One of the most sensuous attire ‘Indian saree’ adorns women to become modest and attractive in it. The great Indian women in different sphere of life, admire and appreciate the style, strength of the saree and thus want to learn to wear these Indian saree in different styles. 

To quote Chantal Boulangar “draping is in minds and skills of the individuals and is passed on by demonstrations alone”. 

The allure of the saree comes not only from the way it hints at a body’s curves but also in the way it is draped on an Indian woman’s body. This saree draping could actually be done in different styles.  

The most common way is when an Indian woman winds or wraps the saree around her waist and then drapes the extra cloth over her shoulder and lets it fall down over her right breast. The different saree draping style enhances the women and creates more interest and shows diversity. Saree can make a women look sensous yet beautiful. 

Diversity in culture and tradition has actually given birth to different saree styles of saree drapping. Different saree styles include Gujrati saree style, Bengali style, Maharashtrian saree style, Tamilian saree style and lots more. Women around the world like to drape these beautiful Indian saree in different styles. 

More and more women do learn to wear Indian saree in different style just to have a different look altogether. 

Wear Indian saree in different styles: 

Gujrati saree style: This version of draping commonly known as ‘seedha pallu style”, is also found in parts of Uttar Pradesh, Rajasthan, Madhya Pradesh. In this style, the loose end is draped over the shoulder rather than the left, and is also draped back-to-front rather than other way round. It is quiet different from other styles of saree drapping. 

Bengali saree style: This way of draping an Indian saree, where the saree is worn pleat less. The saree cloth is wrapped around the waist, brought back to the right side and the pallu is thrown over the left shoulder, the pallu is then brought up under the right arm and once again cast over the left shoulder. 

Maharastrian saree style: In maharatrian way of saree draping instead of usual five and a half meters, the saree measures eight meters. One portion of the saree is drawn up between the legs, tucked in behind the waist, while another portion is draped as a pallu over the bosom. Thus it forms a kind of divided saree allowing greater freedom of movement. It’s also known as ‘nauvari style’ of draping a saree. 

Tamilian Style:  This way of saree drapping style is very much like maharashrian style. In this style too the saree measures 8 meters, after wrapping around the waist, the pleats are positioned along the left leg. The rest of the saree is taken over the shoulder, wrapped once again around the waist and tucked on the left side. 

An Indian woman sometimes wears a saree not only as a piece of clothing but also to show where she comes from. These styles differ though are based on what part of India she is from and on what traditional style of draping she is following. Saree is Indian women’s statement to the world. Nowadays the metro women want to experiment with different saree. 

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Ours is an era where nothing is impossible. This hi-tech world has over shadowed words like failure and impossibility. Everything that is available today in this market is as per one’s convenience. And in this race, even Indian saree has not been spared.  

The word “Automatic Indian Saris” may sound bizarre. But this concept has worked wonders for many women who really find themselves helpless while drapping a saree. Thus, to begin with automatic Indian sarees is basically a concept designed keeping in mind the position of a woman. There are some who have hectic working schedules but at times are required to attend formal and informal functions. And wearing a saree from immemorial has been a tedious task for many. In automatic Indian sarees, the sarees are already stitched as in the plates are made, palu is stitched. All one has to do is fit into this automatic saree. 

 In today’s scenario, nuclear families have become very common while joint families have taken a backseat. And in joint families, usually the elder ladies knew how to drape a saree. But in nuclear families, there is no one to guide. So for such young girls, automatic Indian saree is like a blessing. And one can conveniently dress up for any ceremony. 

The biggest boon of the automatic Indian sarees can be seen in the west where we find that foreigners have genuine interest in Indian outfits. Many young ladies admire the Indian style of clothing especially saris. And since they are ignorant about how to drape it, they prefer buying automatic Indian sarees. This way they can fulfill their craze of wearing a saree and secondly it is convenient to wear it.  

Hence, we can see that automatic Indian sarees has been a great relief for many women not only in India but also overseas. It has helped women from all walks of life to fulfill their mania of wearing a saree even if they don’t know how to wear it.

Linen cloth is a derived from flax plant. It is strong, absorbent and draws heat from the body. It has a characterstics to wrinkle unless its treated. It proves to be poor affimity for dyes. Linen have a tendency to shirink and stretch. It is deterioted by mildew.

Uses of linen cloth: 

Linen cloth usually have coarse texture and natural lustre. Weave weights vary from very light to heavy. Used for spring, summer wear at many household items.

Caring tips for Linen:

Linen cloth is usually dry cleaned to retain the crisp finish. It can also be washed if softness is prefered. Usually shrinks when it is washed.

India is land of traditions and is gifted with a rich historical background. Different states, different culters, different traditions yet every thing so bonded. Number of states and each state with its own speciality. One among them is Manipur. Manipur has its own history and culture. It has its own attractions and one among them is the traditional embroideries done by the people of Manipur.

Talking about Manipur and the work done by the people is very colorful. Embroidery done on the border on phaneyk. A lungi worn by the women of manipur is very colorful. The piece is woven either in a single dark shade or with stripes in three different colorsor a light background. The stitching is so finely chieselled and even that it seems part of the weave itself. A very simple pattern is tindogbi done in satin stitch.

An elaborate design called akoybi, circular, one circle joining the other. Another famous manipur design is hijana. Hijana is an all over pattern. A delicate embroidery of white on white is found only in turbns. This is quite famous in Manipur. Mirror work embroidery done on ras dance costume is equally famous here.

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Transfer printing is one of the printing process among screen and roller printing. The process in transfer printing involves transferring dye from one surface usually paper to fabric. The method was developed using disperse dyes on paper ,which were heated in contact with polyster. The dyes vaprorised and transferred to the polyster. The dyes vaporised and transferred to the polyster fibres.

Transfer printing can be used on almost any width of fabric or garment panels. It is flexible way of printing, allowing short production runs of any design and quick repeats if necessary. Transfer printing allows the application of single images such as logos and t-shirt designs. There is less dye wastage, lower energy costs and less skilled labour is necessary. Knitted fabrics are not distorted by transfer printing.

Printing has always given new look to the fabrics. Printed sarees, salwar kameez fabrics in pastel shades are very much in demand during summers. Shop now at www.utsavsarees.com for exclusive 10% discount on all purchases

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Aserene lake. A modest village. A few pieces of wood. A dash of color. Some imprints. Certain  patterns. A work of art. That is the story of hand block printing. Figurative motifs expressive of a spirited animation. Taking shape on fabrics spread like canvases of the printers or cheepas of Bhairongarh and Bagh. The natural dyes adding to the pristine and joyous charm of the pattern. Such is the charm of the textiles that arises Malwa and Nimar.

The blocks that put a signature of beauty and aesthatics on the cloth are highly stylised motifs evolved over hundred of years. The prints have a tonal and three dimentional effect that is impossible replicant in screen printing. The printers generally dwell near a lake, which has a high copper content that imparts an inexplicable richness to their colors. Colors that give the cloth a rich and yet subtle effect. So there is a vibrant yellow, from turmeric roots, a joyous, spirited pink from pomegranate skin, the veritable indigo from none other than indigo. And to make sure that the colors penetrate fully into the fabric, the cloth is rubbed twice with arandi oil. And resin wax and oil applied through four inch deep carved teak wood blocks act as the resist, where required. This process carries sufficient wax for four deft impressions.

The buoyant hand block printed fabrics of Bhairongarh as quilts, jajams and odhnis have their own history to narrate. A history that saw the popularity of these fabrics across seas in pre independence days, before the east india company days these traditional fabrics a major item of export. The printed quilts also paved their way into the court of the great mughal emperor Akbar. Be it a hand block printed saree or even an intricately designed sheet or cushion cover, the aesthetic and trendy prints remain popular as ever, and fashionable as ever.

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There are three basic stypes of weaves i.e plain weave, twill weave and satin weave. Most other types are variations on these 3 except for patterned weaves. These are complex structures that requires special devices attached to the loom. Every woven fabric has a ribbon like edge or selvedge running lengthwise along each side. Fabrics with smooth, tightly twisted yarns and a high thread count are the most durable.

Plain weave: The simplest of the weave construction in which each piling yarn goes alternately over and under each warp yarn. Sturdiness varies with strength of the yarns and compactness of the weave structure. e.g muslin, volie, percale.

Twill weave: A basic structure in which weft yarn passes over atleast 2 but not more than 4 warp yarns. On each successive line, the weft moves one step to the right or left, forming a diagonal ridge- the steeper the ridge, the stronger the fabric. e.g Denim, gaberdine, cotton and woolen twill.

Rib weave: A variation of the plain weave in which fine yarns are alternated with coarse yarns or single with multiple yarns. The altenating thickness may be parallel, or at right angle producing a ridged corded effect. Durability is limited as yarn is exposed to friction e.g Ottoman

Satin weave: A basic structure in which a warp yarn passes over 4-8 weft yarns in a stagged pattern similar to that of twill weave. Yarns exposed to the surface called floats given satin its characterstic sheen. Sateen weave usually of cotton fibre-( cotton satin,  glazed cotton, nylon satin, shamer satin) is a variation in which the floats are formed by the weft yarns.

Pile weave: Here as extra filling or warp yarn added to the basic plain or twill weave by means of thick wiresm the additional yarn is drawn into loops on the fabric surface. These loops can be cut as for plush, sheared as for velvet or left in loop form as terry cloth e.g corduroy, velvet, fake fur.

Swivel weave: To acheive this weave, an extra pilling yarn is added to form a circle or other figure on the basic weave. e.g dotted swiss cotton, coin dot chemille

Other weaves include dobby weave, jackquard weave, gauze weave etc.

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India is a country very well known for its traditional intricate embroideries. These Indian embroideries are famous not only in India but have also been first love for the people living abroad.

Checkout some famous Indian embroideries given below:

Aabla: Aabla is a traditional Indian embroidery which has its roots in Rajasthan and Kutch.

Aaari: Aari is a embroidery done on a cot. Aari originated from Barabanki near Lucknow. It is also known as khatla work.

Badla: Badla is a flat metallic wire, silver or gilt wire embroidery.

Butas and Butis: Buta butis are very popular. These are motifs composed of floral forms fitted into paisley shapes derived from the Mughal era.

Lari: Lari is a fine quality gold thread embroidery found in Bareily, benaras(varanasi), lucknow and agra. These days silver zari is equally popular.

Phool patti work: Applique from Aligarh where usually organdi or other fabric cutouts in floral and leaf motifs are affixed on to a plain fabric sometimes in tandam with silver tilla embroidery.

Chikankari: Originating from lucknow this invoves a technique of finding seperated warp and weft threads for a textual effect.

Taipchi: Darn stitch or muslin

Khatwa: Khatwa is basically an inverted satin stitch on muslin.

Murri: Murri is a satin knots.

Zardosi: Zardozi is basically a leaf scroll work in gold and silver thread on silk, satin, velvet and other rich fabrics. Zardozi is also combined with dabka work and its originally from Lucknow.

Mukaish: Mukaish or kamdani is a famous embroidery. These are silver dots strewn all over.

Kantha work: Originating from bangladesh, it resembles the running stitch.

Ek taar: Ek taar embroidery is basically a single thread embroidery used in crystals.

Bead and Crystal: Resham work is teamed with beads and crystals. Bead embroidery on textiles is done on embellish the fabric in a few regions Janagaon(Andra Pradesh) best known centre. Also Todas( Tamil Nadu) is a centre for bead embroidery.

Sitara work: Sitara embroidery is where sequins are embroidered into the fabric.

Embroidery have always been the backbone of India and that’s the biggest reason that today indian designs getting poularity worldwide.

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Batik is one of the art of printing like block printing etc. Batik is infuenced by the cultures and traditions of different places. The art of batik print is not new. It originated more than 2000 years ago. Batik printed sarees, salwar suits, bedsheets, table covers etc are very popular.

Batik is actually the process of dyeing fabric by matching use of dye-resist technique which simply means covering areas of cloth with a dye resistant substance like wax to prevent them from absorbing colors thus creating the pattern in negative. In the process of creating batik prints additional wax is added to embellish the design or preserve areas in the color of the initial dye bath. The cloth is then dipped in a second dye bath. This process is repeated several times depending on the number of colors used.

High quality of batik requires time, skill and precision. Batik give complete freedom for the artist to use his creativity. The colors used in batiks are mostly bright and attractive. Most of the batik prints are used in fabrics like silk and silk weaves.

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There are many types of knits. Lets discuss them:

Warp knits: Warp knit fabric is constructed with many yarns that form loops simultaneously in the lengthwise direction. Each yarn is controlled by its own needle and interlocked with neighbouring yarns in zigzag fashion.  This interlocking produces fabrics that are usually runproof and have limited stretchchability in varieties ranging ranging from sheer laces to fake furs. Warp knits can be produced only by machine because of their complex structures. Tricot and Raschel are the most widely produced type.

Tricot knits: Fine ribs on the face, flat herringbone courses. Technical differences are not visible to the eye but they do affect performance. Double and triple warp tricots are runproof- single warp is not. Tricot knit usually made from fine yarns, cottons or synthetic. They have a soft, draping quality and are suitable for linings, loungewear, lingrie and dresses.

Raschel knits: A wide range of fabrics from fine nets to piles. The most typical raschel pattern has an open lacy structure with alternating thick and thin yarns. Any yarn type is suitable including  metallic and glass. Warp knits are widely available and comparatively low in cost- the machines used can produce upto 40 sq ft of fabrics per minutes.

Weft knits: Weft knits fabric is constructed with just one yarn that forms continuous rows of loops in the horizontal direction. Basically the machine stitches are exactly like those done by hand and fabric characterstics are similar i.e the stretch is greater in width then in length and a broken loop releases others in a vertical row, causing a run. Different knit categories- single and double.  Single knits have a moderate to a great amount of stretch. Though very comfortable to wear, they may eventually sag in stress areas. Also their edges tend to curl, creating difficulties in cutting and stitching. Duble knits have body and stability similar to those of a weave.

Plain jersey knits: Plain jersey knit is a single construction. The face is smooth and it excibits lengthwise vertical rows. Plain knits stretch more in width than in length

Purl knits: A single construction in which loops are pulled in alternative rows to the front and back of the knit causing a purl stitch to appear on both sides of the fabrics.

Rib knits: A single construction with rows of plain and purl knit arranged so that the face and the reverse sides are identical. Rib knits have expensive stretch and steady recovery in the crosswise direction which makes them especially suitable for cuffs and waistbands.

Patterned knits: Complex variations on the basic plain and purl knits. A cable knit is a typical example of a pattern knit.

Double knits: Double knits produced by 2 yarn and needle sets working simultaneously. Double knits have firm body and limited stretch capacity depending on design, the face back may look same or different. Some complex double knits resemble the woven dobby and jacquard patterns.