Sari – a garment that is perhaps worn by almost 70% of the female population of the Indian sub-continent and continues to hold it’s own amongst business suits, skirts, jeans and the whole gamut of Western as well as Indo-western outfits.
Six yards of cloth is all there is to the sari. Yet, this dress worn by millions of Indian women, is by far, the most elegant. It is not merely an outfit but an ornament, lending both grace and glamour to the wearer.
From the diaphanous cottons, soft and delicate chiffons and crepes, to sturdy silks of the South and the butter-soft muslins of Dhaka - the fabric, weave and colour makes each sari a masterpiece. Each region has its own special texture and design, depending on the regional crafts and the climate of that particular area. Brocaded silks, gauzy muslins, tie-and-die chiffons, and woven cottons find a cherished place in millions of women’s hearts and wardrobes.
If you ever peep into your mother’s treasured sari chest or maybe into your own wardrobe, you’ll be greeted with textures, jewel-colored fabrics and shimmering brocades. The brocades, the colour, the weave – each of these will determine the mood or occasion the sari can fit into. Like warm reds are for a bride; rich, jewel hues and brocades for festivals and weddings; stark white for mourning. Even the fabric can determine the event you can wear a particular sari to. Heavy silks for weddings; earthy cottons for poojas; light chiffons for cocktails and parties.
Kanika Goswami mentions a beautiful folktale in her article ‘The Sari - Mystery and Grace’ - “The Sari, it is said, was born on the loom of a fanciful weaver. He dreamt of Woman. The shimmer of her tears. The drape of her tumbling hair. The colors of her many moods. The softness of her touch. All these he wove together. He couldn't stop. He wove for many yards. And when he was done, the story goes; he sat back and smiled and smiled and smiled." This little story captures the essence of the sari so well – do we need to say anything more in its favour?
Link: http://www.stylematters.com/category/Fashion/Six-Yards-of-Magic/
by Chandana Banerjee
Showing posts with label Indian fashion. Show all posts
Showing posts with label Indian fashion. Show all posts
Thursday, February 7, 2008
Wednesday, February 6, 2008
An Ode to Orissa Saris
Orissa is known for its handlooms – rich colors, artistic designs, exquisite weaves – the saris of Orissa are all this and more.
Orissa saris have a close relation with the Jagannath culture. Originally, the four basic colors which are found on Jagannath—black, white, red and yellow—were extensively used in Oriya saris. Even motifs such as the temple border, lotus, conch and wheel, signify the affinity with the reigning deity. The traditional Orissa saris have undergone vast changes as weavers try to adapt the designs to popular taste.
The handloom saris of Orissa can be broadly classified into four groups: Ikkat, Bomkai, Bandha and Pasapalli.
Ikkat: Ikkat or tie and dye fabrics, known as "bandhas" in Orissa are recognized all over the country and abroad for their highly artistic designs, color combinations and durability. Ikkat is a type of weaving in general terms. The weft or the warp or both are tie-dyed before weaving to create designs on fabric in this method. With exquisite colors and beautiful motifs, Ikkat saris are considered as a magnum opus because each sari takes nearly seven months of craftsmanship. The traditional Ikkat saris of Orissa are also referred to as double Patan Patola.
Bomkai: Another variety of sari avaible in Orissa is the Bomkai sari, a recent adaptation from tribal saris. Produced in a small town called Bomkai in Orissa, these saris also have touches of ikat work, like the Sambalpuri saris.
Both cotton and silk fabric are used in making these saris. Some Bomkai saris have small fish woven onto the border that symbolize prosperity and good health. Bomkai saris feature threadwork ornament borders and pallu.
Sambalpuri Sari: Sambalpuri saris are famous for their unique designs and for their beautiful colors. Fish, conch shell and flower motifs are woven into the fabric and sometimes floral and animal motifs are also used to decorate the borders and pallu. Silk Sambalpuri saris from Orissa are also in single and double ikat.
Pasapalli Sari: The "pasapalli" sari with its distinctive black-and-white squares is a replica of the chessboard. Equally fascinating are the names—Vichitrapuri, Chandrika, Nabagunja, Asman Tara and Krishnapriya. The earlier yarns of coarse cotton have been replaced with fine cotton, silks, tussar and a cotton-silk mix called ‘bapta’. Gold thread and tissues are also used to enhance the patterns.
Bandha: Here, the yarn is first tied in portions, and each section is dyed in a different color according to the design. When woven, the designs emerge, and the special feature is that the design is prominent on both sides of the fabric. This is a very complicated process and it is rather amazing to find that the traditional weavers do not use any graphic designs on paper. The common motifs are borrowed from nature. Flowers, creepers, birds, animals are abundantly woven in myriad colors, all lending a distinct feature to the nine yards of woven wonder.
Link: http://www.stylematters.com/category/Fashion/An-Ode-to-Orissa-Saris/
by Chandana Banerjee
Orissa saris have a close relation with the Jagannath culture. Originally, the four basic colors which are found on Jagannath—black, white, red and yellow—were extensively used in Oriya saris. Even motifs such as the temple border, lotus, conch and wheel, signify the affinity with the reigning deity. The traditional Orissa saris have undergone vast changes as weavers try to adapt the designs to popular taste.
The handloom saris of Orissa can be broadly classified into four groups: Ikkat, Bomkai, Bandha and Pasapalli.
Ikkat: Ikkat or tie and dye fabrics, known as "bandhas" in Orissa are recognized all over the country and abroad for their highly artistic designs, color combinations and durability. Ikkat is a type of weaving in general terms. The weft or the warp or both are tie-dyed before weaving to create designs on fabric in this method. With exquisite colors and beautiful motifs, Ikkat saris are considered as a magnum opus because each sari takes nearly seven months of craftsmanship. The traditional Ikkat saris of Orissa are also referred to as double Patan Patola.
Bomkai: Another variety of sari avaible in Orissa is the Bomkai sari, a recent adaptation from tribal saris. Produced in a small town called Bomkai in Orissa, these saris also have touches of ikat work, like the Sambalpuri saris.
Both cotton and silk fabric are used in making these saris. Some Bomkai saris have small fish woven onto the border that symbolize prosperity and good health. Bomkai saris feature threadwork ornament borders and pallu.
Sambalpuri Sari: Sambalpuri saris are famous for their unique designs and for their beautiful colors. Fish, conch shell and flower motifs are woven into the fabric and sometimes floral and animal motifs are also used to decorate the borders and pallu. Silk Sambalpuri saris from Orissa are also in single and double ikat.
Pasapalli Sari: The "pasapalli" sari with its distinctive black-and-white squares is a replica of the chessboard. Equally fascinating are the names—Vichitrapuri, Chandrika, Nabagunja, Asman Tara and Krishnapriya. The earlier yarns of coarse cotton have been replaced with fine cotton, silks, tussar and a cotton-silk mix called ‘bapta’. Gold thread and tissues are also used to enhance the patterns.
Bandha: Here, the yarn is first tied in portions, and each section is dyed in a different color according to the design. When woven, the designs emerge, and the special feature is that the design is prominent on both sides of the fabric. This is a very complicated process and it is rather amazing to find that the traditional weavers do not use any graphic designs on paper. The common motifs are borrowed from nature. Flowers, creepers, birds, animals are abundantly woven in myriad colors, all lending a distinct feature to the nine yards of woven wonder.
Link: http://www.stylematters.com/category/Fashion/An-Ode-to-Orissa-Saris/
by Chandana Banerjee
Jamdani – The Precious Fabric of Bengal
Jamdani – one of the most beautiful and practical textiles of Bengal. History, legend and tradition are woven into the fabric along with the unique patterns that make jamdani so sought after. Here are some interesting facts that I cam across in an article in Indian Heritage.
Pages of history: The earliest mention of Jamdani and its development as an industry is to be found in Kautilya's Arthashashtra (book of economics) wherein it is stated that this fine cloth used to be made in Bengal and Pundra (parts of modern Bangladesh). Jamdani is also mentioned in the book of Periplus of the Eritrean Sea and in the accounts of Arab, Chinese and Italian travelers and traders.
The base fabric for Jamdani is unbleached cotton yarn and the design is woven using bleached cotton yarns so that a light-and-dark effect is created. Alexander the Great in 327 B.C mentions “beautiful printed cottons” in India. It is believed that the erstwhile Roman emperors paid fabulous sums for the prized Indian cotton.
Design: The method of weaving resembles tapestry work in which small shuttles of coloured, gold or silver threads, are passed through the weft. The jamdani dexterously combines intricate surface designs with delicate floral sprays. When the surface is covered with superb diagonally striped floral sprays, the sari is called terchha. The anchal (the portion that goes over and beyond the shoulder) is often decorated with dangling, tassel like corner motifs, known as jhalar.
The most coveted design is known as the panna hazaar (literally: a thousand emeralds) in which the floral pattern is highlighted with flowers interlaced like jewels by means of gold and silver thread. The kalka (paisley), whose origin may be traced to the painted manuscripts of the Mughal period, has emerged as a highly popular pattern. Yet another popular pattern in jamdani is the phulwar, usually worked on pure black, blue black, grey or off-white background colours.
Colors: The traditional nilambari, dyed with indigo, or designs such as toradar (literally: a bunch or bouquet) preserved in weaving families over generations are now being reproduced. Other jamdani patterns are known as phulwar, usually worked on pure black, blue black, grey or off-white background colours.
Weave: For traditional jamdani weaving, a very elementary pit loom is used and the work is carried on by the weaver and his apprentice. The latter works under instruction for each pick, weaving his needle made from, buffalo horn or tamarind wood to embroider the floral sequence. With a remarkable deftness, the weft yarn is woven into the warp in the background colour from one weaver to the other.
The butis (motifs) across the warp, the paar (border) and anchal (the portion that goes over and beyond the shoulder) are woven by using separate bobbins of yarn for each colour. The fine bobbins are made from tamarind wood or bamboo. After completion the cloth is washed and starched.
Some more history: Jamdani, because of its intricate patterns, has always been a highly expensive product. According to historical accounts, Jamdanis custom made for the Mughal emperor Aurangzeb in the 17th century cost over thirty pounds; evidently the jamdani fabric was essentially meant only for the affluent nobility, in those days.
The region in and around Dhaka (now in Bangladesh) became synonymous with this wonder fabric. For the Mughals it was fashioned into elaborate angarkhas (upper garment/shirt) worn by both men and women; it also travelled from Dhaka through Agra, to Bukhara, Samarkand and other parts of West Asia. In the centuries that followed Jamdani was procured European export companies which retailed it in cites like Hamburg, London, Madrid, Copenhagen and so forth.
Link: http://www.stylematters.com/category/Fashion/Jamdani--The-Precious-Fabric-of-Bengal/
by Chandana Banerjee
Pages of history: The earliest mention of Jamdani and its development as an industry is to be found in Kautilya's Arthashashtra (book of economics) wherein it is stated that this fine cloth used to be made in Bengal and Pundra (parts of modern Bangladesh). Jamdani is also mentioned in the book of Periplus of the Eritrean Sea and in the accounts of Arab, Chinese and Italian travelers and traders.
The base fabric for Jamdani is unbleached cotton yarn and the design is woven using bleached cotton yarns so that a light-and-dark effect is created. Alexander the Great in 327 B.C mentions “beautiful printed cottons” in India. It is believed that the erstwhile Roman emperors paid fabulous sums for the prized Indian cotton.
Design: The method of weaving resembles tapestry work in which small shuttles of coloured, gold or silver threads, are passed through the weft. The jamdani dexterously combines intricate surface designs with delicate floral sprays. When the surface is covered with superb diagonally striped floral sprays, the sari is called terchha. The anchal (the portion that goes over and beyond the shoulder) is often decorated with dangling, tassel like corner motifs, known as jhalar.
The most coveted design is known as the panna hazaar (literally: a thousand emeralds) in which the floral pattern is highlighted with flowers interlaced like jewels by means of gold and silver thread. The kalka (paisley), whose origin may be traced to the painted manuscripts of the Mughal period, has emerged as a highly popular pattern. Yet another popular pattern in jamdani is the phulwar, usually worked on pure black, blue black, grey or off-white background colours.
Colors: The traditional nilambari, dyed with indigo, or designs such as toradar (literally: a bunch or bouquet) preserved in weaving families over generations are now being reproduced. Other jamdani patterns are known as phulwar, usually worked on pure black, blue black, grey or off-white background colours.
Weave: For traditional jamdani weaving, a very elementary pit loom is used and the work is carried on by the weaver and his apprentice. The latter works under instruction for each pick, weaving his needle made from, buffalo horn or tamarind wood to embroider the floral sequence. With a remarkable deftness, the weft yarn is woven into the warp in the background colour from one weaver to the other.
The butis (motifs) across the warp, the paar (border) and anchal (the portion that goes over and beyond the shoulder) are woven by using separate bobbins of yarn for each colour. The fine bobbins are made from tamarind wood or bamboo. After completion the cloth is washed and starched.
Some more history: Jamdani, because of its intricate patterns, has always been a highly expensive product. According to historical accounts, Jamdanis custom made for the Mughal emperor Aurangzeb in the 17th century cost over thirty pounds; evidently the jamdani fabric was essentially meant only for the affluent nobility, in those days.
The region in and around Dhaka (now in Bangladesh) became synonymous with this wonder fabric. For the Mughals it was fashioned into elaborate angarkhas (upper garment/shirt) worn by both men and women; it also travelled from Dhaka through Agra, to Bukhara, Samarkand and other parts of West Asia. In the centuries that followed Jamdani was procured European export companies which retailed it in cites like Hamburg, London, Madrid, Copenhagen and so forth.
Link: http://www.stylematters.com/category/Fashion/Jamdani--The-Precious-Fabric-of-Bengal/
by Chandana Banerjee
Jamdani Saris – Light, practical and pretty
If like me, you love to wear saris on an everyday basis to office, malls, multiplexes and of course, even to weddings and parties, then here is a sari that will work well for you. Jamdani saris of Bengal are known for their elegance and comfort and sought after for their beauty and craftsmanship.
Here are some of the categories that Jamdani saris can be slotted into:
Daccai Jamdani saris – have a fine texture, just like muslin and elaborate and ornate workmanship. Multi-colored linear or floral motifs all over the body and border and exquisitely designed pallu is what makes these saris so special. The mango motif that signifies fertility and marital bliss, is a popular design in Jamdani saris.
Saris with Jamdani motifs on Tangail fabric are known as Tangail Jamdani.
Shantipur Jamdani saris have a powder fine texture.
Dhaniakhali Jamdani has a tighter weave than the "tangail" or "shantipur", and is hardier. The bold colors and contrasting borders and absurdly low prices make them very affordable.
Link: http://www.stylematters.com/category/Fashion/Jamdani-Saris--Light-practical-and-pretty/
by Chandana Banerjee
Here are some of the categories that Jamdani saris can be slotted into:
Daccai Jamdani saris – have a fine texture, just like muslin and elaborate and ornate workmanship. Multi-colored linear or floral motifs all over the body and border and exquisitely designed pallu is what makes these saris so special. The mango motif that signifies fertility and marital bliss, is a popular design in Jamdani saris.
Saris with Jamdani motifs on Tangail fabric are known as Tangail Jamdani.
Shantipur Jamdani saris have a powder fine texture.
Dhaniakhali Jamdani has a tighter weave than the "tangail" or "shantipur", and is hardier. The bold colors and contrasting borders and absurdly low prices make them very affordable.
Link: http://www.stylematters.com/category/Fashion/Jamdani-Saris--Light-practical-and-pretty/
by Chandana Banerjee
Baluchari of Bengal – Sari or a Work of Art?
Baluchari saris are what dreams are made of – designed in silk and woven in contrasting colors with detailed figures, motifs, flowers or scenes from mythology. These saris with their enticing colors and alluring designs are prized possessions of most Bengali women and are worn for special occasions and religious ceremonies.
The Baluchari sari, developed some two hundred years ago, use a palette of dark red, yellow, green, purple, chocolate, cream, white and blue. The intricately carved terracotta temples of Bishnupur provide ample inspiration for the weavers who reproduce whole epics on the pallu of the sari. The sari is usually five yards in length and 42” wide and the field of the sari is covered with small butis and a beautiful floral design runs across the edges.
But behind each beautiful sari lies months of toil and planning as to how to get the design on the pieces with their clever use in the loom. First the designer makes the design on graph papers, which is then copied on punching cards. These cards are then joined to make the full design.
Two types of silk threads from two different regions of the country, Bangalore and West Bengal are used for the weaving—one set vertically and the order horizontally. A month before it is put in the loom, the thread is prepared according to the number of Baluchari saris to be woven in that design while the number of shutters to be used depends on the number of times the motifs will be used all over the sari.
The silk threads are put in boiling water and the next day tied with a rope and put into hot colors. Extra color is then drained out and the threads are put into the spinning wheel. So, whenever you drape yourself in an exquisite Baluchari sari, think of the rich color and bewitching patterns - and think of the weaver and his craftsmanship. Here is a piece of art that you can flaunt, possess and gift, with equal aplomb.
Link: http://www.stylematters.com/category/Fashion/Baluchari-of-Bengal--Sari-or-a-Work-of-Art/
by Chandana Banerjee
The Baluchari sari, developed some two hundred years ago, use a palette of dark red, yellow, green, purple, chocolate, cream, white and blue. The intricately carved terracotta temples of Bishnupur provide ample inspiration for the weavers who reproduce whole epics on the pallu of the sari. The sari is usually five yards in length and 42” wide and the field of the sari is covered with small butis and a beautiful floral design runs across the edges.
But behind each beautiful sari lies months of toil and planning as to how to get the design on the pieces with their clever use in the loom. First the designer makes the design on graph papers, which is then copied on punching cards. These cards are then joined to make the full design.
Two types of silk threads from two different regions of the country, Bangalore and West Bengal are used for the weaving—one set vertically and the order horizontally. A month before it is put in the loom, the thread is prepared according to the number of Baluchari saris to be woven in that design while the number of shutters to be used depends on the number of times the motifs will be used all over the sari.
The silk threads are put in boiling water and the next day tied with a rope and put into hot colors. Extra color is then drained out and the threads are put into the spinning wheel. So, whenever you drape yourself in an exquisite Baluchari sari, think of the rich color and bewitching patterns - and think of the weaver and his craftsmanship. Here is a piece of art that you can flaunt, possess and gift, with equal aplomb.
Link: http://www.stylematters.com/category/Fashion/Baluchari-of-Bengal--Sari-or-a-Work-of-Art/
by Chandana Banerjee
Sensuous and beautiful, durable and strong, this golden yellow silk of Assam is used in saris and traditional Assamese attire, ‘mekhla chaddar’. Assam’s golden silk is from a caterpillar, Antheraea assama that feeds on the leaves of Som and Soalu trees.
Silkworms and silk: Silkworm eggs (popularly known as seeds) are laid out on the Som and Soalu leaves to hatch out into caterpillars about 2mm long. They grow rapidly, eat voraciously and end up about 30 mm long after four to five weeks. During this time, they change skins four times.
After the final skin change straw frames are provided in which silkworms make its cocoon. Cocoon making takes further eight days. Man interferes this life cycle at the cocoon stage to obtain the silk, a continuous filament of commercial importance, used in weaving silk, the dream fabric.
These silk worms yield a beautiful golden thread that is much sought after for its colour and sheen. It takes the silkworm another three to four days to transform into a pupa and another 15 days for the moth to emerge, but this is not allowed to take place for all.
Muga silk is named after Assamese word "Muga" which indicates the amber (brown) colour of cocoon. It is popular for its natural golden colour, glossy fine texture and durability. Muga silk is hardy in character. It endures for years and improves with each washing.
Design and Color: Trees, creepers, leaves, flowers, peacocks, birds and animals in stylized forms, as well as traditional tribal motifs are woven or embroidered onto the muga silk fabric. The rich, golden fabric is resplendent in traditional colors like red, green and black and newer entrees such as yellow, blue, beige, silver, copper pink and brown. Wedding saris are adorned with gold and silver thread work. The looms are narrow; so, the borders are woven separately and then stitched on, which is another facet special to the Assamese Muga sari.
Legend: Muga was worn only by Ahom kings and noble families of Assam for six hundred years. It was unknown to the outer world until 1662 when Jean Joseph Tavernier, a French explorer, traveled through Assam.
Cost: A good Assamese Muga silk saree could cost anywhere between Rs 8,000-Rs 20,000 or above.
Link: http://www.stylematters.com/category/Fashion/Muga-Silk--The-Pride-of-Assam/
by Chandana Banerjee
Silkworms and silk: Silkworm eggs (popularly known as seeds) are laid out on the Som and Soalu leaves to hatch out into caterpillars about 2mm long. They grow rapidly, eat voraciously and end up about 30 mm long after four to five weeks. During this time, they change skins four times.
After the final skin change straw frames are provided in which silkworms make its cocoon. Cocoon making takes further eight days. Man interferes this life cycle at the cocoon stage to obtain the silk, a continuous filament of commercial importance, used in weaving silk, the dream fabric.
These silk worms yield a beautiful golden thread that is much sought after for its colour and sheen. It takes the silkworm another three to four days to transform into a pupa and another 15 days for the moth to emerge, but this is not allowed to take place for all.
Muga silk is named after Assamese word "Muga" which indicates the amber (brown) colour of cocoon. It is popular for its natural golden colour, glossy fine texture and durability. Muga silk is hardy in character. It endures for years and improves with each washing.
Design and Color: Trees, creepers, leaves, flowers, peacocks, birds and animals in stylized forms, as well as traditional tribal motifs are woven or embroidered onto the muga silk fabric. The rich, golden fabric is resplendent in traditional colors like red, green and black and newer entrees such as yellow, blue, beige, silver, copper pink and brown. Wedding saris are adorned with gold and silver thread work. The looms are narrow; so, the borders are woven separately and then stitched on, which is another facet special to the Assamese Muga sari.
Legend: Muga was worn only by Ahom kings and noble families of Assam for six hundred years. It was unknown to the outer world until 1662 when Jean Joseph Tavernier, a French explorer, traveled through Assam.
Cost: A good Assamese Muga silk saree could cost anywhere between Rs 8,000-Rs 20,000 or above.
Link: http://www.stylematters.com/category/Fashion/Muga-Silk--The-Pride-of-Assam/
by Chandana Banerjee
Kota Doria – The breezy and beautiful fabric from Rajasthan
Rajasthan is well known for the fine Kota Doria Muslin saris. Transparent and light, kota saris are ideal for hot summers. Kota Doria, as the name suggests, is woven in the villages on the outskirts of the Kota city in Rajasthan.
The special weave: It is a type of cotton cloth that becomes special because of its weave. Cotton yarn of different thickness along with silk is used in the weaving. The silk gives the necessary transparency, while cotton provides strength to the fabric. The lack of uniformity in the thickness of the fibers creates geometric patterns in between, which are locally called as ‘khats.’
This is the most open weave fabric woven in India. The weave is a result of sufficient spacing between super fine warp and weft threads with slightly thick thread at regular counts to produce a very subtle check pattern. Also, the thicker threads make the cloth strong and more durable. The thin fibers maintain its softness, delicacy and give it a translucent and gossamer look.
Design and color: The traditional Kota Doria is white, but once dyed, these textiles come in bright hues like pomegranate red, purple, Bordeaux red, turquoise, lapis, turmeric yellow and saffron. Single color dying, a mixture of shades and bandhani are the most common patterns available in the reams of fabric. Kota Doria saris embellished with zari work is worn for festivals and weddings.
History: Kota Doria is also known as Masuria Malmal. Maruria means Mysore, the place where the weaving of this particular cloth originated. Kota saris were first made when weavers were brought to Kota (between 1707 and 1720) from Mysore by Maharao Bhim Singh. The art of weaving cotton in the open khat or check structure has been passed down generations. The whole process of weaving is done in an age old manner - right from the setting of the patterns, to graph making, dyeing of the yarn and setting of the loom. Down South, this fabric is still known as Kota Masurias.
Link: http://www.stylematters.com/category/Fashion/Kota-Doria--The-breezy-and-beautiful-fabric-from-Rajasthan/
The special weave: It is a type of cotton cloth that becomes special because of its weave. Cotton yarn of different thickness along with silk is used in the weaving. The silk gives the necessary transparency, while cotton provides strength to the fabric. The lack of uniformity in the thickness of the fibers creates geometric patterns in between, which are locally called as ‘khats.’
This is the most open weave fabric woven in India. The weave is a result of sufficient spacing between super fine warp and weft threads with slightly thick thread at regular counts to produce a very subtle check pattern. Also, the thicker threads make the cloth strong and more durable. The thin fibers maintain its softness, delicacy and give it a translucent and gossamer look.
Design and color: The traditional Kota Doria is white, but once dyed, these textiles come in bright hues like pomegranate red, purple, Bordeaux red, turquoise, lapis, turmeric yellow and saffron. Single color dying, a mixture of shades and bandhani are the most common patterns available in the reams of fabric. Kota Doria saris embellished with zari work is worn for festivals and weddings.
History: Kota Doria is also known as Masuria Malmal. Maruria means Mysore, the place where the weaving of this particular cloth originated. Kota saris were first made when weavers were brought to Kota (between 1707 and 1720) from Mysore by Maharao Bhim Singh. The art of weaving cotton in the open khat or check structure has been passed down generations. The whole process of weaving is done in an age old manner - right from the setting of the patterns, to graph making, dyeing of the yarn and setting of the loom. Down South, this fabric is still known as Kota Masurias.
Link: http://www.stylematters.com/category/Fashion/Kota-Doria--The-breezy-and-beautiful-fabric-from-Rajasthan/
Subscribe to:
Posts (Atom)
