The film follows LaWhore Vagistan through a day in New York City, moving between fashion shoots, nightlife gigs, and everyday activities, all while draped in handwoven saris. In a narrative that shifts from day to night, the sari becomes not only a garment but a fluid extension of the body, exploring its potential to empower, disrupt, and transform. Through this reimagining, Sari, Not Sorry presents the sari as a vehicle for  self-expression—celebrating the intersection of history, culture, and personal identity.

The Collaboration

The creative partnership between Nikita Shah and Kareem Khubchandani is central to the film’s exploration of the sari’s layered significance. Shah, born in Mumbai and now based in New York, has spent years rethinking the sari beyond its traditional roots, integrating handwoven textiles and sustainable practices into contemporary fashion. Her work honors the rich heritage of South Asian textiles while pushing the boundaries of what the sari can represent in today’s diverse, global context.

Kareem Khubchandani, known for his drag persona LaWhore Vagistan, is a scholar, writer, and performer who has spent over two decades using drag to explore themes of queer South Asian identity, gender, and performance. As a professor and author, Kareem's work examines how drag can be a tool for resistance and celebration, disrupting the conventional boundaries of gender and culture.

Together, Shah and Khubchandani blend the worlds of fashion, performance, and cultural critique to create a work that interrogates not only the sari’s place in contemporary culture but also the broader questions surrounding gender, identity, and artistic freedom. The film blends performance, art, and fashion to disrupt conventional ideas about what clothing, gender, and tradition should mean.

The Vision

In Sari, Not Sorry, the sari is not a static garment but a living, breathing symbol of fluidity. It becomes a bridge between past and present, tradition and innovation, performance and everyday life. Through their collaboration, Shah and Khubchandani invite audiences to reimagine the sari as a radical, inclusive garment that transcends gender norms and embraces the infinite possibilities of self-expression.

By blending traditional textiles with the art of drag performance, Sari, Not Sorry also challenges the conventional division between “costumes” for the stage and “clothes” for life. The film highlights the interconnectedness of both, showing that fashion, performance, and personal identity are inseparable.