The Ekavalli Foundation is delighted to present Kanakavalli’s Juxtapose, the third volume in the Antar Anga series of visual essays that delve into the form and essence of the kanjivaram. Here, two of the craft’s most distinctive leitmotifs converge: weave (from Volume I: Intersect) and colour (from Volume II: Chroma), to celebrate the kanjivaram’s evocative and unabashed colour pairings.

The set was envisioned as an immersive painted room which would, in itself, become a metaphor for juxtaposition. Art director and photographer Pranoy Sarkar, along with a 3D artist and the production team, painstakingly measured the space, experimenting with the concentration of colours as well as their placement beside each other. The challenge was ensuring that the contrasts within the room were dramatic yet balanced – standing out without overwhelming every other aspect of the visuals. Certain hues, like M.S. Blue and emerald green, came into focus while mambazham and magenta became accents.

Drawing on the work of artists like Piet Mondrian, Mark Rothko and Ugo Rondinone, who masterfully navigate colour within structure, the central inspiration for this visual essay is the kanjivaram itself. The visual concept was born from the idea of colour-blocking using primary colours which were modulated to match some of the craft’s most beloved shades: M.S. Blue (a shade of middle sea blue inspired by the legendary Carnatic vocalist, M.S. Subbulakshmi), mambazham (mango yellow), magenta and emerald green.

To highlight the geometric language of the kanjivaram –the interplay between its body, borders, and pallu – mirrors were used to multiply reflections of the subjects and surroundings, while structural elements like pillars and columns echoed this geometry. Transforming the space required several days of labour: plaster of Paris was applied to rough walls and uneven surfaces, creating the illusion of sharp angles and smooth edges. The production team persevered through the challenge of pouring rain, damaged walls, and flooded floors, crafting a beautiful set that reflected both precision and artistic intent.

The lighting of the space also played a role in the visual storytelling. The single-point light source created shifting horizons – resulting in tilted angles and a sense of flowing movement, much like the sari itself in motion. The lighting was deliberately kept moody and warm, allowing the jewel tones of the drapes and their zari embellishments to shimmer and glow within the play of light and shadow. The design of the lighting emphasised the dramatic juxtapositions of colour in the images.

Continuing from the earlier volumes of Antar Anga, the draping styles for the kanjivarams eschew traditional blouses, placing the focus squarely on the sari. Stylist Devanshi Tuli drew inspiration from classical draping mechanisms – reinterpreting a traditional sensibility rather than replicating it. By bringing the pallu to the front, side or across the back, the drapes invite viewers to see the fabric as an extension of the body, reinforcing the concept of juxtaposition, as all the elements of the sari sit in one unified plane.

In a departure from conventional styling, we replaced jewellery with body paint, carefully applied in positions typically reserved for ornaments such as anklets, arm cuffs, bracelets and even bindis. The designs were pared down to geometric forms, their colours echoing the palette of the set and the saris. In a few looks, sculptural contemporary pieces were included to mirror the geometry of the kanjivaram. The hair was styled simply – samurai-inspired top knots or braids – and the make-up was kept neutral with striking kohl-lined eyes, in a nod to tradition through a contemporary lens. Bare feet completed the aesthetic, ensuring that the bold contrasts of colour and the exquisite drape of the saris remained at the forefront of the visuals.

Featured in this essay is a selection of exquisitely embellished Kanakavalli kanjivaram silk saris, curated to emphasise the craft’s bold contrasts of colour. Many of the saris feature korvai borders and pethni or benth pallus; weave techniques that give rise to the kanjivaram’s unique colour language. Some of the saris also feature ganga jamuna borders, in which the body, the lower border and the top border are in three entirely different shades – the pinnacle of the craft’s masterful juxtapositions.

Discover Antar Anga’s Juxtapose on Kanakavalli’s Instagram feed, and, if you missed it, go behind the scenes for the first two volumes of Antar Anga, titled Intersect and Chroma, here on the blog, and find the Look Books for all three over on the Kanakavalli website.

Ekavalli would like to thank the entire team that made the project come alive:

Creative direction: Kanakavalli and Pranoy Sarkar 
Photographer: Pranoy Sarkar 
Cinematographer and Editor: Ishani Das 
Production: Elements Production 
Jewellery Partner: Nonamé Makings
Stylist and Casting: Devanshi Tuli 
Makeup & Hair: Bishu Sinha 
Sets: Abhishek Kanade and Elements Production 
Models: Kripali , Vaishnavii , Aditi Anand, Mallika