The Trisha Silks Lookbook · Jubilee Hills
There is a courtyard set standing inside the atelier. Brass vessels, banana leaf, lotus in a bowl, hanging bells. Whenever a new weave reaches us, it is draped there and photographed the same week. Nothing here is a sample or a reproduction. Every piece can be seen in Jubilee Hills, or on a video call from anywhere.
The sitting
The ivory Paithani and the violet Patola were shot together because patrons ask us to compare them almost every week. One is woven butta by butta in Paithan. The other is dyed in the yarn in Patan before a single thread goes on the loom. Side by side, the difference stops being an argument.
More drapes sit on the films page, each one shot close enough to read the border, with new ones added as they come off the loom and reach us.
The looks
Paithani
The whole saree is ivory tissue, so every butta reads like it was painted on rather than woven in. The pistachio sleeve was cut sheer on purpose, because a heavier sleeve would have argued with the flowers.
Tissue Kanjivaram
Gold tissue can flatten under indoor light, so the border was kept dark and the blouse was kept royal blue. That single contrast is what stops the drape looking washed out in photographs.
Tissue Kanjivaram
This is the pairing that has never once been returned to us. Cream body, red border, red blouse. It photographs well in temple light and it photographs well under a shamiana, which is rarer than it sounds.
Tissue silk
Two shades only, and the border does all of the talking. Brides who want a bridal weight saree without a heavy pallu usually end up here.
Paithani
We shot this one from behind so the pallu could be read properly. On a Paithani the reverse of the butta is as neat as the front, and that is the easiest test any patron can run in the shop.
Kanjivaram
The navy border is embroidered over the woven edge, which is why it sits slightly raised. It is a good option for a bride who wants weight at the border and quiet everywhere else.
Bandhani with a Patola pallu
Tied in Kutch, woven in Patan, finished as one saree. The ivory sleeve was chosen so the eye lands on the pallu and not on the arm.
Tissue silk
Light enough to wear from ten in the morning until the last meal is served, which is the honest brief most wedding sarees are actually bought for.
Kanjivaram
The bodice was embroidered for this saree, not bought to it. That is the difference you see at the shoulder line, where the motif follows the seam instead of breaking across it.
Patola
Spread flat, a Patola gives itself away. The pattern is dyed into the yarn before weaving, so the motif lines up on both faces and the edges stay slightly soft.
Paithani
Black is still uncommon in a Paithani and it is the one we recommend to patrons who already own their red. The ivory border keeps it from reading as plain evening wear.
Patola
Daylight colours, chosen for a haldi morning. The mustard blouse repeats a colour already inside the weave, which is usually safer than introducing a new one.
Bandhani
The only wide frame of the shoot, so it does the work of a header wherever a page needs air above the words.
Paithani
Two sarees in one drape, because the pallu is worked in ivory while the body stays black. It is a good answer when a patron wants a photograph that changes as she turns.
Photographs and films are honest here, but silk is still a thing you decide with your hands. Walk into Jubilee Hills any day between half past ten and half past nine, or ask us for a video viewing and we will drape each of these on form for you.
