Moving on to the last room our focus is drawn to the use of zari in textile, as an ornamentation that continues to be an identity of Indian textiles from ancient times to present day. The changing connotation of zari from the purest form of gold and silver yarn to its new charade of plastic in golden colour is the essence of the display. The loss of  skill and classic craftsmanship are directly linked to the loss of a practice with noble materials of real silver and real gold.

Gold Tissue Saree
Just as we began the exhibition with an emphasis on the reflection of light in hand spun yarn - real silver and real gold not only reflect light with a glow but also when manipulated to a degree of finesse produce gossamer weightless textiles, made of the richest and densest materials. This gold tissue saree is an example that inlay sits better on a bed of metal.

Silver Kanjivaram
The Silver Zari saree marks the rare use of 98.5% silver, un plated within textiles. The original was created during the Art Deco period, but channelised a unique patterned relief of stylised chevrons made possible with the use of silver zari. Still considered contemporary in its look and feel, the credit for its dexterity goes to craftsmanship.

Baroda Shalu 
Similarly, The Baroda Shalu has been designed with reverse engineering wherein the tissue has been used in the palla. a marvel that the pala is lighter and airy than the body of the saree although it is made with pure silver and gold.

In the Dharmavaram we see the use of a different grade of zari , the Tamil Nadu zari - that is also considered pure zari with the percentage  of silver and gold varying when compared to Benares zari.

Showcasing some of the finest craftsmanship works at Yali, it's the finesse in skill, true materiality and process that champions a textile.