Kajol’s monochrome Torani sari captures the new mood of vintage revival

Stylish by Radhika Mehra for an editorial shoot, Kajol wears a sari printed in black and white by Torani, twinned with an oxidized declaration of declaration by the Amrapali tribe. It is a look that reflects an increasing change in Indian fashion – where the past is not referenced for nostalgia, but for depth.

The Sari Georgette and Butterfly Filetta base carries floral patterns and hands -illustrated birds in ink black, printed on ivory and framed by chevron borders, stripes and peas. A thin embroidery line gives the drapery just enough radiance. The blouse, mainly concealed, reveals detailed lace straps and a soft neckline in heart – sufficiently structured to shape the silhouette, subtle enough not to compete with printing.

The designers at all levels return to prints directed by narration. From oversized flowers from Valentino to the maximalist canvases of House of Masaba, the designers return to narrative patterns and textile narration. The visual world of Torani is shaped by personal memory and the cultural reference – botanical drawings of the mughal era, domestic objects, lived textures. His saris often feel like fragments of a dream, dyed in pallets that refer to the sun, smoke, foam or clay.

Here, the black and white palette draws attention to the simplicity of the form as much as emotion inside. The print feels archiving, as something taken from old family albums or Indian cinema from the black era. The oxidized neck tower adds weight and edge, breaking the monotonous without disturbing the mood. The beauty look is kept minimal: Kajol’s hair tied in an easy bun, the tears left in bulk, the bright but not noisy skin.