Excellent Indian sarees supplier: The garment evolved from a popular word ‘sattika’ which means women’s attire, finds its mention in early Jain and Buddhist scripts. Sattika was a three-piece ensemble comprising the Antriya – the lower garment, the Uttariya – a veil worn over the shoulder or the head and the Stanapatta which is a chest band. The three-piece set was known as Poshak, the Hindi term for costume. Antriya resembled the dhoti or the fishtail style of tying a sari. It further evolved into Bhairnivasani skirt, which went on to be known as ghagra or lehenga. Uttariya evolved into dupatta and Stanapatta evolved into the choli. Discover more info at shop Indian sarees online.
Each region brings forth a trunk full of saris, with a strong identity and their own traditional designs, motifs, and colours, says 73-year-old Laila Tyabji, co-founder of Dastkar, an NGO established in 1981 that supports traditional Indian craftspeople. Even from village to village, there is a different weave. Every sari has a story about the society and the people around it. It is a history book that tells you about the region, the community, the craftsmen, and the geography of the place. The famous brocades from the ancient city of Banaras, with intricate designs and detailed embroidery using gold and silver threads, take their name from the city and evolved during Mughal rule over India. To this day a Banarasi sari is a must-have in an Indian bride’s trousseau.
India remains one of the last great handicraft cultures. It’s a powerhouse for dyeing, printing, and silk weaving, all represented in at least one of the estimated 30 regional varieties of saris. In the Ganges riverfront city of Varanasi, weavers bend over old-school wooden looms to make Banarasi silk ones, usually in bright red, trimmed with metallic zari thread, and prized by brides. In tropical Kerala, predominantly white sett mundu saris reflect styles popular before 19th-century industrialization brought the colorful aniline dyes—and Crayola-box brights—spotted around the subcontinent today.
Hegemony and its many deleterious aspects include the shackling of thought processes. Thought processes are so sacred that they deny the colony the right to free thinking. Colonization has taken away our right to think in the context so innate and sacred to individuals—the right to express ourselves through the art of wearing. Therefore, there remains an urgent need to reverse this thinking through decolonization. Decolonization entails removing oppressive behaviors while assisting Indigenous peoples in reclaiming land, culture, language, community, family, history, and traditions that were taken away through the colonial process.
Silk Petalss was born from a career Investment Professional’s love for the rich heritage of Indian handcrafted textiles and artefacts. Her admiration for the beautiful heritage weaves and products saw her travelling widely through interior villages and towns of India, interacting with the weaving community and understanding their perspective and concerns. Awareness about their issues, specifically post Covid19, the need to protect the community and our rich heritage led to Silk Petalss being created. Read extra details at https://silkpetalss.com/.
The popularity of the sari has a great deal to do with its versatility. The sari can be draped in nearly a hundred ways, allowing the wearer to style it so as to look formal or casual. Most of the drape styles are specific to different regions of India and, just like the food and regional languages, are a result of context, geography and function, explains 39-year-old Malika Verma, co-creator with Rta Kapur Chishti, 72, a sari historian, textile scholar and co-author of Saris: Tradition and Beyond, of the The Sari Series, a series of 84 short films documenting India’s regional sari drapes.