THE TRADITIONAL SILK AND BENARASI SILK SAREES OF INDIA
Silk has always played a vital role in the art of Indian sarees. Be in marriage or any festival when it came to sarees silk was the key player from time immemorial. History if followed well would tell us that the Indian sarees had a strong base for silk as the fabric used the basic material of weaving a saree.
In this section we are going to see the variety of sarees based on silk and comes from various sections of India which have strong base of saree production and that is of silk. Andhra Pradesh, Assam, Bihar, Gujarat, Jammu and Kashmir, Tamil Nadu, Uttar Pradesh, West Bengal and many more.
Indian Traditional Silk Sarees would include the names like Assam Silk, Katan Silk, Kora Silk,
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On the contrary the border has a dense floral silk threadwork in navy floral and leaf motif. The pallu has heavy matka type design with navy blue flowers with small dots of yellow threads. The light to carry saree is for a wedding reception with a navy blue contrast blouse.
Image Courtesy https://www.indiansilkhouse.com/index.php?route=product/product&path=59_91&product_id=284 The origin of Ikkat saree is from Nalgonda district in Andhra Pradesh. This can be a fabulous collection in the wardrobe and can be a show stopper if you make your presence in the black based Ikkat silk saree. The saree is uniquely weaved with red and golden yellow resham patch followed by wide zari patch work. The saree is totally for a reception or for party wears. A Zari or beige colored art silk blouse would suit best. This saree can go well with light as well as heavy golden jewellery.
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The name korial is derived from the workd ‘kora’ or white. This red and white Korial Benarasi silk saree is unique in design. The milk white Benarasi has an intricate white weaved body with a golden zari border. The folds are of red again with broad zari motifs with an explicit pallu makes it look absolutely a show stopper one. The saree is suitable for festive occasion especially as a morning wear of any auspicious occasion. This is bit heavy saree and one who has a fascination of a gaudy zari work heavy saree can try this out.
Image Courtesy https://www.indiansilkhouse.com/saree/benarasisilk?product_id=550 This is another Benarasi Silk saree and is unique because it has a plain pink body with heavy and broad zari border with a wide stretch of pain zari in the pallu. This is totally different from the traditional Benarasi saree. The saree would be suitable for the ones who loves walking different from the latest trend and loves to experiment. So a lady wearing this saree with a brocade quarter blouse with round neck would certainly look totally different in the crowd and can stand
of natural silk and the artificial silks rayon and nylon are quite different. Silk yarn, extracted
In “The Meaning of Adornment,” a sub-chapter within “Distinction and Display in the Visiting Scene,” Meneley explains how important adornment (fashion) is for Zabidi women. The women made sure that they publicly dress too impressed because they know that their families and themselves will be judged (Meneley 1996: 109). Zabidi women become the active participators when they dress appropriately to their culture to ensure their families’
Hmong textiles are designed with a variety of geometric shapes and patterns. Shapes are regularly added to their dresses, headdresses, and flower cloths. During the Hmong New Year, men and women wear a traditional dress with a turban wrap or a rooster hat. The dress has a very conservative style; covering majority of the body of the man or woman. It is designed by adding embroideries and appliqués. The headdress is also a main part of the dress. Turban wrap is used as a rounded covering for the head, conversely the rooster hat is highly decorated and resembling the comb of a rooster. The flower cloth, or the Hmong word "Paj Ntaub", has been in the Hmong history for over two centuries. Flower cloths are embroideries contain mainly geometric designs and bright yarns. Hmong textiles are often embellished with bright yarns and are usually know as "story cloths." They were weaved to narrate different series of events: the villa...
This dress features trimming with a silk polychrome fly fringe. It compares to the size of an adolescent. It is quite small in size and has sharp angles among the waist, hips, and shoulder areas. The structure of the gown is what some may consider traditional. While the front of the dress has a dip near the chest area the back has a long cape that extends to the ground. The fabric is rather thick and matte. There is various pleating that adorns the ends of the sleeves, the cape, and the hips. At the front of the gown there is cross-hatching in the stitching at the waist. The gown features one main fabric with various colors and patterns. The fabric has a light blue background with cream-colored leaf shapes. There are also olive-green leafs and maroon (white) flowers printed on the
A man’s shirt and pants are European, usually worn with a traditional vest and sandals. Traditional hats are worn as well (Falconer, Kieran, and Quek 61-62). A woman’s outfit consists of a traditional hat and sandals. Their hair is usually tied up in long, thick braids. A colorful shawl is usually worn over a skirt and short jacket (Falconer, Kieran, and Quek 63).
Use specific examples of garments drawn from primary sources such as clothing from the University teaching collection and garments from other valid museum websites. (e.g. V&A, London; Metropolitan Museum, New York; Kyoto Institute, Japan and Platt Hall Gallery of Costume, Manchester; L.C.F. Paper Pattern collection)
Most people made the fabric by hand, “Polynesians spent hours beating plant fibers and tree bark into tapa cloth.” (Source 2) The difference between then and now is that people back then worked very hard for their clothing while we don’t have to lift a finger for what we have. It’s so easy for us to go to a local store or the mall and we can choose from a variety of clothes based on what our style is and what we are interested in while back then, people had to work for theirs and they didn’t have brands or a large variety of different types to choose from. Fabric was also expensive and more meaningful than what it is now. People had put in a lot of time and money to make the fabric by
...ococo patterns with henna paste, this act is also known as Mehendi. The groom wears a traditional sari while his bride is decorated in bright colors, flowers and yellow/gold jewelry, she also wears a women’s sari.
Their collection is compiled dresses, tops, sweaters, rompers, bottoms, swimwear, surf wear, blouses, tees & tanks, graphic tees, shorts, skirts, pants, bikini tops, bikini bottoms, one pieces bikini, and accessories. They also have a collection of necklaces in a variety of sizes. All their dresses are made with premium fabrics, fabulous colors and amazing prints. They try their best to offer beach lifestyle clothing at reasonable rates. Ready-to-wear, beach knits, and bikinis in stores now and available
The short story “Clothes” by Chitra Banerjee Divakaruni is about a young Indian woman, Sumita, and her cultural transition to America that is symbolized by her clothes and the color of her clothes. The traditional Indian attire for a woman is a sari and each one has its own purpose. Her clothes also indicate her progression from daughter, to wife, to woman.
Weaving is a common thread among cultures around the world. Weaving is a way of producing cloth or textile. Today we have machines that weave large-scale textiles at cheap prices. Production of cloth by hand is rarely engaged in today’s Westernized societies. Not many people are thinking about how the fibers are actually constructed to make their clothes. However, in other cultures across the world the tradition of weaving still exists. By comparing three cultures that continue weaving as a part of their tradition we can see similarities and the differences between them. The reasons that each culture still weaves vary, as do the methods and materials. The desired characteristics of the cloth also vary around the world as each culture values different aesthetics.
For example, in Nigeria, it is here you’d find textiles such as Aso-Oke (ah-SHAW-okay), a woven strip cloth that is the “traditional wear of the Yoruba’s (the tribe of the southwest people in Nigeria, Africa). Aso-Oke is a cloth that is worn on special occasions by the Yoruba's usually for chieftaincy, festivals, engagement, naming ceremony and other important events” (digest.bellafricana.com). Along with Aso-Oke, there is also the indigo dyed cloth called Adire, which is made by Yoruba women. According to the book titled, African Textiles by Christopher Spring, he states, “although many cloths are woven from uncolored natural fibers, the practice of dyeing both the yarn and the completed textile is widespread throughout Africa” (1989:5).
The chosen garment that will be discussed in detail in this essay is the Royal wedding dress designed for Catherine (Kate) Middleton, The Duchess of Cambridge made by the English designer Sarah Burton creative director of the fashion label Alexander McQueen. This essay will cover the topics of this dress in terms of historical and cultural context, the formal elements and its meaning.
The groom will wear many different outfits throughout the day of the ceremony. He will wear a Dhoti and some type of shirt until he arrives at the bride’s house. A Dhoti is an unstitched garment that tied to the waist and covers a majority of the legs. Upon arrival he will be wrapped with a sheet. When it’s time for the ceremony to the groom could be seen wearing a white silk suit, a sword and a turban but it may vary in different locations. The turban, or safa, can be worn with a tail-end or have white flowers suspended with strings; these flowers are called Sehra. In some areas, such as central and western India, a golden crest studded with stone is tied over the right side of a groom’s
One of the characteristics that is lost fist through the process of westernization of a culture is traditional clothing. Clothing in India, with the exception of traditional vestments such as the Dhoti, Kurta, and Indian Sari, has never been about the aesthetically pleasing look of clothes. Up until the modern era Indians have had clothes recycled from older more worn clothes. This clothe recycling process is known as the “Indian shoddy industry (where clothing is completely destroyed in order to permit the reclamation of its constituent fibres)”(Norris). A now more modernized and westernized India has seen a growth in western name brand clothing such as Levi’s Strauss & Co. Jeans, and other brand name clothing that are favored by adolescents of western society, and have gained increasing popularity amongst Indian adolescents as well. Western clothing has become so popular in India that its own government now considers it a part of traditional Indian clothing. This is a clear example of India 's loss of culture as foreign brands are becoming more prevalent within the Indian mainstream. Not only has western clothing such as jeans and t-shirts been accepted into the Indian mainstream, but