As she gathered us around in each chamber to narrate the stories behind the exhibits, our quick-witted guide would engage in banters with everyone who posed questions. As the tour went on, we milled around in rooms, went through tunnels, spread out in halls, always in a continuous flow. It was a seamless, informal way of experiencing not just the art but also the space itself. This is probably more emphasized due to the exhibits being placed right before you, at touching distance. They are protected from weathering & damage solely by plastic films, allowing you to observe the handiwork from up close. Moreover, they are displayed as what they’re meant for, i.e., dresses are either donned on a mannequin or hung on a wall, carpets are laid out on the floor, sarees cascade down walls and tents are stretched out above. Everywhere you see, colours and patterns burst out at you.

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There’s a lot to see in each room, with the collection including attire worn during the 15–19th centuries, displays of royal tents and delicate saree embroideries of the 1800s that are the predecessors of what we see today. Some of the threadwork is so intricate & minuscule that it appears to be printed. I remember seeing a design made by tie-dyeing coin-sized portions of the fabric to create a large pattern! There are sarees worn by queens whose embroidery gives off a sheen that comes only from using real gold threads, woven curtains that reveal beautiful designs when the lights switch on, skirts that have more than a hundred gentle panels to them, and so much more….