“The sari, it is said, was born on the loom of a fanciful weaver. He dreamt of a woman – the drape of her tumbling hair; the colors of her many moods; the shimmer of her tears; the softness of her touch. All of these he wove together. He wove for many yards; he could not stop. When he was done, as the folk tale goes, he sat back and smiled…for he had created a sari.” (Legend copied from here.)
Coming off of the annual celebration of the Partition, which gave India and Pakistan national independence on August 15th, I would like to feature the humble, beautiful, sari of India. Did you know it has a history more than 5,000 years old! It’s weaving is mentioned in “Rig-Veda”, one of the oldest surviving literature of the world, written circa 3,000 B.C. The sari, originally intended for both men and women, is therefore probably one of the longest continuously worn clothing in the history of mankind. A sari (saree in English) is a rectangular piece of cloth usually 5 yards (for everyday use or ones composed of cotton) to 9 yards (for some of the fanciest silk or embroidered ones). Their approximate width is about 47 inches. For one continuous piece of cloth, the fabric and design of the sari is well thought out to accommodate the intricate tradition of wrapping for each region’s heritage so that it becomes a pure work of art…the world’s marvel in clothing design.
The main field of the sari is framed on three side by decorative borders. Two of these borders run longitudinal sides of the sari, while the third comprises the end of the sari, the wide and highly decorative Pallau – the part which hangs free when worn. It is more than just a source for many yards of pretty fabric, as is often the outlook of American and Western World clothiers and sewists. There is so much more to a sari than that – it is a shame to not explore that well of information behind the crafting of a sari and appreciate for how it is truly used and regarded.
The sari needs to be deemed as clothing and not just called fabric. A sari is pretty much the same as a top, or a dress, or pants which are worn America. It is an article of clothing. It has existed for so long, there is a history to it as rich as the indigo color I’m wearing. It should not be merely called fabric – that is a term for talking about the fiber content of a piece of clothing. Doing such for a sari is dismissive to its cultural usage and history. For many cultures and faith traditions, what is worn is considered purer, more perfect, or better pleasing to God to wear something unaltered by a needle and thread. As a people, we would definitely not have a problem with finding sizes to fit our individual body physique with a sari…one length accommodates all!
Every sari has a rich and beautiful story to tell as unique as the wearer. How it is put on the body, embellished, and colored has long served as a marker of identity in the Indian subcontinent. The hues of a garment denote not just personal sartorial preference but convey all sorts of social data, ranging from the wearer’s age and marital status to his/her community of origin. Red is as dynamic as fire, and the symbol of joy, yet it is well known often for its use as a bridal color. The red bordered sari with the indigo field that you see me in is more of a bridal guest or a very special occasion garment as evidenced by the jacquard weave through the blue and also the heavy goldwork along the edge. Blue is a special color to India, especially in Hinduism – it is the color of the Diety (“Krishna Blue”) and embodies kindness, bravery, and determination. The golden ivory field of the other sari sets this one as a sort of “everyday finery” sari, as it still has the red borders. This one is a much lighter weight sari and slightly shorter in length. It has the Kashmiri paisley and pomegranates along the pallau (very Northern), while the blue and red sari has its decoration imagery coming from “Bandhani” – the unique, subtle lack of dye in very pre-meditated spaces (trademark western Gujarat).
“Bandhani” is Sanskrit for tie-dye (also known as “Lehriya”). The word refers to both the finished cloth as well as the practice of an ancient technique – tying the cloth off in very small, dotted, patterns before dipping it in a dye bath. The decoration is so subtle, an untrained eye could completely miss it, thus making it all the more the marvel. Rajasthan and Gujarat are famous for these brilliant tie dyes. The more dots and the smaller they are tied, the more skill of the maker and therefore the display of a higher social status of the wearer, or at least the nicer the occasion for which such would be worn. The multi coloring method involves working in the lightest shade first, after which the fabric is tied and darker colors introduced. “Bandhani” saris are associated with festivals, seasons, and rituals for which there are particular patterns and colors. Northern India – particularly Gujarat – has a few traditions of colors that varies from much of the rest of (central and below) India as well as the visually obvious front pallau hang, right shouldered wrapping. You’ll also find this region’s clothing to be decorated with mirrors and beads or gold work embroidery.
A sari is often a family heirloom, and when one is gifted upon a special occasion that is really special. The latter was the case with these two saris I am wearing. It was just over a year ago we went to Memphis to visit our close family friends of Indian heritage. My husband has known them for many years (longer than I have!). It has not been since my husband and I were married that he has seen those friends’ parents. They were born in India around the time of its Independence and immigrated to America with their own family several decades ago. We as a family finally met with them, and it was a wonderful time! I also asked a lot of questions and they were so kind enough to teach me so much about the culture and ways of dressing for their home-away-from-home in the District of Kutch. Before I left their house, I was gifted with some beautiful saris to take with me. Now, I am honored to be able to wear them with their proper provenance for a truly special occasion of joining in to celebrate India’s long-fought, long-sought Independence.
The one piece I was lacking before now to have a complete traditional Indian sari set was an important base layer – the choli blouse. Yes – this isn’t completely a non-sewing related post! I did make something to this set! The sari top and the underskirt (also called petticoat) are the base layers for which the sari is anchored to and wrapped over. The underskirt is simple in shape but unrestrictive, and often a useful solid color of a fabric that is comfy and breathable. Here, my base layer is a RTW long bias cut linen skirt. The choli blouse is a close fitting cropped top that is structured, lined, and has any shaping or support which the wearer prefers built into it. Think of it like underwear and your blouse top all-in-one, but highly tailored to your body so it stays in place while making you look really good. A true authentic Indian choli for special occasions is an engineering work of art to examine, which I tried to imitate with my version. I found mine very comfortable to wear. I didn’t want to take it off at the end of the day, and could wear this every day for as good as I felt wearing it!
I started by using a vintage crop top pattern reprint as my starting base – Simplicity #8645, a 1955 reprint from 2018, originally Simplicity #1203. I went for View D. As I went along, I added sleeves (drafted of my own pattern), a hem panel to add a bit of length (remember, these are not a belly dancer’s top), and altered the neckline to be more open and interesting, taking my inspiration from Gujarat chaniya choli. My outer fabric is block printed Indian cotton ordered from Mumbai through the Etsy shop “Fibers to Fabric” and my inner lining fabric is local store bought cotton broadcloth in navy.
There are molded foam bra cups sewn into the wrong side of the lining to add in hidden structure to my choli. I had to take the size in a little extra to get this top to fit closer than the vintage pattern had planned. Most choli tops are tied, buttoned, or hook-and-eye closing, primarily down the back, but for my ease of dressing and to stabilize to tight fit I chose a small 5 inch metal separating zipper. The bottom hem band closes with two hook-and-eyes, still, though. Once this top is on me, it isn’t going anywhere and it forms me into shape…but that doesn’t mean it’s restricting. I tried it on again and again in between its construction for a little tweak here, an unpicking there to ensure a custom, perfect fit for myself. The perfect fit ensures the garment will not be restrictive because it should be a ‘copy’ of your body when something like this has practically zero wearing ease. If this had been made of a fancier material I might have also added light boning, but the wonderful block print disguises the fact this is just cotton, and so a comfortable everyday choli. It took a while of searching to find a print like this that matched with both of my saris!
Not to be content with just the handmade choli, I also made my own jewelry set to match my indigo and red sari. Jewelry is important to the Indian culture and an unashamed display of wealth, keeping one’s security right where you (and others) can see it. Wearing jewelry also symbolizes wealth, power, and status – the heavier the nuances of these jewelries are, the bigger role they play in the legacy of the family. (Read an excellent article on this subject here.) Gold is the primary medium.
The jewelry set worn with my ivory and red sari is much more subdued, and was made in India and highlighted in this past Indian-inspired outfit of mine. However, the blue and gold set worn with my fine indigo and red sari is the self-made jewelry I am talking about. It is not genuine gold, and not the normal expensive jewelry you would see with an outfit like this yet it adds to the individuality of my outfit and has a personal meaning behind it…all factors which are important when choosing Indian accessories.
I love to wear gemstones and enjoy the symbolism and interesting compounds that compose them. I’ve been attending local Gem and Mineral society shows since I was 10. Therefore my unjeweled, round bead necklace I strung of Lapis Lazuli, and my carved rosette dangle earrings are Sodalite, both of them semi-precious dark blue rock-forming minerals used as a decorative gems. My more decorative necklace was something I bought loose, as a bag of broken glass jewelry, and I reassembled the pieces back into how I thought they would look good as a necklace. There was just enough supplies to squeeze in a matching bracelet as well (a wrist bangle used to signify a married woman). The hanging jewels look like bees to me, witch is a sort of emblem for my husband’s side of the family that I have taken to. My father-in-law had been a beekeeper for many years and our last name’s initial is a ‘B’ so the little honey-makers are a family symbol that we enjoy.
There is so much to learn and share about the Indian culture, so I hope this post was not too overwhelming for those of you to whom this subject is completely new! Thank you for reading my post. This is a very special subject to me. These sari outfits are quite different from what I am used to wearing (and posting here), I’ll admit, but understanding them through the proper cultural respect helps me to do more than just put on certain unusual clothes. I hope it can open your mind and heart by doing so, as it has done for me. Caring for others by putting yourself in their shoes is an important perspective to remember to take, even if that journey starts through clothing.