Sunday, August 30, 2009
Choli
Sherwani
Langa oni
Farshi Pajama
Farshi Pajama is a dress that was worn in Muslim courts of Oudh between late 17th and early 20th century as well as by Muslim ladies from privileged classes of Uttar Pradesh (formerly United Provinces of Agra and Oudh in North India.) Modeled after the flowing ball gowns worn by British noblewomen*, the complete outfit consists of three basic parts - The Kurta or a long shirt, the dupatta or the long stole which is an essential piece of cloth in traditional Indian wear covering the head and bossom, and the third and most important, the farshi pajama, which is a flowing two legged skirt held by drawstrings. It falls straight to the ankles from where it starts flaring flowing copiously onto the floor. The farshi pajama, in this era is often called farshi gharara, a term not used before mid 20th century and is considered an incorrect twist. The confusion is said to be because of the Farshi Pajama's similarity with the Gharara.
A rough illustration of a farshi pajama. A woman wearing a farshi pajama while it is spread out, a woman wearing a farshi pajama holding it up while walking.(Img by me)Farshi means anything that is associated with the 'farsh' or floor (for example farshi baithak which is associated with sitting on the floor). When combined with the word Pajama, the term evolves to mean a bottom-wear garment that falls generously on the floor, and trails as one walks, however in reality, during walking, the dress is correctly held in such a way, that the wearer carefully folds the flaring trail and holds in in her left hand keeping the right one free, it hardly trails. The large quantity (historically, 9-15 yards) of expensive cloth, embroidered using the art of goldwork (embroidery) and sterling silver wire threads (Karchob/Zari/Zardozi etc), used to make a farshi pajama mainly reflects the grandeur and extravagance of the nobles and rulers of that era
langot
Kowpeenam or langot is a simple dress worn by saints of India. The devotees of Lord shiva were said to be wearing Kowpeenam. Even lord Murugan of Palani is said to be wearing this dress.
It is made up of rectangular strip of cotton cloth which is used to cover the genitals with the help of the strings connected to the four ends of the cloth. Nowadays disposable Kowpeenam were used in aroma theraphy treatments of kerala.
Patiala salwar
Dupioni Silk
Saturday, August 29, 2009
Dhoti
The Dhotī or Doti in Hindi, called Dhotiyu in Gujarati, Suriya in Assamese, Vaytti or Veshti(informal) in Tamil, Dhuti in Bangla, Dhoti or Kachche Panche in Kannada, Dhotar,Angostar,Aad-neschey or Pudve in Konkani, mundu in Malayalam, Dhotar in Marathi , Laacha in Punjabi and Pancha in Telugu is the traditional men's garment in India. It is a rectangular piece of unstitched cloth, usually around 7 yards long, wrapped around the waist and the legs, and knotted at the waist.
In northern India, the garment is worn with a Kurta on top, the combination known simply as "dhoti kurta", or a dhuti panjabi in the East. In Tamil Nadu, it is worn with an angavastram (another unstitched cloth draped over the shoulders) or else with a chokka (shirt) in Andhra Pradesh or jubba (a local version of kurta). The lungi is a similar piece of cloth worn in similar manner, though only on informal occasions. The lungi is not as long and is basically a bigger version of a towel worn to fight the extremely hot weather in India. The sarong is another similar item of clothing.
The dhoti is considered formal wear all over the country. Apart from all government and traditional family functions, the dhoti is also considered acceptable at country clubs and at other establishments that enforce strict formal dress codes. The same is true across the Indian subcontinent, particularly in Bangladesh, Sri Lanka, and the Maldives. In many of these countries, the garment has become something of a mascot of cultural assertion, being greatly favoured by politicians and cultural figures. Thus, the dhoti for many has taken on a more cultural nuance while the 'suit-and-tie' or, in less formal occasions, the ubiquitous shirt and pants, are seen as standard formal and semi-formal wear.
Styles of dhoti seen in Amaravati sculptures of the Satavahana dynasty (from 2nd century BC to 3rd century AD). The draped waistbands are known as kamarbands (source of the Western cummerbund), and are sometimes accompanied by a buckle at the waist (Fig 10).In southern India, the garment is worn at all cultural occasions and traditional ceremonies. The bride-groom in a south Indian wedding and the host/main male participant of other rituals and ceremonies have necessarily to be dressed in the traditional pancha while performing the ceremonies.
Unspoken rules of etiquette govern the way the pancha is worn. In south India, men will occasionally fold the garment in half to resemble a short skirt when working, cycling, etc., and this reveals the legs from the knee downwards. However, it is considered disrespectful to speak to men or to one's social inferiors with the pancha folded up in this manner. When faced with such a social situation, the fold of the package is loosened with an imperceptible yank of the hand and allowed to cover the legs completely.
Pancha are worn by western adherents of the Hare Krishna sect, which is known for promoting a distinctive dress code amongst its practitioners, with followers wearing saffron or white coloured cloth, folded in the traditional style. Mahatma Gandhi invariably wore a pancha on public occasions[citation needed], but he was well aware that it was considered "indecent" in other countries and was shocked when a friend wore one in London. (See The Story of My Experiments with Truth/Part I/Narayan Hemchandra.)
The genteel Bengali man is stereotyped in popular culture as wearing expensive perfumes, a light kurta and an elaborate dhuti with rich pleats ,the front corner of the cloth being stiffed like a Japanese fan and holding it in his hand; whilst feverishly discussing politics and literature. It is considered the most elegant costume and is worn at bengali weddings and cultural festivals.
Over the past century or more, western styles of clothing have been steadily gaining ground in the region, gradually rendering the pancha a garment for home-wear, not generally worn to work. It is less popular among the youth in major metropolises and is viewed as rustic, unfashionable and not 'hip' enough for the younger age-set. However, use of the pancha as a garment of daily use and homewear continues largely unabated.
Styles and varieties
Similar to sarongs, dhotis are commonly worn with western-style oxford shirts by Indian males.The garment is known as the vaeshtti in Tamil Nadu and Mundu in Kerala. It is called pancha in Andhra Pradesh and panche in Karnataka and dhuti in Bengal. The word is related to the Sanskrit pancha meaning five; this may be a reference to the fact that a 5-yard-long strip of cloth is used. It is also related to the sanskrit word 'dhuvati' .In one elaborate south Indian style of draping the garment, five knots are used to wrap the garment, and this also is sometimes held to have originated the word.
It is usually white or cream in colour, although colourful hues are used for specific religious occasions or sometimes to create more vivid ensembles. Off- white dhuti is generally worn by the groom in bengali weddings. White or turmeric-yellow is the prescribed hues to be worn by men at their weddings and upanayanams. Silk panchas, called Magatam or Pattu Pancha in Tamil Nadu and Andhra Pradesh respectively, are often used on these special occasions. Vermilion-red dhotis, called 'sowlay', is often used by priests at temples, especially in Maharashtra. Kings and poets used rich colors and elaborate gold-thread embroideries. Cotton dhotis suit the climatic conditions for daily usage. Silk panchas are suited for special occasions and are expensive.
There are several different ways of draping the panchas. The two most popular ones in south India are the plain wrap and the Pancha katcham or (five knots or five folds). The first style is mostly seen in south India as shown in picture. It is a simple wrap around the waist and resembles a long skirt. It will be folded in half up to knees while working. Second style is folding around the waist in the middle of the garment and tying the top ends in the front like a belt and tucking the falling left and right ends in the back.
The North Indian style, worn in the West by devotees of the International Society for Krishna Consciousness, consists of folding the cloth in half, taking the left side, pleating it vertically, passing it between the legs and tucking it in the waist at the back. The right side is pleated horizontally and tucked in the waist at the front. (See image of Gandhi statue)
Along with dhoti, the angavastram or thundu (an extra piece of cloth) will be draped depending on the usage. Farmers carry it on one shoulder and treat it as sweat towel. Bride grooms use it as entire upper garment. It will be folded decoratively around the waist while dancing. South Indian Hindu priests wrap about the waist as the extra layer. North Indian priests (especially those of ISKCON) may drape it across the body with two corners tied at the shoulder (or they may wear a kurta instead).
Kerala Mundu
Achkan
Gagra choli
Gagra cholis are simple long skirts worn with a blouse and a roll over chunari is seen aplenty in the interiors of India. It also has significance in the royal wardrobe. Mostly considered as the traditional wear with Punjabi’s, Muslims and northern India it is now a common sight at wedding receptions irrespective of religion.
Evolution has further developed this attire into a niche wear for special occasions. Be it an engagement ceremony, or a friends marriage, gagra choli makes it presence obviously. Offering better textures in various fabrics like silk, satin crepe, net and georgette you can choose the colours from dull gold, rust and refreshing blue. Zardosi or hand embroidery the gagra choli maintains the tradition. Teamed with the right jewellery this is a perfect dress to exude your confidence.
Cholis make the major statement. Backless or tied up with threads cholis compliment the gagra. The chunari can be worn over the head or pinned artistically over shoulders. Gagras also change fashion like A-line, fish tail or flowing umbrella designs.
The layers add to volume and contrasting fabrics layered in net and satin is appealing. The real grace can be seen as it twirls around during a dance or a graceful walk.
Embroidery in Salwar khameez
- Aabla Mirror work which has its roots in Rajasthan and Kutch.
- Aari Embroidery done on a cot. Also known as khatla work aari originated in Barabanki.
- Badla Flat metallic wire, silver or gilt wire embroidery.
- Butas and Butis Motifs composed of floral forms fitted into paisley shapes derived from the Mughal era.
- Lari Fine quality gold thread embroidery found in Bareilly , Benaras ( Varanasi ), Lucknow and Agra. These days silver zari is equally popular.
- Phool Patti Work Applique work from Aligarh where usually organdi or other fabric cutouts in floral and leaf motifs are affixed on to a plain fabric sometimes in tandem with silver tilla embroidery.
- Chikan Work Originating from Lucknow this involves a technique of finding separated warp and weft threads for a textural effect.
- Taipchi Darn stitch on muslin.
- Khatwa Inverted satin stitch on muslin.
- Murri or Phanda Satin stitch knots.
- Jaali Network.
- Phulkari Flower motifs, geometric patterns, surface satin stitching using silk floss threads. Phulkari has its origin in Punjab.
- Zardosi Leaf-scroll worked in gold and silver thread on silk, satin, velvet and other rich fabrics. Zardosi is also combined with Dabka work and is originally from Lucknow.
- Mokaish Silver dots strewn all over is Mokaish work.
- Kashida Mix of textile embroidery and printing.
- Kantha Work Originally from Bangladesh, it resembles the running stitch.
- Ek taar Single thread embroidery used in tandem with crystals.
- Resham Fine silk thread-work.
- Bead and Crystal Work Resham work is teamed with beads, baggets, diamantes, rhinestones and Swarowski crystal.
- Sitara Work Sequins are embroidered into the fabric.
Salwar Khameez
Indian dressing styles are marked by many variations, both religious and regional and one is likely to witness a plethora of colors, textures and styles in garments worn by the Indians. Apart from this, the rich tradition of Indian embroidery has long been made use of by fashion designers from other countries.
To a foreigner, the powerful attraction is the colorful attire of the people in India. With globalization, dresses are also getting westernized. Though the majority of the Indian women wear traditional costumes, the men seem to be more comfortable in western clothing.
The salwar kameez adapted to fashion changes in the West in terms of cut, length and hemlines. It was a long journey for this peasant attire from the fields of Punjab to the fashion capital of India, Mumbai.
The kurta by now had reached just below the hips. Other innovations that followed the churidar kurta were the lungi kurta and ghagra choli. Sometimes the kurta was worn with bell-bottoms or denim pants. All these innovations that revolved around the kurta made it the most versatile garment of the 1960s and 1970s. By the end of the 1970s the salwar kameez and churidar kurta learnt to co-exist with variations.
Types of salwar kameez
- Indo-western salwar kameez
- Casual wear salwar kameez
- Party wear salwar kameez
- Printed salwar kameez
- Kurta churidar
- Short kurta pant
- Indo-western salwar kameez:
The cliché that dressing is done to please others has become passé. Today's generation wears clothes to please themselves. Even designers belonging to the younger breed carry the same chip on their shoulder.
Miss Universe 2000 Lara Dutta won the award for the most outstanding evening gown designed by Ritu Kumar. Author of a well-received book Costumes and Textiles of Royal India, she is considered a pioneer in Indian fashion. Her Indo-Western fusion wear has trappings of block prints, embroidery and craft inputs.
Cotton is the best salwar kameez as casual wear. They are cool, flowing and elegant. Fancy shalwar kameez are suitable for any occasion, casual or formal. Traditional salwar kameez are the ideal dress for going to temples, birthday parties, and eveningwear, while working at home or office.
Embroidery beautifies salwar kameez. Embroidery, like every other art form, needs to be understood to be fully appreciated and enjoyed. Insight of the principles not only creates the urge to "paint" with needle and thread but also gives one the knowledge that enables a more keen perception of the old masterpieces as well as modern day pieces. There are no fix shapes and sizes of embroidery. It may vary from inches to feet.
Short kurtas are also called as kurtis.
Silk in the Indian subcontinent
China was exporting silk to countries as far away as Rome, as early as the second century B.C. China remained the major silk producer for centuries. The Chinese silk industry was highly organized and supported by the state which made silk into a veritable cash crop. Thus, silk became the industrial wealth for China, and its production was a jealously guarded secret so that it could retain its monopoly of the trade. Imperial law decreed a death penalty for those who disclosed the secrets.
The silk route
Silk Goes to India
Kam means little or scarcely. Khwab means a dream and it’s said that even with such a name ‘Its beauty, splendor and elegance can be hardly dreamt of’. Kinkhwabs are heavy fabrics or several layers of warp threads with an elaborate all-over pattern of extra weft, which may be of silk, gold and / or silver threads or combinations. There may be three to seven layers of warp threads. (Tipara means three layers and Chaupara means four layers to Satpara meaning seven layers). Kin means golden in Chinese. Its specialty is in profusely using the gold and silver thread in a manner that sometimes leaves the silk background hardly visible.
When the figure work is in silver threads with a background of gold threads it is called ‘Tashi Kinkhwab’. This is a variety of ‘Kinkhwab’ which has a ground worked with an extra warp of gold [badla (flat wire) zari] and the pattern created with an extra weft of silver badla zari or vice versa. A satin weave is very often used, resulting in a smooth ground for the fabric. The heavy fabric appears to be in layers, as the warp ends are crammed drawing three, four and up to seven ends per dent for the Tipara, Chaupara up to Satpara respectively.
Kinkhwabs have also been known as ‘Kimkhabs’, ‘Kamkhwabs’, ‘Kincobs’, ‘Zar-baft’ (Gold Woven), zartari, zarkashi, mushaiar.
This is a mixed fabric with a woven stripe or zigzag pattern. The warp and weft used were of two different materials (silk and cotton, cotton and linen, silk and wool or wool and cotton) in different colors. It was used mostly for lower garments such as trousers, the lining of the heavy brocade garments or as furnishing.
Himru or Amru
The cloth is distinguished by its intricate char-khana (four squares) jal. These are woven like kinkhwabs, but without the use of kala battu (zari) instead badla zari is used.
Today, the best jamavar is woven in Pakistan. This fabric is widely used in that country for bridal and special occasion outfits. The texture and weave of patterns is such that the fabric often gets caught when rubbed against rough surfaces (metallic embroidery, jewellery etc.) it must therefore be handled delicately when worn.
Origin
- Heavy gold work.
- Compact weaving
- Figures have small details.
- Metallic visual effects.
- Pallus
- Jal (A net like pattern)
- Mina work.
- Katan
- Tanchoi
Jamawar
“Jama” means robe and “war” is yard. The base of the jamawar is mostly resham, with perhaps an addition of a little polyester. The brocaded parts are woven in similar threads of silk and polyester. Most of the designs seen today are floral, with the kairy (i.e. the paisley) as the predominant motif.
This fabric is widely used for bridal and special occasion outfits. The texture and weave of patterns is such that the fabric often gets caught when rubbed against rough surfaces (metallic embroidery, jewellery etc.) it must therefore be handled delicately when worn.
Mashru
The cloth was distinguished by its butis woven in circular shapes that gave an impression of ashrafis (gold coins). The ashrafis were usually woven in gold zari.
This is a mixed fabric with a woven stripe or zigzag pattern. The warp and weft used were of two different materials (silk and cotton, cotton and linen, silk and wool or wool and cotton) in different colors. It was used mostly for lower garments such as trousers, the lining of the heavy brocade garments or as furnishing.
Gul Badan (the literal meaning of which is ‘flower like body’) was a known variety of mushru (cotton and silk) popular in the late 19th century. Sangi, Ganta, Ilaycha were types of mushru too. These were popular since ancient times and were known to be woven at all leading silk centers. One reason for their popularity was Islam. Since Islam does not allow men to wear pure silk, mashru (literally meaning permitted) became very popular amongst Muslims.
Kinkhwab (Brocade) sarees
Kam means little or scarcely. Khwab means a dream and it’s said that even with such a name ‘Its beauty, splendor and elegance can be hardly dreamt of’. Kinkhwabs are heavy fabrics or several layers of warp threads with an elaborate all-over pattern of extra weft, which may be of silk, gold and / or silver threads or combinations. There may be three to seven layers of warp threads. (Tipara means three layers and Chaupara means four layers to Satpara meaning seven layers). Kin means golden in Chinese. Its specialty is in profusely using the gold and silver thread in a manner that sometimes leaves the silk background hardly visible.
When the figure work is in silver threads with a background of gold threads it is called ‘Tashi Kinkhwab’. This is a variety of ‘Kinkhwab’ which has a ground worked with an extra warp of gold [badla (flat wire) zari] and the pattern created with an extra weft of silver badla zari or vice versa. A satin weave is very often used, resulting in a smooth ground for the fabric. The heavy fabric appears to be in layers, as the warp ends are crammed drawing three, four and up to seven ends per dent for the Tipara, Chaupara up to Satpara respectively.
Zari is generally of two types Badla and Kala batto. Badla Zari was made of flattened gold or silver wire with the ancient method of making zari from pure metal without any core thread. This accounted for its peculiar stiffness. Sometimes cracks would develop in the metal during the process of weaving which resulted in the loss of its natural luster and smoothness. Therefore weaving with Badla Zari was difficult and required great skill. Often a touch of Badla was given to floral motives to enhance the beauty. This type of zari has mostly gone out of favor amongst the contemporary weavers and they mostly depend on polyester or pure silk as a substitute.
Amru brocades
Varanasi is an important center for weaving silk sarees. Of the many styles of brocades used for adorning these sarees, Amru is the famous one. It is done using silk threads. The Amru style employs an overall pattern of buds, called ‘buttis’. The borders and the pallu (hanging end of the saree) are the most decorated portions of the saree. The pallu contains flowering bushes and flowering mango patterns. Red, orange and yellow are the usual shades that are employed.
Tanchois Sarees
Tanchoi sarees are another famous type of sarees of North India. Like the banarasi sarees, these sarees are also produced by Varanasi weavers. These sarees are not heavy like Banarasi sarees but can be worn for all types of occasion.
Fabric in Tanchois Saree
Employing a technique similar to that of brocade, weavers of Benaras make sarees using colorful extra weft silk yarn for their unique patterns. This variety is known as Tanchoi. Tanchoi weaving is based on the weaving technique brought from China by three brothers, called Choi (tan-three, Choi-brothers). The tanchoi weavers wove silk saris and yardage, which was mostly used by the Parsi community initially. Today, tanchoi fabric has remarkable fame in India and the world over.
Design
Tanchoi saree resembles a fine miniature. In tanchoi sarees, the designs are alway floral with interspersing of birds. Figures of flying birds, paired cocks amidst floral sprays are worked on them. The usual ground is bright blue, purple, green or red with areas patterned in tabby weave. Sometimes the pallu is done more solidly with peacocks, baskets or bunches of flowers or hunting scenes. Tanchoi silk sarees are also in
dazzling floral, geometrical and paisley designs. The weavers also use tone-on-tone colors as well as multiple color combinations in jacquard weaving. Tanchoi from Gujarat creates an extra weft layer to produce the
effect of embossing on silk. There are also combination of brocaded gold butis and borders in a background of self patterned tanchoi. Some tanchoi sarees have a rich gold border and two gold bands on the pallav. The more exclusive ones have gold checks with lotus roundels all over which are known as butis.
Konrad Saree
The konrad or the temple saree is also a speciality item from Tamil Nadu. These sarees were original woven for temple deities.
They are wide bordered sarees and are characterised by wedding related motifs such as elephants and peacocks, symbolising water, fertility and fecundity.
Traditional colours for these sarees are earth shades of browns, greys and off-whites. However, brighter shades have been introduced for the North Indian buyer.
Balarampuram Saree
Balarampuram Saree is a famous produce of Balarampuram, a town situated in Thiruvananthapuram District. This is a handloom product woven from un-dyed natural cotton. The typical climate of this region greatly contributes to the softness and durability of the fabric.
Balarampuram Saree is known for its simplicity. It contains patterns of buds made in a geometric fashion. The border is simple and plain, with the same color as that of the patterns. The saree boasts of heavy ‘zari’ embroidery work. Silver wires, coated with gold, are employed for the embroidery.
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
Saree Fabric & Colors
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.
Chettinad Saree
This cotton sari is unique in the dramatic and spontaneous use of colour and pattern with bold checks, stripes and contrasting hues. Its vibrance and its weight are its distinguishing factors. The thickness of this sari and changing demands have kept this sari out of production for nearly a hundred years. Records and old photographs show the use of this sari by previous generations, before the advent of blouses and underskirts, worn rather differently from the regular sari.
Styles of draping sari
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".