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Each centre is known for creating traditional sarees which have acquired their names not only from the cities of their origin, but also from the weaving or printing techniques used or the motifs, colours or designs utilised in their manufacture. Cheap Sarees WholesaleThroughout the history of textile development in India, the saree continues to be produced on handlooms, powerlooms and in gigantic mills with the most modern machinery in all these famous cities. Even in the modern age, women continue to buy sarees with great enthusiasm, especially during festivals and wedding seasons. In March this year, friends and entrepreneurs AnjuMaudgalKadam and Ally Matthan made a pact: they would wear saris a 100 times by the end of 2015. Their #100sareepact caught the imagination of urban Indian women; the two women launched their own website. “The sari is now a medium to tell your story.

An instance, a memory, something quirky, or just how you are feeling wearing it,” they wrote on the website. Soon enough, Click here to view all Wholesale Suppliersstories unfurled from across the country.In this issue, we talk to women who have always disregarded the definition of a sari as a length of unstitched cloth. Like many others, for them the sari is a repository of family histories, of grandmothers and mothers passing on tradition wrapped up in nine yards, of experiments with drapes and a search for individual identity — a lifetime of gathering the pleats. Rama Vaidyanathan’s tryst with saris didn’t begin until after she became a professional dancer. “People around me didn’t wear saris. I saw saris in my mother’s closet, and they were all Kanjeevarams,” says Vaidyanathan, 47. But once she took up dance, her mother’s saris came to her rescue.

Her wedding trousseau, too, comprised mostly Kanjeevarams, including family heirlooms. “For many years, my wardrobe overflowed with these bright woven silks in shades of mango, green and orange, among others,” says Vaidyanathan. Wholesale BazaarAlmost 15 years ago, on a trip to Varanasi for a performance, Vaidyanathan came across a beautiful peach Banarasi silk. “Kanjeevarams are south India’s answer to Banarasis. As much as I like Kaanjeevarams, the Banarasi has a different lure. I was completely enamoured by the intricate Tanchoi (a weaving style) work on it. It came with beautiful floral motifs on the border and was a sharp contrast to the brightKanjeevarams I had,” she says. She hasn’t gotten over the lure of Kanjeevarams though. “Every time I wear it, I invariably pair it with a Kanjeevaram blouse. Old habits die hard,” she says.

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By the tenth century, Patolas, famous even today, Cheap Sarees WholesaleBandhanis and Leheriyas from this areas were exported by the caravans of the Arabs to Egypt, Java, Sumatra, China and other middle and far eastern countries. The coming of the Muslims to India in the twelfth century brought several new textile crafts. Phulkari, which is the heritage of the Punjab, came from Central Asian Bedouins and its geometric designs, done in earthy colours like rust, magenta and green, often embellished the fine muslins used for sarees and odhanis, the latter garment originating with the Muslim women's traditional outfit of a salwar and kurta. By their cultural heritage, Muslims often avoided wearing pure silks. Since they were the ruling class, their needs originated several varieties of textiles which used mixtures of silk with other fibres. These textiles were called Mushroo, Himroo and Jamawar.

In the mountains of Kashmir, the cooler climate encouraged the weaving of Pashmina, a woollen fabric used for shawls. However, Click here to view all Wholesale Suppliersthe silks woven for the Sardars and the Rajas who were vassals of the Delhi Durbar encouraged a whole spectrum of textures, colours, weaves and designs. These were so resplendent that they were often compared to a peacock's feathers; silvery moon beams; gurgling, prismatic streams; the glistening feathers of blackbirds; the rain-washed young leaves of trees; the fusion of colours in the rainbow; the gentle blossoming of flowers; the icy-cool glimmer of dew; the coolness of the moist western breeze or even the foam on the crest of lapping waves. So finely was cotton and silk woven that these fabrics were reputed to be fit for kings and queens all over the world. This is probably why many words in European languages, describing textiles, originate from Indian languages.

The all round development of textiles in India had a definite impact on the design of sarees. Paisleys used on shawls, figures from Jamawar weaves,Wholesale Bazaar floral patterns and bird and animal motifs used in brocades – all these slowly acquired the status of traditional saree motifs. Colours to suit the Indian woman's complexion were accurately identified. Peacock coloured shot silks, shiny-spun muslins in the purples of the aubergines, sunshine yellow jacquards, moon glow silk chiffons and the dusky rose coloured raw silks – these became the favourites of the weavers of the saree. To enrich the saree even further, during the reign of the Moghuls, hand block printing was discovered and quickly took the place of hand painting on textiles. Sarees were printed with vegetable dyes, using wooden blocks carved expertly with fashionable motifs brought into India with the advent of the French, the Portuguese and the British.

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The pallu or daman as the upper end of the saree was called, may have been invented and used from then on to cover the head or as a veil,Cheap Sarees Wholesale for this was required by the Muslim society in an empire ruled over by Muslim dynasties. The modern way of draping a saree with a distinct pallu and border, with or without an all over design, with one end pulled across the front to fall over the shoulder to either hang at the back or to go over the head to the other shoulder, appeared first in the paintings of the post-Moghul period. Thus, it may well be said that the saree, the garment most identified with India today, is a quaint mingling of influences from Greece, Persia and several other Central Asian countries.

It is said that with all these rich influences, Click here to view all Wholesale Suppliersthe wealthy, royal families of medieval India created a repertoire of clothing which was as classic as it was comfortable. They wore nothing but the finest of fabrics. The queens and princesses who lived in marble palaces surrounded by sylvan gardens and lily-filled pools, commissioned the master weavers of the court to create such fine muslins and silks that a length of several metres could pass through a dainty, jewelled ring on the finger of a royal woman. This has been recorded in the chronicles of several visitors to the Moghul courts. Often, such fabrics were embellished with gold and silver wires and gems to create designs reminiscent of the splendour in which the women lived. Together, the princely women and their master weavers slowly became the progenitors of the world famous textile arts of India so frequently portrayed in art and praised in the annals of trade around the world.

All through Indian literature, women were described as resplendently beautiful when wearing fabrics of extraordinary beauty woven out of silk,Wholesale Bazaar cotton and other natural fibres. Soon, each weave and garment began to acquire specific names. Fabrics were specially woven for auspicious and religious ceremonies and these too acquired generic names such as Pitambar. Many of the plays and poems written by the court writers of this age described how shimmering and fine the garments worn by the higher classes were. In fact, historic records say that these silks and muslins were so highly prized all over the world that they were sold in faraway countries including those around the Mediterranean Sea. Several names were given to these fabrics depending upon their origin or texture. For example, Kausheya was a silk made from the finest cocoons. Chinnavastra was a fabric akin to Chinese silk. Tasara or today's Tassarsilk, was made by using a particular kind of shuttle.