While there are innumerable speculations regarding the origin of fabric which is believed to have been introduced by Dutch traders to Europe at the same time when the Spanish and Hispanics adopted the rare textile production through Silk Road. The word “Ikat” is coined from a malay-Indonesian term called “tie.” Ikat manufacturing process dates back to 1970 when the Pochampally weavers embraced silk and cotton weaving of Ikat for a better living.
In contrast to other forms of weaving and dying, Ikat is a different ballgame altogether. The process of resist-dying is involved in Ikat weaving where the yarns are bundled together and died repeatedly to create breath-taking design patterns all throughout. The yarns are then dyed and dried before they are put forward on the loom for further fabrication by the weavers. Unlike the batik print, where the cloth is dyed, Ikats dye the entire heap of yarn.
One the yarn is all dried, the threads of the yarn shall be worked upon precisely and intricately by the weavers who will work on the loom thereafter, creating detailed impressions showcasing the rich cultural heritage art of the Indian tradition. There are three different kind of Ikat weaving like Warp Ikat, Weft Ikat and Double Ikat. Warp Ikat technique involves dying on the prominent warp-faced of the yarn and to create the artistic effect, weavers generally let loose the threads of the bundled yarns to let the excess dye bleed for those magnificent prints allured by many. Similarly, in Weft Ikat technique, the yarns are bunded in weft-faced where the pattern comes to focus only when weaving progresses. The weaver has to constantly adjust and centre the yarn to ensure the pattern is aligned and formed correctly.
Double Ikat technique is one of the most popular weaving process followed by weavers to produce the signature Pochampally and Puttapakka sarees. This involves both Warp and Weft Ikat techniques- the advanced skill requires precision, tie and a higher level of understanding the weaving process. The Double Ikat motifs bloom beautifully on silk silhouettes. This expensive art is not only exquisite but also takes a long time to process.
Back in the early nineteenth century when Ikats were introduced, the fabric was generally worn by the fisherwomen or people who belonged to the low classes until the local weavers began to export the Ikat textiles in the form of scarves to Arabia.
The weavers were greatly influenced by the modern, abstract and contemporary prints that reflect the classic Pochampally Ikat sarees with a tye-dye print that solely focusses on big, brilliant and bold colors. Vibrantly colored Pochampally Ikat sarees are dipped in gorgeous hues with a touch of modern design to exude elegance at par. Unlike the Siddipet Khans who began to replicate the Indian art, the end-piece of their sarees were usually embellished with a band of Weft-Ikat dyed threads while Pochampally followed the end piece of saree to be embellished with classic Warp-Ikat dyed threads.
Designs are first worked upon the paper before they are forayed into an array of traditional weaves and threads. While the weavers are constantly weaving the delicate threads to produce eclectic cloth, great care is laid upon to ensure that the threads are in place during the manufacturing. This way, the exquisite design will be exuded effortlessly. The popular Pochampally-Ikat sarees have won the Intellectual Property Rights Protection and it has further become one of the first traditional Indian craft to receive the status of geographical branding.
The heart-melting weaves of Ikat has stood the test of time. Luminary designers and high-street brands have successfully adopted the rich tye-dye fabric and morphed into clothing, interiors, designer jewelry etc. However, you can easily distinguish the original Ikat from the faux-pas printed ones by reversing the fabric and notice the little details. The organic silhouette featuring the handwoven intricate patterns emanate the authenticity that focusses on imperfection and not the repetition of design which is otherwise replicated in the faux-pas Ikat.
The endless endeavor of Pure Elegance to resurrect the magic of Ikat tradition and fall into the cocoon of ravishing prints featuring the glorious heritage of our rich cultural past, here are some of the awe-gaping designs. Indian women can style the Ikat sarees in their daily life, it seamlessly absorbs the aura of the event. Just add a pair of elegant pearl string necklace and show up your fine side with a glow.
Blue Eri Silk Sari with Yellow Border and Pallu
The sheer vibrant combination of blue and yellows symbolic of the colorful Indian culture resonating a splash of rich aesthetics of the festive land. Adorn this classic Pochampally Ikat saree to work for the strong appealing visuals with a mix of ethereal print is just a perfect concoction for your daily errands.
Classic Black Silk Saree with Red Ikkat Border
The flamboyance of this one-of-a-kind Black Silk saree with deep red Ikkat border is a party-starter indeed. Get into the groove of the exotic tales portrayed by the weavers of India as you behold beauty in this graceful and poised saree. Complete the look with red bindi, kohl-rimmed eyes and unfurl the hair pouring lingering scent of your feminine appeal. Style this saree for special occasions and festive season.
Orange and Black Cotton Ikkat Saree with Pop Up of White on Pallu
There are some things which are extremely ecstatic, the moment you lay your eyes upon, they tend to steal your heart away. One such artistic creation is this mesmerizing Orange and Black Coton Ikkat saree with pop up of white on Pallu to bring to you an air of everlasting charm while you take an evening stroll with your beau or nestle with your book and a warm cup of coffee at a cafe tucked in a quaint street.
So, take your pick and don't forget to explore our amazing creations to feast your soul on graceful designs. Uplift and revive the traditional art embraced by weavers of Pochampally as you promote the classic handicrafts and restore the essence of the cultural endowment.
Source: Pinterest
Jutti is the expression of Indian heritage as well as modernity. The traditional footwear in India which have their history since 200BC. Have their origin from the Mughal era. Jutti's has been transformed from a traditional Footwears to a tailored ethical must have They are round or M-shaped covering the front part of the feet. During the Buddhist period, strapped sandals were quite prevalent. Later, these ethical shoes became popular in north India, especially Punjab and Rajasthan.
Rajasthan is one of the most prominent tourist places, as the colors and culture fascinate the visitors. No tourist can return from Rajasthan without buying a pair of these ethical footwear called juttis and a leheriya suit. Gone are the days when juttis are worn with the ethical clothing in weddings matching the dress color. Nowadays, the pair of juttis are coupled pair of denim and short skirts. For men's wearing sherwani, a coat-like garment worn in India, prefer to wear traditional Rajasthani jutti for the occasions like mehndi and sangeet.
After the Mughals, the artistic craftsmen from Punjab designed the intrinsic and versatile piece of footwear. Originally, made of pure leather, these juttis are adorned with the exotic embroidery and embellishments. Bygone are the days when these juttis were worn by zamindars, nawabs, Maharajas and Maharanis. In appearance, these Punjabi juttis are curled from the front and upturned toe. In 200BC, Juttis were adorned with real gold and silver, which was customized as per the Queen's dress. It is fascinating to know that the queens were very particular about the color matching footwear in that era.
Juttis have worldwide appeal and sought-after in many countries, especially the US, Canada, UK, and Europe. In fact, fascinated with the modus operandi and distinctive genre, many brands in the west have crafted juttis as their own fashion footwear. The innovative style of making jutti is riveting and captivating.
Printed juttis are the most simple as well as stylish footwear, which can be well-worn with the denim as well as traditional outfits. A variety of prints such as floral print, multicolored print, Black and White Casual Printed Handmade Jutti, etc. are forged for the brides to reciprocate the lehengas and salwar kameez.
Source: Pinterest
The Jaipuri Juttis in the rabari thread work and Pom Pom Braided mojari are quite fancy and worn on special occasions. Whether you are in a festive mood or wedding is approaching, match the specular pair of Jutti to flaunt with style.
Source: NDTV
Mirror, which is called shisha in Hindi, is glass work which was originated in the 17th century. The machine-cut glass shisha with a silvered backing shaped in hexagon, triangle, square, and circle shape is available in the market. The juttis look alluring and compliment with any ethical dresses. Although the mirror work is silver, the embroidery is inculcated, either dabka work and colorful threads.
Ghungroo style jutti:
Source: www.theweddingscript.com
Ghungroo is the small bells strung together at the edge of the jutti. Originally, ghungroo is the magical anklet worn above the ankle, which creates a sound of bells at the lower base. They serve to accentuate the rhythmic aspects of the dance and allow complex footwork to be heard by the audience. The idea was to make the footwear that can create a festive mood and sound.
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India is known for its culture, and clothing is the essence, of which, one of the decent evergreen outfits is Salwar Kameez. No matter what the occasion is, salwar Kameez is the sign of pure elegance in Indian ethnic wear for all ages. It is originated from the Mughal era with a classy combination of salwar(bottoms/ long loose pants) and the Kameez( tunic/ top). The regalia is a prominent part of every Indian woman’s wardrobe. With time various styles have evolved customizing the original genre. Here are five esteemed salwar kameez style that you may prefer to wear:
Punjabi style salwar suits:
Punjab is known for its culture, whether it’s food or clothing. It is the most pertinent state of India that demonstrates the Indian culture and the history behind this rich origination. The traditional salwar kameez in the form of Patiala salwar is the most popular voguish outfit. The bottoms(salwar) is very loose and stitched with pleats, which makes it look baggy and slack. The women of the younger generation like this style to stay trendy and look classy. The modern form of Patiala salwar kameez is designed in various styles, such as prints, motifs, and embellishments, while retaining the original stitching style. The name is derived from one of the cities in Punjab called Patiala, where you will still find the traditional ways of stitching Patiala suits. Although the conventional style is available online with the various styles and colors, choose the one ideal for your preferences.
Anarkali Suits: The Mughal style salwar kameez
The name “Anarkali” is originated from the name of royal labor class woman at the court of the great Mughal emperor Akbar. The king punished her for loving his son named Salim. The hearts were broken, but the long panache suit style became a famous attire of the millennium and is still a trend. It is the costume that makes one feel like a royal princess. A long gown, not necessarily the floor-length, is topped up with either sequins embroidery or stone and beads work. The edges crawling with lace borders, substantial necklines, elaborate hemlines, decorated bodice, or bust makes the attire fit for an event like weddings. Anarkali suits need to be customized as per your height. It is the most preferred Indian beau-monde for any parties and evening events.
Sahara sets or palazzo style salwar kameez:
Sahara is the most comfortable attire in the history of Indian outfits, also termed as trumpet skirt. The look of this outfit is similar to ghagra, which is a famous Lucknowi bottom. It is the killer combination of Kurta, flared pants, and a dupatta i.e., the three-piece outfit. Nowadays, it is in trends and one of the most pre-eminent costumes for the wedding season. The Sahara style salwar kameez was first originated from the kingdom of the Mughal empire. Mughals are still known for their royalty and virtuosity, and they possess sturdy craftsmanship in designing. If you look for comfort and follow trends at the same time, then Sahara pants, coupled with a short shirt is a great combination.
The classic salwar kameez:
Originated from the Mughal era, the classic style of salwar suit is the soul of this league of the outfit. All are variations, but this is a typical traditional Indian wear that can be worn by anyone who wishes to represent the culture. A well-plated salwar stitched in such a way that gives a curvy look with no flaws. It is a regular get up of Indian women irrespective of caste and religion. The knee-length Kurti or a top coupled with a free size pant like a tunic and a light weighted dupatta says it all. In 1960-1970s Indian cinema was swarming with salwar kameez bringing in the few trends for fans and publishers. If any time you doubt about any other form of suits, then this is the most dependable and evergreen Indian ethnic wear.
Churidar salwar kameez:
A look that never makes you feel tony but still represents the roots of culture. It is the straight suit with the leg-hugging salwar, also called leggings, just like pants that make you look slim. Usually worn with the long length suit, it is the part fashion cycle and evolved as an evergreen ethnic wear. In the 19th century, it started getting privileges as the tight pants or salwar was similar to western wear i.e., jeans. However, in the 20th century, it penetrated the Indian market for it’s modern and vibrant espy.
In all the regions of India, the variants of Salwar kameez are prevalent in all cultures. So, if you are attending the best friend’s wedding or your prewedding shoot, then salwar suits are inescapable ethical wear.
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Preparing for her wedding is the most joyous time in the life of a woman. It is the culmination of many cherished dreams nurtured since her earliest years and a springboard for her anticipation of a blissful union with the man of her dreams.
In fact it is a dream come true for every girl to be a bride and begin a new chapter of her life with a man who understands, respects and cherishes her for exactly who she is. And especially if they are an Indian couple their sacred union is sealed not just with a kiss, but sanctified with a Mangalsutra. No Indian wedding is complete without a Mangalsutra ceremony.
Most Indian communities cherish the tradition of presenting the bride with a mangal sutra as a part of the wedding rituals. The words "mangal sutra" literally mean "auspicious thread" and a Mangalsutra signifies the well being and longevity of the husband.
A married woman is expected to wear a Mangalsutra throughout her life as it is believed to enhance the well being of her betrothed. So integral is it to the Indian wedding rituals that even the Adi Shankara emphasized its importance in his famous treatise, the Soundarya Lahari .
Black beads are integral to a Mangalsutra
A ritual Mangalsutra is made of black beads strung with a black or yellow thread ritually prepared with turmeric.. Depending on the region it may consist of gold, white or red beads. It is worn by many communities with their own variations.
Tamil Mangalsutra
It is called thaali or maangalyam in Tamil, mangal sutra in Marathi, mangalyasutra and thaali in Kannada, mangalasutramu or pustelu in Malayalam. Konkanis, both Hindu and Christian, traditionally wear three necklaces known as dharemaani or muhurtmaani (big golden bead), a mangal sutra with one or two gold discs and a kasithaali with gold and coral beads.
Minnu Mangalsutra
The Kerala Christians are also known to wear a Mangal Sutra style ornament called a minnu.
In Andhra Pradesh a Mangalsutra is made in an elaborate manner. It consists of two separate coin size gold discs separated by two or three beads of different kinds. As per tradition one of the discs is given by the family of the groom and the other by the family of the bride.
Pustelu Mangalsutra
Mangal Sutras also come in a variety of designs and the common one include the Lakshmi thali and pustelu worn by Telugu brides. Ela Thalli or minnu worn by Malyalee brides and the kumbha Thaali worn by Kshatriya Tamils.
Marathi Mangalsutra
In case you are wondering about the origins of the typical stone studded pendant style Mangalsutra seen in Bollywood movies, this style originates in Gujrat and Marwar where gemstones are processed and hence easily available and popular.
Therefore the bride is often given a diamond pendant in a gold chain with black beads. However it is considered to be more ornamental than authentic. More contemporary designs are in vogue for the fashion conscious brides these days and most of them are variations of this particular style.
Indian women may choose to wear an ornate Mangalsutra, or a simple one with just a bunch of black beads strung together, but either way they hold it in high regard. On some festivals the Mangalsutra is even worshipped and anointed with ritual offerings like tilak and this is because in some beliefs it is an embodiment of the husband himself.
Surely the Mangalsutra is a piece of jewellery unique to the culture of the Indian Subcontinent and holds special meaning and sacred significance. It is an embodiment of the consecrated union of a husband and wife and a constant and lifelong reminder to each of them of their mutual devotion and affection.
]]>Let us take you on this interesting journey.
Image credit: 1. Pintrest 2. Pintrest 3.BBC 4.Wiki 5. VintageIndianclothing.in 6. Instagram
]]>When we regard the magic of the six yard drape that is the quintessential attire of most Indian women, we are filled with pride and wonder at the journey of this unique untailored garment. We admire the grace of the Indian Saree, praise its elegance, marvel at the varieties and take pride in its uniqueness.
And though we do give equal attention when picking its ever faithful companion, the designer saree blouses, little do we know of how this inseparable raiment came to acquire its place of pride and present form as today.
Let us take you on this interesting journey.
If we look at the history of clothing in what is regarded as the Indian subcontinent, the earliest form of the saree that archaeologists have recorded is from the Indus valley Civilization. Based on sculptures, and figurines available from that period, they deduce that there was a very little difference between the clothing of men and women, and it primarily consisted of two pieces of unstitched cloth. The lower portion of the body was wrapped in a rectangular piece of cloth by both men and women and another rectangular piece of cloth was used to cover the upper body as well.
From descriptions found in Sanskrit and Pali texts from the 6th century B.C. we know that the earliest precursor to the present day saree and blouse ensemble was the a three-piece ensemble comprising the Antriya, the lower garment; the Uttariya; a veil worn over the shoulder or the head; and the Stanapatta, a chest-band. This was known as Poshak, meaning attire or ensemble.
Even though women thus came to use a knotted fabric to cover the chest it was not a standard practice. They could still choose to use or forego the Stanapatta depending on the regional custom, class or even climate.
Another factor that determined the usage of a Stanapatta was the varying influences from the visitors and invading cultures coming in from the north.
Historians have deduced from sculptures and paintings that tight stitched bodices or cholis evolved between 2nd century B.C to 6th century A.D in various regional styles.
By this time the two separate upper and lower garments evolved to join into one single garment in what was perhaps the origin of the saree as we know it today.
It is believed that with the influence of the Mughal culture in the 15th century divided garments like the salwar became a part of women's wear giving way to the tradition of Salwar Kameez as a popular garb. Simultaneously, Kangra and Rajput style paintings depict women wearing stitched blouses or cholis with wide skirts or Ghaghara's during this period. At this time there were hundreds of different styles of wearing the saree and naturally not all of them required women to wear a blouse, since many of these drapes were demure enough and covered the wearer fully, such as in Bengal.
With the arrival of the Portuguese in India around the same time the European and Christian cultures had also begun to interact with local customs and practices.
However by the time the British began to rule in the Victorian era, there was a growing exposure to both Victorian standards of propriety and morality. This was expedited by the growing exposure of Indian women of middle and upper classes to public life and opportunities for education and socializing.
Consequently, there were instances of conflict between notions of what was considered a proper dress code for women in public life.
One such point of fracture is often considered to be the single source genesis of the modern saree blouse. As the legend goes, Gyananadini devi, the sister in law to Rabindra Nath Tagore is understood to have come up with the then most modern form of the blouse.
It was customary in Bengal to drape a saree covering the wearer well enough not to require a blouse. However when Gyanandini devi attempted to enter an English club wearing a Bengali saree she was denied entry on the ground of improper attire.
You can imagine her chagrin at the incident when you realize that this motivated her to craft the traditional Bengali saree into a modern ensemble, complete with a modified European style blouse.
Gradually, the style became popular in more parts of the country and many women began to adopt the blouse in its different form.
The "blouse" and the "petticoat" - both English garments- entered Indian vocabulary thanks to her and these British style garments became so inseparable from the saree that we now consider them to be our traditional garments.
By the 1940's Indian cinema began to thrive. And soon enough it produced silver screen stars such as Vaijyanti Mala, Nutan,Nargis and Meena Kumari who wore long sleeved blouses, were also style influencers of their age. Their style of dress further popularized the modern saree blouse.
Needless to say that nothing has really changed. We still go straight to our Bollywood stars for style inspiration.
In fact you could say the journey of the saree blouse has indeed come a full circle. Bollywood has led the way both intentionally and by chance in leading us back to the days of yore when the saree blouse was more of a long tailored top, or simply just not worn.
Whatever may be the case, the saree blouse - whichever way it is styled and cut; whether it is worn with panache or skipped for a racy photo shoot, you cannot remove it from the idea of a saree any more than you can remove a saree from the idea of an Indian woman, whether she dresses in a saree or in something else.
]]>...lovers of colored fabrics and garments are gradually rediscovering the use and beauty of natural dyes.
]]>For most Indian women one of the most exciting aspects of dressing up in Indian Ethnic wear is the range of vibrant colors and vivid hues that they can choose from. While most Western Couture is defined by a limited range of palettes that are considered season appropriate, Indian Ethnics have no such limits. You can pick any color for any part of the year and no Pantone color of the year is going to stop you.
Indian women wear is a delightful break from the monochrome monotony of western attire and offers that in a range of palettes to suit every taste- be it subtle cotton pastels, or silks in rich jewel colors, linens in earthy neutral tones or the bright spring shades of printed calico, no one else does colors like we Indians do.
It has to be because of our preoccupation with color that we even have historic architectural landmarks like the red sandstone Red fort in Delhi, the delicate saffron hued Stucco laden Quaiser Bagh of Lucknow, or even entire cities like Pink City - Jaipur and the Blue City - Jodhpur; all of which attract tourists and shutter bugs from all over the globe to alight onto our colorful world like bees to a spring bouquet. Even the communities native to the Thar desert use vivid hues and vibrant colors for clothes, jewelry and other artifacts, making it the most colorful desert in the world.
Have you ever thought how all these beautiful, resplendent, colored fabrics that you wear with pleasure, are made ? Could you imagine what your world would look like if there were no color dyes to paint your textile dreams.
Most of the fabrics we wear today are colored in synthetic dyes that are chemically produced in labs with modern technologies, many of which are even harmful to the environment.
That doesn't however mean that we didn't know vibrant colors before the lab produced dyes became widely available.
In the ancient period natural dyes made from plants, animal extracts or minerals were the only available sources of fabric dyes. While most dyes were either mineral pigments or plant extracts from sources like flowers, woods, nuts, seeds, berries, barks, and roots, some other sources like certain fungi or lichens, or even insects and shellfish were also not uncommon.
We have been colouring our fabrics since thousands of years with locally available materials. In India there are almost four hundred and fifty dye yielding plants. Even at a site as old as Mohenjo-Daro, a 5000 year old scrap of madder dyed cloth was excavated.
In fact, not surprisingly India has a rich heritage of being one of the world's foremost and biggest suppliers of natural dyes to the rest of the world in ancient times. People in regions like ancient Greece, Egypt and even ancient Phoenicians relied on Indian dyes.
Some of the most prolifically produced colors in India with a high overseas demand were indigo, yellow, red and purple.
The most popular dye then, reigning supreme till today, was indigo - "The King of Natural dyes" produced from the plant Indigofera tinctoria which was named after the Greek word for 'dye' - ' indikon'. The fresh leaves were fermented and and the remaining sludge was drained and dried into indigo cakes.
Indigo dyed fabrics were dyed with yellow tints to get a green hue. Woad was also commonly used.
Various shades of Red and pink pigments were derived in India from the red or black berries found on the common madder plant from the coffee family which was once the "The Queen of Natural dyes". In fact the color known as Turkish red was developed in India much before it reached Turkey.
Red pigment derived from natural unprocessed shellac or lac was also once used to dye Kanchipuram silk sarees.
Yellow was derived from an unconventional source in ancient India. Cows were fed yellowed mango leaves and their urine was dried to produce a bright yellow pigment.
(Hey ! we did say unconventional, but thankfully that was not the only source.)
Turmeric and marigold flowers were used to produce Ocher, a dye that cotton took easily without a color fixer, or mordant. The dry outermost skin of onions was also used to derive a bright yellow tint for silks, wools and cottons.
Saffron, that we know as kesar, was used to derive orange color for fabrics, even giving the famous moniker to Quaiser Bagh in Lucknow.
And did you know, that the color khaki, produced in India until medieval times from a variant of palm shrubs, was so named because of its resemblance to dry clay or soil, known as khaak, in Urdu. Khaki fatigues were a popular choice among the military, precisely because they could offer their soldiers effective camouflage by allowing them to merge into dry arid landscapes.
Another dye still used, although in limited areas, is derived from the Morinda Citrifolia tree in India and Sri Lanka. It results in reds and shades of chocolate and even produces purple, a pigment otherwise derived in antiquity from sea clams. It was extremely rare and hence highly prized. No wonder then that purple robes were only permitted to the royals in areas like ancient Greece, and use of purple clothes by anyone outside the royalty there was punishable by a death sentence.
Marco Polo was the first traveler to India to mention indigo in his memoirs. With the discovery of a sea trade route to India by Vasco de Gama, by the 15th century block printed textiles from Gujarat and Deccan began to be used by Europeans for garments and home linens.
Then, in the 19th century, following widespread farmer struggles and protests against the East India Company's enforced cultivation of Indigo plantations, came the discovery of chemical dyes in England. While at one time India had a virtual monopoly over dyed and printed textile markets, this change caused immense distress to the Indian textile industry, already failing to compete with the power looms of England.
Painstakingly extorted from plants and flora, the formerly abundant natural dyes of ancient India, that once adorned natural handmade fabrics by artisans on the sunny banks of Indian rivers, are a rare sight today.What we now have is a festering inundation of chemical dyes that infuse our rivers with noxious waste.
Synthetic dyes are popular for multiple reasons. They are easy to produce in large quantities in a lab, require fewer resources including land, labour and mordants and are hence cheaper to produce and easy to apply. The colors of natural dyes also tend to fade faster in the case of some pigments and their sources may not be available in steady supply throughout the textile production process.
However with a rising awareness in the environmental impact of synthetic dyes both producers and lovers of colored fabrics and garments are gradually rediscovering the benefits and beauty of natural dyes. Synthetic dyes require the application of salts and organic compounds that resist bio-degradation. They require the excessive use of water, up to three quarters of which is rendered undrinkable - a toxic mix of dye, alkalis, chemicals, salts, heavy metals and harmful chemicals.
Many businesses producing textile, ready to wear garments as well as accessories are experimenting with natural dyes for their products. It is attracting consumers who seek to reduce their contribution to polluting the environment as well as the fashion conscious buyers seeking the 'unfinished' look or 'raw-earthy' allure of natural dyes and their irregularities. It is also reviving the traditional methods of processing dyes on fabric, reinstating the dyer artisans. Yet another positive development is the rising demand for natural dyes in the international market riding on the need for sustainable fashion. Farmer's also stand to gain by growing crops of dye yielding plants.
The Au natural trend is catching on and you might wish it would soon transform from a fad to a movement, considering that it seems to be a beneficial proposition for all involved.
And why should it not; when there are so many beautiful hues to choose from at no cost to the environment ?
Images courtesy : Feature Image : Instagram, Garments - Pure elegance, Plants : Wikimedia commons, Architecture : natgeo.in
]]>The history of Indian culture goes back to a thousand years, to the roots of Mohenjodaro and Harappa, lands of Madras and valleys of Kashmir. The silk saris with intricate patterns carry stories from old times. The pashmina shawls that are weaved from handpicked fibers that are entwined with delicacy and care into strong, long-lasting fibers. The traditional clothes of a land are the true reflections of its culture, rituals, and mannerisms. Indian textile history can be traced back to the times of Indus Valley civilizations.
The concept of wrapping around a piece of cloth came from mythological figures. Goddess Durga wore a red sari portraying courage and valor, while the other gods wore a dhoti or lungi in different patterns and colors symbolizing their personalities. The color of a sacrificial yet brave warrior is the color red. This indicates how diverse, and deeply significant the Indian culture is. The patterns and designs that are so finely weaved and printed tell stories of ancient times. Elephant patterns describe the times of evolution and signify fertility at the same time. Gold was used majorly not only because of its luster and shine but because it symbolized power and is meant to keep you in good health and wealth.
Roots always remain constant
The handloom was a symbol of power for weavers. Times change but roots don’t. This is the reason the chakra was put on the Indian flag, signifying independence. The loom not only crafted fibers into beautiful fabrics with intricate patterns and designs but also stood as a sign of freedom and liberty. The amount of history that a simple handloom carries is incomparable, and the beauty that it fashions is unparallel.
Adding detail to every ensemble
Fashion and style do not merely lie in designer clothes with queer patterns overlapped on each other. They lie in the simple and delicate details of the outfit. An outfit is incomplete with accessories, and this was made significant and known in the Indian culture years ago. Women wore ornaments like flesh on bones and leaves on trees. They were fragmentary without it. Gold was most commonly and widely worn by women to flaunt their wealth and accentuate beauty. Bangles, neckpieces, nose pins and earrings, each ornament hold a hidden meaning, not only symbolism wise, but also scientifically. The Indian culture goes deep in the valleys of culture and mélange. This it is one of the reasons, so many other cultures originated from it. It is one of the most respected and adored cultures, and we must not let its roots die.
‘The ethnic look’ known for adding grace
We truly believe that the essence of culture should run deeply through the veins of each soul so that one is always connected to the roots. Your values and morals are sprouted through your traditions. and they reflect in your dressing sense as well as your personality. This is why Indian wear precisely highlights beauty and decency in its purest forms. The patterns that are so gracefully fabricated are manifestations of old tales. The accessories have hidden meaning behind them that most of us are oblivious to too. Like how the nose pin is worn on the lobe as it presses a pressure point to decrease menstrual pain. The bindi, the red dot on the forehead is to keep the bad luck away. Earrings that heal ailments and Kangan to signify prosperity are also a symbol of a happy married life. From the toe ring to the headgear and flowers worn by women, every piece of jewelry and cloth on a women's body reveals a fact or story. If one dwells deeper into the tales and narratives of the Upanishads, unique and sundry flavors of this delicious dish called Hindustan.
Unity in diversity is the Indian belief and sticking to this motto is our aim. Ethnic wear has to itself a distinct identity that cannot be overshadowed or influenced by western wear. The opulence and grandeur of Indian wear will always remain alive, and its beauty will coax us to crawl back to our roots and connect with them from deep within.
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Kasavu sarees are originally made of handloom designed material with borders intrinsically soaked in gold hues to unleash an elegant nine yards of drape. The handwoven cream colored sarees with signature gold borders are a classic ensemble worn by the Malayi women. Emerging from the Land of God’s own country, Kerala, Kasavu sarees are considered to be the finest traditional saris personifying the essence of every woman in Kerala.
Such classic Kasavu saris are often a representation of the rich cultural heritage and portray high esteem and religious beliefs of women draping them. The intricate artwork presented on the saree is symbolic of the cultural aspect of women rooted deep in the values of Kerala soil. It personifies and defines the personality of wearer while also attributing the original essence of the fabric to depicted through a remarkable painting by the reformer Raja Ravi Verma. The design of its fabric also found popularity in the mythological epics of Mahabharata which portrayed Shakuntala in several Kasavu attires.
Golden borders and colors have now been replaced with different kinds and color of zaris, and the work and design which represent traditional culture and deeply imprinted and crafted in the essence of Resham.
Kasavu was however officially first-known as “Mundum Neryathum” tracing back its roots in the Buddhist era. Gradually, this ethnic fabric spread out its essence to the southern parts of India and became richly prominent in Kerala. This style of fabric finds its original essence in Graeco-Roamn culture where it was known as “Palmyrene”
The long piece of garment with bold gold border was pinned on the left shoulder often as a pallu, and not considered apt for draping as a saree. However, this attire until the 1970’s was not worn as a sari, post which women largely embraced the trend of Kasavu and accepted the piece of garment to be worn as an upper garment.
Such sarees are often draped during the religious ceremonies like Onam festival when women collectively come together to celebrate the spirit of festivity or often worn by the brides for an auspicious ocassion. Kasavu sarees are only worn when women perform folk dance and folklores together with their tribe. Traditional copper jewelry and even authentic gold jewelry compliments the wearer with such elegantly tailored saris. To keep their glow and charm intact for long, it is better to dry clean these sarees for the first few washes, and later hand clean them for a gorgeous look.
Here are some of our stunning Bollywood celebrities who flaunt their enigmatic Kasuva sari look:
Sonam Kapoor
Ever since Sonam Kapoor grooved and spell her sensational magic on-screen with her women tribe in the movie Aisha wearing the iconic Kasavu sari, young women were going berserk over this simple, sophisticated and elegant trend. And why not? Aren’t the gloriously designed and subtle saris all about the understated glamour, well we completely think so!
Aishwarya Rai Bachchan
Miss Universe and a veteran Bollywood actress, Rai is surely one of the most beautiful women in the world. But, we love how she gorgeously carries off her ethnic ensembles with an equal ease and comfort. Ushering in an iridescent cream and gold embroidered Kasavu saree, she holds her daughter Aradhya's hands and looks out of a beautiful dream.
Kangana Ranaut
This badass straight forward opinionated and substantial woman is quite a fashion rage. We are dying whenever she’s at airport because her off-duty looks are always on-fleek. And yet we wonder how she manages to drop our jaws in simple subtle and muted tones. If there’s anyone on this planet who could alter our fashion choices, Kangana will top our chart because Kasavu saree on airport, is totally goals!
Karishma Kapoor
This timeless beauty draped a gorgeous kasavu and added her own style twist with a statement designer blouse in violet hue. The pretty actress from the 90’s is completely slaying the look and giving us major goals. The gajra adorned bun enhanced her traditional look.
Deepika Padukone
Our absolute favourite and the most enigmatic and talented actresses currently, Deepika is all set to tie the knot. But, we love how she maintained elan and highbrow class in this scintillating Kasavu saree with a ponytail hairstyle. And of course, some everlasting accessories to add a touch of elegance. This is a modern version of wearing a Kasavu sari, the other way could have been pairing with a black saree blouse and going for traditional touches like a bun,gajra and bindi.
Jacqueline Fernandes
Popularly known as Jacky, the slender legs beauty queen and “Housefull 3” famed actress was spotted in this authentic Kasavu saree at an event recently. She gave us original Kerala inspiration with her hairstyle and makeup complimenting the city’s cultural values.
Priyanka Chopra
The dynamic and superstar of Hollywood is here to steal your heart away in this impeccably tailored cream and gold handcrafted kasavu saree. She paired this beautiful sari with a bright and vibrantly embroidered red and gold blouse that etched every bit of party in our minds.
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The age-old practice of crafting beautiful colourful silhouettes worn by womenfolk since times immemorial is called as bandhani. The expression of design element practised largely in the bylanes of Gujarat is called as bandhuvan which is derived from the word “bandhan” meaning to tie. The people who are engaged in crafting and producing designs out of the tie-dye technique are called as “bandhej”
The vibrant hues and flair of a tie and dye root back to the pre-historic times even before the hippie movement gradually paced in the early 1960’s and 1970’s. The tie-dye evidence heralds back to the 300 BC’s during the reigns of Alexander: The Great who mentions the beautiful crafts like tie-dye in his texts. For centuries, in India, Japan and Africa, tie-dye craft has been practised using both the natural and man-made materials.
The craft of tie-dyeing began around 5000 years ago in the culturally-rich states of Rajasthan and Gujarat. It is believed that the Muslim Khatri community of Kutch first began the use of tie-dying.
The technique of tie-dye is fairly universal which mainly involves binding the individual parts of the cloth to resist from dying. This practice was advertently followed by the local people in Mohenjodaro in about 2000 B.C which suggests that the complex process of mordant-dyeing was known to the inhabitants during that time. It is possible that resist dyeing was also practised during this period. However, archival facts confirm that in the 6th-7th century A.D, Bandhani cloth was displayed on the walls of Ajanta caves. Women are shown wearing bodices in dotted tie and dye patterns, and skirts made using Ikat design element.
There are some written references to the continuous practices of Bandhan even today scripted by Harischandra in Bana where he celebrates the dyed patterns on the auspicious garment of bride’s special odhnis that are still traditionally tied and dyed today.
The main communities involved in producing tie and dye fabrics are mainly settled in Mandvi, Mundra and Bhuj areas of Gujarat. Bhuj is, in fact, the main center for the traders of colors and dyes used in this craft. The fabric required for this kind of craft is sourced from Bhagalpur, Surat, Bangalore, and Mumbai,
The fabric to be dyed is first carefully examined by the cloth dealer and the layout pattern is market by folding the cloth in four or more layers. Fields are delineated using cords dipped in Geru (concoction of burnt sienna mixed in water) post which the wooden blocks are dipped in the Geru mixture and stamped within the marked fields.
The task of tying the motifs and dying them mainly rests with the womenfolk who predominantly carry this activity besides assuming their household responsibilities. The cotton yarn that is used is generally plain and basic which is easily available from any industrial led waste ground. It is then led by the thumb and forefinger of the right hand and the cloth is made to run through a fine millet stem bobbin, so that it passes evenly and smoothly. There are two options involved in tying the knots. First is by layering the folds of the material carefully using a pointed finger to create a little bunch and tie a thread around it. The second option requires filler material to be impregnated within the knots. Interestingly, a single stole can alone have 4000 to 5000 knots while a single woman can manage to tie 700 knots in a single day.
It is easier to practise this craft on silk or cotton cloths than to carry it on woollen materials which makes it hard for women to reaffirm tying knots using their teeth. Now, comes the arduous step of dying the cloth immaculately to resist the beautiful patterns cascading on the silks and cotton with vivid colors and designs.
The men of the household carry out the process of dying in specialized workshops where the clothes are first dipped in cold water and then enveloped in a cloth to ensure the tied knots are not kept undone. It is then died in the lightest color (preferably yellow) by immersing the fabric in an intensely hot solution of dyes and then rinsed, squeezed, and dried for a better color resistance. There is no use of natural dyes in this process.
Lipai is also practised to ensure that the fast colors are directly applied manually to make this process effective and simple. Napthol dyes are effective in cold solutions and can be sued to die the next darker color. Earlier the motifs representing nature were quite popular like trees, lakes, river, birds and hills that caught the fancy of young and older women alike.
With time, the modern women love to experiment with their clothing and hence tie-dye has furthered its design elements into abstract, florals, basic dotted patterns and some mythological figurines are also quite common. However, bright colors are always used for the tie-dye technique like red, yellow, green, pink and its various shades.
It is considered auspicious for new brides in India to adorn red tie dye odhnis while a new mother is often gifted a yellow tie-dye garment.
During the 1960’s and 1970’s in the outburst of hippie-movement prevailing hue and cry in America, because of the rebellious minds indulged in drugs, anti-wartime, sex and psychedelic music, people were drawn towards the movement and hence displayed self-expression through a way of clothing. Designers were largely embracing the art of tie and dyes and the famous stars back then further promoted the craft by wearing such ensembles. Tie-dye quickly became one of the major staples of the era during that time.
From ornamenting a newly-wed bride to using the staples as a constant reminder of a rich heritage culture that we are a part of, Tie-Dye will always be a fundamental flag-bearer of every Indian woman that shall be passed on to generations for a treasured memory and succession of precious handicrafts in the country.
The practise of Kashida embroidery began in the early 11th century at the small cottage level, however, over the years, it grew and expanded with the Mughal nobility taking over the princely states. The aristocracy and royalty further pushed the precious Kashida embroidery to become one of most elite forms of embroidery. In the wake of growth and development, Kashmiri craftsmen started to experiment in clothing and garments by stitching unique salwar kameez, which is a staple for Kashmiri women.
The most interesting feature of this embroidery is that it only requires maximum two or three stitches to produce elaborate exclusive designs. It can be of different types like chain stitch, satin stitch, slanted darn stitch, herringbone stitch and the stem stitch. The base of the fabric which is generally used is either silk or wool or cotton, however, since wool is commonly found in this region, it is preferably used. Pashmina, which is the finest, lightest and most expensive wools in the world is exported in large quantities from Kashmir. Pashmina employs the beautiful art of Kashida embroidery and hence it is considered to be one of the most coveted items in this region.
In the earlier days, Kasmiri embroidery was usually created on the pastel color backgrounds like pale yellow, beige or blush pink. The artisans aimed at blending the color of the thread with the base color to create a stunning three-dimensional effect. Brighter colors such as pink, blue, red have become quite popular these days and therefore, craftsmen use them for both the base and thread.
Kasmiri embroidery takes its inspiration from the nature and features popular designs like a maple leaf, twigs, branches, trees, lotus blooms etc. There are different distinctive forms of handmade embroidery like Kashir Jaal, a fine network of embroidery generally woven on the neckline of garments, Jaama, a thickly embroidered pattern intertwining trees, branches and flowers. Jaal, a fine delicate network of trees and flowering vines motifs. Sozni, Papier Mache, Shaldaar etc. are a few other popular Kashmiri designs which are embroidered and popular amongst the people all over.
Kashmiri shawls are undoubtedly one of the most commonly found garments with this type of needlework that involves precision and art. Kashmiri embroidery can be used to decorate many different types of garments like shawls, sarees, salwar kameez, jutis etc. Due to prolonged col climate, shawls have garnered demand all over in the world and have become the must-have ethnic winter accessory.
Kashmiri sarees have recently become the “it” fashion statement globally. They are generally made of wool or silk fabric with distinctive embroidery and a stunning thread work all over. The nature-inspired designs and heavy embroidery indeed exudes quite a unique look over the traditional Kashmiri garb.
Traditionally Kashmiri women love to go all ethnic by dressing up in the embroidered salwar kameez in rich bright colors. To complete the look, they wear embroidered jutis and shawls to create a fun quirky look.
Silver oxidized jewelry is one of the most popular and in-demand amongst the women clan in Kashmir and other parts too. There is a heavy export of silver antique earrings, silver bracelets, oxidized necklaces etc. You can amp up your look with embroidered ensembles and add graceful Indian jewellery to ace with grace.
The tales of Chanderi fabric dates back to the times of Lord Krishna when his cousin Shishupal cited the use of Chanderi in the ancient literature. Also, one can find its mention in the old books like Maasir-i-Alamgir where Aurangzeb ordered the use of cloth embroidered with gold, silver and zari for making the khilat (a ceremonial robe or other gift given to someone by a superior). The grace and beauty of this fabric is enhanced by the fringes embellished with gold and silver threads. Transparency and softness of this fabric favored royal patronage and was also exported overseas. The rich upper-class women of the highbrow society favored the exotic handloom of chanderi silk to reflect the essence of Indian traditional wear.
As the aristocrat and royal families preferred the gorgeous weave of Chanderi silk being the royal lineage because of the authentic use of gold and silver threads emanating the unique sheer texture and intricate embroidery.
Have you ever wondered the skill of weaving Chanderi has been practiced in families for generations? The precious and royal fabric of Chanderi is regarded as the shining example of India’s textile industry and holds a special place in the hearts of Indians. The skilled artisans have been practicing the art of weaving this peculiar form of handloom since ages which is also one of the reasons that the new-age power looms do not justify the handcrafted embroidery of the ancient art.
The art of making chanderi requires the use of handspun cotton which is as fine as 300 count, which is similar to the glamourous Muslins of Dhaka. The fine count cotton of Chanderi is extracted from the roots of Kolikanda which is mostly light and soft, it exudes a glossy finish that further gives a shining sparkling appearance to the Chanderi textile. This is quite a famous form of handloom amongst the princely communities of Mughals and Rajputs. The fabric involves the weaving of warp, set out threads, which passes through the weaves of weft in a regular motion. This practice of weaving Chanderi continued on the white an off-white cloth which was later embellished gold and zari weave. This tradition was only till the 1920’s. The thread cotton in a warp consists of 4000 to 17000 while in the weft, mercerized cotton raw silk or katan is also used.
Today, raw silk, which is 20-22 deniers thick, is used in the warp in most of the sarees. Silk not only imparts a lustrous effect but also makes it stronger. Silk is mixed with zari in the warp to make a tissue saree. Weaving a chanderi silk is quite a tedious process that allows the weavers to sit side by side on the loom. However, with the introduction of the power loom the fabric is now easily woven. Earlier, the yarn of weaving employed natural dyes for coloring. Nowadays, chemical dyes are used for the coloring of the fabric.
Things like fruits, vegetables, flowers etc are used to extract the color for the dye. Spinning a Chanderi silk takes about six months to a year.
Chanderi weaving is referred to as woven air weaving which imparts transparency and sheer texture to the fabric. This contributes to the high-quality and fine yarns of the cloth embroidered with gold and silver threads. The yarn used to weave Chanderi doesn’t go through the degumming process that helps in preventing breakage of the thread during weaving, this gives a soft sheer glossy finish to the textile and the fabric further owes transparency due to this.
The distinguishing features of this fabric includes the use of motifs like peacocks, celestials, lotuses, coins, geometric patterns, artistic intertwining patterns and figures of animals.
Chanderi silk sarees are generally found in pastel colors like blush pink, ice blue, mint or even lavender hues. However, with the modern times kicking in, vibrant combinations of violet, fuschia, red, black, turquoise is also used. The motifs on the Chanderi silk sarees take their inspiration from the benarsi silk Ashrafi, paan, eent, akhrot, sooraj buti, meena buti etc. When these butis expand in size, they are referred to as he butas. This delicate handwoven Chanderi fabric gives them an upper-class feel while they are also an absolute favorite of the elite too.
Traditionally, Chanderi was available only in the signature white, off-white or small chequered white silk, a gold chequered, a gold broad border embroidered Chanderi silk were often draped by the Indian women in the earlier times. However, the most popular fabrics to weave Chanderi are mainly pure silk, cotton silk, chanderi silk.
There are over 3500 looms working today and over thousands are dependent on this craft to support their living. The Government of India has also petitioned to the World Trade organization for the recognition of this exotic craft at a global level.
Ever since the Ex. Textile Minister, Smriti Irani brought the revival of handloom by promoting the use and sales of the ancient Indian fabric, the fashion designers also came forward to support their stand on #IWearHandloom. Designers like Soham Dave who loves to work and experiment on a canvas of Chanderi fabric has garnered enough attention by endorsing celebrities like Kareena Kapoor Khan in a black chanderi silk saree.
The buti embroidery is intricately woven on the surface of the Chanderi silk saree.
They have a soft unique texture with fair transparency and glossy finish
It will have an uneven surface.
These handwoven Chanderi silk sarees have their treads at the edges coming out easily. This shows the purity and chastity of the silk saree.
Chinese crepe fabric is the original textile which has a softer texture and endows a flowing graceful fall. This makes it perfect attire for parties and special occasions. This further makes crepe an ideal choice for working women to include them in their daily office wear. Since it calls for no ironing and have a soft comfortable breezy texture to it, crepe sarees, salwar suits and tunics shall be your go-to summer staples.
The recent British technique of making crepes has resulted in tough and hard fabric. The highly absorbent and heat resistant fabric allows crepe to be used throughout the year effortlessly. Winter wool crepe is another favored silhouette which is yet another attraction for women who love to adorn themselves in the gorgeous drape while also staying warm. The strands of wool mixed with crepe is an epitome of elegance and grace which is quite a popular fabric amongst women for winters. Due to its light-weight and easy fall, you can easily style this cloth effortlessly.
Silk crepe silhouettes are much in vogue this season as they are made of fine threads of silk exuding distinctive sheen and lustrous shine. French crepe silk is another form of fabric which is lighter and has subtle crinkles alongwith a slightly flatter appearance. They are also used to make ethnic ensembles like traditional Indian sarees and lehenga cholis for weddings and festivities. Furthermore, satin is also used alternatively for crafting traditional Indian bridal wear.
Crepe is undoubtedly the most absorbent fabric with breathable hues and versatile enough to be dyed and printed with different patterns and motifs. It can also be easily embellished and embroidered. The fabric, however, is considered more “modern” due to its western confluence which makes it extremely versatile, light weight, easily draped and the origin of the fabric from the western countries. The popularity of crepe silhouettes rose during the earlier times when the royalty embraced crepe fabrics as a part and parcel of their daily wear. Queens and palaces adorned the graceful and eloquent crepe drapes to symbolize their class. The traditional adaptation of crepes has resulted in high demand of Indian women for crepe based clothing.
Many artisans and designers have beautifully embraced the fabric for the use of traditional attires. They have involved the clothing to run into their traditional businesses and they often produce fine regional crepe silk fabrics to lure in customers from different parts of the country. It is so common for the young and modern designers to use crepe as a part of their collection because of its pebbly and wrinkle texture that gives a fine rich appeal to the garment alongwith its highly absorbent property that makes it durable for all summer-long. Indian wedding dresses, sarees, salwar kameez, lehenga choli,maxi skirts, crop tops etc. are all made from the crepe fabric to give ladies a contemporary touch while adding oodles of elegance effortlessly.
The tight weaving and twisting of the weave prior dying are the reasons for its characteristic wrinkle appearance. The twisting of fibres is achieved either by creating irregular patterns through weaving process or by creating permanent patterns with rollers engraved on crepe design to give a flawless finish. Crepe fibres with the good mix of polyester are quite a rage in the fashion industry, however, different types of crepe like morocco crepe, crepe de chine, plisse crepe, wool crepe and crepe georgette.
Working and professional women drape crepes on a regular basis which gives them a polish and comfortable feel. Due to its low-maintenance property, crepe silk ensembles are an everyday staple for women on the go who love to multitask and dabble all day long.
Crepe de chine is one such type of crepe which is made using luxurious premium type of crepe silk. It is light weight and made using highest twisted yarns in weft and silk yarns in the warp. The flipside of the crepe can be severely damaged due to excessive sunlight or sweat. Following the next popular form of crepe which is crepe georgette and made using the matter fiber silk or fabric similar to silk that is stretchable and flexible. This fabric is called as chiffon. This is mostly used to produce a plethora of traditional and western women’s clothing like skirts, dresses, designer blouses, gowns etc. The wiry crepe fabric which is a blend of cotton and silk threads is known as wool crepe. This is often used by famous designer houses to produce an array of ensembles for women.
Asian countries including Thailand, China, Korea and India are the main exporters of crepe de chine. The luxury designers from the western countries use premium quality crepe fabrics to produce rich crepe wedding dresses, party wear gowns for women. The lingerie makers also use crepe silk fabric for uber sensuous look and feel of lingerie.
Traditionally, this royal fabric was primarily used for mourning events. The etymology of the term “crepe” is associated with mourning purpose. However, with time, women started associating the fabric with highbrow society and elite women.
Styling a crepe silk saree or salwar kameez with pearls, terracotta jewelery or even silver oxidized jewelery is quite a popular way of promoting and styling this ethnic ensemble. Women who prefer to wear it to work on a daily basis can accessorize with indian fashion jewelery like silver oxidized, terracotta or pearl drops to create a statement. For parties and special occasions, accessorizing it minimal is the key to flaunt the gorgeous fall and rich drape of this opulent attire. Ladies can notch up the glamour with semi-precious stones to highlight the contemporary silhouette in panache. Diamonds and gold will take away all the attention and therefore, not suitable for crepe clothing. Opt for exotic stones to steal the spotlight.
Chikankari is a delicate art of crafting intricate shadow and designer type of embroidery which was usually performed on the white yarn initially or colorless muslin cloths which are called as tanzeb. However, with the vastness in fabrics, georgette, cotton, chiffon etc. chikankari is done on all these and more. Chikankari embroidery is not just limited to the Indian bridal couture dresses, ladies wear dresses but it is also adorned on the pillows, bed sheets, duvet covers, bath linens, drapes etc.
The stunning handcrafted artwork was introduced by the very beautiful Noor Jaha, the Mughal Queen of the Emperor Jehangir. Chikankari has its mentions in the early works of the 3rd Century BC by the famous Greek traveler, Megasthenes, who described the utter beauty of intricate floral motifs and patterns on cloth using chikankari work. The story follows that when the traveler was passing a small village in Lucknow, his throat was sore due to thirst and there he met a man who offered him water. Ever since to express gratitude, the traveler taught the man Chikankari work to make him self-reliant so that he would never live without the basic essentials of his life.
Chikankari work is the authentic artwork of Lucknow, native to the city of Nawabs. A majority of women are involved in the production of these breath-taking Chikankari creations by hand. An array of floral arrangement adorning the drapes with creepers being the most popular Chikankari artwork is indeed spectacular. Mostly, jasmine roses and flowering stems, lotus are also sewed on the sides.
There are mainly three categories of Chikankari work:
They are the most commonly found chikankari embroidery work which involves forming motifs and patterns on the cloth directly using the basic technique of embroidery. Earlier, chikankari was only used for embellishments in the Indian garments, however, it was later found that flat stitches in chikankari work can serve as a great alternative to Indian bridal wear or occasion wear dresses for women.
They are bolder stitches as compared to the flat stitches and give quite a grainy appearance. It involves more labor due to intensive work with intricate artwork.
The unique art form involving the fashion technique of using warp and weft threads to give a minute net dramatic effect.
Indian Chikan work basically involves a series of processes from cutting, stitching to printing, embroidery, washing and finishing. The same person performs cutting and stitching of the cloth and sewing together the cut parts of the chikankari fabric. Next, it consists of printing using wooden blocks which is the best method of printing. Afterwards, the women generally indulge in the intricate artwork of embroidery. It is later washed and finished by soaking in acid treatment, bleaching, stiffening, and ironing. This is done in 10 to 12 days, however, the entire process of creating a unique chikankari textile garment takes about one to six months.
The community of skilled artisans and weavers are involved in the processing of the oldest form of handcrafted embroidery. One such artisan, Rehana Begum takes her inspiration for the Mughal motifs from the architecture. She belongs to the family who has been involved in the manufacturing and processing of chikankari for decades. Her family weaves chikankari textiles together and make everything from cushion covers to table cloth, linens, pillow, kurtas, tops, angrakhas, dresses etc. Earlier, in her childhood days, she used to weave garments on her own, however, with time, she has started to supervise the apprentices working under her. She teaches them various forms of stitches and also says that it takes about 2 years to complete a chikankari work saree. For suits and lehengas, it takes about on to three years considering the work involved.
However, in earlier times, the chikankari art was practiced on white shazaada cotton or Dhaka ki mulmul which involved stitching with white thread. Rehana considers chikankari as a white on the white form of embroidery. The thread was also procured from Calcutta or Dhaka. The design element has been inspired by the Mughal period where the temples and intricate artwork alongwith parapet walls are transposed into the fabric.
The gorgeous hues of chikankari are promoted and preserved by the fashion designer council. The luminary pair of designers Sandeep Khosla and Abu Jani are the connoisseurs of preserving the heritage artwork and are referred as the royal designers of Indian fashion fraternity. Their glamourous textiles reflecting annexure of Mughal times with a touch of contemporary times adds that wow element. Judy Dench of James Bond series wore a Chikankari ensemble to receive an Oscar in the year 2004 Academy Awards and ever since, the rest remains history. Madonna also wore a stupendous chikankari work gown at an event that garnered attention and a need to preserve and promote the brilliant artwork. Lucknow has been accredited with Geographical India certificate.
Kasab embroidery is a variation of zari embroidery which is often woven on fabrics like cotton, silk, velvet or brocade for a finer finish and glorious outlook. It is often believed that the Queens used to discard these clothes after wearing them just once. They were given to the housemaids and servants who would manufacture their replicas in order to reserve the royal heritage of the realm. The craftsmen create embroidery using the actual fibres of gold or silver metallic threads on fibres. These rich and elite looking embroideries instantly uplift the flamboyance of the royal aesthetic.
The artwork of zari was introduced in India in the late 16th century when the Mughal invaders promoted the zar work. Hence, the Persian origin name “zar” which means gold and “dozi” means embroidery. The eclectic art of Persia showcasing the exotic aesthetics with a regal aura of Islamic expression is proof that the motifs were inspired by nature like leaves, vies, flowers, trees, elephants and so on. The combination of flora and fauna wonderfully exhibited on these cascading silhouettes exude ethereal vibes.
To make the zari, the foils of gold and silver metallic fibres are first melted to make them malleable which will allow the wire to easily take the shape and mould into different creative form. Ingots of metallic strips are kept between the steel sheets and undergone perforation which helps them turn into thin small strips. They are then hammered to make them turn into perfectly shaped metallic thin strips. It is done to achieve the desirable thinness and create intricate embroidery on the rich textile.
However, mostly, this form of embroidery is largely confused by people since Badla is also quite a similar form of embroidery. Yet the basic difference is that the when the plain metallic wire is used to weave embroidery, it is Badla but when the wire is wrapped around the thread, it is known as Kasab.
The artwork of heritage zari embroidery witnesses a glorious period during the reign of Akbar who was a ruler of luxury. His great grand son, Aurangzeb demolished the handcrafted art due to high costs of raw materials and rarity of the silhouettes. The craftsmen carried the art on their own and moved on to Rajasthan and Punjab to look for some work opportunities. Due to industrialization in the 18th and the 19th century, these craftsmen suffered a major setback and it was only until independence in 947 when these artisans were given investment and funds along with proper jobs to preserve the heritage part of the glorious past.
The craftsmen gather around Addaa sitting crossed-legged with the wooden framework and tools. Special tools like curved hooks, needles, salmaa (pure gold fibre), sitaara metal wraps), sequins, beads dabkaa (thread) and kasba (thread). The fabric is chosen to initiate the process of zari embroidery, namely satin, silk or velvet. The wooden framework is stretched out and the fabric is spread evenly to start with the intricate art of zardozi. Immaculately integrating the needle to permeate into the design of the fabric and create fun and interesting motifs.
There are primarily three types of zari embroidery although back in times, rad our grandmother’s used to wear pure zari embroidery work sarees. However, with time, craftsmen started using more of silver metallic content than pure gold to weave the gorgeous bold pattu border on the Kanjeevaram and pure banarasi sarees. You shall notice that whenever on a saree spree, the shopkeeper always emphasizes on the rich and heavy work of zari border or zari pallu for it adds the value to the saree. The heavier and more the zari work on the saree, the more expensive it is. There are mainly 3 types of zari embroidery which are available in the market:
Pure Zari work which employs wrapping of the silver metallic wire around pure silk thread after which it is electroplated with pure gold. This step can also be done by machines today, however, it was performed manually before industrialization. In today’s date, the pure gold zari embroidery is just a plain myth and available rarely since the quantum of silver content used is much higher as compared to gold. The zari work in your grandmother’s saree will be pure work, so preserve them and take special care. On burning the saree, you will notice that the pieces of gold and silver and left behind which is a proof that zari embroidery is eternal.
Tested zari involves the similar process of wrapping the silver metallic wire around the thread but the copper wire is electroplated here instead of the gold wire. This is the reason why they look very similar to pure zari work sarees and are sold like hotcakes in the market for their impeccable look and almost similar price range. Until you have an eye for detail, you will be caught in the trap!
Imitation zari work is basically gilding thread with gold colored powder. These sarees are cheaper as compared to the pure and tested zari work sarees and the quality is absolutely low-key which tends to show its true color by fading away and turning black. They are totally artificial, and the process is rarely used on kanchi silk sarees.
In order to retain the shine and beauty of the original zari embroidery ensembles, taking special care of these attires is a must. Since they are made of silver and gold metal wires, they can easily react with the atmosphere causing the weave to appear dull and dry. You must wrap them in soft cotton or muslin cloth to maintain its shine and newness.
Further, you should also dry clean these attires from time to time and wash them with mild soap water only. To avoid any reaction with chemicals, keep them safe and secure from any environmental factor.
]]>Fashion somewhere started showing its colors from the times of ancient India itself. There is some evidence of Indus Valley Civilization or Harappa civilization indicating the use of woven cotton fabric. Flax plant was grown to obtain the fibers of plants and silkworms were cultivated for silk. The priest-kings wore a robe over their shoulders and men wore turban draped over the head. The style of women’s clothing included knee-length skirts with jewelry like bangles, earrings, and beaded necklaces. Even men wore jewelry and all this data is as per the figurines obtained from excavations. One of the first pieces of evidence of Dhokra art which is quite popular now is the dancing girl of Mohenjo- Daro.
During the Vedic era, a single cloth draped around the body, across the shoulder was pinned or fastened with a belt and was considered a comfortable attire for hot weather. Paridhana or vasana was a lower garment which was a cloth draped around the waist with a string or belt called as rasana or mekhala. A shawl-like garment worn over the shoulder was called as uttaiya. Pravara, a third garment was like a cloak mostly worn in cold months. This was a general dressing for both men and women, which only varied in the style of wearing and size. When stitching started during the Vedic period, for women saree was the easiest attire to wear. Later on, a blouse or choli was also incorporated to cover the upper part of the body. Ghagra choli and dupatta were also introduced later during the Vedic period. Some of the sculptures revealed the used of cloth on the lower body which was pleated in front and held with the help of a long girdle. The girdle at time appeared to the end of the cloth, this might have been a trailblazer to the modern saree. Vedic men were also known to wear dhotis which draped around the waist and separated with pleats. No upper garments were worn by men during the Vedic era.
Post-Vedic era, many dynasties came and ruled like Mauryas, Sungas, Guptas and Kushans. Fabrics like wool, silk, cotton, jute, linen, and muslin were used widely for making clothes. In Maurya and Sunga dynasty, women wore antariya in different styles. Antariya was a small strip of cloth and further, a langoti was fastened to the kayabandh at the center and passed between legs from front to back and tucked behind. There were many other styles of wearing antariya. Antariya were initially opaque and gradually became transparent over a period of time. The fabric used for antariya was linen, white cotton, muslin and even embroidered with precious stones and gold at times. Men draped antariya around the hips and between their legs, it extended from waist till calf or ankles.
Headgears and head wraps were a distinct style of women clothing in most of the dynasties. Women and men both wore jewelry and head wraps. Women donned jewelry like layered necklaces, earrings, armlets, and baju-band to name a few.
The process of weaving was well-known during that era. Furs and various varieties of wool and tassar, eri silk and Muga silk were also used. Fine embroidered muslin cloth in gold and purple colors in a transparent material called shabnam was also used. Dyeing of textiles was well-established by this time.
After the age of dynasties came the time of royalty or kings which has a major influence on fashion even today owing to the fine and exquisite craftsmanship used during those times.
When we look back at the glorious centuries of kings and queens, flashes visions of beautiful palaces and forts, fine arts and music, lavish food and of course extraordinary clothing and fashion. India has seen many dynasties and rulers and every kingdom, be it Mughals, Marathas, Scindia dynasty or Rajputana rulers, brought a distinct quality and influence to ancient Indian fashion. Till date, many royal families have kept their heritage intact with their style of dressing and traditions. With the finest craftsmanship on clothing and ultimate finesse in textiles, they are the reason the history of fashion in India is so rich and memorable. Indian designers often take inspiration by the royal dressing of various regions or dig through the archives to draw inspiration from ancient Indian fashion.
Wadiyar dynasty ruled the Kingdom of Mysore from 1399-1950. The word Wadiyar means the Lordship. During the rule of Wadiyars, special traditional attire called the Durbaar dress was donned by every person who had an appointment with the king at Durbaar. The attire was meant to show the social hierarchy and status of the person in comparison to other sections of the society. Men wore traditional attire which included a black below knee length coat along with white churidaar pants. The turbans were draped with a golden lace known as Mysore Peta. Another attire, which included a dhoti, beautifully adorned with delicate gold zari embroidery at the border was draped by men around the waist which looked equally royal. The women wore rich pure silk sarees decorated with gold and silk thread embroideries. The styles of Wadiyars is still an influence on men’s fashion especially in wedding wear which includes churidaar pants with long kurta for dapper Indian style. Embroidered silk sarees are a major fashion influence loved by women all across the country.
Royal rulers or kings of Udaipur belong to Mewar dynasty. Udaipur, the beautiful city of lakes is a home to many royal families and rich legacy. The splendor of Udaipur Maharanas is depicted by the Rajasthani royal paintings. One of the essential accessory to showcase their royalty is a parasol or chattri called Kirnia. Maharanas of Udaipur style of dressing over a period of time got influenced by European dressing; they wear bandh galas with western style jewelry. The occasional dressing of former Maharanas included a traditional royal garment which included a turban or pagdi with a long sarpech embellished tail, long and flowy achkans with churidar pants and a sash across the body and a belt or a kamar bandh around the waist. A sheathed sword is another important element of their grandeur dressing which symbolizes power and patriotism. Maharanas have a profound love for fine jewels and have exquisite pieces in their heritage collection designed by French jewelers. The royal rides like elephants horses are also decorated with clothing embellished with gemstones.
Also known as Nizam-ul-Mulk of Hyderabad, Nizam of Hyderabad was a monarch of the state of Hyderabad. The very first Nizam is known to rule on the behalf of the Mughal kings. They ruled Hyderabad with immense power till 17th September 1948 when Hyderabad was combined into the new Indian union. Nizams were hugely fond of fine arts, culture, and literature. Nizam jewelry is world famous and one of a kind and Nizams loved to flaunt them with pride. Fine jewelry adorned with pearls and exquisite gemstones is one of the signature designs of Nizam jewelry. The Nizams wore sherwani with a turban embellished with a sarpech. Nizam jewelry has a huge influence on Indian ethnic jewelry; wedding jewelry specially made with precious gemstones and pearls is inspired by Nizam.
Believe us, when we say her story was no less than a dream we mean it! A fairytale story of a Spanish woman who became Indian queen! What is more interesting, is her fine taste for Indian clothing and style which made her one of the most iconic Indian queens. Maharani of Kapurthala’s wedding lehenga was pink with fine silver and gold embroidery and her look was further elaborated with rich jewelry, these are shreds of evidence found in her personal diary. Her sarees and jewelry showed her luxurious lifestyle and taste. The saris were mostly of deep rich colors including pinks, maroons, and reds. They were embellished with brocade embroidery or gold zari which showed her opulent style. The sarees were draped over the head like a pallu which depicted a perfect picture of a Maharani. Maharani also wore beautiful long pure silk gowns with an off shoulder design which flaunted her Victorian style in an Indian setting. Her collection of jewelry included exceptional pieces adorned with fine gemstones like emeralds, rubies, and diamonds. She wore heavy necklaces, earrings, and bracelets which showed her royal side perfectly. Her jewelry collection was auctioned in 2007 in London.
Holkars come from Holkar dynasty which was a Hindu Maratha royal house in India. They ruled as Maratha kings or Rajas and later they ruled as Maharajas of Indore in Central India. The Holkar kingdom later became a princely state under the protectorate of British India. The Holkar dynasty was founded by Malhar Rao who was a Maratha chief serving under Peshwa Baji Rao. They are known around the globe for their collection of finest jewels and jewelry. It is believed Maharajas entire collection of jewelry between 1930 and 1940 was worth 40 million dollars. Famous French jewelers like Chaumet, Van Clef and many more crafted and designed fine jewelry pieces for Majaraja Yashwant Rao. Richard Sivaji Rao Holkar and his American wife Sally revived beautiful Maheshwari saris. The occasional dressing of Holkars kings included angas, turban or pagdi, sheathed sword, and fine jewelry pieces. The Holkars queen wore rich Maheshwari sarees with jewelry in their regular life.
Gaekwads began ruling Baroda when Pilaji Rao Gaekwad, a Maratha general took over the city in 1721 from the Mughals. Gaekwad is a Hindu Maratha clan and Maharaja Gaekwad of Baroda was the ruling prince. During the British rule, it was one of the wealthiest states with a flourishing business of cotton, rice, sugar, and wheat. Post Independence, Baroda became a city of Maharashtra. Gaekwads were known to be very traditional pertaining to their customs and culture. Laxmi Vilas Palace the most opulent and grand palace of Baroda was made for the newly married Maharani and Maharaja. Gaekwads had a love for everything rich and grand, right from the decorated rides like elephants and horses to the finely embellished carriages. They wore long fine silk robes, exquisite turbans, fine jewels and swords encrusted with jewels which were a sheer symbol of bravery. Gaekwads were extremely fond of pearls and the same can be seen in several paintings which show Maharajas wearing heavy strings of pearls and gemstones. Maharaja wore opulent clothing with fine jewels as he was regarded as a deity by his subjects. Maharaja Gaekwad used to wear neatly tied small turbans which were made from a fabric woven in centers of Western India. Purple or gold colors on a white or yellow background were used for turbans. Maharaja wore robes embellished with sequins and finished with silk piping. Another traditional dress called Angrakha was a robe worn by men. During the British Raj, Maharaja also wore western attires and adopted Western style and mannerism.
Another known Hindu Maratha clan is Scindia or Shinde which ruled the state of Gwalior. The dynasty was founded by Ranoji Scindia, son of Jankojirao Scindia. The Scindians wear a trademark dress over their heads which is donned only by the members of the royal family on special occasions. In 16th and 17th century, men wore a traditional Anga, a brocade and silk kurta which gave the appearance of a coat along with a sheathed sword and a pagdi to finish off the royal look. This was the key look for formal occasions or festivities. The women wore fine silk sarees draped in traditional Marathi style along with finely crafted jewelry. Maharaja of Gwalior wears a distinct style of pagdi in form of a boat called Shindeshahi Pagdi which sets the Royals apart from the rest.
The Pratapgarh or Partapgarh region of Rajasthan is known for the royal family of Partagarh created by Rawat Suraj Mal. The region is known for its fine handicrafts items and the royals of the Pratagarh are known for their fine and exquisite dressing. The attires are created from the finest of woven silk and cotton for the Royals. Maharawat of Partapgarh was known to be a patron of Thewa jewelry, a form of jewelry making where beautiful intricate designs of gold were carved on the colored glass which is popular to date. He was extremely fond of rich woven silk and cotton fabrics. Maharawat used to wear turban embellished with precious stones like rubies, diamonds and pearls and further to enhance his royal persona a peacock feather was added to the turban. His royal robe was made from fine zari made from gold threads. The dressing sense of royal men of Partapgarh has undergone many changes due to the foreign influence. They switched to trousers and linen shirts from dhoti and turban for comfort and adapting to a new lifestyle.
Bundi is a region located in Rajasthan and the Maharaja or King of the region is addressed with the word Maharao. The place is now a known tourist destination owing to the architectural legacy left by the Maharao of Bundi. They were an ardent supporter of arts and architecture in the region and the architecture had a Mughal influence which was seen in their palaces and forts. Raja Rao Raghubir of Bundi had an opulent style of living and one of his paintings depicted his grandeur. Dressed in a fine silk robe with a bejeweled turban, fine diamond necklaces, a sheathed sword and a distinct style of beard, his persona depicts every bit of a royal he was. Due to the British influence, Maharaos started dressing informally or in Indo-western attires and overall a major change of lifestyle came in Maharaos living.
One of the modest royal families to rule a region of India is the royal family of Travancore. The Maharajas of Travancore lived a life which was nothing close to being lavish and opulent kinds. They have devoted their lives to the welfare of people and spend very less on themselves from the state’s resources. The simplicity was depicted in their simple style of dressing. The queens used to wear Mundu sarees similar to the Kasavu sarees of Kerala in cream or white color with gold detailing.
Mughals have left a strong impression on craftsmanship in India. Their fine artistry and workmanship is absolutely unparalleled. Be it clothing or architecture their taste for every magnificent is easily reflected by the finery of designs. Attires created from luxurious silk, velvet, brocade and muslin and elaborate designs and embroideries were the distinct characteristics of the Mughal fashion. Men wore exquisite design short and long robes or coats which included long-sleeved clothing called chogha. Pagri on the head, a patka or sash at the waist, pyjama style pants were trademarks of men’s fashion. Their turbans were usually adorned with fine jewels or precious stones like diamonds, pearls and rubies.
Women, on the other hand, wore a traditional dress of Persia and Khurasan due to Purdah system. In the court of Humayun and Babar, most noble women wore loose wide pants. The upper body garment was loose which was fastened with a V neckline. When Rajput princess entered the Mughal kingdom, the influence of Hindu clothing could be seen in the court. Usually, the clothing was changed often in the zenana during a day and was worn only once and then given away. Garments were made from thin cloth almost transparent with a gold lace. Turbans made with gold cloth and a feather covered the head. Kashmiri shawls were popularly used in the cold season. Bejeweled and patterned shoes with curly pointy tip were also worn by women.
Women and men wore opulent fine jewelry with precious stones which were a fine example of Mughal craftsmanship which is documented from the paintings. Women wore 8 complete sets of jewellery included bejeweled turbans, earrings, pearls necklaces, armlets, bangles & bracelets, rings, thumb ring, string of pearls or metal bands as anklets and head ornaments in the form of sun, moon, stars or flowers. Various types of ear ornaments were worn during the Mughal period which included Jhumkas, Kanphool, Bali, Mor-Bhanwar and Pipal Patra.
The use of costly forms of silk, wool, and cotton was profound in the clothing. Other fabrics which were also used during those times included light and warm wool, pashmina, tush or tus. Silk fabrics were beautifully embroidered with silver and gold threads. Shawls made were so fine and thin that they could easily pass through a ring.
The great Akhbar who was the third Mughal Emperor ruled between 1556 and 1605. He had a strong personality and a powerful influence over the country. Akhbar was a patron of culture and arts and supported Hindu-Muslim unity. He had a distinct style of dressing which included comfortable clothing. He was extremely fond of shawls especially the Dorukha shawl, a double-sided variety of shawl. Though he was simple in thoughts, his style of dressing included a gemstone embellished small turban, a long kurta layered with a jacket which is still an inspiration for Sherwani designs. He also wore fine jewelry which included pearls strings, emerald embellished waistband, and heavy rings which perfectly elevated his royal figure. His clothing was always embroidered with intricate Kundan and zari work reflecting his opulent life.
If you want to have a glimpse of how regal and opulent was the dressing style of Maharani Jodha, then you must watch Bollywood movie, Jodha Akhbar. A beautiful Rajput princess marries a Mughal Emperor Akhbar as a part of an alliance. Her dressing style was not of any ordinary queen. Immersed in richly embroidered woven fabrics made in Rajasthan, she did every bit of justice to the word queen. The fine craftsmanship done on the fabrics with zardozi, kundan and stones to create her royal attires like lehenga choli was nothing like anyone has seen till date. The attires were created with finest brocade, silks and cottons in bright and vibrant colors. Her head was mostly covered with dupatta or a pallu. When coming to her jewels, it was worth every stare! Royalty exuded through her fine jewelry made from polki, kundan and fine jadau work. Heavy necklaces, earrings, hand harness, math borla, waistband, armlet and what not. She was a moving art drenched in tradition. Jodha’s style of dressing has inspired current bridal fashion in India. Royal looks of brides are immensely inspired by Jodha’s jewelry and lehengas.
The revolution created by Mahatma Gandhi’s Charkha is not only historical but also a major landmark in changing the scene of fashion in India. Khadi which became a symbol of patriotism during the Swadeshi movement to drive away all the foreign material used in India for clothing is today a proud symbol of Indian textiles. It is used in many forms like in Khadi sarees, suits, kurta pyjama and much more. The earthy feel of fabric woven on a spinning charkha in the rural areas of the country is a source of employment for many and is being continually used in ethnic Indian fashion.
Purda or Parda system has been practiced since ages in India in Hindu and Muslim communities. It is a social and religious practice for segregating the sexes women from men basically. This practice secludes women and also restricts their personal rights and choices. It is also a believed it is a form of respect and to conceal female body parts. In the Hindu community it is called Purdah and in the Muslim community, it called Burqa or Naqab or Hijab. It is especially important for married Hindu women to keep a purdah or veil or ghunghat in front of the elder men or outsiders. The pardah is a part of the saree pallu draped over the head to cover the entire face.
In Muslims, the practice is still very prevalent around the world and is an important part of their religion. Women generally wear a black burqa as an external black robe to cover themselves from head to toe with a mesh across the eyes. It is believed to protect the women’s honor. Hijaab is another form of veil worn by Muslim women which usually covers head and chest in front of adult males or outsiders.
In Hindus, the practice is diminishing with modernization but is still prevalent in the rural areas of India.
The history of fashion in India has evolved and left its mark all over the world. Today, Indian fashion is a force to reckon with, with a rich historical background. Our woven handloom textiles, beautiful sarees, party dresses, designer dresses, rich embroideries have turned Indian fashion platter into a gamut of rich diversity. The regional diversity in weaving, embroidery and clothing styles has made Indian textiles all the more vibrant and appealing. Indian designers have played a major role in making the fashion world what it is today! The fashion industry is still evolving and emerging in the country with a major emphasis on sustainable and eco-friendly fashion. Let us look at how the fashion has evolved over a period of time.
Though the fashion history of India can be dated back to ancient times, it was post-independence that fashion industry saw a major growth and evolution. Saree, dhoti, ghagra choli remained quite popular in the pre and post-independence era. But with the influence of Western culture, many changes made a foray in the Indian fashion scenario. Embroidery is a common point between Indian and western fashion and is also a trademark of Indian fashion which is vastly used on silhouettes like sarees, lehengas, suits and many other attires. The same embroidery became a fashion statement when it started emerging on Western attires like shirts, skirts, dresses and more which made a good amalgamation of Indian and Western style.
Indian Fashion Designers like Ritu Kumar started the revival of hand-block printing in Bengal. She also brought the beautiful craftsmanship of Zardozi to limelight in the 70s which revived this art. Embroidery became an important mark of Indian fashion, especially in Indian bridal clothes, which made embroidery India’s biggest fashion export. Other forms of weaving, embroidery, and printing like patola ikat, double ikat, and ikat, tie-dye also were revived with the efforts of many NGOs.
Meanwhile, as the fashion industry was taking small steps, Indian movie Industry or Bollywood was growing by leaps and bounds. The influence of Bollywood dressing on fashion is massive to date, and every decade presents a different Bollywood fashion which becomes a favorite amongst the masses. During the 50s, the influence of British fashion could be seen in movies where actress wore elaborate gowns with curled hair. Sarees with short fitted blouses and big hair buns was also a popular fashion during the era. In the 60s, designer Bhanu Athaiya started her experiment with fashion. Movies like Amrapali and Sahib, Biwi Aur Ghulam showed a side of the period and traditional costumes. It was a period when bright colored sarees became a favorite of women draped in a spiral shape as seen on Mumtaz in the film Brahmachari.
Further, many western fashion trends became a part of Indian movies like Chalte Chalte, Hare Rama Hare Krishna, Karz and many more in the 70s with flared bell-bottoms, big sunglasses, bow-tie shirts and wavy hairdos. The 80s was a period of flowy chiffon sarees as seen in movies like Chandni and Mr.India on Sridevi which exuded sensuality and grace at the same time. Bright color lip shades and loads of kajal and mascara were makeup essentials during the decade. In fact, the western style of wearing shoulder pads with dresses became a style statement in Indian Salwar suits. This style was popularly seen on Rekha in Khoon Bhari Maang and on Dimple Kapadia in some movies.
The most iconic movies of all the times which made a strong impression on Indian fashion were made in the 90s. Movies like Hum Aapke Hain Kaun, Dilwali Dulhania Le Jayenge, Dil to Paagal Hai, Kuch Kuch Hota Hai brought a distinct flavor to the fashion scene in India. Remember Madhuri’s backless saree blouse paired with embroidered saree and exquisite green and white lehenga choli in the movie Hum Aapke Hain Kaun that became a wedding fashion rage in the country! Kajol’s iconic wavy hair with sunglasses and midi dress was a girl next door look which young girls loved to don on a daily basis. Dil to Paagal hai brought a new style of sheer panel churidaar suits perfect to channelize your feminine side.
From the 2000s onwards fashion saw a major change with Anarkali suits and designer sarees a must-have in every Bollywood movie. Movies like Devdas, Kal Ho Na Ho, Bunty and Babli and many more again created major fashion statements in the country. From Aishwarya’s heavy embroidered Bengali sarees in Devdas to Preity Zinta geek chic look in Kal Ho Na Ho to Rani Mukherjee’s collared salwar suits in Bunty and Babli every style influenced women’s fashion choices. Till date, Bollywood is a strong driving force behind our fashion choices.
Fashion is ever-evolving and ever-changing and its history is something which is difficult to encompass in a single box. The ethnic fashion in India is stronger than ever with a lot of emphasis on the revival of handlooms and local craftsmanship. The influence of global fashion on Indian dressing and clothing is also increasing by the day which makes Indian fashion more versatile. Our choices are and will continue to get influenced by what is in and what is out but we can proudly say India has the most colorful and vibrant spectrum of fashion which is evergreen!
]]>History and Origin
The contemporary haute couture was brought to the Central Asia by the Jat community post the devastated partition of India and Pakistan which is one of the reasons for the downfall of this traditional craft. The beauty of Phulkari is exhibited exclusively through colourful and vibrant threads interwoven on naturally, dyed fabrics with signature embroidery staples passing over the generations. Following the legacy of our mothers and grandmothers, Phulkari dupattas, sarees, salwar kurta are one of the most prized possessions for every traditional woman. Rooted deeply in the Punjabi culture, Phulkari is generally created as an epitome of bonding and love for the wedded wife of a son in the house or daughters also sew their own Phulkari as a part of their dowry. The laborious skill that involves about 12 months to create one Phulkari piece, it’s priced to an equivalent royal Benarsi saree.
The unique feature of stitching the Phulkari textile on the wrong side of the cloth with vibrant silken thread is what marks the authenticity of the silhouette. Add to that, the Phulkari embroidery is very unique and to each, her own respective design. It is usually made on handspun cotton as a base cloth, however, machine-made manufacturing has made it much easier, cheaper and less labor-intensive. You may find Phulkari on cotton, georgettes, and even linen. The first-ever mention of Phulkari in the history of Indian culture has been made in the tales of Heer and Ranjha.
In several elite and wealthy families, skilled Phulkari artists were employed to craft the enriching and delightful kaleidoscope of colors and delicate intricate embroidery. Women would drape these Phulkari silhouettes on special handpicked occasions and also used the for-gifting purposes on auspicious occasions. Phulkari is a proof that every woman has a special corner in her heart for this heart-warming creation.
Aesthetics
The formidable artwork has witnessed an array of glorious designs. From abstract forms to geometrical patterns, scenic landscapes, to floral motifs, this depicts that Phulkari embroidery has been done by the hands of a Muslim artisan. The artwork featuring lively and vivacious motifs like that of kushti fighters, natural surroundings, dancers, flora, and fauna are signs that indicate the embroidery has been crafted by a Hindu or Sikh weaver. This beautiful harmony of two diverse cultures meeting together in the melting pot of handcrafted beauty of Phulkari is note-worthy.
Phulkari art is not a child’s play yet the women in rural areas of Punjab and surrounding areas are often found crafting elegant pieces of Phulkari with a needle and a thread. The process involves a fresh fabric and creates perfect isosceles triangles on it. Further, you make them into mountains, run the needles over it and close the stitches thereby crafting perfect triangles on the wrong side of the fabric. The gleaming excitement of a little girl on watching her mother and grandmother weave the creative artwork instills in her great passion to follow their footsteps and carve a niche of her own. The Phulkari embroidery which is generally quite popular in India and overseas is Bagh Phulkari which involves the creation of floral intricate artwork throughout the fabric. Let’s study the types of Phulkari:
Types of Phulkari
Bagh
This vibrant and gorgeous weaving of traditional embroidery involves the creation of several intricate and delicate floral motifs all throughout the fabric so much so that the ground base is no longer visible. The Garden Flowers as Bagh implies is one of the most popular forms of Phulkari and often women in Punjab adorn this graceful designer drape for special auspicious occasions. This requires a lot of time, efforts, and expenses. Hence, it serves as the status symbol.
Chope
The bridal exclusive Phulkari attire is handcrafted by the grandmother as a gift to welcome her daughter-in-law. The stunning details of two-sided lines stitched together on both sides of the fabric neatly, Chope gives an essence of royalty with a mix of unconditional love bestowed by the woman of the house. It is generally in luxe golden or yellow-golden color.
Thirma
This unique and understated form of Phulkari embroidery is generally designed on a white fabric. The pat is filled in bright colors like shades of pink, deep red undertones. The widows or elderly women of the home house this attire for the aesthetic reasons. The simplicity and sheer sophistication reflecting the poise of the wearer featuring clustered flowers, inverted triangles, chevron darning stitches on the loom are quite a common sight.
Darshan Dwar
This type of Phulkari embroidery which implies “the gate to see God” features human figurines, animals, and birds alongwith the floral motifs is an embodiment of spiritual beliefs. These silhouettes are offered to the shrine in the temples for religious purposes.
Sainchi Phulkari
The exquisite form of embroidery Sainchi Phulkari depicting the village life featuring the local animals, farmers, wrestlers, local transports like train showcasing the culture and livelihoods of the town in the earlier times. This form of traditional embroidery was much more famous in districts of Firozapur and Bhatinda.
Pachranga Bagh
The elegant fabrics of Phulkari dyed in natural colors of five basic distinctive colors. Similar to this is the satranga bagh that features seven distinctive color elements. With floral motifs expressing the feminine and decadent delight of women, these dupattas and ensembles are quite popular amongst the young Punjabi women.
Bawan Bagh
The rare artwork of Phulkari is this Bawan Bagh form which features exquisite 52 types of different floral motifs embroidered on the fabric. Each tailored with finesse and crafted to perfection with distinctive style and form, they were generally curated by the professional artisans. However, it is no longer made and seen.
Chitrakattas And Their Relevance
The vivid caricatures adorning the breath-taking paintings and art of Kalamkari are sketched and drawn using naturally designed pens made out of bamboo. They are carved from one edge while the fabric is attached to the nook beside and then the color is later filled with tamarind pens. These paintings and artwork are not only restricted to the wall paintings but later expanded to other silhouettes like sari drapes, kurtas, bed sheets, temple decoration, prayer rugs, hand towels, door covers, curtains, sarees and dress materials. The exquisite art gained prominence in the 13 and 14th century in Andhra Pradesh when the chiktrakattas spread enlightenment about its historic relevance and lured in communities to embrace the handcrafted glory. These chirtrakattas were mainly the vagabonds who traveled to far-away places to showcase their art and were mainly musicians, painters, and artists. Therefore, the painting and art showcased in Kalamkari work are known as Chitrakattas.
History And Development
During the reigns of Golconda Sultanate of Hyderabad, this traditional Indian art form rose to prominence and the Chitrakattas were praised and acknowledged for their immense knowledge as they exhibited Kalamkari to the then rulers. Furthermore, the Mughal rulers in the Coromandel province and Golconda State patronized the skill of craftsmen producing this vibrant art depicting the Indian cultures. And they called them “Qualamkars”, that’s how Kalamkari came into vogue.
The artists always used the natural vegetable dyes for the textiles and ditched the synthetic dyes. As the British also grew their interest towards this art form, the artists were deeply renowned for their textiles and handcrafted pieces were now being exported to other parts of the world. Therefore, the craftsmen began to experiment with their designs and took inspiration from the Persian motifs to adorn the sartorial blocks of beauty. Kalamkari trading was generally done in Barter Deals just like the spice trade in ancient times. Since Andhra Pradesh had the skilled artisans for this job, Sri Kalahasti and Machilipatnam became the focal centers for Kalamkari production as water supply which is one of the most important pre-requisite for Kalamkari was available in these places.
Sri Kalahasti was the most important Hindi pilgrimage site because of the Sri Kalahastisvara temple which is widely known for its architecture and deep sect belongingness towards Lord Shiva. The Kalamkari textiles were mainly used as canopies and hangings as the backdrop in the image of deities. The themes of such paintings and murals were inspired by Hindu Mythology and religion including-bird and tree of life motifs. The temple also became famous under the rulership of Pallava Kings (6th to 9th Century AD) followed by Chola (9th to 13th AD) and Vijayanagara Empire (13th to 17th Century AD).
The textiles produced in the Machlipatnam were entirely made for the mass production and hence displayed no relevance towards religious scriptures. The textiles in Machilipatnam were used for clothes, tapestries, prayer rugs, bedspreads etc. Machilipatnam port was bustling during the 15th and 17th century and that’s when the trading of Kalamkari experienced a high. The designs reflected the social scenario of the contemporary word including the geometric figures, animals, stylised plants, creepers, women etc.
Process Of Making Kalamkari Art
As we have already learnt that Kalamkari artwork is mainly divided into two different specializations: Sri Kalahasti and Machilipatnam. In both the artforms, the cloth is first washed with water thoroughly to remove the excess starch and other oily substances. After drying, the cloth is then dipped into buffalo milk and myrobalan fruit dust (traditional homegrown fruit) and then the excess solution is squeezed out.
Let’s first understand how the former is curated.
In Sri Kalahasti artwork, the initial sketch is made by using the charcoal pencil which is made by the burnt twigs of the tamarind tree. Bamboo pens are used for coloring the kalamkari cloth and while one tip is carved for etching the intricate details on the cloth, the other needle hooks up the cotton cloth with thread to further the signature design. This process is called as “kasim” where about 500 grams of sugar jaggery, 100 grams of palm jaggery and one kg of rusted iron is used in 10 liters of water. Once the bamboo pen dips into kasim for drawing, gently squeeze the excess liquid and resume with the designing. To remove the ink, one blot of cotton is kept beside the craftsmen. Since only natural and vegetable dyes are used as inks instead of synthetic colors, the artisans make use of alum water to paint red. Generally, with such solid colors, the background is kept red itself to avoid spill of ink. Also, their authentic colors might be different as the original red color shall be too dark as compared to natural red which will appear to be pale red.
In Machilipatnam, the textiles are washed at the Kalai Canal as the ritual holds it. Later, once the cloth is dried completely, the units of workers are divided into several sub-units and it involves a much more collaborative production. There are no drawings and sketches involved rather the workers use wooden blocks for printing. For both the textile; monochromatic and polychromatic, the wooden blocks shall be different. The first sub-unit comprises of the skilled carpenters who are involved in the making of wooden blocks. They use the cross section of teakwood. The positive area of the wooden block is the one that features the design and has color to it and is outwardly situated as compared to the sunken negative area. This process is called as the relief process and for coloring process, it usually begins with the coloring and filling-in of inner portions the design. For polychromatic design, red and black outlining are done first and then the cloth is boiled and dried out. All the colors are stored in the large wooden blocks which are layered with cotton and jute fabrics. After printing, these textiles are then taken to washing sub-units which are open from all the four sides. There are big vessels made of iron placed over the ovens where these fabrics will be boiled. These ovens till today run on wood powder and rice husks. While boiling, the local leaves gaja are added to the textiles so as to fix the color. Post this process, fabrics are washed again and later, they are embellished by hand and finished with an impeccable weave.
Artisans Aesthetics
The geographic location of Andhra Pradesh works in favor of the artisans and craftsmen producing Kalamkari textiles for Andhra Pradesh and the neighboring Kerala and Tamil Nadu are the hubs of producing cotton which is the primary raw material used in kalamkari artform. The natural dyes are skilfully prepared by the artists using vegetables like tomato, eggplant, ladyfinger, potatoes etc. to add the mild flavor of color in their handcrafted produce. Another favorable aspect is the proximity to water sources which is extremely important for manufacturing kalamkari. River Swarnmukhi flowing through Sri Kalahsti greatly helps the artisans while the canal in Machilipatnam is a great sub-unit for artisans to procure and finish their product with a finesse.
The source of inspiration for the design comes from surroundings and therefore, it often reflects the social scenario and the state of the society in realistic terms. While Sri Kalahasti produces fabrics which are detailed and intricate in terms of designing and involves black bold lines as the part of outlining, Machilipatnam involves free-flowing rhythmic patterns of designing. For the first base of painting or coloring, lime is used and then red, ochre and black patterns are involved in the line drawing. The Kalamkari Printers Welfare Association of Machilipatnam works under the registration of GIR Chennai which allows the weavers and artists to claim their trademark rights in case they find someone copying their signature design.
So, here we come to an end with the vibrant and elegant crafts of the South. Kalamkari block printing art is indeed one of the most revered handcrafts and we at Pure Elegance support, enlighten, and empower the artisans by restoring the precious traditional Indian artforms and keeping our culture alive by promoting Kalamkari sarees.
]]>We don’t call weddings in India “BIG FAT INDIAN WEDDINGS” for no reason, weddings are a grand affair in the country spanning over several days of splendid celebrations with music, floor breaking dances, colorful rituals and splendid outfits! Every religion and region brings specific and unique Indian wedding traditions and customs that are of utter importance. Indian parents start planning for the marriage of their daughter and son from the day they are born and teach them how important this lifetime relationship is. It is a big deal for a girl since she will have to leave her parents’ home to mark a new journey with her life-partner. Every girl dreams of this day to be special and out of a fairy tale story which she can cherish all her life. For parents, it is a dream come true to see their children finally settled happily into their new lives and for the couple, it is a journey marking the beginning of love and excitement. The planning is elaborate especially on the girl’s side which includes everything from clothes to jewelry to food to the venue to little little arrangements for various ceremonies.
The Indian wedding traditions and ceremonies can last anywhere from three to five days, depending on the culture and religion. Lots of excitement fills the family and relatives with sheer joy and they also start planning in advance their outfits and looks for different occasions. Looking into the traditions of Indian weddings is like entering a world of its own which is so rich and colorful!
The diversity in Hindu wedding traditions is profound in India since they vary even with state and region, adding more flavor and fun to the wedding rituals. A Hindu wedding is as vibrant as it gets and is immersed in grandeur and joyful celebrations which start months before the actual wedding day. The main rituals which are of utmost importance in a Hindu marriage are Kanyadaan, Panigrahana and Saptapadi. Let us look into the Hindu wedding traditions which make these events so extraordinary!
This is the first step before proceeding in a Hindu wedding. An astrologer takes the kundli or patrika of both boy and girl and matches the qualities or gun. If everything is ok as per him, then the parents agree and proceed to meet and if it does not match, then parents most of the times prefer not to talk further. These days, the young generation restrains from this ceremony and do not believe in horoscope matching.
This ceremony usually takes place after the parents have finalized and the couple has approved of each other. The Roka is a stamp on the relationship and is an intimate ceremony where only close family members are present. All the wedding preparations start after the Roka ceremony. The parents do a tilak ceremony of the girl and boy and exchange gifts. In some cultures, the Roka is done only with the boy and the girl is not present in the ceremony. This ceremony may happen 3 to 6 months ahead of the actual wedding.
This is a more formal and bigger ceremony when boy and girl exchange rings and a lot of dancing and fun take place with family and friends. The ceremony is organized by girl’s parents. The girl looks her best in a formal and elaborate Indian dress which may be an Indian lehenga choli or a floor-length Anarkali suit or an Indo-western dress. Bringing his dapper side up, the boy rocks in an Indo-western outfit or a formal pant suit!
A Sagai or Sagan ceremony is organized by the boy’s family and mostly happens few days before the wedding. In which a puja takes place with only the boy sitting with the priest and male members. There is an exchange of gifts amongst the families. These days due to the scarcity of time, a lot of families combine engagement and Sagan ceremony together to keep it short and simple.
Now, this ceremony marks the beginning of the wedding days leading up to the actual wedding day. Lagan is written by a Hindu priest or pundit on a paper who says from today celebrations begin and usually, girl and boy don’t step out much during these 3 or 5 days since it is considered inauspicious. The dholki and dance celebrations start from the Lagan day.
In some cultures like in Uttar Pradesh and Marwari families this ceremony is called Tel baan and in other cultures, it is called Haldi. Tel baan takes place daily from Lagan until the wedding day and involves a mixture of mustard oil, curd, mehendi and haldi which is applied on the body of the bride or groom with a few strands of grass by female members only. It symbolizes cleansing and detoxification of the soul and body after which they take a bath.
A Haldi ceremony is similar it to Tel baan, it involves the application of lots of haldi or ubtan on the whole body of bride and groom by the family members. The ingredients vary with different cultures which can include milk, curd or sandalwood. It is considered being anti-inflammatory and auspicious and it also brings glow. This is a fun-filled and vibrant ceremony where family members enjoy troubling the bride and groom with lots of haldi!
A light and celebratory occasion which takes place during the day time when Mehendi is applied on a bride and groom’s hands. The Mehendi designs are elaborate and intricate on a bride’s hand and feet which can take several hours to finish. It is believed that if the color of Mehendi is deep she will have a good married life and will be loved by her husband and mother-in-law!
All female members sit down to get their hands decorated in beautiful Mehendi designs with a lot of music, dholki, and dance happening side by side. The girl radiates with bridal glow and prefers wearing a kurta and with a ghagra skirt or an Indian suit since mehendi is applied on the feet as well. The girl wears signature accessories on Mehendi which include exquisite floral jewelry worn as a maang-tikka, earrings, and necklace.
It is all about DJ, dhol, dance and fun on a sangeet ceremony! The ceremony takes place at night and family members prepare and perform on Bollywood songs to make this occasion absolutely special for the couple. The sangeet ceremony in some cultures happens separately at bride and groom’s house respectively but in modern times the families are combining the celebrations together making it grander! The bride and groom also do special performances with friends and family to make it worth remembering. Brides these days prefer crop top blouses with a lehenga skirt sans the dupatta to keep it fuss-free and light. The groom keeps it suave in casual Indo-western attire or kurta pyjama.
If you thought Indian weddings are only about traditional ceremonies, then wait, a Cocktail ceremony is just the opposite of that! Modern, unconventional, glam in absolute Bollywood style is what a Cocktail party brings to you. The party takes place at night and is either celebrated separately at bride and groom’s house or it is a combined celebration with both families enjoying together. Cocktail party caters drinks to the coming guests and of course music and dance are an essential part. Brides wear a sequin or stylish designer gown dress or a designer saree in absolute Bollywood vogue and groom gives her a company in a well-fitted tuxedo.
This ceremony happens in Uttar Pradesh and Marwari Bania families and some other communities where a sister invites her brother to the wedding of her daughter or son in a grand way, one or two months before the wedding. The ceremony is finished on a day before the wedding when sisters do tilak ceremony of her brother and his family on the door-steps of her house with lots of music and dhol. The brothers give lavish gifts to the sister as a wedding gift for her daughter or son.
It takes place at groom’s house during the daytime. The groom gets ready and sits on a ghodi or white mare and proceeds to a temple with band-baaja and dancing. The family members dance and enjoy in-front of the ghodi. At the temple, a puja takes place with the priest and the procession returns home to get ready for the main event.
The chadat starts a few kilometers away from the wedding venue after all the family members and friends reach the venue of chadat. The groom looks absolutely royal in his achkan or sherwani with a pagdi or sehra on his head. Rajput groom wears a big sword with pearl strings or a layered stone necklace and in some cultures, the groom wears a heavy garland of rupee notes. He arrives in a buggy or carriage driven by horse or on a beautifully decorated ghodi or white mare. This is a moment of great joy and celebration for the family when they dance their hearts out on the music-band and dhol. A lot of fireworks take place during the chadat or baraat ceremony.
Now, groom welcome also varies with different culture. All the family members of bride’s family wait for the welcome and as the groom reaches the gate the ceremony starts. The bride’s brother goes to receive the groom and usually, females carry out the ceremony when bride’s bhabhi or mother conducts the tilak ceremony of groom with aarti. In Marwadi families a small shrine of 7 birds with a Ganesha statue hangs at the entrance which the groom has to touch with a stick and then enter inside. A Gujarati groom’s nose is pulled by his mother-in-law as a playful gesture. Punjabi weddings are all about grandeur, all the members of groom’s family are greeted with a milni or a welcome gift.
Maharashtrian grooms are welcomed with a Seeman puja which is carried out by the bride’s parents at the entrance of the wedding venue. In the state of Assam, the guest and groom are showered with lots of rice as they reach the venue gate which makes it difficult for the groom to enter the venue. The groom’s friend holds an umbrella to protect him and also has to pay shagun for entering the venue. After this, an aarti is performed by bride’s mother.
In the modern times, ribbon cutting ceremony is a trend. Once the groom reaches the gate he is asked to cut the ribbon and then rest ceremonies are performed.
Just after the grand entrance of bride in her extravagant wedding lehenga and luxurious jewelry, Jaimala or Varmala takes place. Some brides wear sarees on the wedding day like South Indian brides wear a heavy Kanjeevaram saree, Maharastrian bride wears a Paithani silk saree, Bengali bride wears a rich red silk saree and a Kerala bride wears a beautiful white and gold silk saree throughout the whole ceremony. The wedding lehenga in few cultures comes from groom’s side.
These days, Jaimala ceremonies are opulent affairs conducted in excellent theatrical manner. They can be as fancy or as simple depending on how much a family spends on the wedding. Traditionally, Jaimala is an exchange of floral garlands between bride and groom which is a mark of their matrimony. This ritual is an ancient part of Hindu religion practiced in marriage.
Even the garlands today are available in lightest to heaviest designs in a wide of variety of flowers, though rose garlands are all time favorites.
After the wedding fun, comes the serious wedding ritual of Phera which is carried out in two to three hours. In the older times, Pheras were conducted all night which was a tedious process. But modern times have shortened the ceremony; still, the timings can vary with various cultures. The whole Phera ceremony includes Kanyadaan, Panigrahana, Phere or Saptapadi and Saat Vachan. It is conducted by a Hindu priest with bride and groom and bride’s parents sitting around the Agni-Kund. The bride wears a mukut on her head as the Pheras starts. Some brides change from a bridal lehenga to a saree as a Phera dress. The color of the saree can be yellow, red or white and red depending on the culture.
A Kanyadaan is a ritual in which the father of the bride gives the hand of his daughter to the boy while pouring holy water on the hands of his daughter and then placing her hand in the hand of the groom. Kanyadaan is considered as the most sacred and biggest ritual in a Hindu marriage. Panigrahana is carried out after the Kanyadaan, which starts by lighting the fire or Agni by the groom. It is a ritual which involves holding each other’s hand as a symbol of marital union and the groom fully accepting the responsibilities of the married life.
The Saat Vachan or the seven vows is one of the most important rituals conducted during Pheras and is an integral part of Hindu marriage. In some cultures, dholki is played while the Pheras are in process. The groom’s sister ties the knot with a dupatta between the bride and groom for Pheras. Though the whole ceremony is called Phera but the actual Phere or Saptapadi involves taking seven rounds around the Agni-Kund while taking seven Vows or Saat Vachan. The groom after this fills the maang or center parting of the bride with Sindoor using a ring and it is essential that Sindoor falls on her nose, since it is considered auspicious.
He also ties a Mangalsutra which is a sacred symbol of the bride’s married status and is made of gold and black beads. It is believed the ritual originated from South India where it is called thaali or Maangalyam. A Mangalsutra denotes the union of two people and their faith and trust on each other. The wife wears the Mangalsutra all her life until the death of her husband.
While all the serious affair of the Phera ceremony is happening, the bride’s sisters and cousins are busy robbing the shoes of the groom or what we call as Jhoota Churai. It is a fun-filled ceremony where the shoes of the groom are hidden by bride’s family and they don’t give it back until he pays as much as they demand of him. This ceremony includes negotiations from groom side, light arguments, and some teasing. After the groom pays, the shoes are returned respectfully to him. In Punjabi weddings, the groom’s family gives a token of gift called Kalichari which is a gold or silver ring to the sister-in-law.
This is really the most emotional moment in the whole wedding when bride finally has to leave her parents’ home for a better life. A number of Bollywood songs are based on Indian Vidaai which are played by the music-band as she departs. This ceremony leaves every member of bride’s family in tears of joy and sadness including the bride herself who leaves with the blessings of her parents. While she leaves her home, she throws back a handful of wheat or rice behind her which is collected by her parents, this ritual is conducted so that her family is happy and prospers after she leaves. When the bride finally sits in the car with the groom her brothers give the first push to the car for a new journey of her life.
Now, comes the new phase of a bride’s life about which she is anxious as well as happy. The mother-in-law welcomes her son and daughter-in-law with a tilak and aarti at the gate. A bride’s welcome is called Griha Pravesh, she then slowly kicks a Kalash or pot filled with rice kept at the home entrance gate with her right foot and then she steps into a plate filled with Aalta and walks inside the home with her red footprints which signify the entry of Goddess Lakshmi.
To make it light and happier for the new bride a game called Kangana Khilaai or Kangana Khelna is played. A bowl filled with water, milk and rose petals is kept in front of bride and groom. A ring is dropped in the bowl and they compete against each other to find the ring with their one hand, whoever finds the ring first wins the game. There is a lot of enthusiasm and cheering while the game is carried out thus breaking the ice for the new bride.
The celebrations continue on groom’s side with pomp and show. Reception is a welcome party for the new bride and bride’s family is a guest on this occasion. She has to look nothing less than ethereal since all the guests will eye her. It is a formal yet a little casual occasion as compared to the wedding since bride and groom have the liberty to move around and meet the guests.
Brides have a galore of varieties to choose from and usually, the outfit is from groom’s side, which can be a designer embroidered jacket kurta with a skirt or a lehenga choli and even designer sarees are a choice paired with heavy or extravagant jewelry to make a stunning statement. Groom looks equally smashing complementing his new bride in a pant suit or tuxedo.
While these are common or known wedding rituals in Indian Hindu Marriage which may be called by different names in different languages and states, there are certain wedding traditions which are unique to a particular region, state and community. Time to dig out some less popular and special traditions of Indian weddings!
One of the small towns in U.P called Sarsaul has a strange tradition where they welcome guests with tomatoes and not with flowers. They believe the bad beginning of a relationship leads to love and happiness. Sounds strange!
Punjabis have a ritual called Ghara Gharaoli which is very important for the bride. The bride’s sibling fills an earthen pot or ghada with water from a temple and then the bride has to bathe in the same water before she wears her wedding outfit. Another ceremony specifically celebrated in Punjabi weddings is Mata ki Chowki. In which the whole family sits, prays and dances on religious songs and bhajans for at least 4-5 hours in front of Hindu deity idols.
In Kashmiri weddings, a pre-wedding ritual called Livun is performed, in which the houses of bride and grooms are cleaned completely. Wanwun is a ritual which takes places few days before the wedding which is a musical night held at bride and groom’s home respectively. It is followed by Maanziraat, a ceremony in which the doors of the bride’s and groom’s house is decorated and is followed by a celebratory bathing of the bride. The bride’s maternal uncle washes her feet to begin with.
Around two to three days prior to the wedding the bride’s family sends 51 plates or thaals of dry fruits, sweets, sugar, ghee, and gota. And the groom’s family also sends flowers jewelry and gifts for the bride.
The parents of the bride gift her Dijaru which is an ear jewelry signifying her married status. In Sanzwaru ceremony, the groom’s family presents mirror, sindoor, cosmetics, and beetles leaves covered in silver or gold foil to the bride. Duribat is a puja ceremony in which both bride and groom worship Lord Shiva and Goddess Parvati in their respective homes.
The groom is welcomed at the wedding venue gate by the exchange of nutmeg between the fathers of bride and groom.
Rajasthani or Marwari weddings are full of vibrant traditions. One of the distinctive wedding customs is Ganpati Sthapna where the families from both the sides pray together for happiness and prosperity during and after the wedding. A special evening affair called Mehfil is also organized in Rajasthani weddings where Ghoomar dance is performed in front of the ladies of the family and the bride has a special seating arrangement. The entry of men is restricted in this Mehfil who enjoy their own celebrations but the groom has the permission to enter the ladies Mehfil.
A Janev ceremony is very important in which a Havan is performed on the wedding evening and the groom is handed over a Janev or a holy thread which he has to wear throughout the puja. He also wears a saffron robe during the entire ceremony and it is conducted to show his acceptance of married life responsibilities.
The relatives of the groom’s family carry the bridal outfit, jewelry, and other shringaar items to bride’s home a day prior to the wedding and this ceremony called Palla Dastoor.
A Marwari tradition called Korath is also performed in which the groom is specially invited by the men of bride’s family on the wedding day with silver plate or thali filled with moong, rice, coconut, jaggery, and wedding invitation card. After this, the baraat proceeds to the venue.
In Bengali weddings, an early morning custom is practiced in which the bride’s aunts offer an aarti plate filled with goodies to Ganga river. It is believed that river Ganga will bless their daughter! Ai Buro Bhat is the last meal which the bride and groom have as unmarried person in their respective homes a day before or few days before the wedding. The meal is a lavish preparation including fish, fried vegetables, mutton curry, dal, papad, rice, paturi and rice pudding.
Another unique tradition is Bride’s entry in the Mandap, called Saat Paak. She arrives sitting on a pidi which is carried by her brothers and uncles. All this time she hides her face with beetle leaves and is not supposed to see the groom. The brothers and uncles then take seven rounds around the groom and finally, she removes the beetle leaves. While all this is happening women create a specific sound called Ulu Dhwani. It is believed the sound drives away the evil forces.
When talking of Bihari weddings, there is a pool of astonishing customs! One of them is where the new bride is asked to carry an earthen pot on her head to check her endurance. They keep on adding the pots to increase the weight and see how well she can balance. Well, that’s one helluva challenge!
The Kumaon region has peculiar customs in marriages and one such custom is the use of flags in baraat or procession. The first man in the baraat carries a white flag or Nishan which represent the groom’s side and the last man in the procession carries a red flag representing the bride’s side.
The bride and groom in Manipur release two fishes in a pond to drive away the evil forces. If the fishes swim side by side, it is considered an auspicious sign. In Manipuri wedding, all the seating arrangement at the wedding venue is made around tulsi or basil plant. The Phera ceremony is completed around basil plant with shehnai and kirtan.
In Assam, a unique tradition called Tel diya is carried out on the wedding day. The bride’s mother-in-law keeps a ring along with a beetle leaf on the bride’s hair. She then takes oil and applies it on bride three times and gives her sindoor and wedding attire called Mekhla Chador.
For the ritualistic bath of the bride and groom on the wedding day, their respective mothers collect holy water from a river.
When the groom is welcomed on the gate at the venue, he is lifted by his brother-in-law who takes him to the wedding stage. The bride enters the wedding venue sitting on the shoulders of her uncle from the maternal side.
Antrapat or a silk shawl is used to separate the bride and groom which is removed only after the wedding mantras or chants are completed. The bride and groom then can see each other. After this, a custom called Sankalp is performed which involves showering of broken rice grains on the couple as a blessing by the guests.
Gujarati families observe a wedding ritual called Madhuparka. In which the parents of bride wash the feet of the groom and offer him Panchamrut made from milk, yogurt, honey, sugar, and ghee, then he enters the wedding Mandap. In a ceremony called Hasta Milap, the groom’s scarf is tied to the bride’s scarf which signifies the meeting of the souls, flower petals and rice grains are showered on them during the ceremony.
In Odia Hindu weddings, the first wedding invitation card is sent to Jagannath Puri or Lord Jagannath. Most of the customs are similar to a Hindu wedding only they have different names.
When the groom comes with baraat or Barajatri at the wedding gate, he is welcomed by the bride’s family and his feet is washed with coconut water and a mixture of curd, honey and ghee is offered. A ceremony called Baadua Pani Gadhua is performed, in which the bride’s family informs her that the baraat has arrived. She then proceeds for the ceremonial holy bath which is called Baadua Pani Gadhua. Oriya brides wear a yellow saree with red border called Boula Patta on the main wedding day.
During the phera ceremony, a mango leaves garland ties the bride’s hand along with the groom’s hand which is considered sacred. Puffed rice or Lajja or Khai is offered to the fire and the ceremony is called Khaiporda for wealth and prosperity. Another custom which is a light humorous gesture called Saala Bidha is carried out the brothers of the bride where they punch the back of the groom. The couple then goes out to see the Pole star after which the groom puts Sindoor in her center parting.
The newlywed couple now plays a white colored shell, and the ceremony is called Kaurdi Khela.
A ceremony called Kashi Yatra is performed at the groom’s house where he pretends that he is going to Kashi and is not interested in wedding or worldly pleasures. The bride’s brother then stops and persuades him to marry his sister. In the wedding Mandap, a ceremony called Jeerakalla-Bellamu is performed, in which a paste of jeera or cumin seeds is used by bride and groom to apply on each other’s hand from under a curtain. This ceremony signifies an unbreakable bond between the couple.
The Tamilian Brahmin families follow a tradition similar to Andhra weddings called Kasi Yatrai on the wedding day with the groom. When he is about to enter the wedding Mandap, he acts as if he has changed his mind and is planning to take a Sanyaas or enter asceticism. The father of the bride then persuades him to carry on and enter the married life. This definitely must be an interesting scenario!
A wedding ritual called Pallikai Thellichal is carried out few days before the wedding, in which nine different types of grains are mixed with curd and filled in seven pitchers or earthen pots adorned with Sandalwood. The pots are immersed in water to feed the fishes. The ceremony is considered sacred and auspicious for couple’s married life. During the Kanyadaan ceremony, the bride sits on the lap of her father which means the daughter has played on her father’s lap and he is giving his daughter to the groom as a responsibility.
They are very particular about the auspicious timings in wedding rituals. The interesting part is they consider the timing when they enter the wedding venue as the most auspicious or lucky time and not when the actual rituals are performed. The couple takes only three rounds or Phere around the Agni-kund.
The Hindu weddings in Kerala is either a Nair wedding or a simple Hindu wedding. In Nair weddings, the mandap or Kalyana mandap is given a lot of importance in terms of arrangements since it is considered sacred. As the groom reaches the venue, he is welcomed by bride’s brother who washes his feet and takes the groom to the mandap. The groom is escorted to the mandap in a celebratory fashion with girls walking alongside with diyas. During the phera ceremony, groom gifts the bride a saree which shows his acceptance of her responsibilities. This ceremony is called Pudamari.
The meal in Nair weddings is lavish and is called Sadhya which consists of 25 dishes or food items served on Plantain leaves.
A custom called Santh is performed in Sindhi marriage wherein an anklet is tied to the bride’s ankle as well as of the groom. Around eight married women now pour oil on them which is considered as a blessing. After the oil is poured, they can wear the shoes and break the pitcher or earthen pot, which marks the breaking of old relationships.
In Kayastha weddings, there is a ceremony called Imli-ghutna which is carried out by the maternal uncle and aunt of the groom and it is believed it drives away the evil forces. It is also a way of informing the groom he should keep away from any kind of vices after the wedding.
Marrying a tree is also popular in Indian Hindu weddings, where if a bride is Maanglik she has to first get married to a Peeple tree to ward off the evil effects of being a Maanglik and then only she can marry.
Apart from individual weddings, there is also a practice called Saamuhik Vivaah or combined wedding organized by various communities, where many couples get married together at one venue. It is usually performed for poor families or the families who cannot afford the expenses of the marriage.
That is the beauty of culture in India: so many rich and diverse Indian wedding traditions and customs make these events one-of-a-kind!
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