contribution, but I view it differently. It was the fabric that brought the recognition. I might not have received the same acknowledgement if I had worked with another material. The industry wasn't benefiting from my actions; in fact, I was the one who benefited from the industry," he concluded.