This 150-year-old Mysore silk saree holds a secret from Akshata Murty’s past

There’s something deeply poetic about a silk thread that carries centuries of history, pride and artistry. For Akshata Murty -entrepreneur, designer, and now trustee at London’s Victoria & Albert Museum that thread happens to be Mysore silk.

Elegant, understated, and steeped in royal heritage, the Mysore silk saree isn’t just fabric, it’s a story. And for Akshata, it’s the story of her roots.When she joined the V&A (Victoria and Albert Museum) earlier this year, many wondered how she would bridge her Indian sensibilities with her global exposure. The answer came beautifully woven through her debut project: Stories + 10 Objects, a video series that explores iconic items from the museum’s collection, each one revealing a tale of craftsmanship, heritage, and cultural exchange.

Among the ten, one piece stood out: an exquisite Mysore silk saree from 1867.And for Akshata Murty, it wasn’t just an exhibit, it was personal.

The silk of her soul

“My father is from Mysore, and I spent much of my childhood visiting the city - its palaces, its artisans, its colourful markets,” Akshata told Vogue in an interview. “The sari (saree) in the V&A is an ancestor of the Mysore silk industry, which is at least 150 years old and still thriving today.

It’s a source of pride and employment for countless families.”

The Mysore silk saree, known for its subtle sheen, zari borders, and regal drape, has always symbolised timeless elegance. Born from the patronage of the Wodeyar dynasty, the silk was once reserved for royalty. Today, it remains one of Karnataka’s proudest exports, its lustre untouched by time.For Akshata, this saree isn’t merely a textile, it’s a connection to home, family, and the values that shaped her.

She recalls a powerful personal memory that beautifully ties her two worlds together. “When we lived at Downing Street, I wore a blue Mysore silk sari (saree) with a Ganda Berunda locket, the emblem of the Wodeyar dynasty, while lighting diyas outside Number 10 for Diwali. That moment felt like bringing my roots into a global space in a completely authentic way.

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Woven with heritage

Akshata’s relationship with Indian crafts runs deep, almost like it was passed down in her genes.

She grew up surrounded by women who lived and breathed tradition. “My grandmother, aunt, and mother were always beautifully put together, often in saris from our region,” she reminisces. Her grandmother’s wardrobe was filled with Ilkal sarees from Bagalkot, adorned with the delicate Kasuti embroidery that Karnataka is known for.Her grandmother even had her own little wisdom about textiles: “You have to be a certain age to wear Ilkal saris with particular designs, because they’re more refined.”

It’s that sense of respect - for craft, for age, for evolution that shaped Akshata’s aesthetic. When she wore her first Kasuti sari at the Jaipur Literature Festival earlier this year, it felt like coming home.It’s no surprise that Akshata’s work at the V&A reflects this same reverence for legacy. Her aim isn’t just to display India’s craftsmanship, it’s to translate it for a global audience. Through her curatorial work, she’s weaving a modern narrative around traditional arts, reminding the world that heritage doesn’t belong in glass cases; it belongs in daily life, on our skin, in our wardrobes.

The girl between two worlds

Akshata’s life has always straddled two cultures, one steeped in ancient heritage and another driven by modern innovation. “I was born and raised in India; my cultural roots are firmly Indian,” she says. “My husband was born and raised in the UK, and our children are growing up there. I wanted Stories + 10 Objects to reflect that dual belonging; to showcase Indian craftsmanship within a British institution.”And that’s perhaps what makes Akshata’s approach so unique.

She doesn’t see Indian craftsmanship as a relic of the past, but as a living dialogue between cultures. For her, a sari isn’t just a garment - it’s a symbol of continuity, evolution, and identity.

Simplicity with soul

Despite her polished, cosmopolitan image, Akshata Murty’s style philosophy is rooted in simplicity. “My family’s focus on simplicity didn’t mean a lack of style; it meant a deep respect for tradition and quality,” she says.

That understated elegance is visible in everything she wears - whether it’s a handwoven sari, a minimal kurta, or a globally inspired ensemble that subtly nods to her Indian origins.Growing up in Hubli, she spent her childhood wearing handmade Langa Voni skirts stitched by local tailors. Her father, who lived in Bombay, would bring her Western frocks with lace and frills - symbols of a rapidly modernising India. But her grandmother insisted she wear traditional textiles.

“She would buy fabric and have it stitched into beautiful Parkar Polka skirts,” Akshata recalls fondly. “That blend of modern Western influence and deep-rooted tradition shaped my aesthetic sensibility.

”It’s that duality - modern yet mindful, global yet grounded that defines her today.

A legacy in every thread

The Mysore silk saree on display at the V&A might belong to 1867, but its story continues to unfold. Each time Akshata drapes one, she isn’t just wearing silk; she’s wearing memory, craftsmanship, and continuity.

She represents a new generation of Indians who aren’t afraid to blend cultures, reinterpret heritage, and bring traditional artistry into modern spaces.

In many ways, her journey mirrors that of Mysore silk itself - a fabric born of royal patronage, sustained by community artisans, and now celebrated on the world stage.From Hubli to London, from Langa Vonis to Mysore silks, Akshata Murty’s story is proof that true style lies not in following trends, but in honouring your roots. And sometimes, that story begins with a single thread.