1. Bandhani
- These are sarees created by dyeing the cloth in such a manner that many small resist-dyed ‘spots’ produce elaborate patterns over the fabric.
- The traditional bandhani market has shrunk however, because of the rise of low-cost silk-screened imitations and most modern bandhani sarees are made with larger designs and fewer ties than in the past. There are varieties available in two contrasting colours, with borders, end-pieces and one or more large central medallion called a pomcha or padma (lotus flower). Red and black is the most common colour combination but other pairs of colours are also found. For instance, the panetar saree is a Gujarati-Hindu saree of satin weave and Gajji silk with red borders, central medallions and a white body, which may contain regularly spaced red tie-dyed spots.
- Single colour sarees and odhnis with white spots are also common. The most famous of this type is the Gujarati saree called Garchola It is usually red, but occasionally green, and is divided into a network of squares created by rows of white tie-dyed spots or woven bands of zari. The Garchola is a traditional Hindu and Jain wedding saree, which used to be made of cotton, but is now usually in silk. The number of squares in the saree is ritually significant multiples of 3
These are extremely expensive and virtually extinct. The main distinguishing characteristics of the Gujarati Brocade Saree:
- Butis (circular designs) woven into the field in the warp direction instead of the weft, resulting in their lying horizontally instead of vertically on the saree when draped.
- Floral designs woven in coloured silk, against a golden (woven zari) ground fabric. Although such ‘inlay’ work is a common feature in many western Deccan silks, the Gujarati work usually has leaves, flowers and stems outlined by a fine dark line.
pathani
- This saree is named after a village near Aurangabad in Maharashtra. Now also woven in the town of Yeola, these sarees use an enormous amount of labour, skill and sheer expanse of material in their creation.
- Distinctive motifs such as parrots, trees and plants are woven into the saree. The shades vary from vivid magenta, peacock greens and purples. In the pallav, the base is in gold and the pattern is done in silk, giving the whole saree an embossed look.
. Gadwal
- Gadwal saree is made in cotton in a style influenced by the Banarasi weaves. While the ground of the saree is cotton, there is a loosely attached silk border.
- Copper or gold-dipped zari is generally used in these sarees. The motifs of the murrugan (peacock) and the rudraksh are popular.
- Traditional colours for these sarees are earth shades of browns, greys and off-whites. However, brighter shades have been introduced for the North Indian buyer.
. Kanjeevaram Saree
- No Indian bridal trousseau is complete without the ‘Kanjeewaram’ saree, characterised by gold-dipped silver thread that is woven onto brilliant silk. Kanchipuram is a town in Tamil Nadu with more than 150 years of weaving tradition – completely untouched by fashion fads.
- Kanjeewarams are favoured for their durability. Kanjee silk is thicker than almost all other silks, and is therefore more expensive. The heavier the silk, the better the quality. Peacock and parrot are the most common motifs. Though lightweight kanjee sarees are popular as they are easy to wear and cost very little, the traditional weavers do not like to compromise. While Korean and Chinese silk is suitable for light-weight sarees (machine woven), only mulberry silk produced in Karnataka and few parts of Tamil Nadu, is right for the classic Kanjeewaram.
Every single element of a saree has its meaning and significance. Different Indian communities have their own style of wedding sarees.Sarees are being the 1st choice for most of the ladies in India.
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