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Ancient India's recorded history of clothing goes back to the 5th millennium BC in the Indus Valley civilization where cotton was spun, woven and dyed. Most of the present knowledge of ancient Indian clothing comes from rock sculptures and paintings in cave monuments. The main items of clothing were the Antariya made of white cotton or muslin, tied to the waist by a sash called Kayabandh and a scarf called the Uttariya used to drape the top half of the body
Ancient India's recorded history of clothing goes back to the 5th millennium BC in the Indus Valley civilization where cotton was spun, woven and dyed. Most of the present knowledge of ancient Indian clothing comes from rock sculptures and paintings in cave monuments. The main items of clothing were the Antariya made of white cotton or muslin, tied to the waist by a sash called Kayabandh and a scarf called the Uttariya used to drape the top half of the body
Ancient India's recorded history of clothing goes back to the 5th millennium BC in the Indus Valley civilization where cotton was spun, woven and dyed. Most of the present knowledge of ancient Indian clothing comes from rock sculptures and paintings in cave monuments. The main items of clothing were the Antariya made of white cotton or muslin, tied to the waist by a sash called Kayabandh and a scarf called the Uttariya used to drape the top half of the body
India's recorded history of clothing goes back to the 5th
millennium BC in the Indus Valley civilization where cotton was spun, woven and dyed. Chanakyas treatise on public administration, the Arthashastra written around 3rd century BC, briefly describes the norms followed in silk weaving.
Most of the present knowledge of ancient Indian clothing comes from rock sculptures and paintings in cave monuments 1st century AD shows some cultural exchanges with the Greeks. The Buddhists were portrayed as wearing the Greek himation, which is the forerunner of the modern saghti that forms a part of the Kasaya of Buddhist monks.
During the Maurya and Gupta period, the people continued to wear the three piece unstitched clothing as in Vedic times. The main items of clothing were the Antariya made of white cotton or muslin, tied to the waist by a sash called Kayabandh and a scarf called the Uttariya used to drape the top half of the body A variety of weaving techniques were employed in ancient India, many of which survive to the present day. Silk and cotton were woven into various designs and motifs, each region developing its distinct style and technique.
Famous among these weaving styles were the Jamdani, The earliest mention of jamdani and its development as an industry is found in Dacca. The Jamdani weaving tradition is of Bengali origin. It is one of the most time and labour-intensive forms of weaving hand loom weaving.
Jamdani is a woven fabric in cotton, and it is undoubtedly one of the varieties of the finest muslin. Kasika vastra of Varanasi The butidar saree is a rich kind of the Banaras Saree which has traditional patterns and motiffs done with the use of real gold and silver Jari and Katan silk. Ilkal saree takes its name from the town of Ilkal in the Bagalkot district of Karnataka state, India.
Ilkal sarees are woven using cotton warp on the body and art silk warp for border and art silk warp for pallav portion of the saree.
The distinctive feature of Ilkal sarees is the use of a form of embroidery called as Kasuti. Brocades of silk were woven with gold and silver threads and were deeply influenced by Persian designs. The Mughals played a vital role in the enhancement of the art, and the paisley and Latifa Buti are fine examples of Mughal influence Dyeing of clothes in ancient India was practised as an art form.
The commonly used dies were indigo(Nila), madder red and safflower.
The technique of mordant dyeing was prevalent in India since the 2nd millennium BC.
Resist dyeing and Kalamkari techniques were hugely popular and such textiles were the chief exports.
Resist dyeing is a term for a number of traditional methods of dyeing textiles with patterns. Kalamkari is a type of hand-painted or block-printed cotton textile.
There are two distinctive styles of kalamkari art in India - one, the Srikalahasti style and the other, the Machilipatnam style of art.
The Srikalahasti style of Kalamkari, wherein the "kalam" or pen is used for free hand drawing of the subject and filling in the colours, is entirely hand worked.
Machilipatnam Kalamkari is a vegetable dyed block paintings, of Kalamkari variety, over a cloth made in Machilipatnam, Andhra Pradesh. Integral to the history of Indian clothing is the Kashmiri shawl. Kashmiri shawl varieties include the Shahtoosh, popularly known as the 'ring shawl' and the pashmina wool shawls, historically called pashm.
Textiles of wool finds mention as long back as the Vedic times in association with Kashmir. Traditional Indian clothing for women in the north and east are saris or ghagra cholis while many south Indian women traditionally wear sari and children wear pattu langa. Bindi is a part of women's make-up.
For men, traditional clothes are the Sherwani, Lungi, Kurta and Dhoti or Pajama. Also, most recently Pant and shirt have also been accepted as traditional Indian dress by the Government of India. Headgear
The Indian turban or the pagri is worn in many regions in the country, incorporating various styles and designs depending on the place. Other types of headgear such as the Taqiyah and Gandhi cap are worn by different communities within the country to signify a common ideology or interest. The Dastar, also known as pagri, is a turban worn by the Sikh community of India.
Pheta is the Marathi name for turbans worn in the state of Maharashtra. Its usually worn during traditional ceremonies and occasions.
Mysore Peta originally worn by the kings of Mysore during formal meeting in durbar and in ceremonial processions during festivals, and meeting with foreign dignitaries, the Mysore peta has come to signify the cultural tradition of the Mysore and Kodagu district.
Turbans in Rajasthan are called pagari. They are distinctive in style and colour, and indicate the caste, social class and region of the wearer.
Embroidery Embroidery of India includes dozens of regional embroidery styles that vary by region. Designs in Indian embroidery are formed on the basis of the texture and the design of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle and permutations and combinations of these constitute the design. The most ornate and tedious form of Indian embroidery is the Zardosi workmanship. This form uses metallic thread instead of the usual silk or rayon. Many rich women from the late 16th century had embroidered dresses. Another form of embroidery from Tamil Nadu is the Ari work, which is done by stretching the fabric on a frame and stitching with a long needle, which also holds sequins, beads, and other embellishments.
Kashida embroidery often draw inspiration from nature. Birds, blossoms and flowers, creepers, chinar leaves, ghobi, mangoes, lotus, and trees are the most common themes. The entire pattern uses one or two embroidery stitches. Sozni embroidery (dorukha) is often done so skillfully that the motif appears on both sides of the shawl with each side having a different color. Consequently, there is no wrong side. This is done by a fine needle and generally a single or at the most double thread is used. Another type of needle embroidery is popularly known as 'papier mache' embroidery because flowers and leaves are worked in the satin stitch and employ the bright colors that are found in papier mache. Each motif is then outlined in black. This design is employed either in broad panels on both sides of a shawl or on the entire surface of a stole. Kashir-Jaal implies fine network of embroidery, particularly on the neckline and sleeves of a dress material.
Naala Jaal implies embroidery particularly on the neckline and chest/yoke, where Naala means neck in Koshur of Kashmiri language. Jaama form of embroidery implies a dense and thick spread of f vine/creepers & flowers, badaam and heart shapes, where the cloth is not visible. Such is the density of embriodery, that no fabric is seen. Variation of this form is
Neem-Jaama, where neem means demi or half. This cuts down the density of the embroidery, making it sparse and the fabric shows.
Jaal form of embroidery implies bel-buti means a fine and sparse net of vine / creepers & flowers. Variation of this form is Neem-Jaal, where again the density of the embroidery is severed. Chikan is a traditional embroidery style from Lucknow. Literally translated, the word means embroidery.
The technique of creation of a chikan work is known as chikankari. Chikankari is a delicate and artfully done hand embroidery on a variety of textile fabric like muslin, silk, chiffon, organza, net etc. White thread is embroidered on cool, pastel shades of light muslin and cotton garments.
Nowadays chikan embroidery is also done with coloured and silk threads in different colours to meet the recent fashion trends and keep chikankari trendy with fashion. Lucknow is the heart of the Chikankari industry today and the variety is known as Lucknawi chikan.
Embroidery of Gujarat Aari Embroidery with silk threads using a hook is a popular craft of Kutch, Gujrat. The motifs found commonly are, dancing peacocks, human figures in dancing postures and other delicate and definitive forms. Embroidery of West Bengal Kantha embroidery is a popular type of craft created in the Bengal region of India. It has always been popular amongst rural women who keep the tradition of this special craft alive. Embroidery of Manipur This area has a unique type of embroidery that uses one stitch, in deference to the weavers in the area. This is done in dark matching shade with untwisted silk thread on the border of the phanek (a lungi or lower body wrap worn by women). Embroidery of Andhra The Mathurias of Andhra Pradesh, a tribe found only in Adilabad, inhabit the forest area and, being nomadic, move from place to place looking for agricultural work on land. Embroidery of Haryana In Haryana embroidered fabrics retain their age-old social values, for they are among the treasures given to a bride on her marriage. Phulkari embroidery technique from the Punjab region literally means flower working, which was at one time used as the word for embroidery, but in time the word Phulkari became restricted to embroidered shawls and head scarfs. Simple and sparsely embroidered odini (head scarfs), dupatta and shawls, made for everyday use, are called Phulkaris, whereas garments that cover the entire body, made for special and ceremonial occasions like weddings and birth of a son, fully covered fabric is called Baghs ("garden") and scattered work on the fabric is called "adha bagh" (half garden). this whole work is done with white or yellow silk floss on cotton khaddarh and starts from the center on the fabric called "chashm-e-bulbul" and spreads to the whole fabric. Resham Embroidery Mirror Work Embroidery
Sequins Embroidery Kundan Embroidery Chamba Rumal of Himachal Rajasthani embroidery Embroidery of Orissa Jewelry Sarpech Traditional Rajasthan head jewellery Kada Vanki Arm Ornament LINGA PADAKKA MUTHU MALAI Necklace Nath ODDIYANAM Waist Ornament
Jhumka Ear Ornament Jadanagam Hair Ornament Shinka -Gujarat Chandrahaar Hathphool Hand Ornament Paizeb Foot Ornament The evolution of fashion in India have been triggered by various socioeconomic movements during the twentieth century. During the 20s, one of the greatest influences on dress code was the movement towards equal status for women. Hence, a new breed of business- like women emerged and made corresponding demands on their dress, says A.K.G Nair, Director, Pearl Academy of Fashion. The obvious choice for silhouette veered towards dropwaist or box and the choice of colour was black and grey and the fabrics preferred were silk and georgettes he says. The 30s heralded the idea of socialism,communism and fascism and womens fashion became more and more feminine in keeping with conservative ideas. However this period also saw the emergence of the vamp and the culture of cabaret says Nair, noting that hence the dresses became more body hugging and the colours deep and dark in tune with such themes. The establishment of the Indian cinema also proved to be the strongest influence on the fashion in the decade. Due to the western influence, the use of angarkhas, choghas and jamas diminished considerably by this time, although the ceremonial pagri, safa and topi were widespread as ever. They had been replaced by the chapkan, achkan and sherwani, which are still standard items of formal dress for Indian men today says Kumar. The women even though were accepting change, continued to wear their peshwaz, kurtas, ghaghras and dohnis at religious and ceremonial festivities, sometimes using imported fabrics but using mostly traditional handwoven fabrics says Asha Baxi, Director Fashion Design. National Institute of Fashion Technology(NIFT).
In the 40s,it was Christian Dior who turned fashion upside down with a new shape, with the bosom pushed up and out, a pinched waist and hips emphasised with short fluted jackets. It was also a decade marked by the second World War and the ensuing independence of India with the result that womens clothing was simple and functional says Nair.
The 50s saw the dawn of art colleges and schools, which became places of rebels, and hence in silhouette, narrow waist and balloon skirts with bouncing patterns were in vogue. Also due to the freedom struggle and the espousal of khadi by Gandhiji, khadi garments became a rage giving a boost to the sagging handloom industry, according to Asha Baxi.
The 60s one of the most shock-filled decades of the century, saw sweeping fashion and lifestyle changes that reflected the mercurial passions of the times. This decade was full of defiance and celebration in arts and music and cinema, marked by a liberation from constraints and new types of materials such as plastic film and coated polyester fabric got popular says Nair. Besides, adds Bax Tight kurtas and churidars and high coiffers competed with the mini-skirts abroad and at the same time, designers understood the need of the moment to launch cheaper, ready-to-wear lines One of the most revisited and retro periods in the fashion, the 70s is often called the me decade. It saw the beginning of anything goes culture with the result that fashion became another form of self-expression and bold colours with flower prints were adapted in tunics, with shirts and bell- bottoms says designer Manav Gangwani. As drug culture became a mass phenomenon, psychedelic colours were garish, the shoes were tall and hazardous and silhouettes were extreme and the dressing of the 50s was definitely out.
The 70s also saw the export of traditional material with the result that export surplus was sold within the country itself and hence, international fashion came to India much before the MTV culture, says Baxi. Synthetics became popular and the disco culture had a profound influence on fashion and the clothes became as flashy as the mirrored ball that spins over the dancers.
In the 80s the big money ruled. It was the era of self consciousness and American designers like Calvin Klein became household names. In India too,silhouettes became more masculine and the salwar kameez was made with shoulder pads says Baxi, Power dressing and corporate look became dominant dress code. The influence of cable TV became more prominent and the teenage market boomed with youngsters going in for the trendy look, which in turn influenced the elders.
The 90s the last decade of the millenium, was one of the extremes. The excess of the early decade gave way to the drastic pairing down and stripping away in the hands of German designers like Helmut Lang and Jil Sander. Perhaps the biggest fashion news of the 90s has been the ascendancy of the younger generation of designers into the mainstream. The decade also looked for independent women with comforts, poise and confidence as key features, says Nair. But the decade also saw the revival of ethnicity with films too becoming more discreet and launching a back to ethnic look. While on the one hand the new drive for information technology popularized the corporate look, an ethno-cultural revival made people again go back to the traditional forms of art and crafts states Baxi As it is Indian fashion is extremely alive and whatever the decade or the century, it is here to stay. For not only it is comfortable, practical and aesthetically beautiful but has changed with time with the result that it has, in the past century, and will in the coming one, remain contemporary she sums up. Although sari is a fast disappearing garment for everyday wear, it will survive as special occasion wear. More and more Indian women today prefer stitched garments and Western wear of easy to maintain and wash and wear fabrics. And yet there was a time when ladies rode horses wearing saris and even swan in rivers with their saris tucked between the legs, much like an unstitched pair of shorts. Saris were even draped longer in pantaloon like fashion. If the principles of these wearing styles were put into practice, many more could possibly be evolved for contemporary needs. Interestingly, the sari is asserting a growing presence in the boardrooms of multinational corporate organizations, in law chambers, courts and among the new power professionals who are conscious of their identity and draw strength from it.
Navajo weavers
Third Annual Report of the Bureau of Ethnology to the
Secretary of the Smithsonian Institution, 1881-'82,
Government Printing Office, Washington, 1884, pages 371-392.