The Rich Tapestry of Indian Sarees: A State-wise Exploration

The Indian saree is a timeless and iconic garment that has been a part of Indian culture for centuries. With its elegant drape and intricate designs, it represents the diverse traditions and craftsmanship of the country. The modern wearing style of saree was invented in 1862 by Rani Gyanodanandini Tagore, wife of Satyandranath Tagore, who was the elder brother of Rabindranath Tagore. Each state in India has its unique style of saree, with distinct patterns, borders, and fabrics. In this article, we delve into the rich tapestry of Indian sarees, exploring the variations across different states.

Kerala:

In Kerala, the saree is known as "Pudva." It typically features a simple yet elegant design with a border called "Kara." The body or ground of the saree is referred to as "Udal." The outer end-piece is called "Mundani" or "Anchalam," while the inner end-piece is known as "Ullattam." The saree is often adorned with a selvedge called "Vakka" and an end fringe called "Allukk." The parting-stripe of warp without weft is left plain, and the saree is folded in a style known as "Madak."

Karnataka:

Karnataka embraces the saree in various forms, including "Seere" and "Bond." The border, known as "Kinar," "Anchu," or "Patta," adds a touch of elegance to the saree. The body or ground is called "Nadamu" or "Maidan." The outer end-piece, referred to as "Seregu" or "Pallav," is intricately designed. The inner end-piece, called "Lopala Kongu," complements the overall look. The saree is finished with a selvedge called "Ginta Javana," "Jamada," or "Jawla." The end fringe is known as "Baddi," "Badi Athari," "Badhaggi," or "Kante Thojhalar." The saree fold style in Karnataka is called "Chotto Attri," "Potta Athari," "Badige," or "Galinge."

Goa:

Goa celebrates its saree heritage with names like "Lugda," "Kapad," and "Sado." The border, known as "Kath," adds a distinctive touch. The body or ground of the saree is called "Aang." The outer and inner end-pieces are referred to as "Bhailo," "Pallov," "Podar," and "Bheetolo Pallov," respectively. The saree is adorned with a selvedge called "Kath," and the end fringe is known as "Gone." The parting-stripe of warp without weft is called "Dassi," and the saree is folded in the "Ghadi" style.

Maharashtra:

Maharashtra boasts a range of sarees, including "Baan" and "Lugda." The border, known as "Ghadi," "Mad," "Kinar," or "Garbh," is intricately designed. The body or ground of the saree is called "Dal" or "Garbh." The saree features a distinct end-piece called "Padar" or "Patti." The inner end-piece is referred to as "Dhungan Patti." The saree is adorned with a selvedge called "Jeeb" or "Nakhi." The end fringe is known as "Punchra." The finishing touch is given with a decorative element called "Dassi" or "Dasta." The Maharashtra style of folding the saree is known as "Ghadi."

Gujarat:

Gujarat is renowned for its vibrant sarees like "Lugda" and "Sadlo." The border, known as "Kor," "Phumro," or "Dhaburao," features intricate patterns and designs. The body or ground of the saree is called "Pate," "Libhai," or "Bhoomi." The saree often showcases a beautiful pallav or outer end-piece called "Saur," "Chheda," or "Pallav." The selvedge is referred to as "Chilla," while the end fringe is called "Kantho," "Kanar," "Baid," or "Dhari." The saree is folded with finesse in a style known as "Fumka." The parting-stripe of warp without weft is called "Chiran."

Madhya Pradesh and Chhattisgarh:

Madhya Pradesh and Chhattisgarh offer a variety of sarees, including "Jote," "Lugda," and "Pata." The border, known as "Kinar" or "Dhadi," is often intricately woven. The body or ground is called "Peta," "Deh," "Zamin," "Dharti," or "Howda." The saree features a unique end-piece called "Pallavan," "Patta," "Munh," "Anchi," or "Jhela." A decorative element called "Kanihai Patti" adds charm to the saree. The selvedge is referred to as "Dun" or "Dohra Patti." The end fringe is known as "Phunchra," and the saree fold is called "Chir" or "Dhadi."

Uttar Pradesh:

Uttar Pradesh embraces the saree in various styles like "Dhoti," "Lugdi," "Lugga," and "Sari." The border, known as "Kinar" or "Bel," is intricately woven. The body or ground is called "Pote" or "Zameen." The saree showcases a beautiful pallu or outer end-piece called "Palloo," "Palla," or "Anchal." The selvedge is referred to as "Tala" or "Deodhi Ke Baad." The finishing touch is given with a decorative element called "Koria" or "Berai." The saree features a delicate end fringe known as "Jhalar." The saree fold styles in Uttar Pradesh include "Cheer" and "Ghadi" or "Tehi."

Bihar and Jharkhand:

Bihar and Jharkhand have their own distinct styles of sarees that showcase the cultural richness of the region. The sarees in these states are known by names like "Dhoti," "Luga," and "Langa." The border, called "Paar" or "Kinar," adds a touch of elegance to the saree. The body or ground is referred to as "Zameen," "Lapate," or "Hauz." The saree features a beautiful end-piece known as the "Aanchal" or "Mukpat." A unique decorative element called "Gajnautha" is often incorporated into the design. The selvedge is known as "Kor," and the end fringe is called "Dassi" or "Fudna." The saree is folded in a style known as "Cheela," while the parting-stripe of warp without weft is referred to as "Dhadi."

West Bengal:

West Bengal, known for its rich artistic heritage, offers a diverse range of sarees that capture the essence of the region. The saree in West Bengal is often referred to as "Bhaaj." The border, called "Paar" or "Payrey," showcases intricate patterns and designs. The body or ground of the saree is referred to as "Jameen," "Gaa," "Khol," or "Pota." The outer end-piece, known as "Uni Aanchol" or "Aanchala," adds a touch of grace. The inner end-piece is referred to as "Thol Aanchal," "Kolod," or "Kol." The saree is often embellished with decorative elements like "Aal," "Aanthi," "Mulkandi," or "Aangot." The saree features a distinctive end fringe called "Chhela" or "Dosi." In West Bengal, the saree is often folded in the traditional style of "Bhaaj" or "Guti Bhaaj."

The diverse range of Indian sarees reflects the rich cultural heritage and craftsmanship of each state. From the simple elegance of Kerala's "Pudva" to the vibrant patterns of Gujarat's "Lugda," each saree tells a unique story. Exploring the different styles, borders, body/ground, end-pieces, selvedges, and folds of sarees across India offers a fascinating glimpse into the country's rich textile traditions. Whether it's the traditional weaves of Maharashtra or the intricate designs of Karnataka, Indian sarees continue to captivate with their timeless beauty and cultural significance.

My New Book on Indian Saris

My new book on Indian Saris is out. This is the second volume. Please let me know your feedback.

 

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Uppada Jamdani Sari

In Uppada style of weaving, the design is two sided and when the surface of the cloth is touched, the design cannot be felt separately from the cloth.

The design is woven into the goods by using ada, jala and a number of Tilis.

There are no loose threads on either side and no dobbys or jacquards are used. 

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How to Identify Uppada Jamdani Sari

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In Uppada style of weaving , the design is two sided and when the cloth is touched, the design cannot be felt separately from the cloth. That design is woven into the goods by using ada, jala and number of Tilis. There are no loose threads on either side and no dobbys or Jacquards are used. 

Chanderi Saris - Value Chain Analysis and a discussion on Flaws

The following material is derived from this source:

1. Chanderi is originally produced with three kinds of fiber mix:

a. Pure Silk: Here the warp and weft both are woven with 13/15 denier silk
b. Chanderi Cotton: Where the warp and weft are 100s or 120s cotton.
c. Silk Cotton: The 13/15 denier warp is combined with 100s or 120s cotton

The figured effects are produced with the help of extra weft.

The difference between Chanderi and Varanasi products are while chanderi uses 13/15 denier, Varanasi weave uses 20/22 denier. Now chanderi saris also use 20/22 denier silk.

The looms are the old pit looms situated in dimly lighted sheds where the whole family lives, cooks, weaves and sleeps.

Silk is generally bought in grey hanks to be dyed locally. On the other hand 80% of the cotton is bought dyed from South India and Mumbai by local merchants.

Cotton and Silk yarn is obtained from Bangalore and zari is obtained from Ahmedabad.

Production Process

Time Estimates

1. Min quantity of Silk yarn for dyeing is 25 kg or 10 hanks. It takes about 45-60 minutes depending upon the color.

2. Warping - yarn for warp to wind around a wooden drum. A warper would wind 4-5 warps of 12 sarees each.

3. Drawing in- It takes about 3-4 days per warp

4. Setting of the Jala for design of border and Pallu: 3-4 days depending upon the complexity.

5. The chanderi fabic doesn't require any postloom process and cut off from the loom and cut and sold.

Value Chain Analysis

The following is the value addition  in percentage, at each stage of the Sari making:

1. Dyeing: 2
2. Warping: 2
3. Filling of Reed with Yarn: 7
4. Design Preparation: 2
5. Joining of yarn for the new lot: 2
6. Border design Makers: 0.5
7. Motif Design Makers: 0.5
8. Weaving: 30
9. Master Weaver/Cooperative Societies:provides raw material, design and marketing:  54

"There is a problem of colour-run with the fabrics produced in the cluster. Especially the problem in
silk related dyeing is on account of de-gumming. The Chanderi fabric derives its distinctiveness
from the material gums and in order to retain that the fabric cannot be dyed at high temperatures. "

Also "The temperature is approximately measured by hand. As there is no thermometer in use or a stove
with temperature control. The quantity of color, the time for which the hank is soaked, all these
factors lend an element of variation in dyeing. This particularly has an adverse bearing when more
then one hank has to be dyed in the same color".

Technical Specifications of a Polyester Crepe Saree

A typical polyester crepe sari has  the warp and weft of 100% polyester of 75 denier, the TPM of warp and weft is 1800 S&Z alternate. No. of filaments in a yarn of both warp and weft is 70 each. EPI is 132 and PPI is 86. It has a width of  44.5 inches. GSM is 72.

The ideal quality requirements and tolerance are as given below:

1. Denier: + - 5%
2. Twist per meter: +/-5%
3. No. of filaments in yarn +/- 2
4. No. of Threads per inch in warp and weft: +5%/-2.5%
5. Width : +/- 0.5"
6. Length : +/-2 cm
7. GSM: +/-3%

Other Parameters

8. Breaking Strength on 5cm x 20 cm strip, N(KGf): Warp: 240 (24.4), Weft: 190 (19.3)
9. Tear Strength , N (kgf): Warp 20 (2.0), Weft 15 (1.5)
10. Color Fastness Rating due to Light ( Change in Color):5, Washing (Change in Color):4, Staining on adjacent fabric 3-4, Perspiration acidic and alkaline (Change in Color):4, staining on adjacent fabric:4,
Rubbing- Dry-4, Wet-3, Hot Pressing: change in color-4, Staining on adjacent fabric:4
11. Crease Recovery Angle (Degrees)- Dry and Wet (240)- Minimum

BIS has to say the following about this property:

"The ability of a fabric to retain pressed-in creases and to recover from creasing is an important property, especially in case of apparel fabrics. The need for standardizing a method for evaluating crease recovery of
different fabrics has been increasingly felt with the introduction of crease resistant fabrics. When creasing force is removed from the creased fabric, it tends to recover and the creases in the fabric start diminishing at
varying rates. The magnitude of the crease recovery angle as measured according to this standard is taken as an indication of the ability of a fabric to recover from creasing.

A crease-free rectangular specimen of prescribed dimensions is folded in half so that the two limbs of the strip touch each other face to face, under a specified load and maintained in the state for a specified period.
After the creasing load is removed, the specimen is allowed to recover for a specified time.
is measured. At the end of recovery period the angle of recovery is measured"

12. Drape %: 60-75%
13. Dimensional Stability to dry heat at 105 +-2 deg C in %, Warp:1%, Weft:1%--> maximum.
In this method a sample of fabric is heated by contact with a plain, hot surface under accurately known conditions and changes in specimen dimensions are measured.

14. Dimensional change on washing percent: Warp:2, Weft:2--> Maximum
16. Pilling resistance ( after 5 hours of test): 4--> Minimum
17. Soil Release Efficiency (percent): 80--> Minimum

BIS has to say the following about this property:

"The soiling of textile fabrics is one of the most difficult problems associated with their use. Cotton and cellulosic fabrics do not pose a severe problem of soiling because of their high moisture regain. Nevertheless, the resin finished cellulosic fabrics and fabrics rich in synthetic fibres pose a severe problem of soiling during their usage. The soiling of fabrics is due to: ( a ) interfacial attraction or Van der Wall forces, ( b ) electrostatic attraction, ( c ) mechanical forces, and ( d ) hydrophobicity of the fibres.

The soil is mainly of two types, namely, dry or particulate soil and oily or greasy soil. The former which includes particles of dust, sand, earth, soot, metallic oxides and carbon with tarry substances may be hydrophilic ( metallic oxides ) or hydrophobic ( carbon ) in nature. The latter includes glycerides, long chain fatty acids and alcohols, lubricating oil, etc, which are mostly hydrophobic.

A specimen of the fabric under test is soiled with synthetic soil, washed under prescribed conditions and dried. Simultaneously, a control specimen and a control washed specimen are taken from the fabric under
test. The soil resistance and soil release efficiency of the fabric is determined using the spectrophotometer."

18. pH value of aqueous extract (Hot Method): 6.0 to 8.0

BIS talks about this property:

"The @H of aqueous extract of the textiles affords a useful index to its processing history. In addition, it is becoming more common to demand that the textile, in its various forms, shall conform to certain limits in respect of its acidity or-alkalinity, often expressed in terms of PH values of aqueous extracts."

Under Hot Method, a flask known as Erlenmeyer flask is washed with distilled or deionized water. One test specimen is taken and added to this 100 ml of distilled or deionized. water.The contents are boiled for one hour under reflux condenser. The contents are cooled to room temperature and pH of aqueous extract is measured.

19. Abrasion Resistance ( 5000 cycles) ( Martindale): 4
20. Limited Flame Spread Index : 2--> Minimum

Trip to Bhagalpur- Pureni and Miranchak Clusters

 Visit to Pureni 


Pureni, a place about 12 km from Bhagalpur, is known for its thicker deniers of Silks. At one time, it was feeding to a lot of exporters, but now only a few have remained.

A lot of government initiative has gone into the development of those clusters. One of those is the opening of several of these centers where handloom general facilities and dyeing facilities are provided.

In Pureni, a lot of weavers are working for master weavers based in Nathnagar and Bhagalpur. The picture below shows a Dupatta in Viscose and Dupion being woven for an exporter. 

A very heavy sheeny fabric is in demand for home furnishing. The picture below depicts one such fabric made in dupion. With a price of Rs. 500 plus per meter in production, it is turly for the discerning.

In handloom, different methods are used at different places to hold on the fabric. The picture below shows a typical cross style of gripping the fabric.

A look at the chamber dyeing machines at weavers service center. The machines are so new that it is evident that these are hardly used. 

A look at the sari woven at the service center. The motif is in Jamdani style, where the extra weft is inserted using big sewing needles.

Type of Yarns

This yarn is a single Matka yarn. Matka yarn is made from waste of Mulberry Silk

The yarn below is ghicha yarn from Pureni. Ghicha from Pureni is finer than that from Baghaiya.

The yarn below is a twist of Matka yarn and Dupion yarn.

Yarn below is called Matka Throwester Also called ( 27/1). It is made up from Waste of Katan Silk. It is also called Matka 85, as it was first used in 1985. Second picture is a close of the yarn. The yarn is very slubby and very soft.

The yarn below is the twisted Throwster ( 27/2).

The yarn below is Dupion yarn. Characterized by soft twist and feel, it adds sheen to any thing it is woven with. 

The fabric below is made up of Valkal, the yarn obtained from the link by which cocoon is held on the tree. Very costly.

Visit to Miranchak 


Picture below is that of a cho cho yarn. Generally it is made from waste silk. However the yarn below is that of viscose.

The picture below depicts the mat made out of cho-cho yarn.

A look at the weaver community there. 

A sari being woven there using polyester in weft.

A look at the school at Miranchak

A fabric using Matka 85+Dupion and matka.

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The Sari- Some Facts, Methods, Techniques and Measurements

The Sari has not lost its appeal in modern India. Despite the growth of Women Western and other modern outfits, the charm of Sari remains. 

A users manual on How to Wear a Sari can be found here or here . A visual guide to various styles is presented here.

An amazing classification of  Different Saris of India can be found on the site of Indiangarment.com. You can find a complete manual of Indian Saris here.

A very nice manual on the measurement for various Indian garments such as Churidars, Parallels, Sharara, Lehnga Chunni or Ghahgra Choli and blouses is given on the same site.

And of course, an interesting concept of Automatic Sari is also given.

Now that you've finished reading this post, what are you going do? You should go join the Forum.