Hindu Culture -Cloths -1

Hindu Culture  - Cloths

Achkan

History

The achkan originated in North India and was court dress of nobles and royals in regions such as Punjab , before being more generally adopted in the late eighteenth century. The achkan is commonly worn by the groom in the vast majority of Hindu and Sikh wedding ceremonies. It can be distinguished from the sherwani by the fact that it is often made from lighter, finer fabrics, and is generally without line.

Ajrak

Ajrak (Sindhi: اجرڪ) is a name given to a unique form of blockprinted shawls and tiles found in Sindh, Pakistan. These shawls display special designs and patterns made using block printing by stamps. Common colours used while making these patterns may include but are not limited to blue, red, black, yellow and green. Over the years, ajraks have become a symbol of the Sindhi culture and traditions.

History

Early human settlements in the region which is now the province Sindh in Pakistan along the Indus River had found a way of cultivating and using Gossypium arboreum commonly known as tree cotton to make clothes for themselves. These civilizations are thought to have mastered the art of making cotton fabrics.
A bust of a priest-king excavated at Mohenjo-daro, currently in the National Museum of Pakistan, shows him draped over one shoulder in a piece of cloth that resembles an ajrak. Of special note are the trefoil pattern etched on the person's garment interspersed with small circles, the interiors of which were filled with a red pigment. This symbol illustrates what is believed to be an edifice depicting the fusion of the three sun-disks of the gods of the sun, water and the earth. Excavations elsewhere in the Old World around Mesopotamia have yielded similar patterns appearing on various objects, most notably on the royal couch of Tutankhamen. Similar patterns appear in recent ajrak prints.
The level of geometry on the garment comes from the usage of a method of printing called woodblock printing in which prints were transferred from geometric shapes etched on the wooden blocks by pressing them hard on the fabric. Block printing is thought to have been first used in ancient China, at least as far as movable type is concerned. On its way through the populous regions of the Indus Valley, this technique of fabric printing was adopted at Mohenjo-daro.
The tradition still prevails centuries later, and people still use the same methods of production that were used in the earlier days to create an ajrak. The garment has become an essential part of the Sindhi culture and apparel of Sindhis. Men use it as a turban, a cummerbund or wind it around their shoulders or simply drape it over one shoulder. Women use it as a dupatta or a shawl and sometimes as a makeshift swing for children. Ajraks are usually about 2.5 to 3-meters long, patterned in intense colours predominantly rich crimson or a deep indigo with some white and black used sparingly to give definition to the geometric symmetry in design.
Ajraks are made all over Sindh, especially in Matiari, Hala, Bhit Shah, Moro, Sukkur, Kandyaro, Hyderabad, and many cities of Upper Sindh and Lower Sindh.
The ajrak is an integral part of Sindhi culture and Sindhi nationalism. Its usage is evident at all levels of society, and is held in high esteem, with the utmost respect given to it. According to Sindhi traditions, ajraks are often presented as gifts of hospitality to guests and presented to the person who is utterly respectable. They are also worn on festive occasions such as weddings and cultural events. Many prominent politicians from Sindh publicly adorn Ajrak. 

Kho (costume)

Kho (Bhutia) or Bakhu (Nepali) is a traditional dress worn by Bhutia, ethnic Tibetans of Sikkim. It is a loose cloak type garment that is fastened at the neck on one side and near the waist with a silk or cotton belt, similar to the Tibetan chuba, but sleeveless.
Women wear a silken full sleeve blouse called honju inside the kho; a loose gown type garment fastened near the waist, tightened with a belt. Married women tie a multi-coloured striped apron of woolen cloth called pangden around their waist.
Male members wear a loose trouser under the kho. The traditional outfit is complemented by embroidered leather boots by both men and women

Choli

  A choli (Hindi:   Gujarati: ચોળી, Marathi: चोळी, ravike in South India,   ravike, Telugu:   is a midriff-baring upper garment in the Indian sari costume worn in India, southern Nepal, Pakistan, Sri Lanka, Bangladesh, and other countries where the sari is worn.  It is also part of the ghagra choli costume of India. The choli is cut to fit tightly to the body and has short sleeves and a low neck. The choli is usually cropped, allowing exposure of the midriff and the navel; the cropped design is particularly well-suited for wear in the sultry South Asian summers.

Evolution  

The term "choli" is derived from another ruling clan from south, the Cholas. Rajatarangini (meaning the 'river of kings'), a tenth-century literary work by Kalhana, states that the Choli from the Deccan was introduced under the royal order in Kashmir. The first cholis were front covering, with choli tied at the back with four strings. Choli of this type are still common in state of Rajasthan.  Pre-Christian era paintings of Maharashtra and Gujarat are considered the first recorded examples of choli. Poetic references from works like Silapadikkaram indicate that during the Sangam period 3rd century BC - 4th century CE in ancient South India, a single piece of clothing served as both lower garment and upper shawl. In Kerala, paintings by Raja Ravi Varma indicate women being topless. On the contrary,other historians point to much textual and artistic evidence for various forms of breastband and upper-body-shawl

Changing times

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During the 1960s, a woman was not considered quite a 'lady' if she bared her neckline far too daringly and shoved the sari pallu on to one side, only to give a glimpse of her bosom. A lady of honour ideally covered her back and upper arms, and her blouse was made of a thick fabric. Of course, every woman followed the norm. In the 1970s and 1980s, the blouses went knotty, criss-crossed with a deep cut and shone through the sheer saree.  Anupama Raj, a boutique owner commented, "There is a very real need to re-invent the choli so that it can be worn with a variety of outfits. Just as we see the choli to be a deconstructed form of the blouse, we need to deconstruct the choli. Only then, will it be acceptable internationally." Bobby Malik, an exporter-turned-designer commented,"The choli is the most sensuous of all garments created for women. It not only flatters the feminine form, but also brings out the romanticism in a woman. But where Indian designers have failed is at giving it an international look and making it still more beautiful."
Today the entire approach towards the choli is adventurous.The metamorphosis of cholis from being demure and sedate in the past decades to daring in terms of adventurous tailoring with innovative necklines such as halter, tubes, backless or stringed, is worth a mention. Designer Manish Malhotra said, "Since most young people follow a healthy gym routine and are at ease with their bodies, they want to look different and still be effortlessly comfortable. They like to travel and carry a sense of Indianness around them."  Designer Vikram Phadnis said, "It's also to do with the fact that the new age woman is well-travelled, well-read and open to experimentation."  Sonora Kabir, another Delhi-based designer commented, "Normally, the choli is supposed to hover around the navel area. But if you crop the lower edges and combine it with a funky design — beads, embroidery etc.,— it would be chic enough to be worn over jeans or a pair of trousers."

Fabrics

Traditionally, the choli has been made from the same fabric as the sari, with many sari producers adding extra length to their products so that women can cut the end of the sari off and sew it into a matching choli. Cholis are made out of many fabrics. For everyday wear, cotton-based materials such as terry-cot and silk cotton are comfortable. Chiffon, silk, crepe and satin fabrics are best suited for occasions.  The ideal fabric for cholis in summer is chiffon and georgette.  Sheer and other transparent fabrics are considered to add glamour provided they come with a lining in the right places. But cholis made out of velvet and suede are considered the deadliest faux pas for the Indian culture.

Colours

The colour of the choli is usually matched with the colour of the sari. Currently, the cholis are worn in contrast colours to that of the colour of the sari.  Colours like black, white, navy blue, deep purple, crimson red, lemony yellow, hot pink and sea green are mostly preferred. The colour of the moment is shades of blue and aqua.Designers also recommend that the skin tone should be taken into consideration before choosing what colour the blouse should be. Fairer skins are at an advantage as they can carry any colour. Darker hues such as navy and black can make one appear slimmer. Fluorescent colours are mostly avoided.
Other than the colour, prints are also given significance. Embroidery on blouses that use threads of contrasting shades is considered trendy.  For formal occasions, embroidered blouses are still very popular. When wearing a crepe sari, richly embroidered, sheer cholis are preferred.  Other embellishments that could make an appearance on your blouse include sequins, kundan work and crystals

Churidar

Churidars (Hindi: चुडीदार)(Urdu: چُوڑی دار‎), (Punjabi: ਚੂੜੀਦਾਰ), or more properly churidar pyjamas  , are tightly fitting trousers worn by both men and women in South Asia. In Pakistan Churidar is most famous in people of North Indian Origin including Pakistani Punjabis and in people of Karachi who migrated from India in 1947. Churidars are a variant of the common salwar pants. Salwars are cut wide at the top and narrow at the ankle. Churidars narrow more quickly, so that contours of the leg are revealed. They are usually cut on the bias (at a 45-degree angle to the grain of the fabric) which makes them naturally stretchy. Stretch is important when pants are closefitting. They are also longer than the leg and sometimes finish with a tightly fitting buttoned cuff at the ankle. The excess length falls into folds and appears like a set of bangles resting on the ankle (hence 'churidar'; 'churi': bangle, 'dar': like). When the wearer is sitting, the extra material is the "ease" that makes it possible to bend the legs and sit comfortably. The word "churidar" is from Hindi and made its way into English only in the 20th century.  Earlier, tight fitting churidar-like pants worn in India were referred to by the British as Moghul breeches, long-drawers, or mosquito drawers.
The churidar is usually worn with a kameez (tunic) by women or a kurta (a loose overshirt) by men, or they can form part of a bodice and skirt ensemble, as seen in the illustration of 19th century Indian women wearing churidar with a bodice and a transparent overskirt.

Dhoti

The dhoti also known as pancha or veshti is a traditional men's garment worn in India, Pakistan, Bangladesh and Nepal. It is a rectangular piece of unstitched cloth, usually around 4.5 metres (15 ft) long, wrapped around the waist and the legs and knotted at the waist, resembling a long skirt.
In India, veshti writers are predominant in the states of Tamil Nadu, Kerala, Andhra Pradesh, Maharastra, Karnataka, Bihar, Madhya Pradesh, Assam, West Bengal, Odisha and Konkan and Goa. In the northern parts of Gujarat and southern parts of Rajasthan the Pancha is worn with a short kurta called kediya on top. In both north and south India, notably Bihar, West Bengal, and parts of Sri Lanka, the garment is worn with a kurta on top, the combination known simply as dhoti kurta. In Tamil Nadu, it is worn with a sattai (shirt). It is worn with a chokka (shirt) or a jubba in Andhra Pradesh. In Assam, the kurta is called panjabi and the combination is known as suriya panjabi. In Pakistan, dhotis are commonly worn by men as a traditional dress in the Punjab. The lungi is a similar piece of cloth worn widely in Asia and Africa in a similar manner.

Names in India

The name dhoti derives from Sanskrit dhauta The garment has numerous other names such as, ଧୋତି Dhotī in Oriya, called   Dhotiyu in Gujarati, চুৰিয়া Suriya in Assamese, ধুতি Dhuti in Bengali,   Dhoti or Kachche Panche in Kannada,‌ Dhotar, Angostar, Aad-neschey or Pudve in Konkani, മുണ്ട് Mundu in Malayalam,   Dhoti or Pancha in Telugu,  Dhotar or Pancha in Marathi,   Laacha in Punjabi and "Mardaani" in cities of UP, Bihar, Terai,   vEtti or  vEshti in Tamil.

Custom and usag

The Pancha is considered formal wear all over the country. In addition to all government and traditional family functions, the Pancha is also considered acceptable at country clubs and at other establishments that enforce strict formal dress codes. The same is true across the Indian subcontinent, particularly in Bangladesh, Sri Lanka, and the Maldives. In many of these countries, the garment has become something of a mascot of cultural assertion, being greatly favoured by politicians and cultural figures. Thus, the pancha for many has taken on a more cultural nuance while the suit-and-tie or, in less formal occasions, the ubiquitous shirt and pants, are seen as standard formal and semi-formal wear.
In southern India, the garment is worn at all cultural occasions and traditional ceremonies. The bridegroom in a south Indian wedding and the host/main male participant of other rituals and ceremonies have necessarily to be dressed in the traditional pancha while performing the ceremonies.
Unspoken rules of etiquette govern the way the Pancha is worn. In south India, men will occasionally fold the garment in half and this reveals the legs from the knee downwards. However, it is considered disrespectful to speak to women or to one's social superiors with the Pancha folded up in this manner. When faced with such a social situation, the fold of the Pancha is loosened and allowed to cover the legs completely.
The pancha is worn by many orthodox Jain males when they visit the temple for prayer, as they are required to wear unstitched clothes in accordance to their belief in ahimsa. They wear a loose, unstitched cloth, shorter than the pancha on the top.
Pancha are worn by western adherents of the Hare Krishna sect, which is known for promoting a distinctive dress code among its practitioners, with followers wearing saffron or white coloured cloth, folded in the traditional style. Mahatma Gandhi invariably wore a pancha on public occasions  but he was well aware that it was considered "indecent" in other countries and was shocked when a friend wore one in London. Maharishi Mahesh Yogi was known for wearing a white silk dhoti.
The genteel Bengali man is stereotyped in popular culture as wearing expensive perfumes, a light kurta and an elaborate dhuti with rich pleats, the front corner of the cloth being stiffed like a Japanese fan and holding it in his hand; while feverishly discussing politics and literature. It is considered the most elegant costume and is worn at Bengali weddings and cultural festivals.
Over the past century or more, western styles of clothing have been steadily gaining ground in the region, gradually rendering the pancha a garment for home-wear, not generally worn to work. It is less popular among the youth in major metropolitan areas and is viewed as rustic, unfashionable and not 'hip' enough for the younger age-set. However, use of the pancha as a garment of daily use and homewear continues largely unabated ^]

Styles and varieties

The garment is known as the vaetti in Tamil Nadu and Mundu in Kerala. It is called pancha in Andhra Pradesh and panche in Karnataka, dhotar in Maharashtra and dhuti in Bengal. The word is related to the Sanskrit pancha meaning five. This may be a reference to the fact that a 5-yard-long strip of cloth is used. It is also related to the Sanskrit word dhuvati. In one elaborate south Indian style of draping the garment, five knots are used to wrap the garment, and this also is sometimes held to have originated the word.

It is usually white or cream in colour, although colourful hues are used for specific religious occasions or sometimes to create more vivid ensembles. Off-white dhuti are generally worn by the groom in Bengali weddings. White or turmeric-yellow is the prescribed hues to be worn by men at their weddings and upanayanams. Silk panchas, called Magatam or Pattu Pancha in Tamil Nadu and Andhra Pradesh respectively, are often used on these special occasions. Vermilion-red dhotis, called sowlay, are often used by priests at temples, especially in Maharashtra. Kings and poets used rich colors and elaborate gold-thread embroideries. Cotton dhotis suit the climatic conditions for daily usage. Silk panchas are suited for special occasions and are expensive.
There are several different ways of draping the panchas. The two most popular ones in south India are the plain wrap and the Pancha katcham (five knots or five folds). The first style is mostly seen mainly in Tamil Nadu, Kerala, southern parts of other two south Indian states of Andhra Pradesh and Karnataka. It is a simple wrap around the waist and resembles a long skirt and is usually 4 yards long. It will be folded in half up to knees while working. The second style consists of folding around the waist in the middle of the garment and tying the top ends in the front like a belt and tucking the falling left and right ends in the back. It is usually 8 yards long cloth. This style is popular across south Indian men while working in the fields.
The style in Andhra Pradesh, Karnataka and predominantly in Maharashtra and North and Eastern India, also worn in the West by devotees of the International Society for Krishna Consciousness, consists of folding the cloth in half, taking the left side, pleating it vertically, passing it between the legs and tucking it in the waist at the back. The right side is pleated horizontally and tucked in the waist at the front.
Along with dhoti, the angavastram or thundu (an extra piece of cloth) will be draped depending on its use. Farmers carry it on one shoulder and treat it as a sweat towel. Bridegrooms use it as entire upper garment. It will be folded decoratively around the waist while dancing. South Indian Hindu priests wrap about the waist as the extra layer. North Indian priests (especially those of ISKCON) may drape it across the body with two corners tied at the shoulder, or they may wear a kurta instead.

Dumdyam

Dumdyam, or dumdyám, (also dumdem; Lepcha for "female dress") is the traditional dress of Lepcha women. It is an ankle-length garment, usually made of a single pice of smooth cotton or silk, and of a solid color. When it is worn, it is folded over one shoulder, pinned at the other shoulder, and held in place by a waistband, or tago, over which excess material drapes. A contrasting long-sleeved blouse may be worn underneath. It is modernly worn on ceremonial and festive occasions.

Dupatta

Dupatta  , Urdu: دوپٹا,  include chaadar   and bochanrr in Saraiki), orni/odhni, chunri, chunni, orna, and pacheri) is a long, multi-purpose scarf that is essential to many South Asian women's suits and matches the woman's garments. Some "dupatta suits" include the shalwar kameez and the kurta. The dupatta is also worn over the South Asian outfits of choli or gharara. The dupatta has long been a symbol of modesty in South Asian dress.

History and origin

The origin of the dupatta can be traced to the Indus valley civilization located in modern-day Pakistan and north west India, where the use of textiles such as Ajrak was highly prevalent  A sculpture of the Priest King of Harrapa, whose left shoulder is covered with some kind of a chaddar, suggests that the use of the dupatta dates back to this early Indic culture.

Use

A dupatta is traditionally worn across both shoulders. However, the dupatta can be worn like a cape around the entire torso. The material for the dupatta varies according to the suit: cotton, Georgette, silk, chiffon, and more ^]
There are various modes of wearing an unsewn dupatta. When not draped over the head in the traditional style, it is usually worn with the middle portion of the dupatta resting on the chest like a garland with the ends thrown over each shoulder. When the dupatta is worn with the salwar-kameez it is casually allowed to flow down the front and back ^]
The primary use of a dupatta is to cover the head and/or any inadvertent cleavage and the contour of the bosom. However, the use of the dupatta has undergone a metamorphosis over time. In current fashions, the dupatta is frequently draped over one shoulder and even over just the arms. Another recent trend is the short dupatta, which is more a scarf or a stole, often worn with kurtas and Indo-Western clothing. Essentially, the dupatta is often treated as an accessory in current urban fashion.
When entering a church, gurdwara, mandir, or mosque, it is the habit in the Indian subcontinent for women to cover their head with a dupatta.

Farshi Pajama

Farshi Pajama (Also Paijama) (Urdu: فرشی پائجامہ,    is a woman's dress that was worn between late 17th and early 20th centuries in Muslim courts of Oudh by royalty and ladies from privileged classes of Uttar Pradesh (formerly United Provinces of Agra and Oudh in North India.) Modeled after the flowing gowns worn by British noblewomen*, the complete outfit consists of three basic parts - The Kurta or a long shirt, the dupatta or the long stole which is an essential piece of cloth in traditional Indian wear covering the head and bossom, and the third and most important, the farshi pajama, which is a flowing two legged skirt held by drawstrings. It falls straight to the ankles from where it starts flaring flowing copiously onto the floor. The farshi pajama, in this era is often called Farshi Gharara, a term not used before mid 20th century and is considered a distortion. The confusion is said to be because of the Farshi Pajama's similarity with the Gharara.

Farshi means 'associated with the 'farsh' or floor' (for example farshi baithak which is associated with sitting on the floor). When combined with the word Pajama, the term evolves to mean a bottom-wear garment that falls generously on the floor, and trails as one walks, however in reality, during walking, an expert wearer holds the dress by carefully pulling up and folding the excess flaring trail and holding it in her left hand keeping the right one free which is when the dress does not trail. The large quantity (historically, 9-15 yards) of expensive cloth, embroidered using the art of goldwork (embroidery) and sterling silver wire threads (Karchob/Zari/Zardozi etc.), used to make a farshi gharara mainly reflects the grandeur and extravagance of the nobles and rulers of that era.
Different eras brought changes to the fashion and cuts of the dress. These variations were also dependent from one princely state's court to another.
Modified, smaller-length versions are still, but rarely, worn by women in weddings in India and Pakistan to recreate bygone elegance.

Gagra choli

Gagra choli or Ghagra choli, which is also known as Lehenga choli, is the traditional clothing of women in Rajasthan  Gujarat,  Madhya Pradesh, Uttar Pradesh, Bihar, Sindh, Haryana, Himachal Pradesh and Uttarakhand. It was the traditional attire of women in Punjab before the advent of the salwar kameez (Punjabi Ghagra). Chaniya choli is another term commonly used to refer it.  It is a combination outfit of a Lehenga, tight Choli and a Dupatta.

Lehenga

Lehenga or Ghagra  is a form of skirt which is long, embroidered and pleated. It is worn as the bottom portion of a Gagra choli. It is secured at the waist and leaves the lower back and midriff bare. The ancient version of skirt or Ghagri evolved from Bhairnivasani, which in turn evolved from the Antariya when stitched on one side became tabular and was worn gathered together at the waist, and held by a girdle. This was one of the earliest forms of a clumsily stitched skirt. It was worn using drawstring or nada. The ghagri was a narrow skirt six feet long the same length as original antariya. This style can still be seen worn by Jain nuns in India.

Fabrics

The lehengas are made of a number of fabrics such as Silk, Cotton, Khadi,  Georgette, Crape, Net, Satin, Brocade and Chiffon. Even though designers have successfully used the various kinds of fabrics for making the lehenga, silk is still the most preferred fabric.

Decorative stitching

Apart from the fabric, decorative stitching patterns also play a role. Lehengas come with a wide variety of decoration and embroidery work like Gota, Phulkari, Shisha, Chikankari, Zari, Zardozi, Nakshi, Kundan, etc.  For festivals like Navratri, the ethnic Shisha embroidery is popular with a bit of patchwork. For formal wear and weddings, the embroidery is heavier in pearls, silk, sequins and zari.
Kutch embroidery is an evolving expression of the craft and textile traditions of the Rabaris, a nomadic tribe in Gujarat.Kutch work is unique in the sense that a net is woven on a cloth using thread.The net is then filled in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes.This embroidery follows its own traditional design logic and juxtaposition of colours and motifs.  The Rohanas tribals of Kutch specialise in skirt work. The Sodhas use a geometric style for their embroidery. The Garacia Jats are experts in tiny embroidery on the yoke, which intermingles with red, orange, blue and green threads. The Dhanetah Jats love embroidering broad pear-shaped mirrors using orange, black, yellow and red in chain stitch

Significance in rite of passage

In South India coming of age ceremony or rites of passage (Langa Voni Telugu:  , Pattu Pavadai Tamil:  , Langa Davani Kannada:    . Is celebrated when a girl reaches puberty. She wears Langa Voni given by her maternal grandparents, which is worn during the first part of the ceremony and then she is gifted her first Sari by her paternal grandparents, which she wears during the second half of the ceremony. This marks her transition into womanhood.
The tradition of giving Langa Voni by maternal grandparents begins with the girl's first naming ceremony Namakaran and her first rice feeding ceremony called Annaprashana. She receives her last one at her coming of age ceremony. Langa Voni is traditional clothing for unmarried girls in South India.

Luanchari

Luanchari   is a full-dress garment. The Luanchari is made up of two parts, the upper part is called choli it is made of the same fabric as of the lehanga but it is not uncommon to find the two pieces of the garment in different colours. The choli is stitched to the lehanga, to make one-piece luanchari. That one finds commonly worn by the women in Pahari miniatures, and is quite similar to lehanga.  It takes well over 16 to 21 yards to make a complete Luanchari.   It is traditional garment worn by Gaddis of Himachal Pradesh.

Festive attire

The lehenga choli is the favourite female apparel worn during festivals, weddings or special events in India. This is due to traditions as well as of the fact that it is available in a number of fabrics with many different decorative choices.  Traditionally the sari and the lehenga choli are the most popular garments for the bride in India. But it is a common bridal attire mostly in North India.It is the traditional wear of Garba ( most famous festival of Gujarat)

Ghoonghat

Ghoonghat or Ghunghat, also known as jhund is a Hindi word which describes a veil or headscarf worn by South Asian women to cover their head, and often their face. Generally a pallu (the loose end of a sari) is pulled over the head to act as a ghunghat. A dupatta (long scarf) is also sometimes used as a ghungat.

Purpose

In ghungat, a woman will veil her face from all men to whom she's related by marriage and who are senior to her own husband. This would include for example her husband's father, elder brother and uncles. The purpose of ghungat is to limit a junior or young woman's interaction with senior or older men.

Usage

The ghunghat varies in style due to personal choice and tradition. Most wearers cover only the forehead, ears, and eyes; this allows them to see through the garment whilst being veiled. A popular style is to pull the fabric from the side of the face and hold it there whilst talking to males; this forms a quick barrier between the speakers and is the most convenient form of the ghunghat.
In very traditional and rural areas, women use their sari to completely cover the face and neck, concealing their identity to males. There is a small minority of women that use the fabric to cover their whole face, chest, arms, and stomach. This type of veiling is still popular with Hindu brides and is observed on the wedding day. Many women will use the ghungat as a new bride, until their father-in-law advises to unveil. This is to keep the modesty of the bride.
Traditionally, in some parts of India, women are supposed to wear a ghunghat in front of family elders and men guests, father-in-law, elder brothers of her husband, except when only in front of other women, husband and younger male family members. The ghunghat is used to show respect to elder males of the extended family. In desert areas of Indian and Pakistan, the ghungat is used to keep sand from blowing onto the face.
The ghungat was popular in India until at least the 1930s, but its usage has steadily declined since. However, the ghunghat is still in use in rural parts of northern India, especially in Haryana, Gujarat, Rajasthan, Madhya Pradesh, Chhattisgarh, Uttar Pradesh, Bihar, Jharkhand and parts of West Bengal and Assam.

Gamucha

Gamucha (also gamocha, gamchcha, gamcha) is a thin, coarse, traditional cotton towel found in India and Bangladesh that is used to dry the body after bathing or wiping sweat. Gamucha is the local term for a sweat towel. It is often just worn on one side of the shoulder. However its appearance varies from region to region. Gamucha has been traditionally worn as scarf by male folks of Orissa which was mentioned in Oriya Mahabharata by Sarala Dasa. Male villagers wear it as dhoti.  Children of tribal communities in Orissa wear gamucha until their adolescence after which they wear dhoti.  Weavers of traditional tantubaya or jugicommunity migrated from Bangladesh to Tripura and weavers of Orissa produce good quality gamucha.  Gamucha is most commonly found with check and striped patterns of red, orange or green. Plain white gamchhas with coloured (embroidered or printed) borders from Orissa and Assam (for traditional Assamese Gamucha, please check Gamosa) are local handicrafts, and may be worn around the neck with traditional Indian attire. In western parts, Gamucha is primarily made in red color and are plain like cloth. In southern India, Gamucha is more coarse and are available in various dyes. Even home made light weight fur towels are also popularly termed as gamchhas. Gamucha are worn by the South Asian people, especially in the Indian states of Andhra Pradesh, Bihar, West Bengal, Jharkhand and the Purvanchal region, because they are not as thick as Western-style towels and better suited to the country's tropical, humid climate.In Afghanistan they are also used and are commonly referred to as dismaal.They may also be found in Central Asian, Middle Eastern and Turkish hamams as a traditional male loin cloth and towel worn during bathing and massage.

Other uses

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Gamucha is also worn as knee long loin cloths by people of the poorer sections of society, especially menial labourers and farm workers.They are also used as a headscarf, similar to the Middle Eastern Keffiyeh in rural areas. Gamchas can be turned into an effective weapon against wolfs, leopards, wild dogs or feral dogs or even dacoits, by knotting a large stone pebble into one end and using it like bolas ^]

Commercial aspects

Gamucha is produced as a primary produced as handloom product by traditional weavers. Presently the production of coarse handmade gamucha is slowing down in Orissa

Gamosa

The Gamosa is an article of great significance for the people of Assam.
It is generally a white rectangular piece of cloth with primarily a red border on three sides and red woven motifs on the fourth (in addition to red, other colors are also used). Although cotton yarn is the most common material for making/weaving gamosas, there are special occasion ones made from Pat silk.

Origin of the name

Literally translated, it means 'something to wipe the body with' (Ga=body, mosa=to wipe) however, interpreting the word gamosa as the body-wiping towel is misleading.  The word gamosa is derived from the Kamrupi word gaamasa (gaama+chadar), the cloth used to cover the Bhagavad Purana at the altar

Usage

Though it may be used daily to wipe the body after a bath (an act of purification), the use is not restricted to this.

• It is used to cover the altar at the prayer hall or cover the scriptures. An object of reverence is never placed on the bare ground, but always on a gamosa.
• It is used by the farmer as a waistcloth (tongali) or a loincloth (suriya); a Bihu dancer wraps it around the head with a fluffy knot (see picture).
• It is hung around the neck at the prayer hall (naamghar) and was thrown over the shoulder in the past to signify social status.
• Guests are welcomed with the offering of a gamosa and tamul (betel nut) and elders are offered gamosas (referred to as bihuwaan in this case) during Bihu.

One can therefore, very well say, that the gamosa symbolizes the life and culture of Assam

Cultural significance

Significantly the gamosa is used equally by all irrespective of religious and ethnic backgrounds.
At par with gamosa, there are beautifully woven symbolic clothes with attractive graphic designs being used by different cultural sub-systems and ethno-cultural groups as well.

There were various other symbolic elements and designs traditionally in used, which are now only found in literature, art, sculpture, architecture, etc. or used for only religious purposes (in particular occasions only). The typical designs of Assamese-lion, dragon, flying-lion, etc. were used for symbolizing various purposes and occasions.
There are efforts underway to have the Gamosa registered with the Geographical Indication

Gharara

A gharara (Hindi: ग़रारा, (Urdu: غراره‎) is a traditional Lucknowi garment,^[1] traditionally worn by Pakistani and North Indian Muslim women in the South Asia. It consists of a kurti (a short, mid-thigh length tunic), a dupatta (veil), and most importantly, a pair of wide-legged pants, ruched at the knee so they flare out dramatically. The knee area, called the goat in Hindi and Urdu, is often elaborately embroidered in zari and zardozi work. Each leg of a traditional gharara is made from over 12 metres of fabric, often silk brocade (see Farshi Pajama).
Ghararas originated in the city of Lucknow during the era of the Nawabs^[ . During the late 19th and early 20th centuries, it was considered everyday attire among North Indian Elite Muslims like women folk from Nawab and Taluqedars families. They were representative of the status of the person wearing them.
Ghararas were very common in Pakistan, in the 1950s and 60s with popular public figures like Fatima Jinnah and Begum Rana Liaquat Ali Khan wearing them. Over time, they gradually fell out of favour, and were replaced by sarees and shalvar qameezes. They are however, still very popular as wedding attire among Pakistan as well as Muslim and Sikh brides in Northern India as they reflect a rich cultural tradition that brings a unique elegance to the bride.

Jamavar

A jamavar is a special type of shawl made in Kashmir. Historically handmade items, some shawls took a couple of decades to complete; consequently, original Jamavar shawls are highly valued. Modern, machine-made Jamavar prints, produced in cities such as Lahore and other parts of Punjab, cost less to buy.
The jamavar design is a special floral pattern which resembles the mango fruit.
Kanika Jamavar is a high end variety of Jamavar shawl. It is made with weaving sticks and the patterns are so finely done that front and back of the shawl are indistinguishable. Pashmina wool is used to make these shawls. Less than a dozen Kani Jamavar shawls are manufactured every year. The primary manufacturing centre for these shawls is Kashmir while some low end, machine made shawls also coming from Najibabad, U.P.

Jodhpuri

A Jodhpuri suit   or Bandhgala is a blend of Indian and western taste. Also known as prince suit, it is a western suit-like product, with a coat and a trouser, at times accompanied by a vest. It brings together the western cut with Indian hand-embroidery escorted by the very famous Nehru collar. Suited for occasions like weddings and formal gatherings. An ideal outfit for relatives and close friends of the bride and groom.
Young men prefer this. It gives the bridegroom a royal appearance. In this design the kurta must be 2 inches below the sleeve. The coat should be just below the hips like that of the western coats, but not as far down as the sherwani. This is really a cross between the eastern and the western suits.
The material can be silk or any other suiting material. Normally, the material is lined at the collar and at the buttons with embroidery. This can be plain, jacquard or jamewari material.
Normally, the trousers match that of the coat. There is also a trend now to wear contrasting trousers to match the coat color.

Jubba

Jubba (Persian: جُبّه‎) is a South Asian ankle-length garment, usually with long sleeves, and similar to a robe. It is synonymous to the thawb.

Kasta sari

The Kasta sari (Marathi: नऊवारी साडी) is a style of sari draping is very similar to the way the Maharashtrian dhoti is worn. The word Kasta or Kacha refers to the sari being tucked at the back.  Since this sari is usually worn using a single nine yard cloth, it is also referred to as Nauvari which means Nine Yards.  Sakachcha sari is another term commonly used to refer to this style of sari.

Types of draping

Traditional drape

It is the traditional Marathi style of sari which is worn without a petticoat. This style of sari draping is common among the Brahmin women especially in Maharashtra. This sari is draped in a way that the center of the sari is neatly placed at the back of the waist and the ends of the sari are tied securely in the front, and then the two ends are wrapped around the legs. The decorative ends are then draped over the shoulder and the upper body or torso.

Koli-style drape

Women of the Koli tribe also wear this style of sari but cut into two pieces. One piece is worn around the waist while the other piece is used to cover the upper part of the body. It is taken on the head over the left shoulder in the Maratha fashion.  The Koli women are decorative with both dress and ornament and this sari of nine yards of cotton fabric is draped adeptly over the hips so that the figure is graceful in movement.

Usage

Traditional Usage

The traditional 'nauvari' retains its charm even in the modern age. Also known as 'Lugada', this sari is now regularly worn mostly by elderly Maharashtrian women. However, in the contemporary fashion, the trend of wearing nine-yard Kasta sari is picking up fast in the younger lot that wants to keep the age-old Marathi tradition alive. It requires perfect technique, practice and perfection to wear a nine-yard saree. Mostly worn in dance competitions, "lavani" and Maharashtrian folk dance, the Kasta sari has surely made a great come back in the fashion industry. Prashant Shalgar, a nine-yard Kasta sari seller, said, "It has always been in demand. Though earlier only elder generation women would pick up these sarees but now many young girls go for it for its elegant looks. Prashant Kolhe, a management executive, said, "My grandmother used to wear nine-yard saree. It would look great on her. She used to carry it very well. I guess Indian sarees are the best fashion wear available on the globe. You cannot look graceful, trendy and comfortable in any other dress     Women dabbawalas in Mumbai are dressed in nauvari saris.

Modern Usage

To make the wearing more easy and comfortable, the market is all set to sell stitched Kasta sari for those who love drape it. Sandhya Kenjale, another Kasta sari seller, says, "I started stitching nineyard sarees because I could never drape it properly. For draping a nineyard saree, you should have some guidance for it is a technique to wear it. There are many occasions when women choose to wear nine-yard sarees but the drawback is they do not know the technique. Ready-to-wear nine-yard saree is the perfect solution for such problems. Just wear it like a salwar put the pallu over the shoulder and you are dressed in few minutes. Also, teen-aged girls are seen wearing it in their school or college gatherings. Many brides are now taking help of such ready-to-wear nine-yard sarees. With a wide range of them available in the market, buyers have a lot of choice. Available in Bangalore silk, Belgaum silk, pure silk, Orissa silk, nine-yard sarees are priced reasonably. "Prashant Shalgar added, "Marathi movies are responsible for keeping the traditional wear alive. To make it easy, these sarees are now stitched and sold in the market".^[11] Shobhaa De in her blog told that she suggested to Mukesh Ambani that the cheerleaders of Mumbai Indians can wear the traditional nine yard kasta sari and perform dance routines for the local lavani.

Reduction in Usage

On the contrary, some consider the Kasta sari has fallen out of favour currently. It is considered far too revealing. It is rarely seen in the cities. This type of sari is regularly made fun of in films, portrayed as some sort of “sexy” garment, meant to titillate. In reality the Kasta sari embodies freedom for women. In a way it is similar to the dhoti as it allows leg movement and the ankles are left free. But today the Kasta sari will only be considered decent if distorted to hide every inch of a woman’s body

Kasta saris are considered to be one of the most glamourous outfits for women in Bollywood films.

Kowpeenam

Kaupinam  , Kaupina   or Langot  ) is an undergarment worn by Indian men as a loincloth or underclothing. It is made up of rectangular strip of cotton cloth which is used to cover the genitals with the help of the strings connected to the four ends of the cloth for binding it around the waist of the wearer. It has fallen into disuse amongst the common people, but any Hindu godly people or saints continue to use it.

Use

It is still used by wrestlers in India. The wrestlers often wear a g-string shaped guard underneath to protect their genitals from rupture. There exists a verse in the Sam Veda of the Hindu sacred scriptures encouraging the use of kowpeenam while sexual intercourse.  The devotees of Lord Shiva were said to be wearing Kaupinam.

Religious significance

Kaupina Panchakam

Kaupina vantah kalu bagya vantah
Vedanta Vakyeshu sada ramayantah
Bikshanna matrena tustimantah
vishokamantah karane charantah
kaupina vantah kalu bagyavantah

 (Sri Adi Sankaracharya)

It has religious significance attached to asceticism for the Hindus. Bhagavata Purana enjoins that a true ascetic shouldn't wear anything other than a kaupina. Sometimes Lord Shiva himself is depicted wearing Kuapina.  Even Lord Murugan of Palani and Hanuman are said to be wearing this garment.  Langot or Kaupin is also associated with celibacy.  Sri Shankaracharya composed a verse called Kaupina Panchakam to assert the significance of asceticism. Famous Maharashtrian saint Samarth Ramdas is always depicted wearing a langot in popular pictures

Om Tat Sat

                                                        

(Continued...) 

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