R #Saris_A2Z

#Saris_A2Z today lets explore into the 'r' saris. I have looked hard and come up with this one name. Seek help and and advise from all you sari lovers for help. Pls add to the list. 'Rasipuram saris...'

Seetha was the savior in disguise this time. She lent her 'r'asipuram sari for the shoot..

Rasipuram saris are manufactured in Southern part of India. The silk saris from this place are very popular. The cottons here

have a very unique structure like silk, it is washable as it is pure cotton sari. It does come with very bright gold Zari work border with grand pallu.

#iluvsaris Demure Drapes

Story of a Sari #Saris_A2Z

Hi DemureDrapes...

"Swarnachari are regal, legacy saris from the stable of Balucharis. In yester years, each piece was almost akin to sculpting a rare piece of art and often handed over generations to be adorned on important occasions. 

I have tried my best,  telling the story of the Swarnachari as I saw with eyes and heart.

Thanks

Amrita...

Story of a Swarnachari...

"Maya and Me

"Don't touch me". 

Who was that? A startled Maya turned around.  Nobody ever came to this inner most boudoir. It was her grandma's. Now that she was no more, it was rarely opened, other than when her mom got it cleaned. She had come here today very excitedly because her mom just told her that she could wear her grandma's Swarnachari sari on her wedding day. Though there were three more equally beautiful saris, her parents had bought, she had begged her mom to let her wear her grandma's Swarnachari for the pheras.

Turning back again,  she found no one there. So she tugged at the Swarnachari. " I said don't pull me like that". Maya slumped to the floor, pale with fear. " Who r you ? Why don't you reveal yurself". 

"I'm your Swarnachari. I have been lying here peacefully for several years. Nobody  dared to wake me up, without being gentle. You could have  hurt me the way you pulled me. And by the ways...

Do u really want me to reveal my story?"

"Yes, yes, please do. I didn't mean to be rough. I'm sorry. It's just that I was so excited to see you. My grandmom looked an angel when you hugged her skin. My mom too glowed in your bright colors. I have always dreamt of you hugging me on my big day. So..."

" O.k. Then listen. Mine's a long story. I will cut it short for you.

When my yarns were ready to be woven, I heaved a sigh of relief. Readying the yarns had stretched me out. I was tired to my innards. It had been several days that the weavers stretched me to be ready for your grandma. I was being made specially for her and I found succour in that fact. So  I lay stretched out, pulled at, day in and day out, for a couple weeks.  You see, I had look beautiful. But the weavers at Bishnupur weren't done with me. They thought that I had to be softer. Can you believe it, I was boiled in a solution of soda & soap. Uhh. I don't even want to tell you how I felt then. And then!!!! I was put in acid to be dyed this rose color. So not fair!, Maya"

" Ooh,  I'm sorry about that too. But  I love your deep rose hue. Akash will swoon again , when he sees me draped by you. Just like on the first day he met me in our college canteen. 

You know why? Even on that day, I was wearing a deep rose colored T. And he cud not take his eyes off me, " drooled Maya.

" What about these very special gold threads that run through me, contrasted by  the shiny blacks? They too were made specially for your grandmom.  Oh. How I remember her. Those wavy, silky tresses. Always neatly done when not open and flying gently in the breeze. She was such a beautiful lady. We were like,  as they say, made for each other. On the day of her wedding, when everybody was besotted by her beauty, she shyly thanked me for making her look pretty. I was so happy for her. We talked to each other, radiant with joy. The rose in her cheeks and my rosiness, shyly merging with each other.

And your mom. I saw her from her birth. She was such a naughty child!"

"Really? I can't imagine mom naughty. She is always so correct. So disciplined. Patient. Caring...et al. ....huh.. I can't stop when it comes to mom," asked  Maya surprisedly. 

"Sweetheart, that's your mom now. Wish you had seen her as a kid. You are not a patch on her. But .....I kinda like your confidence, your clear thoughts. Your knowing your mind, with very few doubts. You are smart for the few years behind you."

" But before, I forget, I must tell you the rest of my story. You see this part of me, the pallu. Can you see, they tell you many stories. Stories from the grand epic Mahabharata. Stories that are still as relevant as then. Stories you must ponder on, at some point in your life. See here. It's when Krishna comes to speak to Karna, the great Angaraj that he was no sutaputra. He was the son of the mighty Surya & mother Kunti. And see just next to it. Kunti imploring Karna to desist from the battle and spare the lives of his brothers, the Pandavas. He was a great man, bravest of the braves. Yet he was bitter about being called a sutaputra. But imagine, he was floating in the river. Abandoned. And  his charioteer dad, Adhirath and foster mother Radha took him to their home and loved him dearly. He rose to be king of Anga . Only if he had looked at  the beneficence of Destiny and been more grateful, he would not have been on, what many believe, the wrong side of history.  What a learning for us from a great life. 

There's so much in these shimmering threads. Stories so eloquently woven, isnt it, Maya? 

I love this part of mine. I'm not just your wedding sari, the Swarnachari. I'm your friend, philosopher & guide. Whenever you need me, I will take you in my folds. Come, let me hug you, cocooned by my motherly love, another young girl will start her greatest journey. It's my greatest joy."

Maya hugged Swarnachari. This time gently. She could ' feel' her grandma's love."

P #Saris_A2Z

#Saris_A2Z this throwback thursday let's learn together about saris which begin with the letter 'P'. 

I love my paithani which I bought from Kasturi. I have used the paithani for this photoshoot. 

Now for gyan time~

Paithani is a sari made of silk and zari. It's a variety of sari, named after the Paithan town in Aurangabad Maharashtra state where they are woven by hand. 

It is a plain weave, with weft figuring designs according to the principles of tapestry.   Paithani evolved from a cotton base to a silk base. Silk was used in weft designs and in the borders, whereas cotton was used in the body of the fabric. Present day Paithani has no trace of cotton. Paithani is characterised by borders of an oblique square design, and a pallu. Plain as well as spotted designs are available. Among other varieties, single colored and kaleidoscope-colored designs are also popular. The kaleidoscopic effect is achieved by using one color for weaving lengthwise and another for weaving widthwise.

Pavani shares this lovely message with this beautiful click, in a 'P'aithani~

"Paithani, is an exclusive Maharastian Sari with Peacock Motifs and hence the Name for The Silk sari.

In The Pic, is my NARAYANEEYAM GURU, Revathy Ramesh.

She is a Volunteer Teacher for Narayaneeyam, Sunderakand, Paduka Sahastranamam ,& Vishnu Sahastranamam etc., depending upon interest of students . We Are Really Lucky to get a GURU like her, who gives selfless service happily since 8 years in Melville park, Simei.

Want to Post this Beautiful picture of our GURU in Paithani as a Token of Respect of our Class on DemureDrapes."

Another sari with letter 'p', 'p'ochampally.

Pochampally Sari  is made in Bhoodan Pochampally. They are popular for their traditional geometric patterns in Ikat style of dyeing. The intricate geometric design find their way into the hands of skilled weavers and make it to the market as beautiful saris. Pochampally Ikat uniqueness lies in the transfer of intricate design and colouring onto warp and weft threads first and then weave them together globally known as double ikat textiles. The fabric is cotton, silk and sico – a mix of exquisite silk and cotton. Increasingly, the colours themselves are from natural sources and their blends. 

#iluvsaris @DemureDrapes

#SariSistas

Amrita shares this picture of hers, with the painting of three sisters at the back, from Lagos, Nigeria...

"Love thy Sister as thyself

The sky was overcast with ominous dark clouds. Once in a while torn asunder by a blinding streak of light, followed by  deafening thunder. Bela had to reach Mumbai , some three hundred kms away. It was her first job and she was excited to join. Now this terrible impending storm. Was it alright to set out? With all these thoughts rushing through her mind,  she looked at older sister, Sreya, wondering what would she advise. Sreya doted on her li'l sis. She looked tenderly at her and knew that despite the storm, this journey had to be made.  

Sending a quick prayer to heaven, both sisters set out. Sreya took the wheels of the car, leaving Bela engrossed with her ponderings about her new job. They had gone only for a little while, when the skies opened up and it poured like never before. The visibility dropped to near zero. It was nearly impossible to drive on. So Sreya pulled the car on what she thought was the shoulder off the road. Hoping to resume whence the storm abated. 

She was stoical, conscious that her sis should not be frightened by the storm , her spirits not dampened before the new dawn that awaited her young life. She decided to bide her time in the car by humming songs. So it was , " humko mann ka shakti dena, mann vijay karo.." And with merry abruptness, it was also, " hum tum ek kamre mein band ho, aur chaabi kho jaye...". Though the mood was more like, " hum tum ek car mein trapped ho jaye..aur afat ho jaye......".

Suddenly there was a deafening sound. ...

Bela woke up in a hospital room. A nurse was peering over her with concerned eyes. She enquired about her health. Bela said she felt only a little limp but wasn't feeling so bad, despite a fractured arm. Then she begged to know how Sreya was. The nurse held her gently & said, " the other girl had hugged you in a tight embrace when the truck crashed into your car and  her body had taken the entire impact. "

So, how's she now"? screamed Bela crumbling into a heap. She sobbed that she didn't want her life if anything had happened to Sreya. The nurse again held her gently, " your sister had a dying wish which she whispered only to me". "She wants you to be very successful and happy in your new job".  Bela was about to scream a vehement "No", when she heard the  nurse's calm & commanding voice once more,  " Do it for your sister, if not for yourself". Your greatest tribute to her sisterly love""

I requested Amrita to write me something small, for my segment starting this February. #SariSistas an ode to every sister out there. She came up with this beautiful piece. 

#iluvsaris

O #Saris_A2Z

#Saris_A2Z let's explore the 'O' word today for saris. 'Odisa' saris~

Orissa handloom silks are traditional handloom fabrics made from mulberry silk and Tussar silk through the fine use of ikat and supplementary thread work. 

The exclusive Bomkai Saris employ the ikat style of tie-dye, where the threads are dyed with contrasting colours before they are woven with a special ‘extra weft’ technique. This traditional art uses vegetable dyes to a large extent, with a leaning toward artificial colours in present day creations. Black, yellow, orange, maroon, are the preferred hues. Motif patterns commonly adorning the fabric are bitter gourd, the atasi flower, the kanti-phul or small flower, peacocks and birds, Konark temple, conches. The use of bright coloured panels with extra motifs on a contrasting colour background is a unique and attractive feature.

The Sambalpuri Silk Saris are akin to the Bomkai saris though they make more use of geometrical patterns. Shanka, chakra, or floral pattern motifs may also be seen on the base fabric, with designer colours and patterns chosen to provide the traditionally woven sari, the modern look. 

Berhampuri saris are made in coastal Orissa; they are most often woven in silk, and silk Behrampuri saris are referred to as Berhampuri patta. Silk weaving is said to have begun at Berhampur in the 14th century although the history of Berhampuri saris is confused: these saris are also associated with the Mohuri kingdom which lay between the Rushikulya and Bahuda rivers: the Gajapati King Purushottama Deva who ruled Kalinga from 1466–97 is said to have ‘founded’ the Mohuri kingdom with a grant of land to Sana Raja. Much later, the Mohuri King Harihar Narayan Deb who ruled between 1772 and 1782 is believed to have convinced weavers from Rajmundhry in nearby Andhra Pradesh to migrate to his kingdom; these weavers of the Deras community, also known as Debangas, are credited with not only bringing the Behrampuri sari to its current form but also for introducing to the area worship of the goddess Budhi Santani Thakurani who is believed by some to be the goddess Kali’s sister.

Although Berhampuri saris woven in silk are most well known, these Berhampuri weavers also work in cotton, and tussar. The saris often feature a temple design (which could be anything between less than an inch high to more than a foot wide) along the border: either phoda kumbha or badhi kumbha. Phoda kumbha refers to temple spires, and weaving the design into the saris takes two weavers; badhi kumbha, on the other hand, is created using Ikat which rarely features serrated lines. The saris tend to be in extremely bright colours with contrasting borders, and, when they’re woven in silk, 2 ply malda is most often used. All of them are reversible.

Orissa Handloom Silks make use of tribal art hand painting which significantly enhances the appeal of the already splendid-looking sari.

An ode to Demure Drapes

An Ode to Demure Drapes

Nationhood is ..........., screams Charkha  Dutt
No, that's your nation not mine, .......thunders Gaurav Goswami
We shiver, we crumple, we are fleetingly numb
Yet  your noise can't make us deaf or dumb.
U define our nation, .........and what counts as  nationhood?
Where lies your nation making?
In building blocks of TRP?

Flip the pages of history, look how all of us lived.
The muga blossomed near the jamdani,
The kantha bonded with tasser.
The kanjeevarams beckoned the Benarasis
The bandhni danced with Maheshwaris 
The ikat etched friendship with paithani 
The garod glorified the Parsi Gara 

Demureness is our legacy
India's glorious tradition
No matter where we lived.
No matter what we draped.
Demureness was in valour
Of great queens of Malwa,Jhansi, Chittor
Demureness was in grandeur
Demureness was in splendour
Of great queens of Jaipur, Trichy, Mysore...

Come, Demure Drapes, rise  and shine ever brighter
Tell our sisters , brothers
The weft and warp of our culture
The threads that wove us together.
beautiful Kashmir, Kutch with Tripura
Patiala, Punj and Chapra.
Drown  noises that tear us, break our hearts asunder 
Do we need their homilies, ugly preachment for candor...

Amrita Chakraborty 

T #Saris_A2Z

#Saris_A2Z I know like me many of you have been awaiting the Sunday special. Well the maestro had woven her 🕸 web and created her magic! It was me who could not come up with a suitable picture for her story😢 

Just created some Tant magic graphically on a bed of saris to go witAmrita Chakrabortyty beautiful Sunday special sari story. So grab ur ☕️ and  delve deeper into the tant's tryst...

"Tant's Tryst with Destiny

The year was 1945, the British had relentlessly hurt the tant weavers of Bengal for over a century now  by opening the flood gates of cheaper textiles from Manchester and other parts of United Kingdom. The brilliant  craftsmanship of Tant was losing perilously to imported textile. These famed handloom weavers, whose muslin and other vibrant drapes were the pride of the greatest empires of medieval Europe and Western Asia were not only losing out their export markets, even Indian households were substituting them ever increasingly.The Tant weavers of  Bengal  known for their fineness and finesse,were not being able to compete and the weavers had turned into an impoverished lot.  Prompting even Karl Marx to exclaim, " the  British intruder broke up the Indian handloom and destroyed the spinning wheel” 

It was 9 at night, in the once glorious weavers' village of Shantipur, late enough for everybody in the village to have retired to bed. Sixteen year old Mira was still helping her father while hearing stories from the past . Gajananda worked late on the handloom trying to weave a bit more before sleep  overtook him. He doted on his only daughter, often feeling deeply guilty that despite being brighter than his four sons, he had not been able to send her to school. As  a Tant weaver, he could barely make ends meet for his family of seven. Mira would always be helping him with his loom. She had no other interests  like the other girls her age. Villagers would joke with Gajanand. " Arre, Gaja, guess you have given Mira in marriage to  your handloom. She's always sitting beside it; keeping it in shape, working on it day in and day out, admiring every aspect of it.............Haha..............your daughter is in love with it, eh?............like the Rani Mirabai was in love with her Gopal!" Gaja would rarely get into an argument with them. The villagers had helped him when he was in dire straits; only if they understood his Mira, he would think wistfully. 

"Baba, you weave these Tant saris so painstakingly. Many of them are on special order from that mahajan Jadunath from Howrah. After days of nurturing lifeless grey yarn, they bloom to life as vibrant saris, look so enchanting that I cry every time you have to pack them off. 

Yet you don't have the money for your persistent cough. Ma has a backache that tears her, we can't treat her too. Moreover"......, Mira continued,somehow restraining her choked emotions "Ma has never got to wear the best pieces you weave. Yet when mahajan mahasaya comes, he gets those glossy brochures of beautiful designs that are to be made on order for  rich women. You toil so hard to make each piece. Jadunath babu laps it up. Orders more, brighter and better designs, more sensuous colors. But we never make enough to have the essentials, forget a good life. Is it fair?" Gaja looked at Mira with moist eyes. What could he explain  to this young girl!

" You know, I'm Mira. And like the Rani Mirabai despite being married to the prince of the great kingdom of Chittor,carrying out many wifely duties , stayed devoted to her Gopal; I too declare my lifelong devotion  for the Tant. Please, baba, you understand me nah. Ma doesn't...."..Mira's voice trailed off wistfully.  

Gaja heard himself telling her, "  even poison from Rana Sanga's palace couldn't kill Mirabai or her devotion. Rather the fragrance of her devotion spread far and wide. So much so, even the great emperor Akbar came to see her in the guise of a beggar. He was so moved by her that while leaving , he lay a necklace at her feet made of pure gold and diamonds..." 

It wasn't long before  Gaja got Harish's proposal for Mira's hand. Harish, despite being a poor weaver's son had studied diligently,coming out with top honors   in the matriculation exams. He was the only one from Shantipur ever to receive a government scholarship to study law in Kolkata. And had just finished graduation and received an internship of a handsome amount of fifty rupees when his marriage was fixed with Mira. Gaja was over the moon that Harish had chosen his daughter to be his bride. When he broke the news to Mira, she was a bit sad that she had to leave her Baba , their beloved loom and its lively creations. But when Gaja quickly promised that he would create the best pieces yet to be made by him to gift her, she was overcome by childlike glee.

Father, daughter toiled everyday to create the prettiest pieces ever made on muslin and tant. The yarns were dyed bright reds, yellows. Each thread was woven with utmost love, to create thick , rich pallus with large floral motifs and the body into finest muslin ever woven by Gaja. The sheer translucence of muslin gave the saris an ethereal radiance. Days merged into weeks; weeks into months. However, the day his priceless gifts were completed, Gaja fell ill with high fever. The family searched for every forgotten penny at home, digging deep inside the barrel of rice as near the Tulsi in the backyard. But they still couldn't afford his treatment. The day mahajan Jadunath came, Mira, with her eyes brimming with tears , quietly gave away  her gifts to get the maximum possible for her beloved baba's treatment. When Gaja heard of it, he was heartbroken and passed away in great shock. An year passed by in sombre , lifeless days. Then Mira was married off in a simple ceremony, frugally arranged by her widowed mother. 

Harish and she set their heart to set up the Gajanand Cooperative Society, GCS, a first in Shantipur and amongst Indian  weavers. The weavers could now access better quality yarn, brighter and a variety of better quality colors. The reeds were never again rickety, falling apart; they were always replaced promptly. The looms were now made of teak wood, with a cemented seat where the these unheralded masters could sit comfortably as they wove their magic. They were  no longer  dependent on middlemen like Jadunath to sell their master pieces. The cooperative sold it for them at best prices. They were once again beginning to hold their head high in the world stage. Mira had ensured that there never would be another father in Shantipur who would die brokenhearted if he wanted to share his fabulous craft with his daughters instead of customers.

Mira had just finished her day's work at GCS ,which she always did with exemplary conviction and devotion. It was a breezy winter evening in 1965, she was walking back home, hearing  baba's gentle voice within her sing Mirabai's bhajan:

'This infamy, O my Prince is delicious!

Some revile me,others applaud,

O Mira’s Lord is noble and dark

I simply follow my incomprehensible road.............' "

M #Saris_A2Z

#Saris_A2Z a prized possession of every girl who is born and brought up in the most beautiful state of India, Assam, her muga sari. Needless to say I luv my mugas❤️❤️ 

For letter 'M' today we feature today the pride of Assam, the muga sari.

 'Mugs' silk is indigenous to Brahmaputra Valley in Assam, is simply magnificent.

Muga silk is not only a nature's gift to Assam, but also a symbol of rich Assamese culture. It represents the brilliance of traditional attire of the region. The most significant characteristic of 'Muga silk' is its golden bright hue.

Its name is derived from Assamese word 'Muga', which means yellow. The fabric is superior in every respect in comparison to the normal silk available all over the world. It is also much more durable. 

With time it only becomes more beautiful. Muga silk's brightness improves with every wash. It's no wonder that Muga silk is one of the costliest silks available. Muga is produced from cocoons of 'Antheraea Assamensis' which is available only in Assam. Muga worm also has the same lifecycle as that of a silkworm. Antheraea Assamensis moth's eggs are laid out on the Som tree leaves to hatch out into caterpillars of about 2mm long. They grow rapidly, eat voraciously and grow as along as 30 mm in length after four to five weeks.

During this time, they change their skin four times. After the final skin change straw frames are provided, the silkworms make its cocoon in it.

The making of cocoon then takes eight more days. The worker interferes this life cycle at the cocoon stage to obtain the dream golden silk thread, which is used by the artisans to weave the enchanting Muga fabric.

Calling every muga lover, share your muga stories and pictures. If you don't possess a muga in your collection, it's the next must have💕

L #Saris_A2Z

#Saris_A2Z the next letter in our alphabetical journey happens to be 'L'. Together let's look at 'L'eheria saris.

What's a lehariya?

Leheria comes from the word Leher meaning wave, since the tie and dye process applied to white fabrics, results in brightly coloured complex wave or Leher designs. Leheria work is done on silk or cotton fabric. A Leheriya has wavy pattern with distinctive bright colors. The leheriya saris are primarily manufactured in Jaipur and other places in Rajasthan. An additional dyeing using the leheriya technique produces mothara. In the making of mothara, the original resists are removed and the fabric is re-rolled and tied along the opposite diagonal. This results in a checkered pattern with small undyed areas occurring at regular intervals. 

K #Saris_A2Z

#Saris_A2Z Kkkkkk.....

not Kiran but Kadhua..

a type of Banarasi sari, an exclusive product of Kashi region that is facing extinction, is our topic of discussion today..

I read about a kadhua, same as most of you, when Michelle Obama was gifted with one. N my Dil Jo ki manta nahi always maange more, wanted a kadhua. Nisha dear thanks for my beautiful kadhua, which you parted from your personal collection😘😘

So what's special about this much talked Kadhua saris? Let's learn together.

A signature handloom product of Varanasi region, one piece of 'Kadhua' sari takes 3-4 months engaging at least three persons to complete. 

Kadhua is an exclusive technique of handloom weaving  and it cannot be imitated on power loom, The cost and time in making a piece of kadhua sari depends on its design and colour.  It is different from embroidery, as all the decorative works are done on the loom only while weaving. 

There are two techniques of weaving -'kadhua' and 'fekua', the kadhua weaving requires 2-3 or more persons while only one person can weave a plain sari with 'fekua' technique. 

The other fame handloom product of Banaras is 'Kimkhab' that costs Rs 4000 to 5000 per meter, and it takes a day in weaving 4-6 inches only. Would be awesome if any of you could share your kimkhab pictures...

Kasavu which was originally known as ‘Mundum Neryathum’, traces itself way back to the Buddhist era. Slowly and gradually this ethnic fabric spread out to the southern parts of India and became richly prominent in Kerala. However, the style of the fabric also finds some resemblance to the Graeco Roman attire, known as ‘Palmyrene’. This was considered as a long piece of fabric which possessed a colored gold border pinned onto to the left side of the shoulder. 

Kasavu is a handwoven cream colored sari with gold border. From the land of ‘God’s own country’, Kasavu emerges as one of the finest traditional saris. It is a handloom designed material which enhances its glamour through the intrinsic borders soaked in the color of pure gold. 

The golden and cream threadwork are intrinsically set giving the attire a traditional appeal. 

The original essence of this fabric felt a noticeable presence depicted through the remarkable sketches of Painter Raja Ravi Verma. The design of this fabric also found its popularity in the mythological epics like Mahabharata which portrayed Shakuntala in many Kerala Kasavu attires.

#Saris_A2Z this #flashbackfriday let's throw some light on this 'king' of saris the 'k'anjeevaram..

Share your Kanjeevaram pictures. A sari each one of us must be having in our collection. 

Kanjeevaram saris woven with heavy silk and gold cloth are considered to be special and are worn on occasions and festivities. 

The pure mulberry silk used in the making of Kanchipuram saris comes from South India and the zari comes from Gujarat. To weave a Kanchipuram sari three shuttles are used. While the weaver works on the right side, his aide works on the left side shuttle. The border color and design are usually quite different from the body. If the pallu has to be woven in a different shade, it is first separately woven and then delicately joined to the Sari. The part where the body meets the pallu is often denoted by a zig zag line. In a genuine Kanchipuram Silk Sari, body and border are woven separately and then interlocked together. The joint is woven so strongly that even if the sarees tears, the border will not detach.

J #Saris_A2Z

#Saris_A2Z as I share the most favorite of my sari collection, my wedding sari, my jamavar...

Together let's explore the land of 'J' saris. As I possess only a jamavar, I did my notes only on this type of sari. Request you lovely ladies if anyone has a jangla please share about the same..

Gyan time~

The intricate paisley motifs and designs on a Jamawar sari give it a rich and distinctive look. 

Traveling from Persia to Kashmir, Jamawar fabric reached the Indian sub continent around five centuries ago. Historically, Jamavars were handwoven, and it used to take years and sometimes even a decade to finish weaving a single shawl. The art of weaving A jamavar was painstaking and intricate one. Several kannis or little wooden shuttles of different colors were used for a single weft line of the fabric. Upto 50 colors could be worked into one the most popular colors being zard, sufed, mushki, ferozi, ingari, uda, gulnar and kirmiz. Months of hard work went into the preparation for each Jamawar, with not more than an inch being added per day in a 48-inch width of material.

With the invention of Jacquard loom in the late 18th century, Jamavar became more affordable. The early 19th century saw major innovations in  Jamawar weaving. Skilled embroidery work and flawless weaves accentuated the Jamawar fabric.  Jamavars were crafted out of pure silk and were exclusively worn by the royal and aristocrat class. Fortunately, with advanced technology and faster looms Jamavars are accessible to all nowadays. 

Each Jamawar sari is a shimmering weave of intricate designs, where the palette spans from traditional rich shades to delicate pastels. Each Sari takes a minimum of three months to finish.

Lying in the heart of Singapore is this 1928 building, we chose as the backdrop..

I #Saris_A2Z

Make this Monday magical via #Saris_A2Z as we speak about the 'I' saris..

The sari in this photoshoot is my mom's sari, which she bought for my shaadi. Loved the feel of it so much keep it as a loving memory. It still smells of her🌹

Now for some wiki gyan on ikats....

"Ikat patterning is done by first dying the threads according to the pattern layout. As the sari is woven the pattern emerges. It's never quite millimeter in sync giving it the delightful jaggy look that bestows ikat work some of it's charm, as does it's bold geometric ornament

ikats are exceptionally well executed examples of handicraft. Ikat's uniqueness lies in the transfer of intricate design and colouring onto warp and weft threads first and then weave them together. The fabric is cotton, silk and sico - a mix of exquisite silk and cotton. the colours are from natural sources.  Among all the age-old weaves that are being subject to a revival, Ikat saris are making a major come-back all flaunting them with much oomph and elan."

Bold and luxurious are the words that would strike one’s mind on seeing the kaleidoscopic Ikat's. One of the oldest weaving styles in the world, Ikat weaves are outstanding in their appeal and beauty. Lately, this unique weaving pattern is undergoing a renaissance of sorts. Needless to say, it is always interesting to have something funky in your wardrobe and exotic in your home, and Ikat print allows you to enjoy both the elements in one weave. 

The ikat  print in the olden days was a symbol of elite class. The intricacies involved in the making of ikat print were so minute that people of the bygone era believed that the ikat weave possessed magical powers.  Ikat woven fabrics were considered a symbol of status and wealth and so were traded as currency along the Silk Route in the 19th century. 

"Double ikat weaving is mainly done in Gujrat and is considered as one of the most exquisite examples of craftsmanship. It usually takes 6 months to 1 year to complete one sari and the lavish price range of this sari begins from Rs. 50, 000 and goes up to 7-8 lacs effortlessly. As these saris are becoming rare, do get yours before it's too late!"

Deepali shares for letter 'I'..

Deepali thanks so much for this piece of information!

Ilkal saree hails from the Bagalkot district of Karnataka. The uniqueness of the sari stems from weaving the warp in cotton and those in the pallav and the border area in art silk or pure silk. This means that the warp of each and every sari has to be prepared specially. The warp threads of the body and warp threads of the pallav and borders are linked together by loops locally addressed as “Topa Teni” Technique. The length of the pallav varies between 17 to 27 inches. These saris are produced in three different lengths 6, 8 and 9 meters. Reds, Maroons, and bright colors dominate the Ikkal Saris. These saris were initially used as daily wear saris by the women in Bellary making them glow in the sun while working in the fields. The body of these saris generally has checks, stripes or rectangles and the pallavs has length wise color bands known locally as “Paras” or “Gaadi” running across them."

K #Saris_A2Z

#Saris_A2Z brings you one more Sunday special, to make your Valentine's Day sizzling n scintillating. Before you read further grab your garam garam chai ki pyali☕️, curl your feet up on your favorite couch🛋

ab Dil thaam ke पढ़िएगा~

Maestro Amrita spins yet another web with her finesse and churns out 

Kantha's Katha...

"Munmun stared out of her spacious balcony on the thirtieth floor of her plush new apartment in New Alipore. It was a July morning. The monsoon clouds hung low. One moment, they held hands as if  to jump down below; next moment they parted,  letting the sun peep out . Munmun loved the hide and seek of monsoon clouds. It made her so joyful. Eighteen years ago, when she had told her mom, she wanted to take a break for an year  after graduating from M.I.T to follow her calling, it wasn't well appreciated. She was twenty two at that time and it was rational to think her degree should quickly begin  a great corporate career.  Her hardworking parents had arrived in USA, when she was just an year old. Her father, was a well admired professor in Massachusetts Institute of Technology. He had spent his life working on theories and applications that pushed frontiers in science and technology. And her mom was diligent in keeping her family of four, healthy and happy. She was also fiercely house proud, with the ability to turn every mundane corner of their house into regalia. Munmun had left all that comfort of their suburban Boston home in Cambridgeport to find her calling in India.

Arriving at Kolkata, she expected  the welcome would be as warm as when she arrived every year during her summer break with her parents. Today her Nani, though undoubtedly happy to see her only granddaughter was somewhat guarded in expressing it. Munmun knew at once that her parents would have sounded nani out. Nani would have been given a mandate to convince to return. After all, no one else could 'nag with love' and convince. But Munmun was restless with unknown dreams . She wanted to hear her inner voice far away from her daily grind in Boston.Munmun crushed Nani in a tight bear hug even as Nani struggled to parrot her parents' terse lines . Soon, Nani being the simple soul that she was , was basking in Munmun's happiness. They babbled away merrily  in the car and before long had reached home. 

Nani's home was brimming over with aromas from the most delicious food that Munmun had ever tasted anywhere in the world. She ran to the kitchen, her favorite place at nani's.  Laxmi, the cook of several years, was diligently rustling up her magic. It was unheard of Laxmi ever offering a meal that wasn't at least five course. Intoxicated thus by the aromas, Mumun's eyes suddenly fell to the floor. There was a tiny infant , fast asleep, on a bright colored cloth. It Laxmi's newborn. " Aww, Laxmididi, you shouldn't have got your baby to the kitchen. And why on the floor? Won't she... "...

" Naa", said Laxmi without letting Munmun complete the sentence, " she is fine. "Sleeping peacefully on the kantha near me. " Munmun peered at the " kantha", the baby's hand stitched ' mattress' . It was several layers of cloth that Laxmi would have garnered over time, stitched together. It had been done with great  finesse anfpd looked very arty. She gazed at the kantha and the baby for a long time, till a loud ring on her phone broke her trance. It was her dad's guttural voice, ostensibly enquiring about her long flight from Boston. Soon she found him irked and she had feared that was coming.  "For years, you were sent to the best schools. Special attention was given to hone your maths and science skills. It culminated in your graduating in Electronics engineering from the hallowed MIT. Was all that a burlesque of our concerted efforts? A deafening pause..

" Do you have anything in your mind? Or is your long break only an escape from the challenges of a promising career"? The call ended as abruptly as it had arrived. Munmun knew it was impossible to convince her very rational dad with any of her rationale. But she found herself pondering on his words. Really! She didn't have a specific idea to spend her break year on. She was staring blankly when her gaze again fell on the baby and the kantha. Both looked so perfectly at peace. Where would she find hers?

Since that day, eighteen years ago, Munmun reminisced , as a refreshing  drizzle brought her back to the present,  her love affair with the kantha stitch had begun. She didn't know it was meant for a lifetime. She had nagged Laxmi to show all the kanthas of her baby. Each so simply done, yet each a piece of art. Next, she decided to go with Laxmi to her village and saw how widely kanthas were stitched for every day use. She was completely smitten by this simple art of the village folk to create pieces of sheer joy. She then, bought pieces of cloth herself, colorful ones, demure ones  and gave it to the women in Laxmi's village to stitch. Soon she found herself give them the new and bold designs too. And lo, how well they brought it out on cloth. She paid them well , ensuring her new found joy trickled down to all . When her mom came after 6 months to take her back, she was pleasantly surprised to see the kantha pieces Munmun had garnered painstakingly. She had not even known that her young daughter was so artistic, though she herself had sent Munmun for painting classes on the side and seen some inclination. But years of academic pressure had buried it all, so she thought. And now she was speechless at what lay before. There was never again a discussion of wrapping up her stay in Kolkata. All that they talked at home was how to showcase her kantha work. Infact, nani asked her if she could get this beautiful craft, powered by her imaginative designs and color combinations on saris. Stitch a new magic on saris. How would it be? Munmun leapt at the idea, overjoyed. And thus, Moon's Kantha Saris was born. The first exhibition was held in Boston. Then another in DC, followed by one in New Jersey. In a few years time, there was demand from San Francisco. And Munmun hadn't realized the passage of time. Her brand, Moon's Kantha's Saris  was now awaited by super markets as acclaimed by few eminent design houses in Italy, France and USA. She ensured, year after year that the quality of fabric and alluring designs went hand in hand in every piece. That was her mantra. She had a proud band of loyal customers. They were her evangelists spreading her art all over the globe. 

Someone, called her gently, " Ma'am, a call from Milan. They want our kantha saris for their spring fashion show, where they are showcasing Indian drapes this year. What do I say?" It was Laxmi's daughter, now an an aspiring fashion technologist and apprenticing with Moon's Saris............................Did she ever imagine her Kantha saris would go so far...........Somewhere, behind, a  FM radio was playing 'Ganga aye kahaan se, Ganga jaye kahaan re.......................

Laharaye pani mein jaise dhup chhaon re...................."..

Was it an ode to her Kantha drapes?"

👏👏👏👏👏👏👏👏👏👏👏👏

#iluvsaris @demuredrapes

G #Saris_A2Z

#Saris_A2Z an alphabetical assortment of information of various types of saris. Hope you are enjoying this segment as much. Make this a wonderful wednesday, share all pictures and any information of saris starting with letter 'g'.

Amrita writes

"My story........

Sovabazaar's royalty: 

Garad

It was always a joyfully hectic five days for Indra Mukherjee during the Durga pujas in his ancestral home in Sovabazaar, Kolkata. The festivities were done in a grand scale, without missing any nuance that had been followed meticulously for the last sixty years since Indra's grandfather had brought the Goddess home.

Indra had held senior corporate  level jobs in New York, Sydney  and Singapore. And had lived most of his adult life outside of his hometown. His only elder sister, fondly called Didimoni by one and all, had always spent several months , year after year with her children who had migrated to Australia. Now both septuagenarian siblings lived in Kolkata, whereas their children had opted to stay abroad. But whenever the love of their grandchildren tugged at their heart strings they would go away for months to be with them. However, they never left Kolkata during  the Durga pujas, ensuring that the entire extended families too  came at that time. 

Everything from cleaning and polishing the brass stand with 108 lamps and Devi's  antique brass bhog prasad utensils to lighting , flowers, including sourcing 108 fresh lotuses for Sandhi puja, getting the family's favorite incense , Mother's saris, arranging the traditional ornaments, the multi course food on each of the five days, with an ensemble of mouth watering sweets,  to spicy mutton curry with luchi( puris of Bengal) on Navami, et al were planned by the septuagenarian siblings well before their children and grandchildren arrived. 

But there was something that Didimoni was most passionate about. It was planning the choice of saris worn by the all the women in the extended family. Shasthi, Saptami could be devoted to a flaming orange or neon yellow. Or she would dedicate an Ashtami , Nabami to the regal Dhakai Jamdani, Baluchari, Kantha or myriad other lovely genres. Decades had passed and her enthusiasm had not waned even the slightest on the 'saris orchestra'. And the family thus had an awesomely beautiful puja album over the many years that could do justice to the photo galleries  of London and Paris. 

Didimoni's piece de resistance  was the Garads of Dashami. These pieces of sheer art on  off white , with bright red borders, pallus and fine red motifs all over,  would bring out a grandeur which even the feisty fuschia  could concede. The women each looking mesmerizing, would smear sindoor on Ma's feet and forehead , before they sprayed each other with it bringing gaiety even as Ma was going away for another year.  The Garad's regal demeanor ensured that the poignance on the day of farewell was replaced by devoted colorfulness."

"The quintessential Bengali sari, Garad or Gorod dates to a long time back and can be rightfully called the most  traditional of all  saris from Bengal . Garad distinguishes itself by a rich red border on a white or off-white body in silk. The body is purity expressed in off white silk  and often with fine motifs spread across the plush base. Garad has traditionally been a puja sari. The devout in Bengal can't wrap herself deep in devotion without being draped by the Garad...

Awesome Ananya shares this picture collage and adds..

"The timeless "Garod" and I are inseparable. Mine was passed on to me by my mother and I hold it sacred. I drape the Garod twice a year. It is of utmost significance during the Shondhi Pujo on Oshtomi Durga Pujo and then again I wear it for my own annual Saraswati Pujo that I perform at home. There is never an alternative for a Garod. It's not a style statement; it's a tradition and mirrors a culture."

continuing with letter 'G' Today we talk about saris that can be folded to the size of a match box. 

When the weavers began weaving the ancient craft of Gadwal saris, the designs and colours were adapted from the temples and nature. The weaving technique used to design the Gadwal saris is the interwoven weft technique which was traditionally known as Kupadam and the weaving style for the borders was known as kumbam. Gadwal Saris are from Andhra Pradesh. The striking feature of this sari is that, while the body is made from cotton, the borders and the pallu are made from silk. There is complicated joinery involved and this gives the silk/cotton mix sari its charm. Attaching the silk border and pallav to the cotton body is called doing the 'kechchu'. This is most difficult to do and is also what sets the Gadwal sari apart from other saris. The body of the sari is woven from unbleached cotton yarn and contains patterns made using colored cotton or silk thread. The embroidery is done using threads coated with gold or copper. Traditional motifs are used in the sari. These saris have different types of borders - Small border, medium border, heavy border. But the weight of the sari doesn’t vary. A Gadwal Sari is of 80 counts cotton for warp and weft in the body, and 20/22 D filature silk is used in the border and pallou. KUTTU at the border for any gadwal sari, is one feature that helps recognize it and also a gadwal whether Cotton or Silk, always has a Silk border. 

Special thanks to Seetha for lending us her new Gadwal for the photoshoot..

#Saris_A2Z for all of you who have been gushing over the Gara in the cover picture, here goes. 

Undoubtedly the most exquisite of the saris, a Gara is made even more exclusive by the fact that without a trace of Zari, this is one of the most 'dressy and classy' sari.

Gara is a kind of embroidery, originally done on saris and primarily comprising the khakha stitch (also called the Forbidden knot), the French knot and long- and short-stitches. The work is extremely precise and fine with the stitches done very close to each other. Common gara motifs include birds, peonies, roses, lilies, pagodas and dragons.

Earlier, dark-coloured Chinese silk fabrics, especially in the purple-to-violet belt, typically formed the tapestry while the embroidery was in shades of cream. These days, the gara is often machine-embroidered on lighter fabrics, such as georgettes. 

The gara had its heyday in the late 19th and early 20th century by which time, under Parsi patronage, it came to be recognised as the 'Parsi sari'. 

The story of the gara is one punctuated by as many influences as the motifs it showcases. It is also largely because of these influences that the gara now belongs to a class of vintage that is so rare to come by that women from one generation pass their saris on to the next.

E #Sari_A2Z

#Saris_A2Z a sari type I so wanted to share when we did the letter 'e' Eri saris, unfortunately could not find an Eri. But kisi ne theek hi kaha hai Dil se kuch maango to mil hi jata hai! Sujata the savior, possesses just the sari! She so graciously agreed to do this shoot for @demuredrapes! 

So here goes...

"Eri silk is found majorly in Assam, north eastern India. It is also known as Errandi or Endi silk. This is the only tamed silk produced in India without killing the silkworm, thus, naming it as Ahimsa silk or fabric of peace. It is one of the finest and purest form of silk which is produced by Samia cynthia ricini worm. It is said to be father of all textured and cultured forms of silk. Eri silk needs delicate care and preservation as they are the most textured silk having shorter fibers. These short fibers make it less durable and the extracted silk is dull yellow or gold like gleam. Eri silk is sigil of sophistication with a touch of royalty which goes perfect for any occasion or festival."

#iluvsaris @DemureDrapes

Deepali shares this information about kasuti embroidery. Deepali thanks so much.

"Kasuti is a traditional form of folk embroidery practiced in the state of Karnataka. Kasuti work which is very intricate sometimes involves putting up to 5000 stitches by hand. 

The history of Kasuti dates back to the Chalukya period.  The name Kasuti is derived from the words Kai (hand) and Suti (cotton), indicating an activity that is done using cotton and hand."

D #Saris_A2Z

#Saris_A2Z next features saris with alphabet 'D'. 

The centuries-old Dhakai Jamdani weaving tradition which originated in Dhaka, Bangladesh is today carried forward in West Bengal as well. These are feather-light and sheer saris, with fine motifs woven all over the body giving it a luxurious and grand finish. The Dhakai Jamdani was originally woven on Muslin. The weave is done in a way that feels like the motifs are embroidered on the base fabric. The most distinctive feature of the Dhakai Jamdani is the use of geometry in its motifs. The traditional art of weaving dhakai has been declared by UNESCO as a Intangible Cultural Heritage of Humanity.

A Dharmavaram often referred to as 'a daily wear kanjeevaram' is very similar to a kanjivaram. A Dharmavaram is made using tested ‘zari’ hence the lower cost. Dharmavaram Saris  are woven in the interlocked-weft technique. The design required on the sari is initially drawn on computer and then punched into a card. These cards are then loaded in Jacard in the loom. First the yarn is loaded as warp and then loaded into the loom. The weavers use both their hands and legs to weave the Sari.  It requires approximately 4-8 days of continuous efforts of two persons for weaving a sari depending on the variety of the sari being weaved. The specialty of being woven in two colors that give an effect of muted double shades accentuated by the solid color border and pallu is the distinct feature of a dharmavaram. 

 This is a jewel! Here is a lovely girl wearing her grandma's 53 year old Dharmavaram sari bought in Mysore in 1962 for Rs 242. The pallu is super-exquisite and very rare and unique for that time..notice the sheen is so well preserved! Sending a magnification of the arty pallu motif too. 

The name Dhokra  was initially used to indicate a group of nomadic craftsmen.  Dhokra, known as “Bharai kaam”, is the art of sculpting brass with the ancient technique of lost wax casting. The tribals of Madhya Pradesh are famous for their imaginative and creative dhokra. Unfortunately I am unable to dig more info on this type of saris. Pictures galore on online sari sites, minus any input relevant for this post. 

In Dhaniakhali block every household has at least one loom. The sari produced here is named after the place. The material for the Dhaniakhali sari is somewhat coarse and heavier than other textiles from Bengal but suits the middle class budget and as such is popular. An ordinary Dhaniakhali sari takes a minimum of two days to be woven, and the most exotic ones take four to five days to weave.  

C #Saris_A2Z

#Saris_A2Z Jayshri bought this 'Raw Mango' sari from an exhibition in Singapore. She was kind enough to lend it for the photoshoot..

The backdrop is a beautiful blue shop house on Petian road. Every time I cross this shophouse, mere andar ka photographer jag uthta hai😀😀

For letter 'C' featuring one of my favorites a Chanderi..

A bit of gyan as per wiki..

"According to mythology or the vedic period it was said that chanderi was founded by lord krishana's cousin Shisupal. The famous weaving culture started during the 2nd century and 7th century. 

The chanderi saris are produced from three kinds of fabric i.e. pure silk,chanderi cotton and silk cotton. Traditional coin, Flora art, Peacocks and geometrices are woven into different chanderi patterns."

Personally I love the elegance and panache this sari lends to the wearer. A must have in your wardrobe..

#iluvsaris @DemureDrapes

Anju Bansal shares..

The present form of chikan (meaning elegant patterns on fabric) work is associated with the city of Lucknow, in Uttar Pradesh. Chikan embroidery on silk is Lucknow's own innovation. The other chikan styles are that of Calcutta and Dacca. However, characteristic forms of stitch were developed in Lucknow: phanda and murri.

Chikan embroidery is believed to have been introduced by Nur Jahan, the wife of Jahangir. Chikan embroidery involves the use of white thread on white muslin (tanzeb), fine cotton (mulmul), or voile, fine almost sheer fabrics which showcases shadow work embroidery the best. Other colours can also be used.

The artisans usually create individual motifs or butis of animals and flowers (rose, lotus, jasmine, creepers). The designs are first printed onto the fabric not with chaulk, but with a mixture of glue and indigo.

At least 40 different stitches are documented, of which about 30 are still practiced today and include flat, raised and embossed stitches, and the open trellis-like jaali work. Some of the stitches that are used in Chikankari work include: taipchi, pechni, pashni, bakhia (ulta bakhia and sidhi bakhia), gitti, jangira, murri, phanda, jaalis etc. In English: chain stitch, buttonhole stitch, French knots and running stitch, shadow work. Another is the khatao, 

Jewels By Rakhi sends this picture in a Chikankari. It's a beautiful yellow georgette she has picked from Colors boutique in Singapore..

#Saris_A2Z Beena  from Hyderabad sends these pictures and writes..

"I want to add my bit. A sari  type famous in our state. Chirala sari, starting with letter C, both silk and cotton. Chirala is a small place in Andhra Pradesh famous for its textile industry. There are over 25000 looms here weaving saris"

B #Saris_A2Z

#Saris_A2Z is a segment purely for sharing our knowledge about saris, alphabetically. Today lets together explore all types of saris starting with letter 'b'.

I will share pictures and information, I have collected about two types whose name starts with the letter b, a Baluchari and a Benarsi. For the backdrop to both these pictures hidden 'jewels' in Singapore have been unearthed and used. 

The Baluchari Sari originated in West Bengal, and is mainly worn by the women of India and Bangladesh. It is a hand woven saree using richly dyed silk, with intricate motifs depicting Indian mythology woven onto its large ‘pallu’. Baluchari takes a week to be woven, and the craftsmen are largely centered in Murshidabad.  The designs are mainly from the Ramayana and Mahabharata, and are worn as a sign of aristocracy and status.  They are indeed connoisseurs’ items.

Finding a mention in the Mahabharata and in the Buddhist scriptures in the first millennium, Banarasi saris have its roots seeped into the rich cultural history of India. Originally crafted exclusively for the royalty, each Banarasi sari was created from real gold and silver threads, taking as much as a year to make. These are an unmatched example of excellent artistry. Atleast three craftsmen work together to make up one sari by using the power-loom. One artisan has to weave the silk and one has to dye the silk, where the other one has to engage the bundle of silk, which creates the power ring. 

A Banarasi Sari is a favorite among the brides owing to its royal aura. 

Abhinika shares this picture of hers in a batik sari. 

Batik is the art of dyeing that has been a part of India’s costumes and culture for the last 2000 years. The technique of producing batik clothing basically involves designing the desired cloth with wax and then placing it in a dye bath. This enables all the areas of the fabric without the wax to absorb the colors.

 The major pull-factor of a batik sari is in its multifarious designs and prints. Often the body of the sari is dyed in one color which is complemented by a contrast in the color of the border and the pallu. Along with a difference in hues, the sari usually also has a bold motif on the pallu.

Gayatri shares her pictures in a Bomkai, with following information..

"Woven on a pit loom, Bomkai, which is also known as Sonepuri, is an extraordinary fabric that results from the confluence of two extremely popular components of the Orissa textile industry. In its simplest, Bomkai can be explained as an extra weft technique on a pit loom.It is an outcome of Ikat and embroidery interwoven into each other. The borders are often in contrasting colors and the pallus marked by intricate threadwork. The motifs on the Bomkai are inspired from nature and tribal art, giving the sari a fascinating look that makes it perfect for aristocracy. Bomkai saris are available in cotton and silk."

Renu sends in her bandhni pictures and adds...

"My beautiful Rajasthani friend Renu, in her bandhani sari..

She shares 

"Bandhani is a type of tie-dye textile decorated primarily by plucking the cloth with the fingernails into many tiny bindings that form a figurative design. The term bandhani is derived from the Sanskrit word banda. Today most Bandhini making centers are situatied in Gujarat, Rajasthan, Sindh, Punjab region Earliest evidence of Bandhani dates back to Indus Valley Civilization where dyeing was done as early as 4000 B.C. The earliest example of the most pervasive type of Bandhani dots can be seen in the 6th century paintings depicting the life of Buddha found on the wall of Cave 1 at Ajanta." 

Arundhati writes about her bandhej

"I am wearing a bandhej. Its a fabric made using tie and dye method. Smaller the knots; smaller and more intricate will be design and ofcourse difficult to create."

Geeta in her bomkai.