Hindu
Culture - Cloths
Khalat
"Khilat" redirects here. For
the 12th century Turkish dynasty, see Ahlatshahs.
A khalat (Persian: خَلْعَت / ALA-LC: xalat; more commonly known
as a chapaan) is a loose long-sleeved outer silk
or cotton robe common in Central Asia, Iran, Pakistan and northern India
and worn both by men and women, although in differing styles.The Arabic word "khilat" means "dress" from khil, "to have
Historically, richly adorned khalats have been used as honorific awards, similarly to mantle. The word khalat/khilat was also used to denote the ceremony of awarding the honorific robe. Such social aspects of clothing have been known in many societies. By the 19th century in British India the word khillat had come to mean any gift of money or goods awarded by the Government of India in return for service from tributary princes, khans and tribal leaders.
Central Asian khalats can be a thin, decorative garment, or thick, full length robe, a good protection both from daytime/summer heat and night/winter cold.
The word khalat is one of many borrowings to be found in Russian, where it has come to be a generic term for various robes, and in Romanian (the Romanian word is "halat"): dressing gown, bathrobe, smock (e.g., doctor's smock, patient's smock), camouflage cloak, etc.
Kota Doria
Kota doria or Kota Sari is one of many
types of sari garments made at Kota, Rajasthan and Muhammadabad Gohna, Mau
in Uttar Pradesh and its nearby area. Sarees are made of pure
cotton and silk and have square like patterns known as khats on them. The chequered weave of a Kota sari is very
popular. They are very fine
weaves and weigh very less.
History
Originally, such sarees were called Masuria because they were woven in Mysore. The weavers were subsequently brought to Kaithoon, a small town in Kota by Rao Kishore Singh, a general in the Mughal army. The weavers were brought to Kota in the late 17th and early 18th century and the sarees came to be known as 'Kota-Masuria'.Weave
Kota Doria is woven on a traditional pit loom in such a fashion that it produces square checks pattern on the fabric. The delicately wrought checks are locally known as khats. They smear onion juice and rice paste with a lot of care into the yarn making the yarn so strong that no additional finishing is needed.Industry
Kota sarees are popularly known as 'Masuria' in Kota and Kotadoria outside the state. 'Doria' means thread. Rajasthan Handloom Development Corporation (RHDC) is taking the lead in producing items other than sarees from the Kota Doria. They have helped produce lamp shades, curtains, skirts and salwar-kamiz. They have even helped make an all silk saree on Masuria handlooms. Kota saris display individuality with a bit of embroidery and border patches, making them totally exclusive.Kurta
The term kurta (Urdu:
كُرتا, Persian:كُرتہ), is a generic term used in South Asia for several
forms of upper garments for men and women, with regional variations of form
Etymology
The word "kurta" is a borrowing from Hindustani,[1] and originally from Persian (literally, "a collarless shirt")[2] and was first used in English in the 20th century.[3]Kurta is a piece of clothing worn by males, it is usually worn for fashion, tradition and culture. As the Thawb is encouraged to be worn in Saudi Arabia, Pakistani and Indian expatriates rather prefer to wear the Kurta as a close and same version to the Arab clothing.
Reach of the kurta
A kurta (Urdu: كُرتا), (Bengali: কুর্তা (পাঞ্জাবী), Persian:كُرتہ, Hindi: (also kurti for a shorter version for women) is a traditional item of clothing worn in Pakistan, India, Nepal, Bangladesh, and Sri Lanka. It is a loose shirt falling either just above or somewhere below the knees of the wearer, and is worn by men. They were traditionally worn with loose-fitting paijama (kurta-paijama), loose-fitting shalwars, semi-tight (loose from the waist to the knees, and tight from the calves to the ankles churidars, or wrapped-around dhotis; but are now also worn with jeans. Kurtas are worn both as casual everyday wear and as formal dress.Women wear kurtis as blouses, usually over jeans. These kurtis are typically much shorter than the traditional garments and made with a lighter materials, like those used in sewing kameez.
Imported kurtas were fashionable in the 1960s and 1970s, as an element of hippie fashion, fell from favor briefly, and are now again fashionable. South Asian women may also wear this Western adaptation of South Asian fashion.
Formal kurtas are usually custom-made by South Asian tailors, who work with the fabric their customers bring them. South Asians overseas and Westerners, can buy them at South Asian clothing stores or order them from web retailers.
Styles
A traditional kurta consists of rectangular fabric pieces with perhaps a few gusset inserts, and is cut so as to leave no wasted fabric. The cut is usually simple, although decorative treatments can be elaborate.The sleeves of a traditional kurta fall straight to the wrist; they do not narrow, as do many Western-cut sleeves. Sleeves are not cuffed, just hemmed and decorated.
The front and back pieces of a simple kurta are also rectangular. The side seams are left open for 6-12 inches above the hem, which gives the wearer some ease of movement.
The kurta usually opens in the front; some styles, however, button at the shoulder seam. The front opening is often a hemmed slit in the fabric, tied or buttoned at the top; some kurtas, however, have plackets rather than slits. The opening may be centered on the chest, or positioned off center.
A traditional kurta does not have a collar. Modern variants may feature stand-up collars of the type known to tailors and seamstresses as "mandarin" collars. These are the same sort of collars seen on achkans, sherwanis, and Nehru jackets.
Indian subcontinent has a very popular styling of Mukatsari kurta (getting its origin from the province of Mukatsar in Punjab (India)) which is famous for its slim fitting cuts and smart fit designs. It is very popular among young politicians.
Lehenga Style Saree
Lehenga style Saree is a new trend of Saree introduced in India. This is an aesthetic blend of the traditional Saree and a Lehenga choli. Lehenga style saree is normally 4.5 meters to 5.5 meters long. Here unlike a sari one doesn't have to form pleats but simply 'tuck and drape'.As that of a traditional saree, the lehenga style saree is worn over a petticoat (in skirt, pavadai in the south, and shaya in eastern India), along with a designer blouse called as the choli, which is the upper garment. The style of choli mostly resembles as that of the choli of a conventional Lehenga or Ghagra choli. Sometimes conventional blouses are also matched with lehenga style saree. The choli is mostly as that of halter neck style, deep neck or “backless” style. As that of the saree, these cholis are also embellished with Kundan, beads, mirrors etc.
Origin
Lehenga style saree is a form of ready-made saree that arose from the need of an artistic yet easy to wear party attire. The easy to wear option of the garment tells the ladies just to slip into it and be ready in minutes. Stitched as a long flared skirt with a zip at the side, it is made to the measurements of the wearer. The ensemble needs to be slipped in, fasten the zipper and drape the pallu over the shoulders. This is an outfit for ladies who are not comfortable with usual drapping and pleating that the regular saree demands. This style of saree’s pallu has the dramatic effect of the matching dupatta of the conventional Lehenga Choli.Embroidery and embellishments
Various types of Embroidery patterns are employed according to the Lehenga Style saree. Bagh, Chikan, Kashida, Kasuti, Kantha, Sozni, Shisha, Zardozi etc. are some of the commonly practiced Embroidery in Lehenga Style Saree.Bagh is a special kind of Embroidery done by women in Punjab to be worn during festivals and weddings. Bagh embroidery completely hides the base fabric and is a very heavy kind of embroidery. This Embroidery on Lehenga Style Saree is exquisite as often the cloth is barely visible and only the beautiful embroidery is visible. Kashida is a Kashmiri Embroidery type. This is very colorful and depicts Kashmir in its patterns. The other famous embroidery on Lehenga sarees are Kantha work and Kasuti work of Bangalore.
Various rich and exquisite embellishments are used on Lehenga Style sarees patterns which include Silver embroidery, Golden embroidery, Metal beads, Real pearls, wood beads, glass beads, mirror work, lace work, Kundan, sequins, glittering stones, zardozi etc. Mostly rich fabrics like silk, georgette, brasso, brocade, chiffon, crepe etc. are used in the making of a Lehenga style saree.
In India, Satya Paul is known for its Lehenga Style Saree
Draping a lehenga style saree
Compared with traditional sarees, the method of draping a lehenga style is relatively simple and hassle-free. The plain end of the saree is tucked into the in petticoat/skirt and wrapped once completely around the waist, similar to wearing a regular saree. Whereas pleats would be formed in a traditional saree, at this point with the lehenga style one continues to tuck in the drape without making any pleats. (In a Lehenga Style Saree, pleats are replaced with embellished gotas or panels at the front, which imparts a flared silhouette that is characteristic of a Lehenga Style Saree.) Finally, the pallu is draped over the shoulder like a regular saree.The only difference between a Lehenga style saree and a regular saree is that it doesn't require pleats to be formed at the front. Few Lehenga style saris come with side hooks too. Hook it and fix technique fits the Lehenga style saree snugly around the waist.
Langa Voni
A Langa Voni (Langa Voni Telugu: లంగా వోని, Pattu Pavadai Daavani Tamil: பட்டு பாவாடை, Langa Davani Kannada: ಲಂಗ ದ್ವನಿ) is a traditional dress worn mainly in the states of Andhra Pradesh, Karnataka, Tamilnadu and Kerala by young girls between puberty and marriage. It is also called as two-piece saree or half saree.[1] It comprises a Lehenga or Pavadai which is tied around the waist using string and an oni or Davani, a see through fine cloth usually 2 to 2.5 metre in length which is draped diagonally over a choli (a tight fitting blouse, same as worn for saree) and is usually woven with cotton or silk. A variant of this is Gagra choli of North India (the difference between the both being in the way of draping the oni or pallu).The half saree provides a smooth switching from paavadai (full skirt) and sattai (tops), the traditional dress of small girls, to the complexity of draping a saree. Usually the paavadai and oni are brightly colored and contrasting to each other and look like the sari. Just like the sari, oni is also worn by wrapping it around the waist, with one end then draped over the shoulder baring the midriff.
The influence of western culture and apparent thought of inconvenience of wearing the dress has made many girls to switch from this traditional attire to modern outfits. In recent years, however, Langa Oni is gaining popularity among girls again due to media attention and due to the work of many designers who have brought in many new designs. Once being very simple, Langa Oni now portray extravagant embroidery, mirror or zari work with bold colors like black and grey which were once considered inauspicious. The fabric has also been changed from the usual silk or cotton to chiffon, georgette and other synthetic materials like crepe or nylon. Modern skirts are usually made of light to mid-weight fabrics like denim, jersey, worsted or poplin. Skirts of thin or clingy fabrics need slips to help the material of the skirt wear in a better way. All these changes have made the dress popular again. Once, worn by the South Indian community on family functions and festivities, Langa Oni are nowadays worn even as party wears.
Significance in Coming of age ceremony
The tradition of giving Langa Voni by martial 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
Lungi
The lungi (Bengali: লুঙ্গি, , Sindhi: لنگی, , Oriya: ଲୁଙ୍ଗି, Malayalam: ലുങ്കി, also
known as a sarong, is a traditional garment worn around the waist in Indonesia, Bangladesh, India,
Sri Lanka, Burma, Brunei,
Malaysia, Singapore, the Horn of Africa and the southern Arabian Peninsula. It is particularly popular in regions where
the heat and humidity create an unpleasant climate for trousers.
Design
Unlike dhotis, which are linear like sheets, lungis are sewn into a tube shape like a skirt. They are especially worn in hot regions. There are also cheaper "open" lungis, in identical dimensions but not sewn into a tube shape. The standard adult lungi is 115 cm in height and 200 cm in length, when open. Children's lungis are available in approximately 2/3 of this size. They are normally woven from cotton and come in a variety of designs and colors. Silk lungis are available for ceremonial purposes such as weddings. The most common styles are either solid-colored or plaid, reflecting the relative ease and cost-effectiveness of producing these patterns on a power loom. Blue is particularly popular, since it fades to pleasant tones in contrast to other colors. Regardless of the design or color, lungis are often lined at the top and bottom with a black/white stripe containing reinforced weaving to prevent fraying.Usage
Regional variations
Bangladesh
The lungi (Bengali: লুঙ্গি /luŋɡi/) is the most commonly seen dress of Bangladeshi men, although it is not normally worn on formal occasions. In Bangladesh, lungis are worn by men, almost universally indoors and commonly outdoors as well. Elaborately designed tartan cotton, batik, or silk lungis are also often presented as wedding gifts to the groom in a Bangladeshi wedding. The typical Bangladeshi lungi is a seamless tubular shape, as opposed to the single sheet worn in other parts of South and Southeast Asia. In Bangladesh, the lungi industry is concentrated in Sirajganj, Kustia, Khulna. Bangladeshi women do not traditionally wear lungis, although non-Bengali tribal women do wear similar garments in some parts of southeastern Bangladesh.In April 2013, Baridhara housing Society - a housing society in Dhaka - banned lungi, and began refusing entry to those who wore them. However, many opposed the ban, taking to social media sites such as Facebook and Twitter to criticise the decision. A march took place on 13th April to oppose the ban.
Meanwhile, U.S Ambassador Dan W. Mozina has been seen wearing a lungi in front of his house
India
In Kerala, the lungi is generally colourful and available in varying designs, and it is worn by both men and women. Physical laborers typically use it as a working dress. A Kerala dhoti is in plain white and known as mundu, and it often bears a golden embroidery (known as "kasavu"), especially at the border; it is worn as formal attire and on ceremonial occasions like weddings, festive occasions, etc. Saffron-coloured mundus are known as kaavi munde. The men sometimes tuck up their mundus (Kerala dhoti) or lungis with the bottom of the garment being pulled up and tied back on to the waist. This would mean that the mundu (Kerala dhoti) or lungi only covers the body from the waist to the knees.
In Andhra Pradesh and Tamil Nadu, only men wear this garment, and it is not worn in a slightly different fashion to that of men in Kerala; Keralites tie the mundu to the right side while the Tamilians tie it to their left (however, there are exceptions and some of the Muslim communities in Kerala also tie the mundu to their left). It is also known as "Kaili" or "Saaram/Chaaram" in South Tamil Nadu. The Muslims of Tamil Nadu are found to favor the white colored lungis on formal occasions.
In Karnataka this is custom followed by village side peoples to wear it regularly. And it is also must wear for the marriage occasion, where bride and groom fathers and the groom himself has to wear white panche. Where higher class peoples go for costly pure silk panche in the marriage occasion.
In Punjab (both Pakistani and Indian portions), lungis are worn by both men and women. They are part of traditional dance attire in Bhangra dance groups, but are also popular in rural areas or as home wear. They are generally tied in a different way then in other parts of India and are, as a rule, unstitched and often very colourful.
In Bihar, Odisha and West Bengal lungi is primarily home wear for males of all classes of society. Hindu men generally avoid wearing lungis on the street.
In Odisha Sambalpuri with Sambalpuri pattern and mule based lungis from Khordha are available in addition to normal cotton fabric lungis.
In Haryana it is considered a night dress for men.
Madisar
The Madisar (Tamil: மடிசார்) is a way in which the sari is worn mostly by the womenfolk of the Brahmin community in Tamil Nadu, India. In the olden days this was the customary style in which the sari was worn by a woman after her marriage. Today to suit modern trends and yet accommodate traditions, the madisaar is worn by women on select festive occasions and religious ceremonies. Normally saris are six yards in length but since the madisar is worn in a different style, one requires a nine-yard sari to wear it. It is a very important part of the Iyer and Iyengar culture. Both Iyer and Iyengar Brahmin wear madisars for all important occasions in their lives, starting with marriage, followed by Seemantham (form of a baby shower), all important Puja, and death ceremonies.Iyers and Iyengars wear Madisars differently. Iyers drape the Pallu (the layer of sari which comes over one's shoulder) over the right shoulder while Iyengars wear it over the left shoulder.
Madisars are available in a variety of materials such as silk, cotton, cotton-silk blends, polyester-cotton blends, etc. These days a version of the madisar is also tied using the 6 yards sari. Though not as traditional it is easier and more convenient to wear.
Mekhela chador
Mekhela chador (Assamese: মেখেলা চাদৰ) is the
traditional Assamese dress worn by
women. It is worn by women of all ages.
Draping
There are two main pieces of cloth that are draped around the body. The bottom portion, draped from the waist downwards is called the mekhela (Assamese: মেখেলা). It is in the form of a sarong—very wide cylinder of cloth—that is folded into pleats to fit around the waist and tucked in. The folds are to the right, as opposed to the pleats in the Nivi style of the saree, which are folded to the left. Strings are never used to tie the mekhela around the waist, though an underskirt with a string is often used.The top portion of the two-piece dress, called the chador, is a long length of cloth that has one end tucked into the upper portion of the Mekhela and the rest draped over and around the rest of the body. Unlike the Pavadai Dhavani, the chador is tucked in triangular folds. A fitted blouse is often worn to cover the breasts, though in the past another garment called a riha used to be worn. A riha is still worn as part of the Assamese bridal trousseau, but over a fitted blouse.
Unlike the Pavadai Dhavani, which is traditionally worn by women between puberty and marriage, the mekhela-chador is worn by women of all ages.
Patterns
Ornamental designs on the mekhela-chadors are traditionally woven, never printed. Sometimes a woven pattern, called the pari is stitched along the sides of a chador, or along the bottom of a mekhela.Mufti (dress)
Mufti, or civies/civvies
(slang for "civilian attire"), refers to ordinary clothes, especially when worn by one who normally wears, or
has long worn, a military or other uniform.
Mundu
The mundu (Malayalyam: മുണ്ട്; pronounced [muɳɖɨ]) is a garment worn around the waist in Kerala,
the Tulunadu region, and also in Maldives. This garment is closely related to the Dhoti,
Sarong, and Lungi. In South Kanara, a district of
Karnataka state, the Tulu speaking folk and Beary
community also wear the mundu. It is normally woven in cotton
and coloured white or cream. The colour is dependent on whether the cotton is
bleached or unbleached. A kaddar mundu is made using handlooms. When
unbleached, the mundu is called a neriyathu. In modern times, two types of
mundu are prevalent - the single and the double. A single mundu is draped once
around the waist, while the double is folded in half before draping. A mundu is
usually starched before use.
Men
A mundu usually has a line of comparatively thicker cloth woven into it near the border called the kara. The kara can be coloured and comes in various sizes. There are also double coloured and ornamental kara (a strip of colour at the end of the mundu). For more ceremonial occasions (like weddings), a mundu has a golden embroidery known as kasavu. The wearer highlights the kara by carefully folding the end of the mundu. The kara generally appears on the right hand side of the person, though styles with the kara on the left side are prevalent. Unspoken rules of etiquette govern the way the mundu is worn. Men will often fold the garment in half to resemble a short skirt when working, cycling, etc., but it is considered disrespectful to speak to women or one's social superiors with the mundu folded up this way, revealing the legs from the knee down. When faced with such a social situation, the fold of the mundu is loosened with an imperceptible flick and it flutters down to cover the legs completely.Women
A variant called a mundum-neriyathum is used more often by women. The mundum-neriyathum is a set of two mundus, both having matching kara. The set contains a lower garment similar to the those worn by men. The upper mundu, worn with a blouse, is wrapped once around the waist and upper body and left hanging from the left shoulder, resembling a saree. This is often called a set-mundu. This is usually worn during festivals or special occasions.In Kerala a veshti is a small piece of cloth (generally put on the shoulders) along with a mundu, for formal occasions.
Kerala Lungi
In Kerala the Lungi, locally known as Kaili or Kalli Mundu, is worn by both men and women. It is considered a casual dress or working dress of physical labourers. Most men in Kerala use lungi as home dress or sleep dress. When used as a house dress men usually leave their upper body uncovered. Lungis are generally colourful, and with varying designs. Lungis are not used during occasions such as weddings or other religious ceremonies. Saffron-coloured mundus are also known as kaavi mundu.Mundum Neriyathum
Mundum neriyathum (set-mundu or mundu-set) is the traditional
clothing of women in Kerala, South India. It is the oldest remnant of the ancient form of
the saree which covered only the lower part of the body. In the mundum neriyathum, the most basic
traditional piece is the mundu or lower garment which is the
ancient form of the saree denoted in Malayalam as 'Thuni' (meaning cloth), while the neriyathu
forms the upper garment the mundu. The mundum neryathum consists of two pieces of
cloth, and could be worn in either the traditional style with the neriyathu
tucked inside the blouse, or in the modern style with the neriyathu worn
over the left shoulder
Origins
The mundum-neryathum is the extant form of the ancient saree referred to as "Sattika" in Buddhist and Jain literature. The mundu is the surviving form of lower garment of the ancient clothing referred to as antariya worn in a special way (lower garment). The neriyath is the modern adaptation of a thin scarf worn from the right shoulder to the left shoulder referred to in ancient Buddhist-Jain texts as the uttariya. It is one of the remains of the pre-Hindu Buddhist-Jain culture that once flourished in Kerala and other parts of South India. The narrow borders along the mundum neriyathum drape are probably an adaptation of the Graeco-Roman costume called "palmyrene". In the palmyrene costume, the piece of cloth known as "palla" was a long piece of unstitched cloth with a coloured border and was worn over a long garment, pinned at the left shoulder. The tradition of coloured borders along the present day mundum neryathum or pallu might have been influenced by the Graeco-Roman "Palla" or Palmyrene. The Malabar coast had flourishing overseas trade with the Mediterranean world since antiquity.; However, the pallu in its modern form was not in common use until very recently. In fact, as late as the 1970s, some populations in Kerala still did not use the pallu as the upper garment.Basic drape
Ornamental and festive use
The mundum neryathum is worn as everyday costume and also as distinct costume on festive occasions, in which case the Kara is ornamental in couture. During the Keralite festival of onam, women of all ages wear the mundum neryathum and take part in folk dance meant only for women called kaikottikalli. The mundum neryathum for festive occasion has golden coloured borders or a broad zari border known as Kasavu, lending the costume another name of "Kasavu Saree" . The colour for the blouse of the mundum neryathum for this occasion is determined by the age and marital status of the woman. Young unmarried girls wear green coloured blouse, while married middle aged mothers wear red blouses.The kasavu or the golden border is either pure golden layer, copper coated or artificial. The fabric of mundu-sari is cotton and is always woven by hand. Kara or simple line designs adorn the bottom of these saris, while at times small peacock or temple designs embellish the pallu. The mundum neriyathum is also known as Set mundu, Kasavu mundu, Mundu-sari, set-sari, or set veshti. The veshti is another version of the saree which consists of a small upper clothing resembling a blouse-like garment worn without the pallu along with a mundu as lower garment.
Set-saree
The set-sari is worn as a garment that consists of a single piece of cloth. Otherwise, the set saree closely resembles the mundum neriyathum and is often worn by Malayali women as a quasi mundum neriyathum.When set-mundu (mundum neriyathum) is worn, the kasavu border will be clearly visible on left side (the left thigh) of the person who wears it. This kasavu border is that of the neriyathu which is worn on the top of the mundu.
Cultural symbolism
The mundum neriyathum is the cultural costume of women of the Malayali community and often referred as Kerala saree. The grace and appeal of the golden borders contrasting with the otherwise plain white mundum neryathum of Keralite women has come to symbolize Malayali women. Both the traditional and modern styles of the mundum neryathum are depicted in the paintings of the Indian painter Raja Ravi Verma. The mundum neriyathum was modified in several paintings depicting Shakuntala from the mahabharatha to a style of draping now popularly known as the 'nivi saree' or 'national drape'. In one of his paintings the Indian subcontinent was shown as a mother wearing a flowing nivi saree.Naga shawl
Naga shawls are traditional shawls with a distinctive pattern (primarily in red and black wool) made by various Naga tribes from Nagaland in India.There are efforts underway now to recognise this type of textile material with a Geographical indication
Nehru jacket
The Nehru jacket is a hip-length tailored coat for men or women, with a mandarin collar, and with its front modeled on the South Asian achkan or sherwani, an apparel worn by Pandit Jawaharlal Nehru, the Prime Minister of India from 1947 to 1964. However, unlike the achkan, which falls somewhere below the knees of the wearer, the Nehru jacket is not only shorter, but also, in all respects other than the collar, resembles the suit jacket. Nehru, notably, never wore the Nehru jacket himself.The apparel was created in India in the 1940s as Band Gale Ka Coat (Hindi/Urdu: "Closed Neck Coat") and has been popular on the Indian subcontinent since, especially as the top half of a suit worn on formal occasions. It began to be marketed as the Nehru jacket in the West in the mid-1960s; it was briefly popular there in the late 1960s and early 1970s, its popularity spurred by growing awareness of foreign cultures, by the minimalism of the Mod lifestyle, and, in particular, by the Monkees and the Beatles, who popularized the garment.
Several villains in the James Bond series of films, including Dr. No, Karl Stromberg and others appear wearing a Nehru jacket.
Patiala salwar
A Patiala salwar (also called a pattian walee salwar) (Its also pronounced as Shalwar in Urdu) is a type of female trousers which has its roots in Patiala City in the Northern region of Punjab state in India. The King of Patiala in earlier times had its Royal dress as Patiala Salwar. The Patiala Salwar has a close resemblance to the pathani Suit which has similar loose lowers as salwars and long knee length top known as Kameez. Over the decade the dress now is not worn by men but has classically transformed itself with new cuts and styling into women's Patiala Salwar.The reason why the patiala dress is preferred by most of the women of punjab and other regions of Northern India is its comfortability and durability in summers. Since the patiala salwar is very loose and stitched with pleats its a very comfortable outfit to wear. Its distinguishing characteristic is folds of cloth stitched together that meet at the bottom. Patiala salwars require double the length of material to get stitched. The fall of the pleats of the Patiala Salwar is such that it gives a beautiful draping effect.
Patiala salwar with lots of pleats is also referred to as Patiala "Shahi" salwar since it was worn by the shahi (royal) people of Patiala city in state of Punjab.
Riha (garment)
Riha is part of a three piece Assamese
traditional garment worn with the Mekhela chador.
Shalwar kameez
Shalwar kameez (also spelled salwar kameez, or shalwar qameez);
is a traditional dress worn by both women and men in South Asia and parts of Central Asia, specially in Afghanistan and Pakistan. In India,
it is worn primarily by women. Shalwar or salwar are loose pajama-like trousers. The legs are wide at the top,
and narrow at the ankle. The kameez is a long shirt or tunic. The side
seams (known as the chaak), left open below the waist-line, give the
wearer greater freedom of movement.
Description
The word Shalwar comes from the Persian word for trouser, 'shælva:r'. Shalwar are gathered at the waist and held up by a drawstring or an elastic band. The pants can be wide and baggy or more narrow, and even made of fabric cut on the bias.The kameez is usually cut straight and flat; older kameez use traditional cuts, as shown in the illustration above. Modern kameez are more likely to have European-inspired set-in sleeves. The tailor's taste and skill are usually displayed, not in the overall cut, but in the shape of the neckline and the decoration of the kameez. Modern versions of the feminine kameez can be much less modest than traditional versions. The kameez may be cut with a deep neckline, sewn in diaphanous fabrics, or styled in cap-sleeve or sleeveless designs. The kameez side seams may be split up to the thigh or even the waistline, and it may be worn with the salwar slung low on the hips. When a woman wears a semi-transparent kameez (mostly as a party dress), she wears a choli or a cropped camisole underneath it.
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 (see also hijab and purdah). For Sikh and 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 Gurdwara or 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.
The Shalwar kameez is sometimes known as "Punjabi suit," in Britain and Canada. In Britain, especially during the last two decades, the garment has been transformed from an everyday garment worn by immigrant South Asian women from the Punjab region to one with mainstream, and even high-fashion, appeal.
In India, the garment was originally confined to the North, but as a convenient and modest alternative to a sari - and also as one that flatters practically any body-type - it has become popular across the nation. By varying the fabric, color and the level of embroidery and decoration, the salwar-kameez can be formal, casual, dressy, or plain; and it can also be made to suit practically all climates.
Sambalpuri saree
Sambalpuri sarees are known for their incorporation of traditional motifs like shankha (shell), chakra (wheel), phula (flower), all of which have deep symbolism, but the highpoint of these sarees is the traditional craftsmanship of the 'Bandhakala', the Tie-dye art reflected in their intricate weaves, also known as Sambalpuri "Ikkat". In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking many weeks. These sarees first became popular outside the state when the late Prime Minister Indira Gandhi started wearing them. In the 1980s and 1990s they became popular across India. To provide protection to the weavers practicing this art, the handloom silk sarees manufactured in Sambalpur and Berhampur (Berhampur Pattu) in Odisha were included in the Government of India’s Geographical Indications (GI) registry.
The Sambalpuri saree
Fabric and design
Sambalpuri fabrics reflect an original style of craft known as Baandha. Traditionally, craftsmen created Baandhas with images of flora or fauna or with geometrical patterns. More recently,[ new types of Baandha depicting portrait, landscape and flower pods are being designed. Baandha fabric is created using a tie-dye technique. The yarns are tied according to the desired patterns to prevent absorption of dyes, and then dyed. The yarns or set of yarns so produced is called 'Baandha'. The unique feature of this form of designing is that the designs are reflected almost identically on both side of the fabric. This versatile technique enables a craftsman to weave colourful designs, patterns and images into a fabric capable of inspiring a thought or conveying a message. Thus Baandha can be defined as "A length of systematically arranged yarn, dyed according to a preconceived design in such a manner so as to enable a weaver to portray the design when the yarn is converted to a fabric through the process of weaving". It is believed that this art migrated to Western Odisha along with the Bhulia community who fled Northern India in the year 1192 AD after the fall of the Chouhan empire at the hands of the Mughals. Since then and up to the year 1925 it flourished in Western Odisha in a limited number of designs and in vegetable colours and consisted mostly of saris used by the womenfolk of the Odisha. These saris were known as 'Bhulia-Kapta'. The demand was limited, distress sale was common and the craftsmen lived in penury.Development
Today the Baandha fabric is popularly known by its geographical and cultural name Sambalpuri owing to the pioneering efforts of Sri Radhashyam Meher, who brought about a radical improvement in the skills of the craftsmen and the quality of the products. Other master craftsmen who contributed to the development of Sambalpuri textiles were Padmashree Kunja Bihari Meher, 'Padmashree Chatrubhuja Meher' and 'Padmashree Krutharth Acharya'. Sambalpuri textiles today include furnishing materials, dress materials and sarees in silk, cotton and mercerised cotton in a variety of colours and many different designs. Baandha craftsmen are also masters of the 'extra warp' and 'extra weft' style of designing which can be seen in almost all forms of Baandha textiles. Radhashyam Meher also produced Khadi textiles using the Baandha art.In 1926, Radhashyam designed the first handloom to weave textiles of ninety inches width. This achievement made him the 'Parda agent' of the Government of Bihar for the production of furnishing materials. Later, after the formation of the state of Odisha, he became the 'Parda agent' of the government of Odisha. His dexterity in the Baandha art and his ability to motivate the weaving community in the region to improve their skills by providing the necessary training and incentives enabled the creation of new designs that received international fame and recognition.
Radhashyam Meher established his proprietary concern, named 'Utkal Parda Agency', at Sambalpur for the research, production and marketing of Sambalpuri textiles. Acknowledging Radhashyam Meher's unparalleled contribution to the growth and popularity of 'Baandha art', the Ministry of Textiles of the Government of India has sponsored textile exhibitions coinciding with his birth anniversary on November 20 and organised by the Director of Textiles of the Government of Odisha.
He also played an active role in the cooperative movement and organised the Meher Art Fabrics cooperative society Ltd and the Sambalpur Regional Cooperative Marketing Society Ltd. (RCMS) He was a member of the All India Handloom Board in the year 1953. Until his death he was always elected as the member of the Sambalpur Municipality.
Industry
Roughly 16 km from the district headquarters of Sonepur, Sagarpali is a large village hosting around 500 bhulia (weaver) families. This is one of the largest weaving villages in Kosal, a bastion of the Sambalpuri sari. Other areas affluent with handloom weavers are Barpali, Tarbha, Bijepur, Patnagarh and Bargarh.Important handloom clusters of Kosal
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Serial No.
|
Category of cluster
|
Name of district
|
Name of cluster
|
Number of clusters
|
|
1
|
A
|
Bargarh
|
Attabira, Bargarh, Bheden, Barpali,
Bijepur, Padampur, Sohela, Bhatli
|
8
|
|
2
|
A
|
Subarnapur/Sonepur
|
Birmaharajpur, Sonepur, Ulunda,
Binika
|
4
|
|
3
|
A
|
Boudh
|
Boudh
|
1
|
|
4
|
B
|
Balangir
|
Patnagarh, Agalpur, Bangamunda
|
3
|
|
5
|
B
|
Nuapada
|
Khariar (Sinapali)
|
1
|
|
6
|
B
|
Sambalpur
|
Rengali
|
1
|
Important handloom centers of western Odisha and famous products
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Districts
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Sambalpuri handloom product
|
|
Bargarh
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bed cover, dress materials, cotton
tie & dye saree, silk Sambalpuri saree, coarse cotton saree & others
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|
Sonepur & Boudh
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silk Bomkai saree, tie & dye
cotton saree, furnishing & silk tie & dye saree
|
|
Kalahandi
|
Habaspuri saree, coarse cotton saree
& others
|
|
Balangir
|
tie & dye cotton saree &
furnishings, silk tie & dye saree, coarse cotton saree & others
|
|
Sundergarh & Sambalpur
|
coarse cotton saree & others
|
Supra Creation
Supra Creation is promoted by a management graduate to bring the traditional weaves & crafts of India specially form Eastern region of Odisha & Chhatisgarh. Supra Creation deals in Sambalpuri Ikat/Ikkat Sarees, Fabrics & Dupatta.Sambalpuri Bastralaya
Sambalpuri Bastralaya Handloom Cooperative Society Ltd., Bargarh. The pioneer handloom institution of the state was established at Bargarh in 1930 by the late Padmashree Krutharth Acharya. Subsequently it was recognized by the Odisha government in 1954. It is the largest primary handloom cooperative society in the state and country as well. Since its inception, it has been working as a production and marketing society by providing impute and marketing support regularly to its weaver members under a co-operative framework. This institution being a leading one in the state is widely known for its efficient commitment, for the uplifting of the scheduled caste and scheduled tribes and economically backward classes of society, including women.Other Sambalpuri handloom products
Besides saree one can get Sambalpuri curtains, bedsheets, dewan sets, sofa covers, towels, dress materials, Sambalpuri Salwar Kamiz, Kurti, Dhila etc.Set-saree
Set-sari (Kerala sari) is the clothing of women in Kerala, South India. It is worn as a garment that closely resembles the mundum neriyathum (set-mundu) though it is not considered a true mundum neriyathum by classic definition. This is because the setu-sari consists of a single piece of cloth while a traditional mundum neriyathum consists of a two-piece cloth. Otherwise, the set-saree closely resembles the mundum neriyathum and is often worn by Malayali women as a quasi mundum neriyathum.When set-mundu is worn, the kasavu border will be clearly visible on the left thigh of the person who wears it. This kasavu border is that of the neriyathu which is worn on the top of the mundu.
The mundum neriyathum is the cultural costume of women of the Malayalee community and often referred as Kerala saree. The grace and appeal of the golden borders contrasting with the otherwise plain white mundum neryathum of Keralite women has come to symbolize Malayalee women. Both the traditional and modern styles of the mundum neryathum are depicted in the paintings of the Indian painter Raja Ravi Verma. The mundum neriyathum was modified in several paintings depicting shakuntala from the mahabharatha to a style of draping now popularly known as the 'nivi saree' or 'national drape'. In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing nivi saree
Sherwani
Sherwani (Urdu: شیروانی; is a long coat-like garment worn in South Asia, very similar to an Achkan
or doublet. Sherwani
originated as a fusion of the Shalwar Kameez with the British frock coat. It was
traditionally associated with the Muslim aristocracy of the northern Indian subcontinent. The
Rajput aristocracy had subsequently adopted it. It is worn over the Kurta
and Churidar, Khara pajama, a shalwar. It can be distinguished from the achkan
by the fact that it is often made from heavier suiting fabrics, and by the
presence of a lining.
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