Almost every district and sometimes even different villages have their own sari tradition which employ a complex language of symbols. But though characterized by geographical considerations, all Indian symbolism, abstract or figurative, is rooted in the natural or physical world. The purist often bemoans the fact that the traditional borders, the field and the end piece motifs have been interchanged between the regions, creating an unwelcome hybrid and often destroying the fine balance and subtle harmony between the three. Yet innovation, not stagnation is the hallmark of the weavers and artists engaged in the creation of these magnificent textiles. Even in the 19th century, the Baluchari sari of Bengal introduced images of British sahibs and memsahibs in railway carriages, thus expanding a traditional vocabulary, which was almost exclusively drawn from religious epics, and making the sari a vehicle for social satire and a mirror of the times.
Ingenuity too is a frequently employed device.
The Orissa calligraphy sari has coded love messages in the shape of puzzle poems. Thus with the sari, pattern and content also do frequently inform one another. The material always light enough not to interfere with the fluidity of the drape is another source of varied tactile delight - cottons, silks, cottons mixed with silk, chiffons and tissues are some of the preferred mediums. But in recent times, to the dismay of the weavers, synthetic polyester has made inroads into the fashion world of the sari. There are several reasons for this.