Latest Indian Saree Styles In 2017 !!!! On Fow24news.com

The author of Saris of India also conducted a short saree-draping workshop that highlighted styles from Orissa, southern Kerala, northern Bengal and down to Andhra Pradesh and Tamil Nadu. The one from south Kerala interested us as it had both the saree borders showing around the body of the wearer.
The second included pallu, draping the back instead of the front, showing the colours of Coorg. We also liked a draping style from Bengal’s Jalpaiguri, where the saree as a dress can be worn long or short. In the fourth round, the revivalist introduced us to a sari-pleating technique from Orissa where it is worn between the legs like a pantaloon or a pair of pants, tight or loose, depending on how formal or informal you wish to look. Last, she showed us an Andhra style that allowed the wearer to show off her legs if she wishes to.

The Coorgi style finds a mention in a popular story of Kaveri and Agastya. This draping style evolved to help Coorgi women lead an active life — climbing the hilly slopes of the Western Ghats and trees on a daily basis. Traditionally, paired with a full sleeved blouse, this style has pleats at the back. The end of the sari is brought below the left shoulder, and secured over the right shoulder in a firm knot. Today, the red and gold silk Kanjeevaram is worn in the Coorgi style by brides during the wedding ceremony. Worn by the older women of the Kappulu caste today, a particular Andhra style of wearing was undoubtedly very elegant. Interestingly, this saree is wrapped from the left to right unlike other forms of saree which are tied from right to left. The Kappulu style aptly flatters a woman’s curves and the longer the saree, the better it looks. It has narrow pleats at the back which flatter the form and follow the two cascades of cloth formed by twisting the end piece twice around the body. The pallu is thrown over the right shoulder and can hang loose or be pulled to cover both the shoulders or wrapped around the neck as per convenience. Chishti is currently busy with reinventing her label Tana Banaa, that offers an exclusive variety of indigenous organic cottons and low twist silks using hand-spun yarns on the desi traditional charkha or spinning wheel. Sometimes they are woven on handloom.
She believes that saris are still the best way to symbolise Indian femininity, provided we know the possibilities of our draping styles. “It is very sad to see the scenario of the textile industry today. It is fashion-driven and the core has lost its meaning.” Seeing the youth being driven more towards Westernisation and fusion, she says, “Be yourself, remember where you came from and do your own thing.”