Kriti Sanon & Anita Dongre: The Perfect Match For Hand Block Printed Ajrakh Sarees

Ajrakh has always belonged to the patient. Sixteen steps, countless rinses, layers of resist, natural dyes that follow their own moods — it’s a craft that insists on time. Practised by artisan communities in Gujarat for generations, Ajrakh printing carries its philosophy in its process. Madder reds, indigo blues, and earth-fed browns aren’t just sustainable choices; they’re reminders that colour once came from soil, sun, and skill, not shortcuts.

Anita Dongre’s Anuka Ajrakh saree brings that heritage into the present without turning it into nostalgia. The print keeps its geometry intact, but the saree feels lighter, more adaptable, more in tune with how people want to wear handmade textiles today. It doesn’t treat Ajrakh as something fragile; it allows it to move.

On Kriti Sanon, the drape meets a modern rhythm. The red sits with an earthy confidence, the block-printed motifs hold their pace, and the overall silhouette stays calm enough to let the craft speak. Nothing feels forced, and nothing tries to “update” the textile; it’s contemporary simply because it’s worn with ease.

The fringe is the only real curveball here, subtle, intentional, and playful. Fringe has always had an interesting relationship with fashion: it disappears for years, then returns with a point to prove. In sarees, especially, it brings a kind of movement that feels modern without disturbing the traditional framework. On this drape, it interrupts the print just enough to give the shoulder a new texture and a small spark of attitude. Not dramatic, not decorative for decoration’s sake, just a clever detail reminding you that craft can hold a contemporary beat without losing its rhythm.

The result is a saree that isn’t chasing relevance. It keeps its roots, moves comfortably in today’s wardrobe, and makes a simple point: craft doesn’t need theatrics to feel current, just thoughtful design.

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