More than 1200 weavers are involved in the art of making Kota fabric. These karigars, however, say that this art form faces a serious threat from the technologically advanced power looms. Besides, they feel, Kota sarees though unmatched in their elegance, are not as famous as the Benarasi and South Indian sarees.

KOTA, ideal for India’s hot summer, is a muslin fabric woven with alternating threads of silk and cotton in both warp and weft in an open weave. A very close-knit Muslim community, which does this work, has been passing this tradition from one generation to the next. The members of each family are engaged in this profession since childhood.

These weavers do everything from making the patterns and designs to dyeing the yarn, by hand.

More than 1200 weavers are involved in this art. These karigars , however, say that this art form faces a serious threat from technologically advanced power looms. Besides, they feel that Kota sarees, unmatched in their elegance are not as famous as the Benarasi and South Indian sarees.

Vidhi, a self-taught designer and revivalist, has come to the rescue of these weavers. She has made sure that the Kota fabric is here to stay. Vidhi hails from a very old family of Jodhpur in Rajasthan. She grew up in Mumbai and studied in Cathedral School and later in Sophia college.

She has modified their traditional designs and patterns to suit the contemporary palette. This has enabled her to bring from the looms of Rajasthan her casual, cocktail, trousseau and bridal range.

She has worked hard to bring this fabric to a greater number of people, thereby boosting the income and morale of the karigars.

Vidhi, who likes to experiment with a variety of colours, is currently working on white, black, lime, terra-cotta, lemon, rust, emerald, ivory, peach, and even pure gold and silver. The entire look of the Kota saree seems to have changed in her hands.

The sarees have designs that vary from the traditional jal, checks, jacquard and jamawar pallus to a Chantilly lace-effect and intricate borders of gold and silver thread work.

She has also brought out a range of pure silk Kota sarees which have a softer drape. They are best for autumn and spring seasons.

Vidhi believes that "Kota is the most versatile woven fabric". She has not only designed cocktail, bridal, and casual sarees but also bridal lehangas, safa and kurta fabric for the bridegroom, and cushions and furnishings.

Vidhi says that her prime objective is to work for the uplift of the weavers, "I am very sensitive towards them and many of my sarees are named after them. Nizam pink, Usmani green, Sultana buti, Nargis, Shameena, Shaista and Rubina are all named after the karigars and their families".

One of her collections is called Sajdah, which means homage in Urdu. This collection has been inspired by a painting of Raja Ravi Varma.

Vidhi’s passion for Kota makes her experiment more and more each day be it with the curtains of her studio, decorations of the panelled walls or the traditional handbag called Potli.

Vidhi considers the saree the most graceful and dignified outfit and a dress that is an integral part of the Indian heritage. Moreover, it suits everyone as it takes the shape of the wearer.

Vidhi’s training ground has been the weavers themselves with whom she works and remains in constant touch.