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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, Surat Sarees Wholesale Onlinebut also from the weaving or printing techniques used or the motifs, colours or designs utilised in their manufacture. Throughout 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, Click here to view all Wholesale Suppliersor just how you are feeling wearing it,” they wrote on the website. Soon enough, stories 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, Wholesale Bazaartoo, 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. Almost 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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The various prints used by designers showed the influence of European motifs which were more gentle and Surat Sarees Wholesale Onlinesubdued compared to the ornate, rich Indian motifs. This was the first time; too, that fabric by the yard could be duplicated by the printers. On the other hand, combining the use of various blocks into myriads of permutations, they could also economically produce an unimaginable variety of prints in innumerable colour schemes. However, by the time the industrial revolution brought power looms into the weaving industry together with mechanised printing, the traditional weavers and dyeing experts were on their way out. These descriptions prove that the weavers and designers of India were the masters of their craft for many centuries. Nimble fingered and ever alert to new concepts, they created a treasurehouse of ideas which continue to support and inspire millions of weavers in India even today.

Indisputably,Click here to view all Wholesale Suppliers the greatest heritage these weavers gave to the Indian woman was the saree, five and half metres in length and about one and one-eighth metres in width. They created such a vast variety of sarees that if a woman wore a different saree each day, the weaves, prints and designs would tally up to more than the days of her entire life span. Very often, the sarees she would wear, could be exclusive, one-of-a-kind creations made from the most humble, rough woven cotton to the finest hand crafted silk tissue spiked with soft gold threads. This relatively small length of fabric has since then become the canvas upon which every imaginable kind of creative experiment has been made by the way of weaving, printing, embroidery, appliqué and gold, silver and precious stone work.

Though centuries have passed since the saree was conceived as the Indian woman's hereditary costume,Wholesale Bazaar the charm of this beautiful and extraordinary feminine garment, suited to the youngest of girls or the most elderly among woman, has not waned. In fact, even with each new decade of technological progress, it has been well accepted by even the most modern women of the subcontinent. Today, its chequered history has become hazy and lost in the distant past. In spite of the limited scope for any change in the garment, it seems to have a limitless future because of the endless experimentation used to recreate its beauty for every new generation of women. Thus, in the modern world, it continues to be an economical and easy-to-wear garment, suitable for work, leisure or luxury. Over a period of time, several cities in India have become renowned saree manufacturing centres.

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By the tenth century, Patolas,Surat Sarees Wholesale Online famous even today, Bandhanis 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.Click here to view all Wholesale Suppliers However, the 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, Wholesale Bazaarfigures from Jamawar weaves, 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.