A kurta is a long loose-fitting collarless shirt of a style originating in Indian subcontinent and worn in many regions of South Asia, but now modernized, worn around the world. It is a tunic, or upper body garment, plain or with embroidered decoration, such as chikan, which can be loose or tight in the torso falling either just above or somewhere below the knees of the wearer. Kurtas are worn both as casual everyday wear in cotton) and as formal attire; the word kurta is a borrowing into English from Hindustani language, there in turn from Persian. It was first used in English in the early 20th century. According to S. M. Katre, Kurta word has been attested in Buddhist Kucha scholar Li Yen's Sanskrit chinese lexicon as a word of Sanskrit origin from the 8th century AD but she is of the opinion that the word is infact of central asian origin adopted into Sanskrit language. Sculptures and paintings from Deogarh, Bagh and Sarnath depict full sleeved jama-kurta like garment. Indians wearing long fitted shirt like Kurta and baggy pants like shalwar have been depicted in 8-10th century AD ivory sculpture of an elephant chess piece from Bibliothèque nationale de France.
A traditional kurta is composed of rectangular fabric pieces with a few gusset inserts, is cut so as to leave no waste fabric. The cut is simple, although decorative treatments can be elaborate; the sleeves of a traditional kurta fall straight to the wrist. Sleeves are not cuffed, just hemmed and decorated; the front and back pieces of a simple kurta are rectangular. The chak, or side seams, are left open for 6-12 inches above the hem, which gives the wearer some ease of movement; the kurta opens in the front. The front opening is a hemmed slit in the fabric, tied or buttoned at the top; the opening may be positioned off center. A traditional kurta does not have a collar. Modern variants may feature stand-up collars of the type known to tailors and seamstresses as "mandarin" collars; these are the same sort of collars seen on achkans and Nehru jackets. Kurtas worn in the summer months are made of thin silk or cotton fabrics. A common fabric for the kurta pajama is linen, or a linen-cotton mix ideal for both summers and winters.
Kurtas are fastened with tasselled ties, cloth balls, loops, or buttons. Buttons are wood or plastic. Kurtas worn on formal occasions might feature decorative metal buttons, which are not sewn to the fabric, like cufflinks, are fastened into the cloth when needed; such buttons can be decorated with jewels and other traditional jewelers' techniques. Tailors from the Indian subcontinent command a vast repertoire of methods and modern, for decorating fabric, it is that all of them have been used, at one time or another, to decorate kurtas. However, the most common decoration is embroidery. Many light summer kurtas feature Chikan embroidery, a specialty of Lucknow, around the hems and front opening; this embroidery is executed on light, semi-transparent fabric in a matching thread. The effect is subtle. Regional styles include the Bhopali, Hyderabadi and straight-cut kurtas; the Bhopali kurta is a loose kurta with pleats at the waist, flowing like a skirt reaching midway between the knees and the ankles.
It is worn with a straight pajama. The Hyderabadi kurta is named after the former royal state of Hyderabad and is a short top which sits around the waist, with a keyhole neck opening, it was popular with the local royal households. Traditionally, the Hyderabadi kurta was of white material. Over the kurta, some versions have net material, the combination of, called jaali karga, worn by men and women; the traditional Lucknowi kurta can either be long, using as much as 12 yards of cloth. The traditional Lucknowi kurta styles have an overlapping panel. However, the term "Lucknowi kurta" now applies to the straight-cut kurta embroidered using local Chikan embroidery. Another style is the kali or kalidar kurta, similar to a frock and has many panels; the kalidar kurta is made up of several geometrical pieces. It has two rectangular central panels in the front; the kali kurta is worn by women. The straight-cut traditional kurta is known as "Panjabi" in West Bengal and Assam. Local embroidery designs give a regional outlook to the traditional kurta.
In Assam, the Panjabi is worn with a scarf using local prints. Other designs include Bengali Kantha embroidery. Sindhi kurtas the local art of bandhani; the traditional Punjabi kurta of th
The Kaashtha sari is a style of sari draping is similar to the way the Maharashtrian dhoti is worn. The word Kaashtha refers to the sari being tucked at the back. Since this sari is worn by using a single nine yard cloth, it is referred to as Nauvari which means Nine Yards. Sakachcha sari is another term used to refer to this style of sari, it is referred to as Akanda Vastra. In fact, this attire holds utmost importance, it is not just worn at religious and cultural events, but women have fought wars in the past and still work in farmlands wearing this. It is the traditional Marathi style of sari, worn without a petticoat; this style of sari draping is common among all the castes but the way of draping differs according to the region and topography as well. For example, Brahmin women wear it in a particular way, called as brahmni on the other side aagri people from the raigad district wear it in a knee length fashion is called as'adwa patal' whereas with a small variation the kunbi or the farmer women of raigad district and some parts of ratnagiri as well wear nineyard, called as "uprati".
The name uprati means up side down, because of some folds while draping the saree are up side down. One of the special features of adwa patal and uprati arethat these sarees are draped without tying knots but still the saree is tightly draped. On contrary to this women from rural Puñe and Satara Ahmed Nagar or Kolhapur, wear it to the ankle length, popular; the Brahmins wear it in a particular way where the border of the saree is displayed on the front side as well, similar to the kashta on the back Side. Some details are given below as well; this sari is draped in a way that the center of the sari is neatly placed at the back of the waist and the ends of the sari are tied securely in the front, the two ends are wrapped around the legs. The decorative ends are draped over the shoulder and the upper body or torso. Sayali Badade, an HR executive said, "A woman who wore a Nauvari was always looked upon with respect; the reason being both the shoulders of the women are covered, it makes for a traditional wear.
The style was started and popularised from the Peshwai reign". Women of the Koli tribe wear this style of sari but cut into two pieces. One piece is worn around the waist while the other piece is used to cover the upper part of the body, it is taken on the head over the left shoulder in the Maratha fashion. The Koli women are decorative with both dress and ornament and this sari of nine yards of cotton fabric is draped adeptly over the hips so that the figure is graceful in movement; the traditional'nauvari' retains its charm in the modern age. Known as'Lugada', this sari is now worn by elderly Maharashtrian women. However, in the contemporary fashion, the trend of wearing nine-yard Kasta sari is picking up fast in the younger lot that wants to keep the age-old Marathi tradition alive, it requires perfect technique and perfection to wear a nine-yard saree. Worn in dance competitions, "lavani" and Maharashtrian folk dance, the Kasta sari has made a great come back in the fashion industry. Prashant Shalgar, a nine-yard Kasta sari seller, said, "It has always been in demand.
Though earlier only elder generation women would pick up these sarees but now many young girls go for it for its elegant looks. Prashant Kolhe, a management executive, said, "My grandmother used to wear nine-yard saree, it would look great on her. She used to carry it well. I guess. You cannot look graceful and comfortable in any other dress. Women dabbawalas in Mumbai are dressed in nauvari saris. To make the wearing more easy and comfortable, the market is all set to sell stitched Kasta sari for those who love drape it. Sandhya Kenjale, another Kasta sari seller, says, "I started stitching nineyard sarees because I could never drape it properly. For draping a nineyard saree, you should have some guidance. There are many occasions when women choose to wear nine-yard sarees but the drawback is they do not know the technique. Ready-to-wear nine-yard saree is the perfect solution for such problems. Just wear it like a salwar put the pallu over the shoulder and you are dressed in few minutes. Teen-aged girls are seen wearing it in their school or college gatherings.
Many brides are now taking help of such ready-to-wear nine-yard sarees. With a wide range of them available in the market, buyers have a lot of choice. Available in Bangalore silk, Belgaum silk, pure silk, Orissa silk, nine-yard sarees are priced reasonably. "Prashant Shalgar added, "Marathi movies are responsible for keeping the traditional wear alive. To make it easy, these sarees are now stitched and sold in the market". Stylist Pradnya Bhalekar stated, "You can wear a stitched Nauvari like a salwar, it is as simple as wearing your favourite pair of denims. Besides, you don't have to worry that the drape might come off". Shobhaa De in her blog told that she suggested to Mukesh Ambani that the cheerleaders of Mumbai Indians can wear the traditional nine yard kasta sari and perform dance routines for the local lavani. On the contrary, some consider, it is considered far too revealing. It is seen in the cities; this type of sari is made fun of in films, portrayed as some sort of “sexy” garment, meant to titillate.
In reality the Kasta sari embodies freedom for women. In a way it is similar to the dhoti as it allows leg movement and the ankles are left free. B
A waistcoat, or vest, is a sleeveless upper-body garment. It is worn over a dress shirt and necktie and below a coat as a part of most men's formal wear, it is sported as the third piece in the traditional three-piece male lounge suit. Any given vest can be ornate or for leisure or luxury; the vest can be worn either in the place of or underneath a larger coat dependent upon the weather and setting. The term waistcoat is used in the United Kingdom and many Commonwealth countries; the term vest is used in the United States and Canada and is worn as part of formal attire or as the third piece of a lounge suit in addition to a jacket and trousers. The term vest derives from the French language veste “jacket, sport coat," the term for a vest-waistcoat in French today being "gilet", the Italian language veste "robe, gown," and the Latin language vestis; the term vest in European countries refers to a type of athletic vest. The Banyan, a garment of India, is called a vest in Indian English. A waistcoat has a full vertical opening in the front, which snaps.
Both single-breasted and double-breasted waistcoats exist, regardless of the formality of dress, but single-breasted ones are more common. In a three piece suit, the cloth used matches trousers. Waistcoats can have lapels or revers depending on the style. Before wristwatches became popular, gentlemen kept their pocket watches in the front waistcoat pocket, with the watch on a watch chain threaded through a buttonhole. Sometimes an extra hole was made in line with the buttonholes for this use. A bar on the end of the chain held it in place to catch the chain if it were pulled. Waistcoats are now worn less, so the pocket watch may more be stored in a trouser pocket. Wearing a belt with a waistcoat, indeed any suit, is not traditional. To give a more comfortable hang to the trousers, the waistcoat instead covers a pair of braces underneath it. A custom still sometimes practised; this is said to have been started by King Edward VII. Variations on this include that he forgot to fasten the lower button when dressing and this was copied.
It has been suggested that the practice originated to prevent the waistcoat riding up when on horseback. Undoing the bottom button avoids stress to the bottom button when sitting down; this convention only applies to single-breasted day waistcoats and not double breasted, straight-hem or livery waistcoats that are all buttoned. Waistcoats worn with lounge suits match the suit in cloth, have four to six buttons. Double breasted waistcoats are rare compared to single; as formalwear, it used to be common to wear a contrastingly coloured waistcoat, such as in buff or dove linen. This is still seen in morning dress; the waistcoats worn with white- and black- tie are different from standard daytime single-breasted waistcoats, being much lower in cut. The much larger expanse of shirt compared to a daytime waistcoat allows more variety of form, with "U" or "V" shapes possible, there is large choice of outlines for the tips, ranging from pointed to flat or rounded; the colour matches the tie, so only black barathea wool, grosgrain or satin and white marcella, grosgrain or satin are worn, although white waistcoats used to be worn with black tie in early forms of the dress.
Waiters, sometimes waitresses, other people working at white-tie events, to distinguish themselves from guests, sometimes wear gray tie, which consists of the dress coat of white tie with the black waistcoat and tie of black tie. The variant of the clergy cassock may be cut as a vest, it differs in style from other waistcoats in that the garment buttons to the neck and has an opening that displays the clerical collar. In the Church of England, a particular High Church clerical vest introduced in the 1830s was nicknamed the "M. B. Waistcoat" with "M. B." standing for the Mark of the Beast. In the Girl Scouts of the USA, vests are used as an alternative to the sash for the display of badges. In many stock exchanges, traders who engage in open outcry may wear colored sleeveless waistcoats, or trading jackets, with insignia on the back. Waistcoats, alongside bowties, are worn by billiard players during a tournament, it is worn in snooker and blackball tournaments in the United Kingdom. The predecessors to the waistcoat are gambeson.
Various types of waistcoats may have been worn in theatrical manners such as performances and masquerades prior to what is said to be the early origins of the vest. During the 17th century, the forerunner to the three-piece suit was appropriated from the traditional dress of diverse Eastern European and Islamic countries; the justacorps frock coat was copied from the long zupans worn in Poland and the Ukraine, the necktie or cravat was derived from a scarf worn by Croatian mercenaries fighting for King Louis XIII of France, the brightly coloured silk waistcoats popularised by King Charles II of England were inspired by exotic Turkish and Persian attire acquired by wealthy English travellers. On October 7th of the year 1666, King Charles II of England revealed that he would be launching a new type of fashion piece in men’s wear. Scholar Diana De Marly suggests that the f
Trousers or pants are an item of clothing that might have originated in East Asia, worn from the waist to the ankles, covering both legs separately. In the United Kingdom, the word pants means underwear and not trousers. Shorts are similar to trousers, but with legs that come down only to around the area of the knee, higher or lower depending on the style of the garment. To distinguish them from shorts, trousers may be called "long trousers" in certain contexts such as school uniform, where tailored shorts may be called "short trousers" in the UK; the oldest known trousers are found at the Yanghai cemetery in Turpan, western China, dated to the period between the 13th and the 10th centuries BC. Made of wool, the trousers had straight legs and wide crotches, were made for horseback riding. In most of Europe, trousers have been worn since ancient times and throughout the Medieval period, becoming the most common form of lower-body clothing for adult males in the modern world, although shorts are widely worn, kilts and other garments may be worn in various regions and cultures.
Breeches were worn instead of trousers in early modern Europe by some men in higher classes of society. Distinctive formal trousers are traditionally worn with semi-formal day attire. Since the mid-20th century, trousers have been worn by women as well. Jeans, made of denim, are a form of trousers for casual wear worn all over the world by both sexes. Shorts are preferred in hot weather or for some sports and often by children and adolescents. Trousers are worn on the hips or waist and may be held up by their own fastenings, a belt or suspenders. In Scotland, trousers are known as trews, the historic root of the word trousers. Trousers are known as breeks in Scots, a word related to breeches; the item of clothing worn under trousers is underpants. The standard form trousers is used, but it is sometimes pronounced in a manner represented by, as Scots did not undergo the Great Vowel Shift, thus retains the vowel sound of the Gaelic truis from which the word originates. In North America, South Africa and Northern England pants is the general category term, whereas trousers refers more to tailored garments with a waistband, belt-loops, a fly-front.
So informal elastic-waist knitted garments would be called pants, but not trousers. North Americans call undergarments underwear, undies, jockey shorts, long johns or panties to distinguish them from other pants that are worn on the outside; the term drawers refers to undergarments, but in some dialects, may be found as a synonym for "breeches", that is, trousers. In these dialects, the term underdrawers is used for undergarments. Many North Americans refer to their undergarments by their type, such as briefs. In Australia, men's underwear has various informal terms including under-dacks, dacks or jocks. In New Zealand men's underwear is known informally as dacks. Various people in the tailoring and the fashion industry use the words trouser instead of trousers as a generic term, for instance when discussing styles, such as "a flared trouser", rather than as a specific item; the words trousers and pants are pluralia tantum, nouns that only appear in plural form—much like the words scissors and tongs, as such pair or trousers is the usual correct form.
However, the singular form is used in some compound words, such as trouser-leg, trouser-press and trouser-bottoms. Jeans are trousers made from denim or dungaree cloth. Skin-tight leggings are referred to as tights. There is some evidence, from figurative art, of trousers being worn in the Upper Paleolithic, as seen on the figurines found at the Siberian sites of Mal'ta and Buret'; the oldest known trousers are found at the Yanghai cemetery, extracted from mummies in Turpan, western China, belonging to the Eastern Iranian people of the Tarim Basin. Trousers enter recorded history in the 6th century BC, on the rock carvings and artworks of Persepolis, with the appearance of horse-riding Eurasian nomads in Greek ethnography. At this time, Iranian peoples such as Scythians, Sarmatians and Bactrians among others, along with Armenians and Eastern and Central Asian peoples such as the Xiongnu and Hunnu, are known to have worn trousers. Trousers are believed to have been worn by both sexes among these early users.
The ancient Greeks used the term "ἀναξυρίδες" for the trousers worn by Eastern nations and "σαράβαρα" for the loose trousers worn by the Scythians. However, they did not wear trousers since they thought them ridiculous, using the word "θύλακοι", pl. of "θύλακος", "sack", as a slang term for the loose trousers of Persians and other Middle Easterners. Republican Rome viewed the draped clothing of Greek and Minoan culture as an emblem of civilisation and disdained trousers as the mark of barbarians; as the Empire expanded beyond the Mediterranean basin, the greater warmth provided by trousers led to their adoption. Two types of trousers saw widespread use in Rome: the Feminalia, which fit snugly and fell to knee or mid-calf length, the Braccae, a loose-fitting trouser, closed at the ankles. Both gar
Shalwar kameez spelled salwar kameez or shalwar qameez, is a traditional outfit originating in the Indian subcontinent. The apparel comprises a head scarf and shalwar when worn by women and kameez and shalwar when worn by men; the term shalwar kameez covers different styles according to the region. Styles include Anarkali, Punjabi and Balochi. In origin, the shalwar and kameez are two separate garments which have been combined to form the shalwar kameez outfit, it is the national dress of Pakistan, worn throughout the Indian subcontinent. The shalwar, spelled sirwal in Arabic, variously pronounced as šalvār/shalvaar, salwar/salowar and selwar are a form of baggy trousers predating the Christian era, they are worn in Muslim countries but extensively in the Greek countryside prior to World War II. Indians wearing kurta and baggy pants similar to shalwar have been depicted in 8-10th century CE ivory sculpture of an elephant chess piece from Bibliothèque nationale de France. Transliterations starting from Urdu, Persian, Turkish languages use "sh".
Salwar is the spelling most used in India. Transliterations starting from Punjabi render the sibilant sound at the start of salwar/shalwar as an "s". Both spellings are found in common English usage; the shalwar spelling seems to be most common in Canada and the United Kingdom, is the preferred spelling in the Oxford English Dictionary. Qamis, the kameez, known in Bengali as kamij and in Sylheti as kamiz is a tunic of varying length. Garments cut. According to Dorothy K. Burnham, of the Royal Ontario Museum, the "seamless shirt," woven in one piece on warp-weighted looms, was superseded in early Roman times by cloth woven on vertical looms and pieced so as not to waste any cloth. 10th-century cotton shirts recovered from the Egyptian desert are cut much like the kameez or the contemporary Egyptian djellaba or jellabiya. While transliterations of the Arabic word preferably use "q" due to the use of Qāf, that of languages which imported the word, such as Urdu and Hindi use "k". Men wear a vest over their qameez known as a sadri.
The dupatta or chunri, known as oṛna in Bengali: ওড়না, unna in Sylheti is a scarf, like a shawl and is essential to many women's clothing from the Indian subcontinent. It is worn with the kameez but only by women, it is an evolved form of the ancient Indian Uttariya and is part of the Gagra choli costume. The Dupatta is worn in many regional styles across India, the most common style since early medieval times being to pleate the dupatta on the one end and tucking it into the front of the ghagra and wrapping it across the waist and over the shoulder or head, similar to the way the sari is worn; the dupatta is traditionally seen as a symbol of modesty. The shalwar are loose pajama-like trousers; the legs are wide at the top, narrow at the ankle. The kameez is a long shirt or tunic seen with a Western-style collar; the kameez might be worn for fashion or comfort. Some kameez styles have side seams, left open below the waist-line, giving the wearer greater freedom of movement; the kameez can be flowing like a dress.
Modern kameez styles are more to have European-inspired set-in sleeves. If the tailor's taste or skill is displayed, this will be seen in the shape of the neckline and the decoration of the kameez; the kameez may be cut with a deep neckline, sewn in diaphanous fabrics, or styled in cap-sleeve or sleeveless designs. There are many styles of shalwar: the Peshawari shalwar, Balochi shalwar, Sindhi choreno and Punjabi shalwar. Although various regions of the Indian subcontinent wear the outfit in its various forms, the outfit was only popular on a wide scale in Afghanistan, Khyber Pakhtunkhwa and the Punjab region of Indian subcontinent. However, the shalwar kameez has now become popular across the Indian subcontinent; the following are some of the styles of shalwar kameez. The shalwar kameez known as the Anarkali suit is named after the court dancer from Lahore; this suit has a timeless style which has become popular. It features a slim fitted bottom; this style of suit links the Indian subcontinent with the women's firaq partug of northwestern Pakistan and Afghanistan and to the traditional women's clothing of parts of Central Asia.
It links to the Punjab region, where the Anarkali suit is similar to the anga and the Peshwaz worn in Jammu. The styles of shalwar kameez worn in Afghanistan include the khet partug, perahan tunban and Firaq partug; the shalwar rests above the ankles. As a chiefly rural and nomadic population, the Pashtun dress is made from light linens, the garments are loose fitting for ease of movement; the Pashtun dress includes local forms of the shalwar kameez, which are differently made for males and females. The traditional male dress includes the khet perahan wa tunban. Males wear a kufi, Peshawari
A sari, saree or shari is a women's garment from the Indian subcontinent that consists of a drape varying from five to nine yards in length and two to four feet in breadth, wrapped around the waist, with one end draped over the shoulder, baring the midriff. There are various styles sari manufacture and draping, the most common being the Nivi style, which originated in Deccan region of India; the sari is worn with fitted bodice called a choli and petticoat called parkar or ul-pavadai. In the modern Indian subcontinent, the sari is considered a cultural icon; the word sari described in Sanskrit शाटी śāṭī which means'strip of cloth' and शाडी śāḍī or साडी sāḍī in Pali, which evolved to sāṛī in modern Indian languages. The word'Sattika' is mentioned as describing women's attire in ancient India in Sanskrit literature and Buddhist literature called Jatakas; this could be equivalent to modern day'Sari'. The term for female bodice, the choli evolved from ancient Stanapatta. Rajatarangini, a tenth-century literary work by Kalhana, states that the choli from the Deccan was introduced under the royal order in Kashmir.
The petticoat is called parkar in Marathi, ulpavadai in Tamil and shaya in Bengali and eastern India. Apart from the standard "petticoat", it may be called "inner skirt" or an inskirt. History of sari-like drapery is traced back to the Indus Valley Civilisation, which flourished during 2800–1800 BC around the northwestern part of the Indian subcontinent. Cotton was first cultivated and woven in Indian subcontinent around 5th millennium BC. Dyes used during this period are still in use indigo, red madder and turmeric. Silk was woven around 2450 BC and 2000 BC; the word'sari' evolved from'sattika' mentioned in earliest Jain and Buddhist literature as women's attire. The Sari or Sattika evolved from a three-piece ensemble comprising the lower garment; this ensemble is mentioned in Sanskrit literature and Buddhist Pali literature during the 6th century B. C; this complete three-piece dress was known as generic term for costume. Ancient Antriya resembled dothi wrap in the "fishtail" version, passed through legs, covered the legs loosely and flowed into a long, decorative pleats at front of the legs.
It further evolved into Bhairnivasani skirt, today known as lehenga. Uttariya was a shawl-like veil worn over the shoulder or head, it evolved into what is known today known as dupatta and ghoongat. Stanapatta evolved into choli by 1st century A. D. Between 2nd century B. C to 1st century A. D, Antariya and Uttariya was merged to form a single garment known as sari mentioned in Pali literature, which served the purpose of two garments in one-piece; the ancient Sanskrit work, Kadambari by Banabhatta and ancient Tamil poetry, such as the Silappadhikaram, describes women in exquisite drapery or sari. In ancient India, although women wore saris that bared the midriff, the Dharmasastra writers stated that women should be dressed such that the navel would never become visible. By which for some time the navel exposure became a taboo and the navel was concealed. In ancient Indian tradition and the Natya Shastra, the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari.
Early Sanskrit literature has a wide vocabulary of terms for the veiling used by women, such as Avagunthana, meaning cloak-veil, Uttariya meaning shoulder-veil, Mukha-pata meaning face-veil and Sirovas-tra meaning head-veil. In the Pratimānātaka, a play by Bhāsa describes in context of Avagunthana veil that "ladies may be seen without any blame in a religious session, in marriage festivities, during a calamity and in a forest"; the same sentiment is more generically expressed in Sanskrit literature. Śūdraka, the author of Mṛcchakatika set in fifth century BC says that the Avagaunthaha was not used by women everyday and at every time. He says; this may indicate. This form of veiling by married women is still prevalent in Hindi-speaking areas, is known as ghoonghat where the loose end of a sari is pulled over the head to act as a facial veil. Based on sculptures and paintings, tight bodices or cholis are believed have evolved between 2nd century B. C to 6th century A. D in various regional styles.
Early cholis were front covering tied at the back. This ancient form of bodice or choli are still common in the state of Rajasthan today. Varies styles of decorative traditional embroidery like gota patti, pakko, suf, kathi and gamthi are done on cholis. In Southern parts of India, choli is known as ravikie, tied at the front instead of back, kasuti is traditional form of embroidery used for cholis in this region. In Nepal, choli is traditionally tied at the front. Red is most favored color for wedding saris and are traditional garment choice for brides in Indian culture. Women traditionally wore various types of regional handloom sarees made of silk, ikkat, block-print and tie-dye textiles. Most sought after brocade silk sarees are Banasari, Gadwal, Mysore, Uppa
Churidars, or more properly churidar pyjamas, are fitting trousers worn by both men and women in the Indian subcontinent. Churidars are a variant of the common shalwar pants. Salwars are cut wide at the narrow at the ankle. Churidars narrow more so that contours of the leg are revealed, they are cut on the bias, making them stretchy. Stretch is important, they are longer than the leg and sometimes finish with a fitting buttoned cuff at the ankle. The excess length appears like a set of bangles resting on the ankle; when the wearer is sitting, the extra material is the "ease" that makes it possible to bend the legs and sit comfortably. The word churidar made its way into English only in the 20th century. Earlier, tight fitting churidar-like pants worn in India were referred to by the British as Moghul breeches, long-drawers, or mosquito drawers; the churidar is worn with a qameez by women or a kurta by men, or they can form part of a bodice and skirt ensemble. Salwar kameez Jammu dress Kandura