The Paithani derives its name from Paithan, the place where it has been produced for 2000 years. It is essentially a silk saree with an ornamented zari pallav and border. The motifs used are mostly traditional vines and flowers, shapes of fruits and stylized forms of birds and the saree is often known by the motif that dominates its border or pallav – Asavli (vine and flowers), Narli, Kuyri, Bangdi Mor (peacocks in the bangle) and so on.

For the best Paithani the yarn is silk and the zari is drawn from the pure gold. But an economically viable saree may be woven substituting silver for gold and silk for silver. Cotton Paithanis are also likely to make a come back.

The oldest of the traditional Paithani designs are the Asavli (vine and flowers) and the Akruti (squarish flower forms). Some other traditional designs are Narli (coconut form), Pankha (fan), Rui Phul (a kind of flower) and kalas pakli (a petal form). Stroks and swans were popular motifs during the Shalivahan era, while the golden lotus belongs to Yadav times. The Moghul period inspired new motifs derived from flowers, plants, trees and birds. The peacock motif used in the Bangdi Mor is a popular example. The Ajanta influence is seen in motifs like the Ajanta lotus, the triple bird and the seated Buddha. Some other designs and motifs used in Paithani are: Kuyri Vel (vine and Mango), Anaar Vel (vine and grapes), Gokarna Vel (vine and Gokarna flower), Tota – maina (parrot), Humaparinda (the pheasant) and Behestiparinda (the bird of paradise).

The weaver of the Paithani must be a devotee of his craft. He must be in love with the saree he weaves. That alone can sustain him through the long days of weaving, the long months, and the years.

The Paithani is as durable as it is beautiful. It may be handed down as an heirloom from mother to daughter for several generations. And even when the silk finally wears, the border and the pallav of a true Paithani may be burned to leave a ball of solid gold-the parting gift of gracious saree.

The Paithani was once a must for every Maharashtrian bride. Clad in it, she stepped demurely into the state of wife wood. It would be preserved, when she was no more, by loving daughter and granddaughter, and its enduring quality would match the endurance of a loving memory.