How to Wear Indian Sari Traditional Clothing for Women

Women across the globe introducing to you the Ready-to -Wear Indian sari. If you thought you could never wear a sari because you didn't know how to wear, you can now change your mind!

Dress up in this eternal essence of femininity and make heads turn at parties, on the streets and especially at home. Don't miss this wonderful opportunity to look like an Indian beauty without a hassle. The Ready-to-Wear Sari can be worn like any other dress you wear. Just follow the Instructions carefully and there you are looking like a million dollars.

Step 1: Wear your petticoat and blouse and pass the sari around to the front maintain the same height.

Step 2: Hold your sari from the corner keeping the fall of the sari towards the feet.

Step 3: Tuck in the sari into your petticoat, take it around you towards the left and then from behind towards the right, bringing it out with your right hand. Make sure the sari is well tucked in all around the waist. The pleats of the sari should settle in the center of the belly and you can press them with your hands to make sure they are well evened out and settling elegantly at your ankles or below your feet as per your style.

Step 4: Now take the rest of the sari, this is known as the "pallu". Put it over the left shoulder and let it flow. You can pin up the "pallu" at the shoulder so it remains in place or you can simply let it hang over your shoulder like you would with a muffler or a shawl.

The Final Look >>>Look like an Indian beauty queen.

Traditional Indian Sterling Silver Gemstone Jewellery

The practice of setting gemstones into precious metal probably originated in the Middle East, but India, with its wealth of precious and semi-precious stones and its many trade links, has a long history of gemstone jewellery. India also had an abundance of ivory from its great herds of elephants, and one of the most important pearl beds off Tuticorin, in the Palk Straits between south India and Sri Lanka. With mines for gold and silver, rubies, garnets, agate, diamonds, tigers' eyes and the riches generated from local agriculture and the trade in local cloth and handicrafts, Indians of some means had many different types of jeweled ornamentation available to them.

Jewelry has always functioned as a material repository of wealth and its role as such was prevalent all through the social scale. The rulers of Indian states, permanently threatened by dynastic upheavals and internecine feuding, needed to hold their wealth in a form that was extremely compact and portable and could be easily hidden or traded. Costly jewelry satisfied these conditions ideally, and there are many stories of Indian princes fleeing into the desert night with their gold, jewels and pearls, buying security from foreign rulers and sometimes even the military help needed to regain their kingdoms.

Designer Madurai Saree in Cotton Tie n Dye Print Bandani Sari

Today, Madurai is best known for its inexpensive, hard-wearing, medium-weight cotton sarees that are printed and/or resist dyed. These sarees are popular throughout southern India among both the rural and urban poor (8-meter) and the urban middle classes (5-meter), and are becoming increasingly common in the north as the range of designs and colours is expanding to suit north Indian tastes. These are not luxury saris. They are made of a tough opaque cloth that washes well, and usually contains narrow supplementary-warp bands of low- to high-quality zari woven in the border with an adyar end piece. After weaving, the sari is dyed one shade for the field and a contrasting color for the border and end piece, the latter being added through either silk-screening or by resist dip-dyeing (placing the cloth between two long wooden blocks). Various methods are used to embellish the cloth further, such as block-printing or silk-screen printing simple repetitive geometric patterns in the border or, more commonly, the field, with either resist pastes or a coloured dye. Until recently, most Madurai resist prints mimicked the nineteenth-century bandhani saris made for the region's expatriate Saurashtran community. They are known by a variety of names, such as sungudi, chungudi and junnadi (all based on the north Indian chunari) after the evenly distributed spots covering the field.

The nineteenth-century sungudis (no longer made) has simple geometric patterns in different colours (usually red and black). At the opposite end of the social scale are Kalamkari resist-dyed until the end of the nineteenth century. Often known as Kodalikarupur or Karupur saris, after the village of manufacture, they consisted of a fine cotton muslin in which discontinuous supplementary zari patterns were woven in the jamdani technique. The muslins were then resist-painted by hand and dyed in various natural colours, giving a rich but somber variety of red tones to the fabric. In many ways the designs are reminiscent of the hand-drawn nineteenth-century Gujarati saudagiri prints made for the Thai marker. In the early and mid-nineteenth century, "fine cotton chintzes" (Kalamkari saris) were also made in Madurai and Kalahat (north Arcot) as well as Machilipatnam.