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A sari (also called sharee, saree*

  • or sadi)The name of the garment in various regional languages include:
  • is a
    (1997). 9780966149616, Shakti Press International. .
    and a women's in the Indian subcontinent.
    (1995). 9780810944619, Harry N. Abrams, Incorporated.
    It consists of an un-stitched stretch of arranged over the body as a , with one end attached to the waist, while the other end rests over one shoulder as a stole,
    (1979). 9788170170907, Abhinav Publications. .
    sometimes baring a part of the .Alkazi, Roshan (1983) "Ancient Indian costume", Art HeritageGhurye (1951) "Indian costume", Popular book depot (Bombay); (Includes rare photographs of 19th century Namboothiri and nair women in ancient sari with bare upper torso) It may vary from in length,
    (1997). 9780966149616, Shakti Press International.
    and in breadth, and is a form of in , , , , and . There are various names and styles of sari manufacture and draping, the most common being the Nivi (meaning new) style.
    (1997). 9780966149616, Shakti Press International. .
    Linda Lynton(1995), The Sari: Styles, Patterns, History, Technique , page 187; Quote: It is in the Karnataka (Mysore) and western Maharashtran area that the nivi style is believed to have originated.. The sari is worn with a fitted also called a ( or in southern India, blouse in northern India, and in Nepal) and a called , , or .
    (2025). 9788183281225, Wisdom Tree in association with National Institute of Design, Ahmedabad. .
    It remains fashionable in the Indian subcontinent and is also considered as a formal attire in the country.


Etymology
The word (साड़ी), described in
(1997). 9780198643395, Oxford University Press.
which means 'strip of cloth'
(1995). 9788120800656, Motilal Banarsidass. .
and शाडी or साडी in , ಸೀರೆ or sīre in and which evolved to in modern Indian languages.
(2025). 9788177552577, Genesis Publishing Pvt Ltd. .
The word is mentioned as describing women's attire in literature and Buddhist literature called .Sachidanand, Sahay (1975) Indian costume, coiffure, and ornament. Chapter 2 'Female Dress', Munshiram Manoharlal publishers Pvt Ltd. pp 31–55 This could be equivalent to the modern day sari. The term for female , the evolved from ancient .Prachya Pratibha, 1978 "Prachya Pratibha, Volume 6", p.121Agam Kala Prakashan, 1991 "Costume, coiffure, and ornaments in the temple sculpture of northern Andhra", p.118 , a medieval literary work by Kashmiri historian, , states that the choli from the Deccan was introduced in the under the royal orders of Buddhist rulers.

The petticoat is called (साया) in , (परकर) in , (உள்பாவாடை) in ( in other parts of South India: , , ), (সায়া) in and eastern India, and (සාය) in . Apart from the standard "petticoat", it may also be called "inner skirt" or an inskirt.


Origins and history
The history of sari-like drapery can be traced back to the Indus Valley Civilisation, which flourished during 2800–1800 BCE around the northwestern part of the Indian subcontinent. was first cultivated and woven on the Indian subcontinent around the 5th millennium BCE.Stein, Burton (1998). A History of India. Blackwell Publishing. , p. 47 Dyes used during this period are still in use, particularly , lac, and . was woven around 2450 BCE and 2000 BCE.

The word sari evolved from () is mentioned in early Hindu literature as women's attire.Mohapatra, R. P. (1992) "Fashion styles of ancient India", B. R. Publishing corporation, The sari or evolved from a three-piece ensemble comprising the , the lower garment; the ; a veil worn over the shoulder or the head; and the , a chestband. This ensemble is mentioned in literature and Buddhist literature during the 6th century BCE.

(1992). 9788170187233, B.R. Publishing Corporation. .

Ancient closely resembled the dhoti wrap in the "fishtail" version which was passed through the legs, covered the legs loosely and then flowed into long, decorative pleats at front of the legs.Linda Lynton (1995) "The Sari: Styles, Patterns, History, Techniques.", p.170Dipak Sharma (2012) "SOUVENIR of 2nd International Science Congress (ISC-2012).", p.282 It further evolved into Bhairnivasani skirt, today known as and lehenga.J. Correia-Afonso, (1984) "Indica, Volume 21, Issue 2", p.126 was a shawl-like veil worn over the shoulder or head. It evolved into what is known today known as and .Chintaman Vinayak Vaidya, (2001) "Epic India : India as Described in the Mahabharata and the Ramayana", p.144 Likewise, the evolved into the by the 1st century CE.Roshen Alkazi, 1996 "Ancient Indian Costume", p.48

(2025). 9780811853163, Chronicle Books. .

The 7th century work Kadambari by and ancient poetry, such as the , describes women in exquisite or sari.

(1993). 9780231078498, Columbia Univ. Press.
Emma Tarlo (1996) "Clothing Matters: Dress and Identity in India.", p.154Govind Sadashiv Ghurye (1951) "Indian Costume.", p.154 In ancient India, although women wore saris that bared the navel, the writers stated that women should be dressed such that the navel would never become visible, which may have led to a taboo on exposure of the midriff at some times and places. Encyclopedia of Indian Women Through the Ages: Ancient India – Simmi Jain.
(1987). 9788120803244, Motilal Banarsidass Publ. .
Linda Lynton, Sanjay K. Singh (2002) "The Sari: Styles, Patterns, History, Techniques.", p.40

It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture the lower garment was called 'nivi' or 'nivi bandha', while the upper body was mostly left bare. The works of Kalidasa mention the , a form of tight fitting breast band that simply covered the breasts. It was also sometimes referred to as an or .

Poetic references from works like Cilappatikaram indicate that during the in ancient Tamil Nadu in southern India, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered. Similar styles of the sari are recorded paintings by Raja Ravi Varma in Kerala. Numerous sources say that everyday costume in ancient India until recent times in consisted of a pleated dhoti or () wrap, combined with a breast band called or and occasionally a wrap called that could at times be used to cover the upper body or head. The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in Malayalam) is a survival of ancient clothing styles. The one-piece sari in Kerala is derived from neighbouring Tamil Nadu or Deccan during medieval period based on its appearance on various temple murals in medieval Kerala.Wall paintings in North Kerala, India: 1000 years of temple art, Albrecht Frenz, Ke. Ke Mārār, page 93Miller, Daniel & Banerjee, Mukulika; (2004) "The Sari", Lustre press / Roli books

Early literature has a wide vocabulary of terms for the used by women, such as Avagunthana (oguntheti/oguṇthikā), meaning cloak-veil, Uttariya meaning shoulder-veil, Mukha-pata meaning face-veil and Sirovas-tra meaning head-veil.Govind Sadashiv Ghurye (1951) "Indian Costume.", p.236

In the Pratimānātaka, a play by Bhāsa describes in context of Avagunthana veil that " ladies may be seen without any blame (for the parties concerned) in a religious session, in marriage festivities, during a calamity and in a forest". The same sentiment is more generically expressed in later literature.Sulochana Ayyar (1987) "Costumes and Ornaments as Depicted in the Sculptures of Gwalior Museum.", p.152 Śūdraka, the author of Mṛcchakatika set in fifth century BCE says that the Avagaunthaha was not used by women everyday and at every time. He says that a married lady was expected to put on a veil while moving in the public. This may indicate that it was not necessary for unmarried females to put on a veil. This form of veiling by married women is still prevalent in Hindi-speaking areas, and is known as where the loose end of a sari is pulled over the head to act as a facial veil.Kusumanjali Prakashan, 1993 "The Natyasastra tradition and ancient Indian society", p.63

Based on sculptures and paintings, tight bodices or are believed to have evolved between the 2nd century BCE to 6th century CE in various regional styles.

(2025). 9788183281225, Wisdom Tree in association with National Institute of Design.
Early cholis were front covering tied at the back; this style was more common in parts of ancient northern India. This ancient form of bodice or choli is still common in the state of today.
(2025). 9788176484558, APH. .
Various styles of decorative traditional embroidery like gota patti, mochi, pakko, kharak, suf, kathi, phulkari and gamthi are done on cholis.
(1999). 9781851773107, V&A Publications. .
In Southern parts of India, choli is known as ravikie which is tied at the front instead of back, kasuti is traditional form of embroidery used for cholis in this region.History of Kasuti is mentioned by In Nepal, choli is known as cholo or chaubandi cholo and is traditionally tied at the front.Indra Majupuria (2007) "Nepalese Women: A Vivid Account of the Status and Role of Nepalese Women in the Total Spectrum of Life, Religious, Social, Economic, Political, and Legal.", p.291

Red is the most favoured colour for , which are the traditional garment choice for brides in .Ava Laboy Capo (2013) "Wedding Traditions from Around the World.", p.18 Women traditionally wore various types of regional made of silk, cotton, ikkat, block-print, , embroidery and tie-dye textiles. Most sought after silk saris are Banasari, Kanchipuram (Sometimes also Kanchipuram or ), Gadwal, Paithani, Mysore, Uppada, Bagalpuri, Balchuri, Maheshwari, Chanderi, Mekhela, Ghicha, Narayan pet and Eri etc. are traditionally worn for festive and formal occasions.

Silk and cotton saris known as Patola, Pochampally, Bomkai, Khandua, Sambalpuri, Gadwal, Berhampuri, Bargarh, Jamdani, Tant, Mangalagiri, Guntur, Narayan pet, Chanderi, Maheshwari, Nuapatn, Tussar, Ilkal, Kotpad and Manipuri were worn for both festive and everyday attire.Jay Narayan Vyas, Textile Review, 2007 "Indian Textiles 2015: Comprehensive Forecast on Indian Textiles Industry in 2015 with an Exhaustive Buyer's Guide for Textile Machinery", p.126 and block-print saris known as Bandhani, Leheria/Leheriya, Bagru, Ajrakh, Sungudi, Kota Dabu/Dabu print, Bagh and Kalamkari were traditionally worn during monsoon season.

(2025). 9784770027771, Kodansha International. .

Gota Patti is popular form of traditional used on saris for formal occasions, various other types of traditional folk embroidery such mochi, pakko, kharak, suf, kathi, phulkari and gamthi are also commonly used for both informal and formal occasion.Anne Morrell (1995) "The Techniques of Indian Embroidery.", p.68 Today, modern fabrics like polyester, georgette and charmeuse are also commonly used.

(2025). 9781847887801, bloomsbury. .
(2025). 9788862081009, Damiani. .


India
There are more than 80 recorded ways to wear a sari. The most common style is for the sari to be wrapped around the waist, with the loose end of the drape to be worn over the shoulder, exposing the navel. However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. Ṛta Kapur Chishti, a sari and recognised scholar, has documented 108 ways of wearing a sari in her book, 'Saris: Tradition and Beyond'. The book documents the sari drapes across fourteen states of , , , , , , , , , , , , , and .
(2025). 9788174363749, Roli Books, Lustre Press. .
The Sari Series, a non-profit project created in 2017 is a digital anthology documenting India's regional sari drapes providing over 80 short films on how-to-drape the various styles.

The French cultural and sari researcher Chantal Boulanger categorised sari drapes into the following families:Boulanger, Chantal; (1997) Saris: An Illustrated Guide to the Indian Art of Draping, Shakti Press International, New York.

  • Nivi sari – style originally worn in Deccan region; besides the modern nivi, there is also the Nauvari, kaccha or kasta nivi, where the pleats are passed through the legs and tucked into at the back. This allows free movement while covering the legs.
  • , , , Rajasthani – It is worn similar to nivi style but with loose end of sari aanchal or pallu placed in the front, therefore this style is known as sidha anchal or sidha pallu or sojha paala. After tucking in the pleats similar to the nivi style, the loose end is taken from the back, draped across the right shoulder, and pulled across to be secured in the back. This style is also worn by and .
  • and style is worn with single box-pleat. Traditionally the Bengali style is worn with single box pleat where the sari is wrapped around in an anti-clockwise direction around the waist and then a second time from the other direction. The loose end is a lot longer and that goes around the body over the left shoulder. There is enough cloth left to cover the head as well. The Brahmika sari was introduced to Bengal by Jnanadanandini Devi after her tour in Bombay in 1870. Jnanadanandini improvised upon the sari style worn by Parsi and Gujarati women, which came to be known as Brahmika style.Embroidered Tales of India' Https://www.outlookindia.com/outlooktraveller/explore/story/70644/did-you-know-about-the-parsi-gara< /ref>
  • – Kulluvi Pattu is traditional form of woolen sari worn in Himachal Pradesh, similar variation is also worn in .
  • - Banarasi sari is made in , an ancient in the - region, which is also called (Banaras). The saris are among the finest saris in and are known for their and or , fine silk and opulent embroidery. The saris are made of finely and are decorated with intricate , and, because of these engravings, are relatively heavy.
  • and : this drape is worn similar to ancient form of navi sari worn in "Kacche" style where pleats in the front are tucked in the back, though there are many regional and societal variations. The style worn by women differs from that of the . The style also differs from community to community. This style is popular in and .
  • – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards sari.
  • The 'gara' is worn by Zoroastrian women in Gujarat in India and Sindh in Pakistan, it is worn similar to sidha pallu, it unique compared to traditional sari due to its Chinese style embroidery.
  • Pin Kosuvam – this is the traditional Tamil Nadu style
  • style – this drape is confined to ladies hailing from the district of . In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder, and is pinned to the rest of the sari.
  • Gobbe Seere – This style is worn by women in the or Sahyadri and central region of Karnataka. It is worn with 18 molas sari with three-four rounds at the waist and a knot after crisscrossing over shoulders.
  • – In Karnataka, apart from traditional Nivi sari, sari is also worn in "Karnataka Kacche" drape, kacche drape which shows nivi drape in front and kacche in back, there are Four kacche styles known in Karnataka – " Hora kacche", " Melgacche" ," Vala kacche" or " Olagacche" and " Hale Kacche".
  • style – the two-piece sari, or , worn in . Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders. Also the , a sort of mundum neryathum.
  • Kunbi style or denthli: Goan Kunbis and Gauda, and those of them who have migrated to other states use this way of draping sari or kappad, this form of draping is created by tying a knot in the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fasten on the back.
  • Riha-Mekhela, Kokalmora, Chador/Murot Mora Gamusa – This style worn in is a wrap around style cloth similar to other Southeast Asian garments. it is originally a four-set of separate garments known Riha-Mekhela, Kokalmora, Chador or Murot Mora Gamusa. The bottom portion, draped from the waist downwards is called Mekhela. The Riha or Methoni is wrapped and often secured by tying them firmly across the chest, covering the breasts originally but now it is sometimes replaced by blouse from mainland India. The Kokalmora was used originally to tie the Mekhela around the waist and keep it firm.
  • Innaphi and Phanek – This style of clothing worn in is also worn with three-set garment known as Innaphi Viel, Phanek lower wrap and long sleeved choli. It is somewhat similar to the style of clothing worn in Assam.
  • Jainsem – It is a Khasi style of clothing worn in which is made up of several pieces of cloth, giving the body a cylindrical shape.

=== Historic photographs and regional styles ===

]]
Ikkat sari worn in Nivi style, 1895 CE]]
]]


Nivi style
Nivi is the most common style of sari worn today. It originated in the Deccan region. In the Deccan region, the Nivi existed in two styles, a style similar to modern Nivi and the second style worn with front pleats of Nivi tucked in the back.

The increased interactions during colonial era saw most women from royal families come out of in the 1900s. This necessitated a change of dress. Maharani of Cooch Behar popularised the chiffon sari. She was widowed early in life and followed the convention of abandoning her richly woven Baroda shalus in favour of the unadorned white as per tradition. Characteristically, she transformed her "" clothes into high fashion. She had saris woven in France to her personal specifications, in white chiffon, and introduced the silk chiffon sari to the royal fashion repertoire.

Under colonial rule, the was adopted, along with Victorian styles of puffed-sleeved blouses, which was commonly seen among the elites in Bombay presidency and Bengal presidency.Marriage and Modernity: Family Values in Colonial, page 47, Rochona Majumdar 2009 Nivi drape starts with one end of the sari tucked into the of the , usually a plain . The cloth is wrapped around the lower body once, then hand-gathered into even pleats below the navel. The pleats are tucked into the waistband of the petticoat.Dongerkerry, Kamala, S. (1959) The Indian sari. New Delhi. They create a graceful, decorative effect which poets have likened to the petals of a flower. After one more turn around the waist, the loose end is draped over the shoulder. The loose end is called the aanchal, pallu, pallav, seragu, or paita depending on the language. It is draped diagonally in front of the torso. It is worn across the right hip to over the left shoulder, partly baring the midriff. The navel can be revealed or concealed by the wearer by adjusting the pallu, depending on the social setting. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallu may be hanging freely, tucked in at the waist, used to cover the head, or used to cover the neck, by draping it across the right shoulder as well. Some Nivi styles are worn with the pallu draped from the back towards the front, coming from the back over the right shoulder with one corner tucked by the left hip, covering the torso/waist. The Nivi sari was popularised through the paintings of Raja Ravi Varma.Miller, Daniel & Banerjee, Mukulika, The Sari (2004), Lustre press / Roli books. In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing Nivi sari. The ornaments sometimes worn in the midriff region on top of a sari are . They are sometimes worn as a part of bridal jewellery.


Professional style of draping
Because of the harsh extremes in temperature on the Indian subcontinent, the sari fills a practical role as well as a decorative one. It is not only warming in winter and cooling in summer, but its loose-fitting tailoring is preferred by women who must be free to move as their duties require. For this reason, it is the uniform of Biman Bangladesh Airlines and uniform for . An air hostess-style sari is draped in similar manner to a traditional sari, but most of the pleats are pinned to keep them in place. female newsreaders and anchors also drape their sari in this particular style.

Saris are worn as uniforms by the female of many five-star luxury hotels in , , and as the symbol of , Sri Lankan, and Bangladeshi culture, respectively.

Similarly, the female politicians of all three countries wear the sari in a professional manner. politicians usually wear saris with long sleeve blouse while covering their midriff. Some politicians pair up saris with or for more coverage.

The women of the Nehru–Gandhi family like and have worn a special blouse for the campaign trail which is longer than usual and is tucked in to prevent any midriff showing while waving to the crowds. Stylist has to say, "I think Sonia Gandhi is the country's most stylish politician. But that's because she's inherited the best collection of saris from her mother-in-law. I'm also happy that she supports the Indian handloom industry with her selection."

Most female MPs in the Sri Lankan Parliament wear a Kandyan osari. This includes prominent women in politics, the first female premier in the world, Sirimavo Bandaranaike and President Chandrika Bandaranaike Kumaratunga. Contemporary examples include Pavithra Wanniarachchi, the sitting health minister in Cabinet. The adoption of the sari is not exclusive to Sinhalese politicians; Muslim MP combined a hijab with her sari while in Parliament.


Bangladesh
Sari is the national attire for women in Bangladesh, Although (hand made sari) is worldwide known and most famous to all women who wear sari but there are also many variety of saris in Bangladesh. There are many regional variations of them in both silk and cotton.

There are many regional variations of saris in both silk and cotton. e.g., , , , , sari, sari and Katan sari.

The sari is reserved as the dress of choice for important occasions and events. In 2013, the traditional art of weaving jamdani was declared a Intangible Cultural Heritage of Humanity. In 2016, Bangladesh received geographical indication (GI) status for sari.


Sri Lanka
Sri Lankan women wear saris in many styles. Two ways of draping the sari are popular and tend to dominate: the Indian style (classic nivi drape) and the Kandyan style (or in Sinhala). The Kandyan style is generally more popular in the hill country region of Kandy from which the style gets its name. Though local preferences play a role, most women decide on style depending on personal preference or what is perceived to be most flattering for their figure.

The traditional Kandyan (Osariya) style consists of a full blouse which covers the midriff completely and is partially tucked in at the front. However, the modern intermingling of styles has led to most wearers exposing the navel. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the Pin Kosuvam style noted earlier in the article.

The Kandyan style is considered the national dress of Sinhalese women. It is the uniform of the air hostesses of SriLankan Airlines.

During the 1960s, the mini sari known as 'hipster' sari created a wrinkle in Sri Lankan fashion, since it was worn below the navel and barely above the line of prosecution for indecent exposure. The conservative people described the 'hipster' as " an absolute travesty of a beautiful costume almost a desecration" and " a hideous and purposeless garment".


Nepal
The sari is the most commonly worn women's clothing in where a special style of sari draping is called haku patasihh. The sari is draped around the waist and a shawl is worn covering the upper half of the sari, which is used in place of a pallu. Nepal has many different varieties of draping sari, today the most common is the Nivi drape. The traditional Newari sari drape is, folding the sari till it is below knee length and then wearing it like a nivi sari but the pallu is not worn across the chest and instead is tied around the waist and leaving it so it drops from waist to the knee, instead the pallu or a shawl is tied across the chest, by wrapping it from the right hip and back and is thrown over the shoulders. Saris are worn with blouse that are thicker and are tied several times across the front. The Bhojpuri, Maithil and Awadhi speaking community wears the sari sojha palla like the Gujarati drape. The women of the Rajbanshi communities traditionally wear their sari with no choli and tied below the neck like a towel but today only old women wear it in that style and the nivi and the Bengali drapes are more popular today. The Nivi drape was popularized in Nepal by the royals and the .


Pakistan
In Pakistan, the saris are still popular and worn on special occasions. The , however, is worn throughout the country on a daily basis. The sari nevertheless remains a popular garment among the middle and upper class for many formal functions. Saris can be seen worn commonly in metropolitan cities such as Karachi and Islamabad and are worn regularly for weddings and other business types of functions. Saris are also worn by many women in Sindh to show their status or to enhance their beauty. , , , are the most worn. The sari is worn as daily wear by Pakistani Hindus, by elderly Muslim women who were used to wearing it in pre-partition India and by some of the new generation who have reintroduced the interest in saris.

Black Sari Day, is a celebration of a woman who fought in a Black sari in Lahore against Zia. She sang . Although this event is to bring family closer and to enjoy the day of Iqbal Bano.


Similarities with other Asian clothing
While the sari is typical traditional wear for women in the Indian subcontinent, clothing worn by women in countries like , , , the , , and resemble it, where a long rectangular piece of cloth is draped around the body. These are different from the sari as they are wrapped around the lower-half of body as a skirt, worn with a shirt/blouse and resemble a , as seen in the Burmese (MLCTS=lum hkyany ; ), Filipino and tapis, Laotian (; ), Laotian and Thai (; ) and sinh (, ; , , ), Cambodian () and (, saṃbát, ) and Timorese . Saris, worn predominantly in the Indian subcontinent are usually draped with one end of the cloth fastened around the waist, and the other end placed over the shoulder exposing the midriff.


Ornamentation and decorative accessories
Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three-foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu; it is the part thrown over the shoulder in the nivi style of draping.

In past times, saris were woven of silk or cotton. The rich could afford finely woven, diaphanous silk saris that, according to , could be passed through a . The poor wore coarsely woven cotton saris. All saris were and represented a considerable investment of time or money.

Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with using carved wooden blocks and vegetable dyes, or , known in India as bhandani work.

More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom, as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating patterns. Sometimes threads of different colours were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself. These accents are called or (spellings vary). For fancy saris, these patterns could be woven with , which is called work.

Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with coloured silk thread. embroidery uses gold and silver thread, and sometimes pearls and . Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and crystals.

In modern times, saris are increasingly woven on mechanical looms and made of artificial fibres, such as , nylon, or , which do not require starching or . They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim. Fashion designer declared, "I can drape a sari in 54 different styles".

Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the overall market for handweaving has plummeted (leading to much distress among Indian handweavers), saris are still popular for weddings and other grand social occasions.


Saris outside the Indian subcontinent
in a sari at the London premiere of her film Raavan.]]The traditional sari made an impact in the United States during the 1970s. Eugene Novack who ran the New York store, Royal Sari House commented that he had initially been selling mainly to Indian women in the New York area. However, many American business women and housewives soon became his customers, favouring styles resembling western attire such as gowns. He also said that men appeared intrigued by the fragility and the femininity it confers on the wearer. Newcomers to the sari report that it is comfortable to wear, requiring no girdles or stockings and that the flowing garb feels so feminine with unusual grace.

The sari has gained its popularity internationally because of the growth of Indian fashion trends globally. Many celebrities, like , have worn it at international events representing India's cultural heritage. In 2010, Bollywood actress wanted to represent her country at an international event, wearing the national costume. On her first red carpet appearance at the Cannes International Film Festival, she stepped out on the red carpet in a sari.

Many foreign celebrities have worn traditional sari attire designed by Indian . American actress made a surprise guest appearance on , the Indian version of Big Brother, dressed in a sari that was specially designed for her by Mumbai-based fashion designer Ashley Rebello. donned a purple sari at the YouthAIDS Benefit Gala in November 2007 at the Ritz Carlton in Mclean, Virginia. There was an Indian flavour to the red carpet at the annual Fashion Rocks concert in New York, with designer Rocky S walking the ramp along with Jessica, Ashley, Nicole, Kimberly and Melody – the – dressed in saris. in 2014, American singer was seen in a sari for a charity event at Nepal.

In the , the sari has recently become politicised with the digital-movement, "Sari, Not Sorry". Tanya Rawal-Jindia, a gender studies professor at UC Riverside, initiated this anti- fashion-campaign on Instagram.

While an international image of the modern style sari may have been popularised by airline flight attendants, each region in the Indian subcontinent has developed, over the centuries, its own unique sari style. Following are other well-known varieties, distinct on the basis of fabric, weaving style, or motif, in the Indian subcontinent.


Handloom and textiles
Handloom sari weaving is one of India's cottage industries. "Origin of Handloom Saris" The handloom weaving process requires several stages in order to produce the final product. Traditionally the processes of (during the yarn, fabric, or garment stage), warping, sizing, attaching the warp, weft winding and were done by weavers and local specialists around weaving towns and villages.


Northern and Central styles


Eastern styles


Western styles
  • – Maharashtra
  • Yeola sari – Maharashtra
  • Peshwai shalu – Maharashtra
  • Mahalsa sari – Maharashtra
  • Narayanpeth – Maharashtra
  • Khun fabric – Maharashtra
  • Karvati tussar sari – Maharashtra


Southern styles


Images
.]]
sari ().]]
Dr. wearing sari with ]]
in a sari at the ]]
, an Indian actress in sari]]


See also


Notes

Bibliography

  • Ambrose, Kay (1950) Classical Dances and Costumes of India. London: A. & C. Black.
  • Craddock, Norma (1994) Anthills, Split Mothers, and Sacrifice: Conceptions of Female Power in the Mariyamman Tradition. Dissertation, University of California, Berkeley.
  • Lynton, Linda (1995). The Sari: Styles, Patterns, History, Technique. New York: Thames & Hudson.
  • Banerjee, Mukulika & Miller, Daniel (2003). The Sari: Styles, Patterns, History. Oxford: Berg Publishers.


External links

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