Style your Saree

With the festive season setting in, it’s a great time to bring out the sarees and dress them up in the best way possible. There is no doubt that the saree is the most versatile garment that can lend grace to its wearer. Over the years, the Nivi style has become an extremely popular saree drape. The Nivi drape is pleated and tucked in at the waist and the loose end, or pallav, of the saree is draped over the left shoulder, baring the midriff. But there are over a hundred other saree draping methods in India, each belonging to a different state, adopted by a different culture depending on the occupational, social and environmental status of the wearer.

There was a time when the saree was worn by women of all ages and social standings, no matter what the occasion. Over time, this has changed due to lifestyle changes. There is no hard and fast rule to wearing a saree. Most traditional drapes are extremely comfortable. To add to it, most drapes do not require an underskirt or petticoat to be worn. This makes wearing a saree very comfortable and convenient.

Let’s take a look at a few of the draping styles prevalent in various parts of India and how they can be styled in ways to give it a contemporary look.

Halaki Vokkaliga: This drape is traditionally worn by the agriculturist communities in Karnataka who are often mendicants. Like other working class saree drapes, it attaches importance to the ease of movement for the wearer. It is distinguished by its pleats concealed within a smooth outer drape. The saree is draped by forming clusters of three small pleats each and tucking it all round the waist in an anti-clockwise direction. The pleats are then spread out, the drape thus appearing like a pleated skirt. Traditionally, the pallav is taken across the chest, brought from back to front over the right shoulder and knotted over the right shoulder. Soft silk fabrics are ideal for this drape as it requires a good fall. It can be worn as an evening gown with the pallav styled across the shoulder, as a neck scarf or simply knotted across the chest under the arms.

Seedha Palla: This drape is worn in the states of Gujarat, Uttarakhand and Uttar Pradesh. It refers to the contemporary drape adopted by urban women since the late 19^th century, except that the pallav is draped over the right shoulder from back to front. It starts with one end of the saree tucked into the waistband of the petticoat, wrapped around the lower body and pleated evenly and tucked into the petticoat waistband below the navel. The Parsi drape of Gujarat, known as the Gol saree drape, is similar except that the pallav is thrown much lower and closer to the lower border. In Chitra Deb’s book, Thakur Barir Andarmahal, it is said that Gyanodanandini, the wife of Satyendranath Tagore -elder brother of Rabrindranath Tagore, adopted the Parsi drape on her trip to Mumbai in 1870s. On her return, she popularised the style among society ladies, and it came to be known as Bombay Dastur. This saree drape can be combined with the Nivi drape to create a double pallav effect. To create the double pallav effect, tuck in one end of a two and a half to three meters long odna at the waist below the pleats of the saree. Wrap the odna once around the body and throw it over the left shoulder to create a Nivi drape style while the pallav of the saree can be worn in the Seedha palla style. This style is suited for a formal occasion or evening wear.

Chaugoshiya: This is a 150 year old traditional garment worn by women in Nizam’s Hyderabad and is still worn by women at their wedding ceremonies. The entire ensemble consists of chau, or four garments – the choli or tight blouse, the kurti or loose tunic, the pajama or tight pants, and a six yards long fabric known as the khada dupatta rather than a saree. Silk is the most favoured fabric for the dupatta. According to a Tribune India article, the khada dupatta was made in the 17th century by Turkish and Persian craftsmen when Mughal Empress Noor Jehan wanted them to craft a noble dress for family members of Mughal noble ladies. But later, the begums of the Nizams of Deccan adapted the style with a little modification. This dress gradually became the bridal dress of Hyderabadi girls. The middle of the dupatta is tucked into the back of the churidar or pants with folded accordion pleats at both ends. One end is held on the left shoulder with a brooch, and the free ends are worn under the right shoulder. For a contemporary look, the saree can be adapted into a khada dupatta and teamed with a pair of jeans or trousers instead of the churidar and worn with a pair of boots.

The sky’s the limit to what one can do with a saree. This festive season, stay stylish!