As the scorching summer heat gives way to the gentle breeze of autumn, Kolkata celebrates the arrival of Maa Durga with delicate Shiuli, vibrant city lights, the smoke of Dhunuchi and the sound of the Dhak. For most of the year, modern women navigate their fast-paced lives in blazers, denim and oversized tees while keeping up with their meetings and deadlines. However, as September and October roll in with its scent of festivity, an instinctive, almost biological pull draws them back to their Bengali lineage. Over the five grand days when the city decks up in its finest, Aankona celebrates it with its timeless, handwoven sarees directly from the master artisans, featuring intricate Kantha, breathable cottons and heirloom Jamdani.

Every Bengali household has its own almirah filled with the nostalgic smell of naphthalene and neem leaves, where the ‘bhalo’ sarees rest the entire year. Her mother’s Tant, grandmother’s Jamdani and her own cotton handloom reflect the mastery of a weaver’s quiet dedication. Just before Pujo, as she opens the doors of the almirah, the room fills up with the memories of last year’s ‘Ashtami-r Anjali’ and the scent of Gobindobhog rice. As she takes out one of her favourite Jamdanis and lets the fabric fall on her shoulder, she becomes ‘Uma’, an embodiment of Maa Durga herself. Amidst the festive air, her heart leaps to the rhythmic beats of the Dhak, along with the familiar humming of the songs playing at the ‘parar’ mic.

For an experienced person, saree draping is a task that gets done within minutes, whereas for the modern corporate woman, the process does get hectic. At this moment, everyone’s beloved ‘thammi’ appears as a saviour with her expertise. She explains her first experience of Tant draping; it was a whole ritual in itself. It begins with a tuck at the waist, accompanied by masterful pleats made with the fingers, settling beautifully onto the skin. The woven motifs of sarees travel with her through the timeline of 90s. Finally, comes the ‘aanchol’ part of a saree that sweeps across the shoulder, providing a structured look. Aankona’s handloom sarees resonate equally with this, bridging the heritage of tradition and the sense of modernity.

She never wanted to become completely detached from her lineage, but she wished to stand out among the crowd. Some chose Tant, others chose Baluchari or perhaps a silk saree; they all turned out to be distinct in disposition yet effortlessly intertwined. To go with the sarees, they preferred silver oxidised jewellery or some gold elements, with comfortable shoes to endure the endless, winding queues.

To complement the lively spirit of the city with its exuberant lights, she carries forward the luminous legacy with authentic handwoven sarees. The morning of Shashti starts off with the Handwoven Yellow Shibory Saree, an exclusively intricate piece that radiates grace effortlessly, whereas Saptami night calls for a bolder look, reflecting the true essence of Pujo. To go with this thought, the Handwoven Fuchsia Pink Baluchari Saree showcases the traditional craftsmanship while being a statement piece in her collection. Shashti and Saptami, the beginning of Pujo emerges with a featherlight touch, capturing the quintessence of Durga Pujo.

Ashtami marks the day of worshipping Maa directly with Anjali, and later savouring luchi, followed by an ‘adda’ session with your loved ones. During Anjali, the ‘mandap’ is crowded, but she distinguishes herself in the Handwoven Red Jamdani Saree, standing barefoot, holding a mound of fresh marigolds in her hands. The humidity never leaves Bengal, nor does the crowd. But with the right saree, she feels a sense of comfort, almost like home. Every Pujo saree has its own story, its own narrative to tell. As the morning of Ashtami settles in, the night requires the ultimate luxury with a Handwoven Blue Jamdani Saree. Wearing it feels less like mere saree and more like wrapping yourself in pure authenticity. In the tune of the late-night gatherings, endless chitchats, and laughs, handlooms keep alive the rooted grandeur while effortlessly harmonizing with the contemporary aesthetics.  

Somewhere in between the fourth and fifth Pandals, she finds herself holding a bati of Phuchka with utmost care and concentration. She forgets everything about her busy life and tasks of day- to- day, dissolving into the sea of pandal- hoppers. Surrounded by the people of Bengal, where everyone seems to be looking the same, she maintains her individuality with a handcrafted, one-of-a kind saree.

Navami arrives with a touch of melancholy, a sense of longing to keep Maa Durga for a few more days. She is on one hand our Maa, and on the other, our daughter. To make the most of Navami, she prefers to get ready with something unapologetically grand and mesmerizing, much like a Handwoven Pink Tussar Saree with Kantha work. A saree that provides comfort yet something undeniably opulent to align flawlessly with the festive mood while preserving the authentic craft lineage.

On Dashami, the celebrations reach an emotional and wistful close with the ‘Sindoor Khela’, ‘Mishti Mukh’, followed by mournful melodies, quiet tears, and fervent prayers. The tradition of Dashami is to wear sarees with red and white elements. She stands among the people, slightly thinking of Uma, as a daughter who came home for a few days and now must be returning to her home. Thinking this, she also quietly realises that she is, too, a daughter on short visit. In a few hours, she must be getting back to her daily work.

Transcending the sheer rituals, Durga Pujo unfolds into a luminous canvas woven with threads of devotion, culture, and community. It is the moment, the entire city pauses to welcome their divine Maa Durga home, celebrate her presence and then bid a farewell with a promise to meet again, “Ashche bochor abar hobey”.