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food / travel

How The Sari Conquered The World

The prestigious Design Museum in London – named European Museum of the Year in 2018 – is currently staging a landmark exhibition, The Offbeat Sari, all about this item of dress and the clamour of attention it is enjoying.

Women and children posing for a photo in Jodhpur, Rajasthan, India.

Group of people posing for a photo, Jodhpur, Rajasthan, India, December 29, 2019.

Varun Gaba (@varunkgaba) / Unsplash
Andrew Whitehead

London Calling: How does India look from afar? Looming world power or dysfunctional democracy? And what’s happening in Britain, and the West, that India needs to know about and perhaps learn from? This fortnightly column helps forge the connections so essential in our globalising world.

The curry has conquered the world; the sari less so. It is, in concept, the most simple of garments: a single piece of unstitched fabric. In execution, it’s really tricky to wear for those who don’t have the knack. All those pleats – the tucking in – and then the blouse and petticoat which are part of the ensemble. Quite a palaver.

When Western women wear a sari – often as a perhaps misguided token of cultural respect – you often wish they had stuck to a trouser suit. And in its heartland, the sari is nothing like as ubiquitous as it once was. Among young urban Indian women, as far as I can make out, the sari is saved for high days and holidays.

Yet the elegance and versatility of the sari, as well as its timeless quality, have caught the attention of fashion gurus and designers, desi and otherwise. The prestigious Design Museum in London – named European Museum of the Year in 2018 – is currently staging a landmark exhibition, The Offbeat Sari, all about this item of dress and the clamour of attention it is enjoying.

Timeless garment

The display is devoted to the contemporary sari and the revival of this venerated garment for everyday wear, as red-carpet haute couture, as political statement (think Gulabi Gang), and even adapted for cricket or skateboarding (no, I’m not too convinced about that last point either).

The sari is staging a comeback – as a symbol of female empowerment.

It is a symbol of Indian womanhood which became tarnished by Bollywood’s fixation with ‘clinging saris [which] fetished the female body as the object of the male gaze’. The exhibition’s premise is that the sari is staging a comeback – as a symbol of female empowerment. As well as a stunning array of eye-catching saris from across the sub-continent, there are also a few photos of men in saris – as a protest or provocation or as part of a personal manifesto.

The Design Museum aims, in the words of the event’s curator, to explore the sari as ‘a site for design innovation and an empowering vessel for self-expression in India today. The very fact that a major global institution is holding such an ambitious celebration devoted to a single item of dress is itself a statement of the sari’s global status.

A cultural impact

Woman looking at a contemporary sari at The Offbeat Sari exhibition at the Design Museum, London, UK.

The Offbeat Sari exhibition at the Design Museum, London, UK. 17th May 2023.

© Cover Images / ZUMA

Unquestionably, the sari is part of India’s soft power – one of the cultural and aesthetic signifiers of a country which enjoy attention and esteem beyond its borders, add lustre to a nation and so boost its profile and influence. The formal indices of soft power seem to be stacked up to boost the west – one bizarrely put Germany in third place, and positioned Canada well ahead of India – but I would argue that India has more going for it than perhaps any other nation.

As well as the cuisine (everything from popadum to dosa, from mango chutney to chicken tikka) and the fashion (salwar kameez, shawl, sherwani and chappals also have a global footprint), there’s yoga, the sitar, cricket, the Taj Mahal, attar, agarbati, and a rich vein of modern literature and fine art.

Oh, and did I mention Bollywood – not simply huge across South Asia and its diaspora but in regions as diverse as Nigeria and Uzbekistan. And then there’s the more difficult to define civilisational legacies – reflected in scripture and architecture but also in the sense of spiritual quest which has been such a large part of India’s global appeal. And India is one of the few countries able to assert that its nationals, or people of Indian heritage, have over the years been awarded the Nobel prize in all six categories, from peace to literature.

Once I would have added that strange and successful mix of secularism, political pluralism and robust democratic instinct which India both epitomised and championed. I wouldn’t trumpet this aspect of India’s soft power quite so loudly of late. But I’ll happily sound a conch shell for the sari.

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Shame On The García Márquez Heirs — Cashing In On The "Scraps" Of A Legend

A decision to publish a sketchy manuscript as a posthumous novel by the late Gabriel García Márquez would have horrified Colombia's Nobel laureate, given his painstaking devotion to the precision of the written word.

Photo of a window with a sticker of the face of Gabriel Garcia Marquez with butterfly notes at Guadalajara's International Book Fair.

Poster of Gabriel Garcia Marquez at Guadalajara's International Book Fair.

Juan David Torres Duarte


BOGOTÁ — When a writer dies, there are several ways of administering the literary estate, depending on the ambitions of the heirs. One is to exercise a millimetric check on any use or edition of the author's works, in the manner of James Joyce's nephew, Stephen, who inherited his literary rights. He refused to let even academic papers quote from Joyce's landmark novel, Ulysses.

Or, you continue to publish the works, making small additions to their corpus, as with Italo Calvino, Samuel Beckett and Clarice Lispector, or none at all, which will probably happen with Milan Kundera and Cormac McCarthy.

Another way is to seek out every scrap of paper the author left and every little word that was jotted down — on a piece of cloth, say — and drip-feed them to publishers every two to three years with great pomp and publicity, to revive the writer's renown.

This has happened with the Argentine Julio Cortázar (who seems to have sold more books dead than alive), the French author Albert Camus (now with 200 volumes of personal and unfinished works) and with the Chilean author Roberto Bolaño. The latter's posthumous oeuvre is so abundant I am starting to wonder if his heirs haven't hired a ghost writer — typing and smoking away in some bedsit in Barcelona — to churn out "newly discovered" works.

Which group, I wonder, will our late, great novelist Gabriel García Márquez fit into?

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