Salwar Kameez and Churidar Kurta

Popularly known as the Indian suit or Pakistani Suit, a set of Salwar Kameez normally constitutes of a tunic called Kameez, a baggy trousers called Salwar and normally a matching stole called Dupatta.

Kameez varies in length from thigh line to knee line. Embezzled with delicate patterns and stone works, a Kameez is the main piece of the set. A Salwar is usually gathered at the hip either with a drawstring or elastic. Dupatta is often weaved in sheer fabrics and add brilliance to the Salwar Kameez.

Churidar Kurta or Churidar Pyjamas, on the other hand, are tightly fitting trousers and are often referred to as Moghul Breeches. While stitching these are cut wide at the top and they narrow down as they reach ankle. This style is preferred more because it emphasis the contours of the leg. Churidar are usually cut longer than the length of the leg and finished with buttoned cuff tightly fitted at the ankle. The excess length then falls loosely over the leg in ripples or folds and often resemble the bangles, hence the name "Churi-dar"

While Salwar is a pajama like trouser drawn at the hipline either by drawstring or elastic, Churidar is tighter, fitting at the hips, thighs and ankles and look more like leggings. The latter one is longer than the legs and their extremes are crinkled and crumpled to fit.

Both Salwar Kameez and Churidar Kurtas are made from variety of fabrics including cotton, silk, satin, and crepe, georgette, brocade, tanchoi and heavy satins even with real gold and silver embroidery, studded with precious stones. Elaborate patterns are done with Phulkari, Chikankari, Meenakari embroidery works or Kundan, Resham, Zari and Zardosi patterns. Other patterns include Bandhej, beaded sequins, mirror work, Leharia and block cum handprints.

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Pakistani and Indian Salwar Kameez

The Salwar Kameez is a womens garment unique to the South Asian region of the world; it is also sometimes referred to by some as Shalwar Kameez.

The Salwar is the trouser component of the garment. It can be tailored loose or tight fit and made from a vast array of fabrics including silk or cotton. The Salwar is always tied at the womens waist by means of drawstring.

The Kameez is the shirt component of the outfit. The Kameez can be tailored short or long dependant upon the individuals preferance. The modern day Kameez tends to be a lot less modest than the traditional designs which were introduced to South Asia by the Muslim invaders of the time.

To complete the outfit women wear a dupatta around the neck this is essentially a long scarf. The dupatta is usually heavily embroidered and matches in colour.The dupatta in South Asian culture is a essential component of the outfit as it allows the individual to cover their head in the presence of elders and when entering places of worship. This practice of covering heads by women is commonplace throughout South Asia.

The Salwar Kameez is favoured all across South Asia by women due to its adaptability. By varying the garments embroidery, fabric colour and quality of fabric the Salwar Kameez is an outfit for all occasions whether formal or casual. As it is tailored from many fabrics the Salwar Kameez can be worn in varying climates.

In western countries the Salwar Kameez is becoming a common sighting on the streets as established immigrant communities are bringing this style of clothing into the mainstream with a fusion of western and eastern design styles and fabrics.

To view examples of the modern day salwar kameez as a fusion of western and eastern design style visit the following website a supporter and retailer of cutting edge Indian design. http://www.indianbride.co.uk/fashion_accessories.asp?cat1=2

Article Source: http://EzineArticles.com/?expert=Louis_Smith

Salwar Kameez - One Outfit That Suits Every Woman

Inspite of western clothes flooding the apparel industry, the Salwar Kameez has not lost its popularity both in India and abroad. The humble outfit which began its journey as a covering for peasant womenfolk of Punjab is today found in the wardrobe of every fashion conscious lady. And the reasons are many. Here are some of them:

Looks good on women of all sizes: Salwar Kameez looks great on all body types and sizes. No matter if you are a plus or super size woman, a petite size woman or an average size woman these suits will make you look and feel your best. Always make it a point to choose your individual size. The big advantage is that is cuts volume accentuating slender calves and ankle. Broad pipings in empire style and flowing short kurtis are ideal for plus size ladies.

Fusion of comfort and grace: Apart from suiting women of all sizes, the Salwar Kameez is also known to add grace to a woman's beauty. And what's more the dress makes you feel comfortable for all types of jobs - whether you are doing household chores, or office work. It does not restrict your movements at all.

Unlimited Styles and Designs: The Salwar Kameez come in many different styles such as Parallel/Trouser style salwar suits with a short Kurta style top, churidar style, pajami and afghani style and traditional style. Apart from these, you can also have salwar kameez that are simple, embroidered, those with floral prints, those with Mirror-work from Rajasthan, Kalamkari work from Andhra Pradesh and Bandhni prints from Gujarat and many more.

Value for money: The Salwar Kameez comes in various price tags. So if you want to get value for money then buy the one that suits your pocket. Interestingly, even formal salwar kameez tend to cost less than western formal clothing.

Unlike many outfits, salwar kameez can really go anywhere. They can go to formal events, semi-formal events, work, college, parties, dinners, or even just out for shopping. Many times, one suit can play more than one role with the simple addition of dressy accessories such as jewelry and shoes.

Smart people buy salwar kameez from online stores as they offer variety in the fastest possible time right at the comforts of your home. With free shipping facilities, and great gift options, buying salwar kameez online is a great decision. So what are you waiting for just log onto an online mart and get the salwar kameez of your choice!

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Article Source: http://EzineArticles.com/?expert=Nilakshi_Handique

Indian Salwar Kameez

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.

Salwar kameez is made of a long tunic called a khameez and pyjama-like trousers drawn tightly in at the waist called salwar. Salwar kameez originated in northern India, but soon spread across the country.

Today the salwar kameez stands as the second most popular women’s dress in most parts of India. The popularity and comfort of the salwar kameez has reached such stupendous heights that most of the new breed designers have started channelizing a major portion of their creative abilities to give this ensemble a new look. Varying from the ethnic touch to the cocktail look, the salwar kameez has come to suit all occasions and what could be better and more creative than adaptation of embroideries of various countries on salwar kameez.

Salwar kameez has many different names. Call it Kurta churidar or Punjabi suit

A churidar is similar to the salwar but is tighter fitting at the hips, thighs and ankles more like leggings. Over this, one might wear a collarless or mandarin-collar dress called a kurta.



India has been known to have wonderful dresses and costumes specially Salwar Kameez. Though the majority of Indian women wear traditional costumes, the men in India can be found in more conventional western clothing. Tailored clothing is very common in India, as women's blouses have to be made-to-fit. Clothing for both men and women has evolved and is keeping designers busy. The shalwar khameez can be richly decorated or simple for everyday use. Other styles are closely fitted and almost like leggings. The tunic can also vary: long and flared or short and straight. Women today often wear some version of the salwar kameez when relaxing at home, since the costume is very comfortable and practical for daily use.

When women wear the salwar kameez, they usually wear a long scarf or shawl called a dupatta around the head or neck. For Muslim women, the dupatta is a less stringent alternative to the chador or burqa. For Hindu women (especially those from northern India, where the salwar kameez is most popular), the dupatta is useful when the head must be covered, as in a temple or the presence of elders. For other women, the dupatta is simply a stylish accessory that can be worn over one shoulder or draped around the chest and over both shoulders.

Salwar Kameez helps keep cool on those hot sweltering days, as it doesn't cling to the body.

In the 1960s, the most sensational fashion discovery of all times hit the West - the mini. The skirt went an inch above the knee and then higher and higher till there was nothing left to the imagination. The Indian woman was not as daring, but the kameez did sneak up quite a few inches above the knee.

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 fusion of styles in Indian clothing and western clothing resulted in Indo western salwar kameez. These lady’s salwar kameez suits are specially designed to give western look with Indian tradition. An Indo western salwar kameez suit may have a sleeveless top and a salwar. Indo western salwar kameez suits also come in spaghetti straps instead of sleeves.

Designers have pioneered the concept of blending ethnic ethos and international trends to give a modern and trendy look to contemporary Indian women

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. "Designer inspiration varies with attitude and the 'in thing.' Detailing is important. Today's generation wants to show off their body without appearing obscene," says NIFT graduate Gunjan Karmakar.

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.

Casual wear salwar kameez:

The casual salwar kameez are wonderfully comfortable, ideal for the long hot Indian summer. Available in designs ranging from ethnic chic to traditional, to modern prints, in a wide range of fabrics. Many kurtas are free size, and with their flowing lines, are wonderfully flattering for the fuller figure. Women of all sizes can wear these outfits with confidence, knowing they will turn heads everywhere they go.

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.

Party wear salwar kameez:

Party wear salwar kameez are made up of a silk, satin, crepe and georgette fabrics, can be worn on festivals or other celebrations. Feminine and graceful, the Indian Party wear salwar kameez is decorated with embroidery and mirror work. The dupatta is also in festive colors and has gorgeous embroidery.

Indian Party wear salwar kameez suits come in many different styles. People prefer Party wear salwar kameez in silk, satin, crepe and georgette fabric embroidered with as many as eighty panels with ornate embroidery and mirror work. Many could afford more intricate brocade, tanchoi and heavy satins even with real gold and silver embroidery, studded with precious stones.

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.

Printed salwar kameez:

Indian salwar kameez suit is one of the most successful evergreen attire of Indian sub-continent. Indian salwar kameez suits are available in many types. One of the famous types is Printed salwar kameez. Different type of printing is done on fabrics like cotton, crepe and chiffon. These fabrics are very comfortable for daily use.

Printed salwar kameez looks very pretty. It is not necessary that both salwar and kameez have to be printed. Most time it is the kameez, which is printed, and the salwar is in contrast color.

Generally printed salwar kameez are available in sets. The sets consist of kameez, salwar and dupatta.

Kurta churidar:

A churidar is similar to the salwar but is tighter fitting at the hips, thighs and ankles more like leggings. Over this, one might wear a collarless or mandarin collar dress called a kurta. The churidar is longer than the legs. Their extremes are crinkled and crumpled to fit. Creases thus developed resemble 'churis' or bangles, hence the name churidar kurta. Kurta churidar is very popular in the north especially Punjab hence is it also know as Punjabi suit.

Short kurta pant:

The next innovation to salwar kameez after churidar was the short kurta pant. With westernization the salwar kameez adapted to fashion changes in the West in terms of cut, length and hemlines. The kurta did sneak up quite a few inches above the knee. And instead of the salwar, pants were worn, making it ideal for office and formal wear.

The short kurtas came in different styles, some embroidered some plain. The pants came in parallel, capris and bell-bottom styles.

Short kurtas are also called as kurtis.

The salwar kameez seems to offer limitless design possibilities.

Clothes and ‘modernity’

By Iftekhar Sayeed
Online Journal Contributing Writer

Jul 9, 2009, 00:10

In a high school history book published in the United States and circulated to an extent in Bangladesh is a picture of the Japanese and Chinese negotiating terms of surrender after the first Sino-Japanese War. Part of the caption reads: “Notice the difference in clothing between the two parties: the Japanese are wearing suits while the Chinese are still wearing their traditional clothes.”

As a young lad, I was all for ‘modernity’ of the Japanese sort, the kind of modernity that degrades a human being. The spirit of ‘modernity’ has been caught powerfully in film by Bernardo Bertolucci. In ‘The Last Emperor,” we hear the emperor’s cousin, a young woman trained by the Japanese as a fighter pilot, say to the Empress: “I wish I could bomb Shanghai.” The Empress flounces out of the room: an apt repartee.

Now, a tad wiser, I am bemused by the word. What could it possibly mean? Today, the Japanese still wear the kimono, according to the Britannica, and sociologists point out the absence of civil society and a culture of obedience in the second-richest country in the world: all this makes Japan unmodern (it can’t be premodern with such superior technology, one presumes). Even the United States qualifies for nonmodernity because of the lingering belief in (God!) God. Modernity was supposed to have done with all that nonsense. What about Europe, then? Is it the sole lighthouse of modernity in a darkness of the nonmodern? Afraid not. Europe is run by unelected bureaucrats, so fails to qualify as a modern society. The word, then, has no meaning: like the unicorn or the Minotaur, we know whereof we speak, but not of what we speak.

Trousers, then, do not make for modernity. The Japanese referred to at the outset were trouser-wearing savages, as subsequent events were soon to tell. Even today, the memory of what the Japanese did to a ‘backward,’ ‘premodern’ people is seared into the victims’ collective memory. If modernity means anything today, surely it must be the loss of conscience.

I was talking to a ‘modern’ Turkish girl who felt it necessary to justify her trousers and shirt on the grounds that she was not a farm girl. Farm girls in Turkey, it seems, wear the shalwar (a loose, trouser-like garment) [1]. Curious argument, that. My mother, my wife and the farm girl in Bangladesh all wear the same garment: the saree. Yet the first two of them have never had to bend down over a single stalk of paddy with the mud between their toes. Apparently, one doesn’t have to leave village gear behind when embarking upon urban life. At my wits’ end, I asked my youngest sister-in-law, a highly qualified eye specialist, if wearing the shalwar or the saree did not make the doctors at her hospital inefficient. She was puzzled by my question and said, “We all either wear shalwar-kameez or the saree, and they have never made us inefficient!” I felt suitably stupid after that remonstrance.

“Because we share some necessities with European women. For example, I prefer to wear jeans and T-shirt, too. Because I need easily to use my legs and arms.” These were the words of my ‘modern’ Turkish interlocutor.

I see: unless you wear jeans and T-shirts, you cannot easily use your legs and arms (karate and judo teachers take note); therefore, only European women easily use their legs and arms, and those who wear jeans and T-shirt; women in Bangladesh do not easily use their legs and arms. Over 2 million female workers toil in our garments factories and they wear shalwar: so they can’t use their legs and arms, even though they are competing with garments workers from all over the world, including Europe and America. I wonder if this somehow fits into the theory of comparative advantage.

Indeed, if one forced the millions of trishaw-pullers in Bangladesh to wear pants instead of lungis, they would be positively inefficient. If the pants didn’t burst at the first push of the pedal when overcoming the inertia of rest, then it certainly would tear when controlling the inertia of motion. And one must remember that Bangladesh is poor, not because our farmers wear lungis (a sort of waist-high garment that’s held together by a knot at the belly), but because we lack good governance: 16 years of ‘modern’ democracy has had no effect on poverty. And one must remember that the green revolution was made possible not by a change in the farmer’s get-up, but by a breakthrough in rice variety.

But there’s more to the story than efficiency. When a Bangladeshi friend of ours resident in Canada was here to spend a vacation, she never wore trousers, but always the shalwar-kameez. Her sisters-in-law, who preen themselves on being ‘modern’ girls, had a good laugh over her bucolic simplicity at which the poor girl took considerable offence. Now, inefficiency does not provoke laughter: inappropriateness does. A ‘modern’ girl living in Canada has no business wearing local dresses. Even ‘modern’ girls here don’t wear them. Not because they are inefficient, but because they are not Western.

The variety of women’s clothing in Bangladesh renders this country a sort of sartorial museum. Take the lovely women in the southeastern hills. There are many tribes there, and some of them still practice slash-and-burn cultivation, which, I am told by Chakma men and women, is undertaken mostly by women. The Chakma, Marma and other women wear the thabin and angi, and the thami and blouse [2]. They tramp mile after mile of hill and jungle in these clothing. Would I want that they give up their traditional clothes and adopt the saree and shalwar-kameez, the dresses of the dominant majority? Would I want to impoverish myself by the loss of diversity that would entail? Emphatically, no.

The Westernization of clothes marks the progress to ‘modernity.’ The peer pressure among young people to don unisex clothing must be enormous. A paradigmatic shift is beginning to take place, albeit only in the realm of clothing and among the affluent. Mind you, the shalwar-kameez is just as unisex as the jeans-and-t-shirt: in Pakistan, men and women both wear the garb [3].

And the variety of the shalwar makes one giddy: today, the hottest shalwar in fashion is the ‘dhoti cut’: this is a shalwar with the leg bifurcated at the back a little to give the effect of an Indian ‘dhoti’ Equally popular is the ‘chooridar’: a shalwar with very tight legs that cling, and the garment gathers in folds at the ankles. The effect is one of subdued eroticism.

As for the saree, it can be worn in many ways. Modest women wrap it around themselves fairly closely. The more adventurous like to show a bit of flesh, and wear ‘micro-blouses’ that reward the male gazer with a generous view of their backs. Still more ‘daring’ women wear the saree below their navel, and, on a higher scale, wear sleeveless blouses and fold the garment only once about the chest with some diaphanous material that leaves little to the imagination. Indeed, the saree is an elegant outfit, and the wearer reminds one of the Greek maidens in their flowing, rippling attire.

“My usual uniform for a hot summer evening — jeans, sandals and a comfortable cotton tunic — is putting people out of business,” observes TIME journalist, Jessica Puddusery, from New Delhi, with, she admits, a little guilt. In the last two decades, the popularity of the saree has declined in India’s capital, and thousands of weavers are losing their livelihood. Imagine having to lose your livelihood because some body-covering makes a woman feel ‘modern.’ [4] “Youngsters feel like it’s more ‘oldy’ stuff,” notes an obviously young girl. “I think it’s just gradually dying out with time.”

Now the final question remains: when do we date the beginning of modernity? For it cannot be claimed that Europe was always ‘modern.’ In fact, ‘modernity’ is deliberately contrasted with what came before in Western Europe: the Dark Ages. Interestingly, the source of this ‘modernity’ was China, with its gunpowder, printing press, compass, and, above all, the horse collar. But then, as we have seen, China became unmodern!

When should we set a date for ‘modernity’? I propose the year 1492, when Columbus ‘discovered’ America and brought back some human samples as slaves to Spain, while humanely dumping the sick ones in the Atlantic as shark fodder. This, then, was the beginning of ‘modernity.’ This scandal has gone on for over five centuries, and yet the outrage is glorified by the word.

There is a feeble torch on the horizon: the rejection of ‘modernity’ by some enlightened writers. These people have exposed the enslaving ‘efficiency’ of the modern factory, the one that requires women and men to wear pants. Philosophers of science have been to the fore: they have shown that science, far from being an epitome of rationality, is the very reverse. [5]

Unfortunately, the denizens of the unmodern world are being mentally re-enslaved by those of the ‘modern.’ Now, that is surely anti-modern: but then the word has never been used with coherence.

Source: http://onlinejournal.com/artman/publish/article_4885.shtml

Indian Designers on Project Runway

Indian designers edge into the tent.

By: Lavina Melwani

http://www.littleindia.com/news/136/ARTICLE/1387/2007-04-12.html Indian fashion designers are finally edging into the famed white tents of Bryant Park in New York. While Indian influences have long permeated American fashion and many clothes American consumers wear are made in India or by Indian American garment companies here, we are now actually beginning to see designers from India becoming visible in international markets. The hedonistic hordes that lined the white tents at the Olympus Fashion Week in Bryant Park in New York in September were focused on the up or down of a hemline, the new silhouettes or the return of the jacket. Buyers, fashion editors, celebrities, socialites and photographers had all gathered to view the latest diktats of the fashion czars. As cameras flashed and the crowds pushed, careers were made and unmade. Now it seems that this bastion of American fashion has opened up to designers from India. Along with major American and Parisian names, there were Ashish Soni and Sabyasachi Mukherjee, hotshot designers from India. Last year, Soni became the first Indian designer invited to participate at the Fashion Week, the most prestigious fashion show in the country and one of New York's marquee events. Soni's collection this year was inspired, according to his press notes, "by the vitality of Vienna of the early 1920's when artists evolved the dynamic new language of Modernism. It expresses the simplicity combined with the rigorous composition and autonomy of the forms and colors of these artists." Soni's line was young and vibrant - all cottons and voiles - fun and breezy and just right for spring. The background musical score as the sullen models walked the ramp was of splashing waves and the cooing of birds. Interestingly, churidars, the traditional tight pants of ethnic wear from the Mughal days and part of contemporary India, had been brought full swing into the American fashion lexicon - worn under shorts, under tunics and short skirts. Indeed, there was nothing particularly Indian about the clothes except for a touch of embroidery here and there. Asked about the process of getting from Mumbai to the white tents, Soni explained that it was about invitations - and hard cash. Last year Indian tourism's Incredible India campaign partnered with him and this season he and two partners who showcased their jewelry and accessories with him to split the costs. In 2005, Soni had been selected with nine other international designers as an emerging designer by UPS, which had defrayed the costs of the event. Showing up under these famous tents can be expensive, in excess of $100,000 just to participate. "And it's not just money, even if you have money that's not enough to get a foot in. You have to be selected," he says. "There are too many people waiting with checks in line to get those spots; that you get it is a bigger deal than anything else." Soni says he's had strong media response, the collection is selling and he is represented here by Showroom Seven, which is well known to buyers and represents several designers. Was his collection in New York the same as the one he markets in India? He says, "It was not what I showed hundred percent in India. I've showed bits and pieces of it in India, but it was completely geared up to the international market." So has it become a global market and does he find himself hopping between international cities? "Absolutely. From here we go straight to London for the Fashion Week. Initially it used to be just one or two of us, but now there's almost five designers who are going to be showing in London." Manish Arora has been in London for three seasons, as has Soni. Anamika Khanna is showing for the second time and Sabyasachi Mukherjee for the first time. Is the London market different from the U.S. market and is it more receptive? Says Soni, "Totally. They are a little bit more receptive, the price points are lower and volumes are of course lower, but in that sense easier to crack." He points out that mostly mainstream fashion aficianados attend Fashion Week, and he is also selling at stores like Selfridges. Does he think Indian designers will have more of an impact during future Fashion Weeks in New York? "Well, it's been just me and now Sabya. Hopefully if there are couple more of us, we could take a tent, but it will take us longer here than it has in Europe, because the markets here are much tougher." Indian fashion is usually about color, style, glitter, the whole nine yards, almost like an Indian wedding. Does he think the designers have to reinterpret their designs for different markets? He says, "Absolutely, it works very differently." Indeed, you can't give them the whole of India at one go. A lot of designers do that, but Soni says, "I'm trying harder and harder every season to position it in a way that we are a global brand and we sell the same things across the world. That is the strategy going forward." As he points out, the market is changing even in India with younger people dressing similar to their counterparts in the West: "That's the reason why we are not saying we are customizing things for India, because Indians are as modern as anyone else, if not more." In his collection the churidar seems to have made a big comeback and seems to have merged into the western fashion vocabulary. In fact, he says that last season the churidar did very well and his company sold over a thousand pieces of churidars in Europe and Japan. Gone are the drawstrings and Soni's churidars are completely contemporized. A designer who made his debut in the UPS tent as an emerging designer this year is Sabyasachi Mukherjee, who is well known in India. This Calcutta designer won the 2007 Indian National Award in Costume Design (the equivalent of an Indian Oscar) for his work in the movie Black. You can always expect the unexpected from Sabyasachi - his first collection was inspired by the sex workers of Sonagachi, the red light district of Calcutta. Sabyasachi's edgy clothes use traditional Indian techniques, such as tea stained fabrics with a very contemporary touch He started out with the Lakme Fashion Week. Sabyasachi's Spring/Summer 2007 Collection used a combination of unusual processes to obtain subtle texturing, and laborious means of mud and discharge printing. The collection was certainly different enough to get a lot of attention and was featured twice in the New York Times. Tom Julian, director of trends for McCann-Erickson, was quoted by AP as saying: "This Indian designer has shown us the hand-woven look with rich fabrics and modern embellishments, but more importantly, has taken Western silhouettes - the blouson, the cowl back and the A-line - and is making a strong signature for a young designer." So, have the buyers been biting? He says it usually takes a while after the show for that to kick in, but surprisingly several buyers from abroad have already placed orders worth about $50,000 in the first few days after the shows. "I think the collection had a very strong international edge and at the same time it had an Indian appeal to it. I think that's what the buyers are looking for in any case. Right now the world is looking for different things so the receptivity for these kinds of things is quite high. Does it have anything to do with India's changed image in the world? "Yes, that's definitely the case, so I think I'm at the right place at the right time. The entire perception of India in the west has completely changed." Sabyasachi, who is represented by a company called People's Revolution, intends to sell to stores in the United States, but does not plan to have his own store here. He has shown in Milan, New York and London Fashion Weeks. He laughs, "Once I do the Paris Fashion Week, I've kind of done the Grand Slam." While the Indian market calls for a different sensibility, does he bring in Indian touches into his collection which show internationally? He says: "Absolutely. I think it's very important to have an Indian soul and I try to incorporate that by using Indian fabrics and prints. But it's if is designed well, it could be made in India, but it could have been made by any designer across the globe." So he's not bringing any overly Indian touches like churidars into it? "No, no, I have churidars in this collection - but in the sleeves! I have women's fitted shirts with roucered sleeves, like churidars. So there is an Indian update to the clothes, a slight Indian touch to it, but it is subtle. It's not easily perceivable as Indian." Sabyasachi told the New York Times: "I thought the best way was to start by doing something Indian. It is no longer perceived as exotic. I see the whole global market like a spice rack. If the pepper is missing, you've got to give them pepper." Source:

Indian film, fashion celebs rejoice as gayness is decriminalised

'Historic!' That is how the film and fashion fraternities have hailed Thursday's Delhi High Court judgement decriminalising gay sex. Hailing India as great, they said the verdict would give more independence to the lesbian, gay, bisexual, transgender (LGBT) community.

Hairstylist Sylvie, who is a homosexual, said 'this is a day to go down in history'. 'This is a day to go down in history that a place like India has come to terms with the issue with a big touch of humanity and definitely recognised citizens' comfort of being open about their sexuality,' Sylive told IANS.

Tarun Mansukhani, whose film 'Dostana' starring John Abraham and Abhishek Bachchan lightheartedly touched upon homosexuality, hailed the court's decision.

''Dostana' as a film only brought the subject into public limelight and had people speak about it and created a certain amount of awareness and acceptance among people - but what the court has done today shows that we do live in a great country,' Mansukhani told IANS over phone from Mumbai.

'Today, they (gays) have an identity, their independence - it's a great country,' he added.

On Thursday, the Delhi High Court struck down section 377 of the Indian Penal Code that called homosexuality and unnatural sex a criminal act. It said equality and inclusiveness were the tenets of the constitution.

Director Onir, who handled the gay issue in his film 'My Brother Nikhil' in a realistic way and received critical appreciation for his endeavour, says the court's verdict sends out a strong message to everyone.

'At the moment, this is a judgement that has been passed by the Delhi High Court. So it doesn't stand for the entire country. The government is still to approve it and implement it, but a very strong message has been sent. It's a very big step and I hope that the legislature implements it,' he said.

'I do feel that films have contributed as far as acceptance is concerned. But in our films, homosexuals have mostly been portrayed as caricatures and the main issue has not been tackled. So I won't want to take away the credit of this judgement from people who have really worked for it for years. They are the real people,' he added.

Another critically acclaimed filmmaker, Madhur Bhandarkar, who touched upon the homosexuality issue in his successful movies 'Page 3' and 'Fashion', says it's high time society opened up and created space for these people.

'It is a historic decision and brings big relief to the gay community. They have been fighting for years for their rights and finally the day has arrived. I believe now society has to shed its inhibitions and accept them because it takes a lot to change the mindset of people which indeed would be a slow process,' said Bhandarkar.

Esha Koppikhar is one of the rare Bollywood actresses to have played a homosexual in 'Girlfriend'. She feels the verdict will help homosexuals come out of the closet and lead a normal life.

She said: 'People have a right to choose their partner as life is beautiful and you want to be with someone you love irrespective of your sexual orientation.

'It's good that now homosexuals would be open about their sexual preferences unlike before when they used to be shy about it. It would have been difficult for them otherwise. After all, who wants to live a life of dual identity?'

Fashion designer Parvesh is also happy for the gay community. 'Indian culture was very elaborate from ancient times and sexuality is a very personal decision. Hence it is good to know that government has finally opened its eyes on section 377.

'It is a great achievement,' he said.

Standup comedian Vir Das said: 'I think in the last five years our courts have really been like rock stars with their verdicts. They have meted out justice intelligently.

'I wouldn't give Hindi films too much credit. I think Hindi films tend to handle everything lightly. So I feel they do not have no bearing on how we view gay rights at all.'

Expressing her happiness over the court's decision, actress and gay activist Celina Jaitley said: 'With great pride and tears I would like to congratulate the entire LGBT community. Homosexuality is now legal in India. Our long battle is won and with pride can the gay walk with their heads held high.'

Manavendra Singh Gohil, an erstwhile Gujarat royal who is gay and an activist at that, said it would be 'a very good idea to call this day as the 'Queer Independence Day of India''.

'I want to congratulate all intellectuals and activists who have been working actively for the gay community. This verdict also sends out a clear message to other countries who still believe that India is a land of bullet carts and snake charmers. We will be governed by reasons of realities alone and now our morality will be guided by these realities,' he said.

Indian Apparel & Fashion Trade Fairs & Trade Shows in India

The Indian garment industry is the most opportune trade sector. Fashion clothing and garments trade expositions give a common platform to the traders, manufacturers, suppliers and exporters to display the best of the designer, Indian, and Indo-western garments in the Indian Cloth industry. The information given below will serve as a directory to the upcoming apparel and fashion trade shows, exhibitions and conferences in India.

Upcoming Apparel & Fashion Trade Shows in India

Moms Dads & Kids Expo
Start Date	:	2009, July 02
End Date	:	2009, July 06
Venue	:	Valluvar Kottam, Chennai, India
Event Profile	:	Moms Dads & Kids Expo is one of the leading trade fair for fashions, apparels, home needs, education, investment(The Family Show). This four day event will be held between 02 to 06 July 2009 at Valluvar Kottam. The exhibition is being organized by Imi Promos & Eventz Pvt. Ltd.
Organizer	:	Imi Promos & Eventz Pvt. Ltd.

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Fashionexpo-2009
Start Date	:	2009, July 03
End Date	:	2009, July 05
Venue	:	Rajiv Gandhi Indoor Stadium, Kochi, India
Event Profile	:	Fashionexpo-2009 is the South India's premier exhibition for Fashion Apparel industry. This is the largest platform where all the buyers and sellers can meet under one roof in Kochi. The exhibition will be held between 03 to 05 July 2009 at Rajiv Gandhi Indoor Stadium.
Organizer	:	Admakers Expo Company

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India International Garment Fair (IIGF)
Start Date	:	2009, July 15
End Date	:	2009, July 17
Venue	:	Pragati Maidan, New Delhi, India
Event Profile	:	The India International Garment Fair (IIGF), one of Asia's largest and most popular apparel and clothing trade shows is going to be in New Delhi. A perfect amalgamation of fashion, design and quality, the 37th India International Garment Fair is the ultimate destination for global fashion buffs and textile industry giants.
Organizer	:	Apparel Export Promotion Council

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Bangalore Fashion Week(BFW)
Start Date	:	2009, July 23
End Date	:	2009, July 26
Venue	:	The Oterra, Bengaluru, India
Event Profile	:	Bangalore Fashion Week(BFW) is a premier event in India. The main objective of BFW will be to create business relationships and to facilitate a dialogue between designers and trade buyers. This is the First Edition of Bangalore Fashion Week(BFW) will be held from 23rd to 26th July 2009 at Bangalore.
Organizer	:	Dream Merchants, Bangalore

Manish Malhotra gives Amrita Rao a “shortkut” to glamour!

Ace indian fashion designer Manish Malhotra owns the credit for creating many a memorable looks for Bollywood’s leading ladies over the years. Most actresses in the industry swear by this fabric magician and implicitly trust his vision as far as defining their look is concerned. The man responsible in giving Urmila her sex-kitten tag in Rangeela has in his 15 years worked with various various A-list stars, which include include Kajol, Karisma Kapoor, Rani Mukerji and Preity Zinta.

The latest star to join this bandwagon is Amrita Rao! Amrita has gone completely glam in her next outing - ShortKut.

She willingly gives all the credit to her favourite indian fashion designer Manish Malhotra! “Manish knew from day one how he wanted to style me. In ShortKut you will see me in bikini tops, short skirts, big diva-esque hair and sultry eyes. I had a blast trying this look out! We sat over the look for an entire week discussing how we wanted to play it. I’m so happy with the result. I couldn’t believe the transformation when I saw myself in the mirror!” laughs Amrita.

ShortKut will see a worldwide release on July 10th by Indian Films- Studio18

Beach Wedding Dresses

Why not get married on the sands with the waves lashing against the shore. Yes, a beach wedding instead of the same old in door wedding ceremony functions… And where can you opt to get married? The sands of Goa offer a pleasant setting for the ceremony with the honeymoon, with a lot of options.

If that is what you have decided for then the next probable question is: What about the beach wedding dresses? There are designers who specialize in wedding dresses for the beach. These are generally in lighter shades with a matt effect, rather than the general heavy gold and silver work. In fact, these dresses are far lighter in weight.

In case, you do prefer something heavy, a designer would usually talk you out of the option, as any kind of heavy embroidery and bead and sequence work would tend to spoil because of the sand particles.

For the day wear the recommended options would be white, cream, peach, pink, and the other pastels with pearls or light shimmer embroidery with a simple head gear. If you are looking at theme wedding then you could opt for something totally different; that is if you are adventurous enough…

Probably a bikini wedding dress with a sarong to keep the protocol of decency for the parents, aunts and uncles… Well, its all about joy and celebration…

Indian Vintage Wedding Dresses

There is not doubt that the contemporary style is all about innovation with a lot of blending of styles. But really speaking, the vintage styles are unique and still stand out. There was a perfect fusion of glamour and sophistication. If you looking into the wedding albums of your parents, grandparents and others, who belong to a coupe of generations prior to the presence, you would notice how beautiful the bride in the picture looks.

The typical Indian vintage wedding dresses were the ghagra choli. This is a long flowing skirt with a long scarf that was draped on the head of the bride. Commonly the brides wore various shades of red, as red is considered the symbol of being married. The garment would be adorned heavily with gold embroidery work.

Today, though brides continue to wear the ghagra choli, yet the styles are so different. They are in various indo-western cuts. They do look pretty, but yet the age-old designs and patterns look far better.

One can still get the indian vintage wedding dresses; especially from the older tailoring shops. One can go down the local markets where the old tailors and designers have their workshops. Their handiwork is exquisite and is value form money. In fact, most of them charge less than the today’s designers, who are ready to make a vintage style at sky-rocketing prices.

Beauty Tips For the Indian Bride

Indian weddings are quite different from other country weddings and require lots of preparations. There are zillion of things to do. Even brides are busy in many things. But between such hectic schedules do remember not to forget about your beauty routine.

Beauty is the greatest asset of bride and without it all other things are worthless. To look beautiful is the hardest desire of every Indian bride. Even dressing comes after it. A wretched look can turn your wedding into a nightmare. There is several beauty enhancing angles but its always good to start with basic. Below are mentioned staple beauty regimes following which half of your work is done towards attaining beauty.

1) The major thing to be done is to set your budget. There are variations in prices in indian bridal beauty packages, thus it’s important to know your budget.

2) Fix appointments in salons 4 to 6 months in advance in order to avoid any hindrance prior to indian wedding.

3) Before only discuss with your professional what type of haircut suits your face. Also ask for color that will best suit your hairs.

4) There are few treatments that need to start few months in advance to wedding. If they are started one week or few days in advance does not bring fruitful results. Thus it is essential to start them before. Here are they:

I) Nail toning treatment. It is good for healthy growth of nails as well for making them look good.

II) Make up exercise. Start applying different types of make up to know which one suits you the best. It is a good practice to avoid any disaster later.

III) Skin care treatment. To avoid skin problem it’s good to start skin care treatment. It will also aware you of products that suit your skin.

5) Physical fitness is equally important for hitting beauty. For that take a diet containing low fat. Also drink loads of water and do regular exercise.

6) Relaxation is very important for bringing glow to the body. Stress free body is a source of energy. Thus everyday takes time for relaxing your body. This you can do by sitting at one place, closing your eyes and take a deep breathe deeply. Follow it and see results later.

Practicing these simple beauty tips will not only contribute to a healthy and beautiful body for your wedding but for the entire life. They make bride look most beautiful on her wedding, which she deserves.

Shopping Guidelines for Indian Wedding

Indian wedding is a very grand occasion, which requires a lot of planning. Shopping is a very great part of it, as for it’s every ceremony shopping is must. And shopping is directly linked to budget, thus should be done wisely. Referring shopping guide becomes must in such situation as there are chances certain things could be missed if proper planning is not done.

Indian Wedding shopping is not just limited to dress and accessories but includes many other things and is the most adventurous part of the entire event. It is essential to check that everything is bought and nothing is left. To ensure this, refer below written points, which include a checklist of all the things to be bought for the wedding.

India Wedding Shopping Guidelines

First of all set budget. Stick to what you have decided and do not exceed it except for negligible fluctuations. For preparing a budget set aside expenses for items like clothes, jewelry, cosmetics, upholstery, household items, gifts, etc. This will rule out over expenditure.

Another important step is to make a list of items need to be taken for bride, groom, relatives and family members. This should be done before going for shopping and of a great help.

Make a list of items will be needed by ‘would-be-couple’. The list for the bride and broom includes items like clothes, accessories, jewelry, cosmetics, toiletries, etc.

Indian Wedding Mandap comprises a great part of wedding. Do make listing of religious items separately required during the Pooja and Havan so that there is nothing missing at the Mandap. Take help of your priest to avoid last minute hassles.

Wedding shopping should be done from single trusty shop. It helps to avail a hefty discount as well as face no problems in exchange or returning.

When it comes to shop for dress or accessories for the other side family it’s better to take them along with you and purchase things of their choice.

Last but very important point is to keep a receipt of items you have purchased. It helps in keeping a record of your budget and also helps in exchanging or returning of items, if needed.

Priyanka Chopra - Bollywood Fashion Icon

Many people familiar with Bollywood tends to think Aishwarya Rai as the Bollywood queen but fans of bollywood knows the truth. Aishwarya Rai may have won Miss World price but she is no comparison to Priyanka Chopara, the real beauty of the the Bollywood. In fact Priyanka is also former Miss World and acts in Bollywood films.

Priyanka made her first film in Tamil or as in Tollywood, Thamizhan in 2002. Film didn't do so well but star emerged, she showed her real acting and beauty in Anil Sharma's "The Hero" and "Andaaz", which went on winning Filmfare best Female Debut Award. She is very versatile actor, Her win for Filmfare Best Villain Award for "Aitraaz" proves this. She established herself as popular actress after Best Actress Award winning performance in film "Fashion". On other hand, Aishwarya Rai has won only handful of Awards and many are not critically acclaimed.

Priyanka became Miss India World and later Miss World in 2000, fifth Indian to.

When Chopra won the Miss World crown, she became the fifth Indian woman to win the title. In year 2003, "The Hero: Love Story of a Spy" was released, despite of being c+ grade film, the film went on grossing highest collection for year 2003. Her next film, Andaaz with Bollywood mega star Akshay Kumar was a huge success, earning her a Filmfare Best Female Debut Award and a nomination for Filmfare Best Supporting Actress Award. Her biggest success came in Dharma production film, Dostana, staring Abhishek Bachchan and John Abraham, she literally ruled hearts of young people in that role. Priyanka began 2009 on another high. She was awarded the 'Best

Female Actor' at the Star Screen Award 2008 for her role in Madhur Bhandarkar's Fashion and also adjudged the 'Best Actress' at 15th Lion's Club Awards.

Priyanka Chopra is not only queen of Bollywood but she has also signed many promotion contracts with private and public retail firms, making her queen of "Endorsements" for year 2008. She leads the youth brigade as the face of brands like Lux, Ponds, Sunsilk, Hero Honda, Nokia, Tag Heuer, J. Hampsted and Virgin Comic.

Priyanka Chopra is shooting for another luminous year, with 2 big films set for releases in 2009, namely, Kaminay directed by Vishal Bharadwaj and What's Your Rashee? directed by Ashutosh Gowarikar. One can measure her popularity by referring Google search trend which shows significant increase in search for Priyanka and her upcoming movies. Youtube has around ten thousand video tagged with Priyanka Chopara.

Indian Designer Scarves

Scarves have come to be regarded as one of the essential fashion accessories, as it has a larger role to play than just accentuate a simple garment. It goes beyond making the wearer look chic, charming, elegant, sophisticated, trendy, cool, all according to the way she uses it. In fact scarves are being used as protective gear against the harsh rays of the sun, the dry weather, dust and pollutants.

There are a number of designers across the world, who specialize in creating innovative scarves. Apart from new patterns and color schemes, they also evolve varied ways in which these designer scarves can be worn. Sometimes they work hand-in-hand with the dress designers to create an ensemble. They create scarves that would go with the garments.

Indian Designer Scarves are steeper than the original ones, but are definitely trend setting. The designer would probably come up with new cuts. For instance instead of the simple, straight hemline, they could create something with cutwork or lace. Then different types of danglers can be hung to create the gypsy look. Some designers create patterns and designers that just need to be fastened, rather than have the wearer take extra pains to fold it or pleat it and then tie-it.

The main difference between indian designer scarves and others is that the former are innovative and not available in bulk. They are in fact out of the ordinary. For instance, designers combine the use of a couple of fabrics to create a scarf, such as net, silk and crochet and then probably add stones or embroidery. All this to create an exquisite piece of clothing!

Top Indian Fashion Designers

Top fashion designers in India include names like Manish Malhotra, Ritu Kumar, Ritu Beri, Tarun Tahiliani and many more. These designers have changed the fashion trends of the country. Manish Malhotra has designed for most of Indian actresses off screen as well as on screen.

His designs were worn by Kareena Kapoor in the film Kabhi Khushi Kabhie Gham (2001). He designed for Sushmita Sen in Main Hoon Na (2004) and he has designed for Rani Mukerji and Preity Zinta in the film Kabhi Alvida Naa Kehna (2006). He also showcased his new collection in April 2006 at Lakme Fashion Week in Mumbai.

Amongst the other top indian fashion designers is Ritu Kumar, who began with hand block printers and two tables in a small village near Calcutta, and in the last 28 years, her team of dedicated workers have progressed to produce some of the country’s most exquisite garments and accessories in cotton, silk and leather.

Ritu Beri has been the most talented indian designer because of her popular and unique style and modernized work. Her this quality has made her so very vastly popular and demanded by the Indian as well as the Hollywood film industry.

Another name in the top indian fashion designers bracket is Hemant Trivedi. He is also a renowned fashion Stylist, choreographer, design professor and undoubtedly, one of India's foremost and most important fashion designers.

Apart from these few names, there are numerous others who are contributing to making India one of the forerunners in the world of international fashion.

Indian Fashion Designer

An Indian fashion designer is much in demand all over the world. Some of the Indian designers have established themselves all over the world. They are invited to fashion weeks outside India to witness as well as to display their collection.

There are a number of Indian designers, who are invited to present their garments at events showcasing international names. They have been working hard to take Indian fashion all over, as well as bring back the latest trends abroad.

Their designs are not only liked by Indian celebrities but also International celebrities. These designers have also succeeded in opening their showrooms at various places around the world along with in various malls across the country.

Today, with hard work and creativity the Indian fashion designer does not have to restrict himself or herself to the domestic market. Their talents and knowledge have helped them go beyond designing the typical Indian garment to creating global fusion designs. They have finely adopted western styles in their designs.

Fashion Institutes in India

List of fashion institutes in India:

Arch Institute of fashion & Design / Arch Gemology & Jewelry Institute: Plot No.9, Malviya Nagar Institutional Area , Malviya Nagar, Jaipur. Tel: 91-141-2702163

Rai University, A-41, MCIE, Mathura Road, New Delhi – 110044 Tel: 91-11-51560000, 51570000

National Institute Of Fashion Design (NIFD): Zone F-3, Hauz Khas Enclave, Adjacent to Laxman Public School, New Delhi. Tel: 91-11-26968868, 51655729

National Institute Of Fashion Technology (NIFT): NIFT Campus, Near Gulmohar Park, Hauz Khas, New Delhi 110016 Tel : 91-11-6965080, 6965059

National Institute Of Fashion Technology (NIFT), NIFT Campus, C A Site No: 21, Sector - 1, 27th Main, Bangalore. Tel: 5727695

National Institute of Fashion Technology (NIFT): GH - 0 Circle, Gandhinagar. Tel: 91-79 23240832

National Institute of Fashion Technology (NIFT): NIFT Campus, Old Mahabalipuram Road, Taramani, Chennai. Tel: 91-44-2542755

National Institute of Fashion Technology (NIFT): NIFT Campus, Sector 4, Kharghar, Navi Mumbai. Tel: 91-22-7565549

College of Creative Arts: Ganga Dham Comm. Phase I, Sr. No. 612 - 615, Lullanagar Bibwewadi Road, Market Yard, Pune. Tel: 91-20-24209166

Institute Of Fashion Technology And Hotel Management, KM-2 Kavi Nagar, Ghaziabad. Tel: 716902

How To Tie A Scarf

A beautiful scarf adds glamour, class and sophistication to a simple attire, which maybe a dress, skirt and blouse, formal shirt and trousers, casual jeans and top or the Indian salwar kameez. But then it is all about how you wear it. Though sometimes one is required to let it just fall over the shoulders as the entire garment get up requires it, most often it is tied in a way to further enhance the basic style.

If you are one who likes wearing indian scarves then you should learn how to tie a scarf. Some companies where it is a part of the dress code are taught how to tie a scarf, as there should be no difference in the knots and style. This is more so in the airline and hospitality industry.

However, here are some ways in which you can tie a scarf for that complete look.

You could tie a small scarf around your neck with the knot either in front or on either side

Your triangular scarf could be draped with one pointed end at the back and the other two ends tied together in front, making it look like a cape. Alternatively you could tie it over one shoulder with the free pointed end falling over the other shoulder.

In formal settings where you are required to wear a indian scarf over a shirt, it is preferred that you tie it the cowboy style. This is where the scarf is either triangular or a square folded into a triangle, the pointed end is in front, with the knot tied behind under the collar.

You could wear it around the waist like a belt

You could tie it around your wrist like a bracelet or around the upper-arm like an arm band

You could tie it around the ankle below a skirt of any length

You can tie it over your jeans just for show.

Your scarf could be tied onto you handbag with a double knot or bow.

You could tie your hair up into a bun or ponytail using a scarf. In fact many people prefer a scarf for this purpose as it does not do damage to the hair or pull it out when being removed unlike clips and bands

You could tie it as a head scarf either to make a fashion statement or protect your hair from damage.

There is so much one can do with this piece of clothing. In fact it is more exciting when you accessorize it.

Indian Scarves

Introduction to Indian Scarves - The fabrics used for scarves are numerous and varied. These include silk, cotton, polyester, rayon, acrylic, nylon, wool, cashmere, lace, etc. They maybe woven, knit, crochet, printed, embroidered Common printed patterns are paisleys, floral, animals and geometrical designs. This piece of clothing is generally square, circular, oblong or triangular with edges that are rolled, hemmed or tasseled.

The variety in scarves depends on how it is worn. These include:

Ascot, which is usually in a triangular shape and either knotted in front or the ends are placed together with a brooch. The name is derived from the famed racetrack of England, Ascot, where people wore scarves in this fashion.

Bib is a square scarf that is folded to form a triangle. The point is in front with the knot behind the neck. It is mainly worn while dining to prevent the clothes getting stained. This is also known as the cowboy scarf.

Necktie also known as a cravat is a piece of clothing tied around the neck

Jabot is a pleated, ruffled or embroidered piece of cloth worn around the neck. It is more like the Indian dupatta.

Indian Muffler is an oblong knitted or woven scarf that is worn to protect one’s throat in the cold season.

Indian Shawl is a scarf variation that is generally woven, knitted or crochet. It is generally larger than the scarf.

Stole is a long scarf, which maybe cut out any fabric or made of fur.

Generally scarves are worn in dry and dusty climates or where pollution levels are high. It is used to cover the face and head, preventing these uncovered parts of the body from any kind of harm. Apart from its protective role, some cultures prescribe the use of scarves as a compulsion. For instance, many Muslim women are made to wear a headscarf known as a hijab or khimar.

Sarees from different regions of India

The core of any good saree wardrobe is to have at least one traditional saree from every region from India. In addition, there should be some plain, single coloured sarees, to show off accessories – be it elegant jewellery or a shawl to perfection.

A range of gorgeous sarees come from Gujarat, Rajasthan, Haryana, Western Uttar Pradesh and Western Madhya Pradesh. The dominant characteristic of the saree of these regions is obtained by dyeing rather than weaving techniques. In fact, the three major forms of Indian resist-dyeing – block printing, tie & dye and ikat have evolved here.

Playing with colour, fabric, weave and embellishments can create an exquisite look to the trousseau wardrobe.

Sarees from West India:

1. Bandhani

- These are sarees created by dyeing the cloth in such a manner that many small resist-dyed ‘spots' produce elaborate patterns over the fabric.

- The traditional bandhani market has shrunk however, because of the rise of low-cost silk-screened imitations and most modern bandhani sarees are made with larger designs and fewer ties than in the past. There are varieties available in two contrasting colours, with borders, end-pieces and one or more large central medallion called a pomcha or padma (lotus flower). Red and black is the most common colour combination but other pairs of colours are also found. For instance, the panetar saree is a Gujarati-Hindu saree of satin weave and Gajji silk with red borders, central medallions and a white body, which may contain regularly spaced red tie-dyed spots.

- Single colour sarees and odhnis with white spots are also common. The most famous of this type is the Gujarati saree called Garchola It is usually red, but occasionally green, and is divided into a network of squares created by rows of white tie-dyed spots or woven bands of zari. The Garchola is a traditional Hindu and Jain wedding saree, which used to be made of cotton, but is now usually in silk. The number of squares in the saree is ritually significant multiples of 9, 12 or 52.

2. Patola

- The most time consuming and elaborate saree created by the western region is the potole (plural patola) which has intricate five colour designs resist-dyed into both warp and weft threads before weaving.

- Double ikat patola saree is a rare and expensive investment. A cheaper alternative to double ikat patola is the silk ikat saree developed in Rajkot (Gujarat), that creates patola and other geometric designs in the weft threads only.

3. Gujarati Brocade

These are extremely expensive and virtually extinct. The main distinguishing characteristics of the Gujarati Brocade Saree:

- Butis (circular designs) woven into the field in the warp direction instead of the weft, resulting in their lying horizontally instead of vertically on the saree when draped.

- Floral designs woven in coloured silk, against a golden (woven zari) ground fabric. Although such ‘inlay' work is a common feature in many western Deccan silks, the Gujarati work usually has leaves, flowers and stems outlined by a fine dark line.

4. Embroidered Tinsel Sarees

- The western region also has a rich embroidered tradition, made famous by ethnic groups such as rabaris and sodha Rajputs.

- The saree with zardozi, the gold gilt thread embroidery technique, at one time patronised by the Moghul emperors and the aristocracy, is today an inextricable part of a bridal trousseau.

- Balla tinsel and khari work are the cheaper variations available in metallic embroidery, which have also become quite popular.

5. Paithani

- This saree is named after a village near Aurangabad in Maharashtra. Now also woven in the town of Yeola, these sarees use an enormous amount of labour, skill and sheer expanse of material in their creation.

- Distinctive motifs such as parrots, trees and plants are woven into the saree. The shades vary from vivid magenta, peacock greens and purples. In the pallav, the base is in gold and the pattern is done in silk, giving the whole saree an embossed look.

6. Chanderi and Maheshwari

- The Chanderi saree from Madhya Pradesh is light and meant for Indian summers. It is made in silk or fine cotton with patterns taken from the Chanderi temples.

- The Maheshwari sarees are also both in cotton and silk, usually green or purple with a zari border. The traditional block-printed tussar can also be found in contemporary designs nowadays.

- Balla tinsel and khari work are the cheaper variations available in metallic embroidery, which have also become quite popular.

7. Gadwal

- Gadwal saree is made in cotton in a style influenced by the Banarasi weaves. While the ground of the saree is cotton, there is a loosely attached silk border.

- Copper or gold-dipped zari is generally used in these sarees. The motifs of the murrugan (peacock) and the rudraksh are popular.

- 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.

Sarees from North India:

1. Banaras Brocade

- This saree from Banaras is virtually mandatory in the bride's trousseau. These sarees vary tremendously as weavers create different products to suit different regional markets and changing fashions.

- Most brocades usually have strong Moghul influences in the design, such as intricate intertwining floral and foliate motifs, kalga and bel. A characteristic found along the inner, and sometimes outer, edge of borders is a narrow fringe like pattern that often looks like a string of upright leaves called jhallr. This is almost a signature of Benarasi brocade.

2. Kota Doria

- Kota in Rajasthan, India is the home of the famous Kota Doria saris made in small villages around the Kota city. "Kota Doria" is a super transparent yet stable cotton or cotton/silk weave consisting of varied guages of yarn, creating an almost graph like pattern called khats (squares formed between the different thicknesses of fibers). The intermittent heavier guage yarns give the fabric enough weight and lateral stability to fall very gracefully, yet it is incredibly airy and transparent. Generally, these pieces are worn in the heat of summer.

- The chequered weave of a Kota sari is a prized possession of many women. The gossamer-fine fabric Kota dorias are the finest weaves in India - so fine that they are almost weightless. The spinning, dyeing and weaving are done by skilled artisans and it takes many men hours to do so. The Kota region's craft is exquisite in its perfection. The Kota Doria weave is very special; the warp and the weft use a combination of threads creating a fine chequered pattern where the cotton provides firmness while the silk lends the gossamer finish to the fabric.

- Besides the chequered pattern, there are other weaves in complicated designs in a combination of silk and cotton. The standard Kota doria yardage, in sari width, is always woven in white and later dyed in different colours. Some of the weaves also have a narrow border edged with Zari. In the case of saris with designs, the threads are dyed prior to weaving. Ideal for hot summer, this is a muslin fabric woven with alternating threads of silk and cotton in both warp and weft in an open weave.

3. Other Sarees from this region

- The region is also famous for producing ornate sarees such tanchois, amru brocades, shikargarh brocades and tissues. Abrawans (literally meaning flowing water)- Tissue sarees, usually woven with the finest silk thread are also quite popular. A classy design in Abrawans is tarbana (woven water) with a fine silk warp with a zari weft giving an almost metallic sheen. Kincab or Kinkhwab sarees are the most popular of the brocades and are so covered with the zari patterning that the underlying silk cloth is barely visible.

- Jamawars also come from Uttar Pradesh. These silk sarees are embellished with zari threadwork. The popular theme is a jacquard weave in ‘meena' colours like orange and green.

- Tanchois (in zari) are another item from of Uttar Pradesh and have different designs, not just Moghul motifs.

Another type is the kora silk saree which is starched as brittle as organza.

Sarees from South India:

1. Kanjeevaram Saree

- No Indian bridal trousseau is complete without the ‘Kanjeewaram' saree, characterised by gold-dipped silver thread that is woven onto brilliant silk. Kanchipuram is a town in Tamil Nadu with more than 150 years of weaving tradition – completely untouched by fashion fads.

- Kanjeewarams are favoured for their durability. Kanjee silk is thicker than almost all other silks, and is therefore more expensive. The heavier the silk, the better the quality. Peacock and parrot are the most common motifs. Though lightweight kanjee sarees are popular as they are easy to wear and cost very little, the traditional weavers do not like to compromise. While Korean and Chinese silk is suitable for light-weight sarees (machine woven), only mulberry silk produced in Karnataka and few parts of Tamil Nadu, is right for the classic Kanjeewaram.

2. 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.

3. Others

- Pashmina silk, kota silk, Mysore crepes, pochampallis and puttapakshi sarees are also popular South Indian sarees.

- Typical wedding sarees from Kerala are the nayayanpets and bavanjipets which usually have a gold border on a cream base.

- 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.

Sarees from East India:

1. Baluchari Sarees

- This saree from Bengal is usually five yards in length and 42” wide in flame red, purple and occasionally in deep blue. The field of the saree is covered with small butis and a beautiful floral design runs across the edges. The anchal has the main decoration depicting narrative motifs. Taingals and kanthas are other speciality items from Bengal.

Indian Saree

Every time we see an Indian woman wearing a brightly-colored saree, we can't help but be amazed by how graceful and womanly they look. We marvel at how the cloth's colors and the way the saree drapes and falls in folds about an Indian woman's body, seem to embody her femininity. We gape and can't help but be awed at how even the slightest movements of their bodies seem to speak volumes as they move about almost sensuously despite the voluminous quality of the saree's cloth wrapped around the waist. Then, we wonder, what is exactly the mystery behind the saree?

A saree or sari, as it is commonly known, is a piece of clothing traditionally worn by Indian women that is as long as nine yards in length. Aside from the cloth though, an Indian woman wears an upper garment that is made of the exact same cloth or has the same design or depicts one of the colors of the saree. This upper garment could either be cropped short baring some skin from the midriff down to the navel or longer, that which it could be tucked in to the saree's waist. From the waist down of the saree, an Indian woman wears a petticoat, to lessen the sheerness of the saree's fabric, which is mostly woven cloth or silk.

The allure of the saree comes not only from the way it hints at a body's curves but also in the way it is draped on an Indian woman's body. This draping could actually be done in several ways. The most common way is when an Indian woman winds or wraps the saree around her waist and then drapes the extra cloth over her shoulder and lets it fall down over her right breast.

There are other ways or styles to drape a saree and one of this is the kaccha nivi style. An Indian woman who uses this style will have to pleat the saree cloth and pass it through her legs before tucking it into her back at the waist. This type of draping is used by an Indian woman, who would like to have her legs covered while she moves around freely. This style is more of the traditional way of draping a saree although there is now a modern nivi style that is used by most Indian women.

The modern nivi style is done by an Indian woman tucking one end of her saree into her petticoat's waistband. She wraps the fabric of the indian saree from her hips down just once and gathers it into pleats below her navel. She also tucks these pleats into her petticoat's waistband. This type of pleat is called as kick pleat in the West and makes movements especially walking, easier. The Indian woman then drapes the saree's loose end over her shoulder, from her right hip over to the left shoulder. When wearing a cropped blouse, the Indian women show a peek of her midriff through this draping style. Sometimes, this type of saree draping calls for an Indian woman to just adjust the loose end to either show or hide her navel for a more sultry look.

There are still other types of saree draping that an Indian woman uses. These styles differ though are based on what part of India she is from and on what traditional style of draping she is following. An Indian woman sometimes wears a saree not only as a piece of clothing but also to show where she comes from.