Sarees of India

History of Sarees

One of the most sensual attires of a woman in India is undoubtedly the sari. It is a long unstitched piece of cloth, usually 6 yards long that is draped in a set pattern. It accentuates the curves of a woman and the mid-riff is usually exposed. However, the way of draping a saree may differ from place to place. The way it is draped in the north may be slightly different from how it is draped in the south. It is available in a plethora of fibers, designs and colors. The sari is usually worn with a blouse that covers the upper part of the body and underneath it is the petticoat, which helps to tuck in the pleats of the saree to hold it in place.

Interesting Information on the Background of Sari

The history and origin of sari seems to date back to the period of the establishment of civilization. Evidence states that women in the Indus Valley civilization used to cover themselves with a long piece of cloth, draped like a trouser. However, the word ‘sari’ originated from the Prakrit word ‘sattika’, which is mentioned in the early Buddhist literature. The word got shortened and was called sati, which further evolved into sari.

A statue recovered from the Indus Valley Civilization depicts a female priest wearing a cloth draped like a sari. The sari used to be draped in a way so that it divides the two legs and forms a trouser like attire. This was basically done to aid the temple dancers in their movements and also cover to their modesty. It is believed that the ‘dhoti’, which is the oldest Indian garment that was draped, is the foundation behind the sari. Till the 14th century, the dhoti was worn by both men and women.

The early statues of Goddesses show that the sari was draped in a sensual manner, like a ‘fishtail’, which was tied at the waist, covered up the legs and came in front of the legs like a decorative drape. During that era, the upper part of the body was either partially covered or was left bare. Down south in the state of Kerala, one can still see people wearing the traditional sari, which is a two piece garment, consisting of a lungi and a shawl. With the coming of the Muslims, the ghagra or the petticoat was discovered and clothes were stitched. Before that, Hindus believed piercing clothes with needles was impure.

The blouse came into existence with the Muslims and also the British. Since then, sari has come of age and now many new styles are being experimented with. But the main aspects of the sari like the blouse and the petticoat have been carried over in the modern times. Thus, sari is the perfect garment to enhance the beautiful curves of the Indian woman and has done so since times immemorial.

The history of Indian clothing trace the sari back to the Indus Valley Civilization, which flourished during 2800-1800 BCE around the western part of the Indian Subcontinent. The earliest known depiction of the saree in the Indian subcontinent is the statue of an Indus valley priest wearing a drape.

Ancient Tamil poetry, such as the Silappadhikaram and the Kadambari by Banabhatta, describes women in exquisite drapery or saree. In ancient Indian tradition and the Natya Shastra (an ancient Indian treatise describing ancient dance and costumes), the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the saree.

Some costume historians believe that the men's dhoti, which is the oldest Indian draped garment, is the forerunner of the sari. They say that until the 14th century, the dhoti was worn by both men and women.

Sculptures from the Gandhara, Mathura and Gupta schools (1st-6th century AD) show goddesses and dancers wearing what appears to be a dhoti wrap, in the "fishtail" version which covers the legs loosely and then flows into a long, decorative drape in front of the legs. No bodices are shown.

Other sources say that everyday costume consisted of a dhoti or lungi (sarong), combined with a breast band and a veil or wrap that could 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 Indian clothing styles, the one-piece sari is a modern innovation, created by combining the two pieces of the mundum neryathum.[

It is generally accepted that wrapped sari-like garments, shawls, and veils have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years.

One point of particular controversy is the history of the choli, or sari blouse, and the petticoat. Some researchers state that these were unknown before the British arrived in India, and that they were introduced to satisfy Victorian ideas of modesty. Previously, women only wore one draped cloth and casually exposed the upper body and breasts. Other historians point to much textual and artistic evidence for various forms of breast band and upper-body shawl.

In South India, it is indeed documented that women from many communities wore only the sari and exposed the upper part of the body till the 20th century. Poetic references from works like Shilappadikaram indicate that during the sangam period in ancient South India, a single piece of clothing served as both lower garment and head covering, leaving the bosom and midriff completely uncovered. In Kerala there are many references to women being bare-breasted,[ including many pictures by Raja Ravi Varma. Even today, women in some rural areas do not wear cholis.

What Is A Sari

Sari can be described as a rectangular piece of cloth, having more length than the width. While the width of a sari remains almost the same, its length might range from four to nine meters. The sari is draped over the waist, on top of a petticoat, with one of its end draped over the shoulder. The outfit comprises of a choli (blouse) as well, which comes a few inches below the bust line and has short sleeves and a low neck as well as back. The midriff is bared to some an extent, since there is a gap between the choli and the petticoat.

A sari or saree or shari is a female garment in the Indian Subcontinent. A sari is a strip of unstitched cloth, ranging from four to nine metres in length that is draped over the body in various styles. The most common style is for the sari to be wrapped around the waist, with one end then draped over the shoulder baring the midriff. The sari is usually worn over a petticoat (pavada/pavadai in the south, and shaya in eastern India), with a blouse known as a choli or ravika forming the upper garment. The choli has short sleeves and a low neck and is usually cropped, and as such is particularly well-suited for wear in the sultry South Asian summers. Cholis may be "backless" or of a halter neck style. These are usually more dressy with a lot of embellishments such as mirrors or embroidery and may be worn on special occasions. Women in the armed forces, when wearing a sari uniform, don a half-sleeve shirt tucked in at the waist. The saree was born in both South and North India and is now a symbol of india.

The Styles

In terms of styles, we can categorize the wedding sari according to the regions where they are most popular - eastern India, western India, northern India and western India. In eastern India, the brides are usually found opting for one of these styles, in the saree, - Baluchari (Bengal), Kantha (Bengal), Ikat Silk & Cotton (Orissa), Cuttacki Pata Silk (Orissa), Sambalpuri Pata Silk (Orissa), Bomkai Silk (Orissa), Mayurbhanj Tussar Silk (Orissa), Sonepuri/Subarnapuri Silk (Orissa), Bapta & Khandua Silk and Berhampuri Silk (Orissa).

Coming down to western India, Pathani (Maharashtra), Bandhani (Gujarat and Rajasthan), Kota Dori (Rajasthan) and Lugade (Maharashtra) are the styles that brides mostly go for. In the central India, Chanderi (Madhya Pradesh), Maheshwari (Madhya Pradesh) and Kosa silk (Chattisgarh) are the styles that are preferred by the brides. As for the south, including Tamil Nadu, Andhra Pradesh, Kerala and Karnataka, Kanjivaram, Mysore Silk, Ilkal saree and Valkalam saree comprise of the most common bridal sari options.

The Fabrics

In India, one of the most preferred choices for a bridal sari will comprise of silk. In fact, traditionally also, people have opted for silk for the bridal wear. However, the trend is changing with time. Now-a-days, we find brides going for fabrics like crepe, disheen, georgette, new, tissue and shamoi-satin as well. Generally speaking, the choice of fabric depends upon the latest trend, the personal preference of the bride as well as the budget. However, one thing is for sure, the sari is adorned with heavy embroidery, stone work or other embellishments.

The Colors

Red sari has been traditional choice for bridal wear in India, since times immemorial. The color is considered to be very auspicious and is deemed to be associated specifically with marriage. However, these days, many brides have started opting for other colors in their sari as well, such as golden, pink, orange, maroon, onion-color, magenta, brown and even yellow. Even dual toned saris, as in red and yellow, green and brown, yellow and orange, pink and blue, have started wooing the brides of the present generation.

Styles of draping

The most common style is for the sari to be wrapped around the waist, with the loose end of the drape worn over the shoulder, baring the stomach. However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. The French cultural anthropologist and sari researcher, Chantal Boulanger, categorizes sari drapes in the following families:

• Nivi – styles originally worn in Andhra Pradesh; besides the modern nivi, there is also the kaccha nivi, where the pleats are passed through the legs and tucked into the waist at the back. This allows free movement while covering the legs.

• Bengali and Oriya style.

• Gujarati – this style differs from the nivi only in the manner that the loose end is handled: in this style, the loose end is draped over the right shoulder rather than the left, and is also draped back-to-front rather than the other way around.

• Maharashtrian/kashta; This drape (front and back) is very similar to that of the male Maharashtrian dhoti. The center of the sari (held lengthwise) is placed at the center back, the ends are brought forward and tied securely, then the two ends are wrapped around the legs. When worn as a sari, an extra-long cloth is used and the ends are then passed up over the shoulders and the upper body. They are primarily worn by Brahmin women of Maharashtra, Karnataka, Andhra Pradesh and Tamil Nadu.

• Dravidian – sari drapes worn in Tamil Nadu; many feature a pinkosu, or pleated rosette, at the waist.

• Madisaara style – This drape is typical of Brahmin ladies from Tamil Nadu and Kerala

• Kodagu style – This drape is confined to ladies hailing from the Kodagu district of Karnataka. 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.

• Gond – sari styles found in many parts of Central India. The cloth is first draped over the left shoulder, then arranged to cover the body.

• the two-piece sari, or mundum neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or colored stripes and/or borders.

• tribal styles – often secured by tying them firmly across the chest, covering the breasts.

The nivi style is today's most popular sari style. (Dongerkerry K. S.)

The nivi drape starts with one end of the sari tucked into the waistband of the petticoat. The cloth is wrapped around the lower body once, then hand-gathered into even pleats just below the navel. The pleats are also tucked into the waistband of the petticoat. 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 pallu or pallav. 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 in which the sari is being worn. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallav may either be left hanging freely,tucked in at the waist, used to cover the head, or just 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.

The Nivi saree was popularised through the paintings of Raja Ravi Varma. by modifying the south indian saree called mundum neriyathum. In one of his painting the Indian subcontinent was shown as a mother wearing a flowing nivi saree.

In Bangladesh

The Sari is worn by women throughout Bangladesh. There are many regional variations of Saris in both silk and cotton. But the Jamdani Tanta/Taant Cotton, Dhakai Benarosi, Rajshahi silk, Tangail Tanter Sari– and Katan Sari as the most popular in Bangladesh.Popular actresses Aishwarya Rai and Madhuri Dixit wore the Dhakaiya Benaroshi Sari in the song"Dola re Dola" of the film "devdas".

In Pakistan

In Pakistan, the wearing of saris is less common than the more traditional shalwar kameez which is worn throughout the country. The sari does however remain a popular dress for formal functions such as weddings. The sari is sometimes worn as daily-wear, mostly in Karachi, by those elderly women who were used to wearing it in pre-partition Indiaand by some of the new generation who have re-introduced the interest in saris. The reason why the sari lost popularity in Pakistan, was due to it being viewed as a Hindu dress. Although she was seen wearing them, Fatima Jinnah, the "Mother of the Nation", called the sari "unpatriotic" and the wife of former Pakistan President Pervez Musharraf stated that she never wears the garment.

In Sri Lanka

Sri Lankan women wear saris in many styles. However, two ways of draping the sari are popular and tend to dominate; the Indian style (classic nivi drape) and the Kandyan style (or 'osaria' in Sinhalese). 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 (Osaria) style consists of a full blouse which covers the midriff completely, and is partially tucked in at the front as is seen in this 19th century portrait. However, modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the 'Dravidian' style noted earlier in the article.

Kandyan style is considered as the national dress of Sinhalese women. It is the Uniform of air hostesses of Sri Lankan Airlines.

In Nepal

In Nepal, a special style of draping is used in a saree called Haku patasi. The saree is draped around the waist and a shawl is worn covering upper half of saree which is used in place of "pallu".

The sari as cloth

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 folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were handwoven 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 block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, 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 ikat patterns. Sometimes threads of different colors 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 buttis or bhutties (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.

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

In modern times, saris are increasingly woven on mechanical looms and made of artificial fibers, such as polyester, nylon, or rayon, which do not require starching or ironing. 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.

Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the over-all market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven saris are still popular for weddings and other grand social occasions. A prominent weaver who designs brocades, Paithani and other types of saris is Meera Mehta.

Styles of draping

The most common style is for the sari to be wrapped around the waist, with the loose end of the drape worn over the shoulder, baring the stomach. However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. The French cultural anthropologist and sari researcher, Chantal Boulanger, categorizes sari drapes in the following families:

• Nivi – styles originally worn in Andhra Pradesh; besides the modern nivi, there is also the kaccha nivi, where the pleats are passed through the legs and tucked into the waist at the back. This allows free movement while covering the legs.

• Bengali and Oriya style.

• Gujarati – this style differs from the nivi only in the manner that the loose end is handled: in this style, the loose end is draped over the right shoulder rather than the left, and is also draped back-to-front rather than the other way around.

• Maharashtrian/kashta; This drape (front and back) is very similar to that of the male Maharashtrian dhoti. The center of the sari (held lengthwise) is placed at the center back, the ends are brought forward and tied securely, then the two ends are wrapped around the legs. When worn as a sari, an extra-long cloth is used and the ends are then passed up over the shoulders and the upper body. They are primarily worn by Brahmin women of Maharashtra, Karnataka, Andhra Pradesh and Tamil Nadu.

• Dravidian – sari drapes worn in Tamil Nadu; many feature a pinkosu, or pleated rosette, at the waist.

• Madisaara style – This drape is typical of Brahmin ladies from Tamil Nadu and Kerala

• Kodagu style – This drape is confined to ladies hailing from the Kodagu district of Karnataka. 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.

• Gond – sari styles found in many parts of Central India. The cloth is first draped over the left shoulder, then arranged to cover the body.

• the two-piece sari, or mundum neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or colored stripes and/or borders.

• tribal styles – often secured by tying them firmly across the chest, covering the breasts.

The nivi style is today's most popular sari style. (Dongerkerry K. S. 1959).

The nivi drape starts with one end of the sari tucked into the waistband of the petticoat. The cloth is wrapped around the lower body once, then hand-gathered into even pleats just below the navel. The pleats are also tucked into the waistband of the petticoat. 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 pallu or pallav. 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 in which the sari is being worn. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallav may either be left hanging freely,tucked in at the waist, used to cover the head, or just 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.

The Nivi saree was popularised through the paintings of Raja Ravi Varma.[10] by modifying the south indian saree called mundum neriyathum. In one of his painting the Indian subcontinent was shown as a mother wearing a flowing nivi saree.

In Bangladesh

The Sari is worn by women throughout Bangladesh. There are many regional variations of Saris in both silk and cotton. But the Jamdani Tanta/Taant Cotton, Dhakai Benarosi, Rajshahi silk, Tangail Tanter Sari– and Katan Sari as the most popular in Bangladesh.Popular actresses Aishwarya Rai and Madhuri Dixit wore the Dhakaiya Benaroshi Sari in the song"Dola re Dola" of the film "devdas".

In Pakistan

In Pakistan, the wearing of saris is less common than the more traditional shalwar kameez which is worn throughout the country. The sari does however remain a popular dress for formal functions such as weddings.[11] The sari is sometimes worn as daily-wear, mostly in Karachi, by those elderly women who were used to wearing it in pre-partition India[12] and by some of the new generation who have re-introduced the interest in saris.[13][14] The reason why the sari lost popularity in Pakistan, was due to it being viewed as a Hindu dress. Although she was seen wearing them,[12] Fatima Jinnah, the "Mother of the Nation", called the sari "unpatriotic" and the wife of former Pakistan President Pervez Musharraf stated that she never wears the garment.[15]

In Sri Lanka

Sri Lankan women wear saris in many styles. However, two ways of draping the sari are popular and tend to dominate; the Indian style (classic nivi drape) and the Kandyan style (or 'osaria' in Sinhalese). 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 (Osaria) style consists of a full blouse which covers the midriff completely, and is partially tucked in at the front as is seen in this 19th century portrait. However, modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the 'Dravidian' style noted earlier in the article.

Kandyan style is considered as the national dress of Sinhalese women. It is the Uniform of air hostesses of Sri Lankan Airlines.

In Nepal

In Nepal, a special style of draping is used in a saree called Haku patasi. The saree is draped around the waist and a shawl is worn covering upper half of saree which is used in place of "pallu".

The sari as cloth

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 folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were hand-woven 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 block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, 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 ikat patterns. Sometimes threads of different colors 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 buttis or bhutties (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.

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

In modern times, saris are increasingly woven on mechanical looms and made of artificial fibers, such as polyester, nylon, or rayon, which do not require starching or ironing. 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.

Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the over-all market for hand weaving has plummeted (leading to much distress among Indian hand weavers), hand-woven saris are still popular for weddings and other grand social occasions. A prominent weaver who designs brocades, Paithani and other types of saris is Meera Mehta.

Types of saris

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

o Tanchoi

o Shalu

Eastern styles

• Baluchari – West Bengal

• Kantha – West Bengal

• Ikat Silk & Cotton – Orissa

• Cuttacki Pata Silk & Cotton – Orissa

• Sambalpuri Pata Silk & cotton Saree – Orissa

• Bomkai Silk & Cotton – Orissa

• Mayurbhanj Tussar Silk – Orissa

• Sonepuri/Subarnapuri Silk – Orissa

• Bapta & Khandua Silk & Cotton – Orissa

• Berhampuri Silk – Orissa

• Tanta/Taant Cotton – Orissa, West Bengal & Bangladesh

• Jamdani – Bangladesh

• Jamdani Khulna – Bangladesh

• Dhakai Benarosi– Bangladesh

• Rajshahi silk– Bangladesh

• Tangail Tanter Sari– Bangladesh

• Katan Sari– Bangladesh

Western styles

• Paithani – Maharashtra

• Bandhani – Gujarat and Rajasthan

• Kota doria Rajasthan

• Lugade – Maharashtra

Central styles

• Chanderi – Madhya Pradesh

• Maheshwari – Madhya Pradesh

• Kosa silk – Chattisgarh

Southern styles

• Kanchipuram (locally called Kanjivaram) – Tamil Nadu

• Coimbatore – Tamil Nadu

• Chinnalapatti – Tamil Nadu

• Chettinad – Tamil Nadu

• Madurai – Tamil Nadu

• Arani – Tamil Nadu

• Pochampally – Andhra Pradesh

• Venkatagiri – Andhra Pradesh

• Gadwal – Andhra Pradesh

• Guntur – Andhra Pradesh

• Narayanpet – Andhra Pradesh

• Mangalagiri – Andhra Pradesh

• Balarampuram – Kerala

• Mysore Silk – Karnataka

• Ilkal saree

• Valkalam saree