Saris from West India

 
    1. Saris from West India

   1. Bandhani

    a. These are saris created by dyeing the cloth in such a manner that many small resist-dyed 'spots' produce elaborate patterns over the fabric.


    b. The traditional bandhani market has shrunk however, because of the rise of low-cost silk-screened imitations and most modern bandhani saris 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 sari is a Gujarati-Hindu sari of satin weave and Gajji silk with red borders, central medallions and a white body, which may contain regularly spaced red tie-dyed spots.

     c. Single colour saris and odhnis with white spots are also common. The most famous of this type is the Gujarati sari 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 sari, which used to be made of cotton, but is now usually in silk. The number of squares in the sari is ritually significant multiples of 9, 12 or 52.

   2. Patola

    a. The most time consuming and elaborate sari created by the western region is the potole (plural patola) which has intricate five colour designs resist-dyed into both warp and weft threads before weaving.

    b.  Double ikat patola sari is a rare and expensive investment. A cheaper alternative to double ikat patola is the silk ikat sari developed in Rajkot (Gujarat), that creates patola and other geometric designs in the weft threads only.

   2. Gujarati Brocade

     These are extremely expensive and virtually extinct. The main distinguishing characteristics of the Gujarati Brocade Sari:

    a.  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 sari when draped.

    b.   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.

   4. Embroidered Tinsel Saris