A sari state

(Published in Bengal Post, today)

A strip of cloth (sati in Sanskrit) is now considered a classic. Seen as a drape perhaps for the first time on the well-known figure of a priest from the Indus Valley Civilisation (2800-1800 BC), the sari – though it was not called that at the time - has been described in song, dance and literature for centuries. Even the way it should be used is documented - the garment should ideally be worn in a way that exposes the navel, since that is considered to be the source of life and creative power. In the 1st-6th century AD, the fishtail dhoti wrap was popular, as is seen in sculpture from the Gandhara school of art, worn without a blouse or bodice. Gradually, more familiar standards of modesty prevailed and the traditional Keralan mundu, a sarong with a shawl thrown over the shoulders, was modernised to become the sari-blouse combination popular today. Each community in this country - and those in Nepal, Sri Lanka, Burma and elsewhere - has its own idiosyncratic way of draping the sari. And the choli, or bodice-blouse, has a story of its own, evolving from an enveloping symbol of caste and virtue to a minimalistic garment of today that shows off every toned curve of a woman’s upper body.

While the placement of the pleats and the flow of the pallu may vary with style and tradition, the sari, in whatever form, wraps around the hips and is flung over one shoulder or tucked around the bosom. A number of creative minds have come up with variations on the classic theme, with everything from zip-up saris to those worn over churidars or skinny jeans making waves on the runway, though very little noise off it. As style icon, writer and sari designer/connoisseur Shobhaa De avers, “The sari is a classic - you cannot 'improve ' it on any level. It is the world's only truly perfect garment - faultless!” But everything can be made ‘new’ and ‘improved’, though “The ‘newness’ comes from how creatively you wear an old sari - your attitude and accessories.”

Designer Tarana Masand believes that “The versatility of a sari is what makes it a classic garment.” It is the “drape, style and fabric used that are constantly evolving, but there is no doubt that this wardrobe staple is here to stay.” Bela Shangvi, who has been working with reviving classics like the Paithani and Ashavali says that “The sari is so neutral that it takes on the personality of the wearer. If the person is large, it covers up, and can add bulk to a small person. It is such a graceful garment, as long as it is worn the way it is supposed to be worn and with the body language to match.”

For designer Payal Singhal, “It is actually the only true and uniquely Indian ensemble – even a churidar kurta could be a derivative of a western silhouette. I don’t think it would ever go out of style – it’s as much a staple in a South Asian wardrobe as a pair of jeans in a western one!” Nikasha Tawadey agrees, “Nothing identifies a women as being Indian so strongly as the sari, which has evolved from a complex physical, historical and cultural environment that differs from region to region, community to community.”

Style today demands a great deal of mobility and convenience. As a result, women often prefer western fashion or simpler Indian chic, leaving their saris for more formal occasions. Many of these will be inherited from grandmothers, exquisite creations rarely found today. Most designers concur that more contemporary silhouettes can be devised not by tearing up the sari and re-purposing it, but “by making new blouses to suit current trends, or perhaps adding unexpected accessories like belts or brooches” Masand suggests. Singhal works with the client on such assignments, and “we either use innovative and beautiful blouses, contrast embroideries, etc., or we can actually redo the fabrics, use the border on another piece of fabric.” Tawadey prefers to “keep in mind the inherent soul of a traditional sari at all times”, even as she agrees that “styling could be the key and the blouse could have interesting variations; or the sari could also be worn at ankle length a la Sabyasachi Mukherjee”. This last is a staple for a Bharata Natyam dancer, who has the garment hitched up enough to allow rapid footwork to be clearly seen by an audience.

In spite of its seemingly rigid form, the sari has its own ebb and flow in the fashion firmament. As De explains, “Sari trends go through phases - silk, jute, chiffon, net, cotton and so on, but the real trend has to do with the blouses\cholis, and their innovative cuts and styles, or with embellishments and embroideries.” Singhal works on her designs – “different fabrics within five and a half yards, stitched saris, bunch pallus, tassels, half saris, different drapes - from the cut to the drape to the embellishment to the treatment of fabric, you can do a zillion things with the classic,” she enthuses. “The trend now is pastels, airy fabrics like chiffons georgettes and nets, with crystal embellishments and heavier blouses.” Tawadey sees that “traditional weaves, handloom weaves, as well as khadi seem to be making a huge comeback.” For Masand, whatever the current preferences may be, “one must keep in mind that a sari personifies the attitude of the wearer and should not rely solely on trends.”

In Shangvi’s life, the sari is a governing passion. As she explains, “One needs to understand the balance of a sari and the personality of the wearer. The feel, the fall, the balance – when you wear a sari, if it is not woven the way it should be, it does not fall into place well. Choosing a sari is not just about what you like, but also the occasion, your personality, the colour, lighting…so many parameters that contribute to you and it looking good. And, of course, the wearer should know how to drape it well – see how good Rekha (the actress) looks in her heavy saris!” Tawadey believes that “once worn, it can never be substituted for anything else”.

Often seen by the modern young woman as ‘traditional’ and ‘stuffy’, the sari is still making its impact in the career world. It has an elegance that can never be duplicated by a skirt or a pair of trousers, imparting an air or quiet, understated authority to the wearer. Shangvi feels that it communicates a “sense of organisation, authority, professionalism – but it does depend on what sector you work in”, since the sari is essentially a very feminine garment. Singhal is in accord with the caveat, agreeing that “it is slightly cumbersome, needs some maintenance, though in the right fabric with the right drape, it works”. Masand believes that “Traditional woven saris make for good corporate fashion if draped properly and worn with confidence.” Tawadey is firm: “Personally, I think there is perhaps nothing that makes as strong a style statement as a sari worn with pride!” A statement echoed by De, who insists that “The sari is the ultimate power garment - I can't think of a better statement!”