International Journal of Home Science 2019; 5(2): 299-306

ISSN: 2395-7476
IJHS 2019; 5(2): 299-306
© 2019 IJHS
www.homesciencejournal.com
Indian Saree: A paradigm of global fashion influence
Received: 25-03-2019
Accepted: 27-04-2019
Koshalpreet Kaur and Anjali Agrawal
Koshalpreet Kaur
School of Fashion and Design, Abstract
G D Goenka University, Sohna Indian Saree, the symbol of Indian tradition is one of the oldest form of clothing and has a long story
Road, Gurugram, Haryana, behind it. This paper examines the history of saree, its drapes and patterns, the influencing factors and its
India evolution to the present form. This article also explores the relationship between traditional Indian saree
drapes, studied across centuries, with the creations of various contemporary International fashion
Anjali Agrawal
School of Fashion and Design,
designers. The inspiration many a times may not be clearly visible but is seen through subtle
G D Goenka University, Sohna observations. Western designs have been juxtaposed with drapes and patterns seen in traditional sarees.
Road, Gurugram, Haryana, Lastly, a path in the future, influenced by the rapid economic growth in India and the effects of
India technology on the evolving design and popularity of the saree among the international fashion designers
is described.

Keywords: Saree, drapes, traditional, contemporary, juxtaposed

Introduction
“Fashion will last forever. It will exist always. It will exist in its own way in each era. I live in
the moment. It’s interesting to know the old methods. But you have to live in the present
moment”
Azzedine Alaia
Over the past few decades, Eastern and Western cultures have fused together to create new
designs and provide fresh meaning to the fashion industry. With the occurrence of industrial
globalization, the cultural boundaries have melted and have dispersed [1]. Fashion has become
borderless and is no longer constrained to ideas of a particular nationality and culture. The
global fashion industry is increasing and changing at a very astonishing rate. Culture and
traditional dress have always been an incredible part and source of inspiration for the fashion
industry.
India’s rich culture and tradition has always been stimulation for the fashion industry.
Designers see Indian textile and clothing style, as archetypes of immemorial vestimentary
practices. A sharp contrast, though, can be detected in the uses they make of the chosen mode
[2]
. Since past few decades the international designers have created beautiful
interpretations from India’s rich culture, bright colors, exotic hand crafted techniques of
embroideries and weaves. Indian aesthetics have found a fresh popularity in the area of global
design culture. International designers like John Galliano for Christian Dior, Karl Lagerfeld for
Chanel, Marc Jacobs for Louis Vuitton, Alexander McQueen, Jean Paul Gautier have used
Indian designs and themes to create new fashion collections [3]. Indian culture and art provides
both a market and an inspiration to these brands [4]. One such Indian aesthetics, which has
inspired a number of designers, is Saree.
Saree is one of the world’s oldest and perhaps the only surviving unstitched garment from the
past [5]. The saree forms the core of history and legacy. Few Indian designers have realised the
impact of this powerful drape and are making efforts to re-establish and reinvent the saree in
their collections [6]. Over the eras, it has become a sensuous, glamorous all-time-wear for
women. It is a fashion trend that has stood the test of time and is still worn by millions of
Correspondence women worldwide. One cannot underestimate the importance of fashion in shaping the styles
Koshalpreet Kaur around the saree. There have been several considerations while exploring the origin and
School of Fashion and Design, influence of saree.
G D Goenka University, Sohna
Firstly, the term saree was used to describe a type of drape, which was later used for varied
Road, Gurugram, Haryana,
India styles of draping a fabric.
~ 299 ~
International Journal of Home Science

The second consideration relates to the saree aesthetics and BC, when Lord Krishna protected “Draupadi” by blessing her
the contemporary style of draping and requires the reader to with a saree that did not end (Figure 1) [9]. The 1st century AD
understand the importance of each style and recognize its saw the Sari in its earliest form and the records are found in
stylish components. The third point is the importance of social the sculptures from that period. It was a drapes garment with a
context to understand the saree. The social class determined a veil. History too articulates that saree was worn by during
women’s choice of draping style. Women belonging to higher famous battles fought by the heroines like Queen Jhansi
social class experimented with different drapes of saree and Laxmibai and Belawadi Mallamma (around 1850 AD). Neatly
fabric materials, which varied, from expensive silks to good and tightly tucked away between the legs, the Saree enabled
quality cottons. Women of middle or lower social class wore them to battle enemy troops on horseback. These saries were
basic saree of cotton fabric. And last, is the rise in foreign longer in length than the regular ones and worn like dhoti*,
influence in earlier centuries (5th – 20th) also has concealed wrapped around in total grace and elegance [10].
the importance of this garment, which brings to the final point
of consideration.
Limited research has been conducted on the folklore of the
saree and the factors that have helped to keep it in fashion for
centuries. Keeping in mind these considerations, this paper
investigates the evolution of saree and argues its existence as
an accepted format for global platform. This paper has
explored the historical context in which saree emerged in the
world of high fashion and its place in women’s social
practices and rituals. The significance of the study is to make
the designers around the world aware about the evolution of
Indian saree. The information in this paper will benefit the
designers across the globe to create fusion in their fashion
collections. It will also help the researchers to get the
background knowledge of the drape of the saree.

History and Origin of Saree

The word ‘saree’ is derived from Sanskrit word 'sati', which
means “a strip of cloth”. The origin of this word is from the Fig 1: “Draupadi” blessed with a saree that did not end as mentioned
Prakrit (a language spoken in the Buddhist era) word ‘sattika’. in Mahabharata
This progressed into the Prakrit 'sadi' and was later anglicised
into 'saree' (pronounced as sa-ri) [7]. The word “sattika” is Evolution of Saree drapes
mentioned in Buddhist literature, meaning women’s attire. Although saree has become a fashion statement today but it is
Saree is an unstitched long piece of cloth, which is draped in interesting to know how it has evolved through various
various styles, and its length varies from 4 yard to 9 yard. The silhouettes and styles and the factors influencing those
history of this famous Indian ethnic piece of clothing is quite changes.
interesting and shows the fruition over thousands of year [8]. Figure 2 [11 -19] shows the evolution of saree [1].
The first mention of Saree was found in Mahabharata in 400

21 century
20 -21
century

1900’s

1850-1900 AD

Hermes Collection
1600-1850 AD (2i)
Model wearing a
Saree- Nivi style
(2h)
200-300 AD British rule
(2g)

508-322 BC Painting by
Raja Ravi Verma
(2f)
1500- 500 BC
Mughal Era
3200-2000 BC (2e)

Kannagi
(2d)

Greek statue
(2c)

Gandhara King
Indus Valley (2b)
civilization
(2a)

Fig 2: Evolution of the saree drapes (image self created)

~ 300 ~
International Journal of Home Science

The first real life evidence of a garment similar to the saree Persians post the arrival of Alexander through invasion of
came from the Indus Valley civilization around 3200 BC to northern parts of India during the Mauryan era. During this
2000 BC. People in Indus Valley civilization used to cover period, the cultures of India and Greece mingled through
themselves with a long piece of cloth, found mainly around intermarriages and exchange of traditions and cultures. The
the Western part of the Indian subcontinent. The first Greeks used a belt to clinch their long flowing robes at the
portrayal of the draped shawl resembling the Indian saree was waist as shown in Figure 2c [13]. The Persians were already
from statue of a male described as the “priest king” from wearing length of cloth gathered and belted at the waist and
Mohenjodaro. He is shown wearing a richly patterned cloak held together at the shoulder. Indian women, particularly of
covering the left shoulder, with the right shoulder left bare. the affluent classes, adopted this new feature of wearing the
This style establishes with the style discovered from the same garment. They used the gathered and waisted look and
period as depicted in Figure 2a [11]. Sculptures from the adapted the same to suit their lighter silk and cotton fabrics.
Gandhara as shown in Figure 2b [12], of Mathura and Gupta Figure 2d [14], shows the saree worn by a mythical woman,
period (100 to 600 AD) showed goddesses and dancers Kannagi (part of the Tamil folklore of around 200 AD). It is
wearing a dhoti wrapped as a lower garment. The saree was clearly seen from the images that how the drape got modified
worn in a way that divided the legs in a trouser like form to and took the shape inspired from the Greek drapes.
enable the temple dancers to be free in their movements while The saree was the predominant garment worn by women till
covering their modesty. The saree was draped in a sensuous the advent of the Muslim rulers. They introduced the stitched
manner, like a fishtail, where the material was tied at the clothes in the form of the petticoat (skirt), the ghagra (a full
waist and covered the front of the legs. The top half of the length gathered skirt) and the blouse (Figure 2e) [15] and
body was left bare or partially covered as it was a common (Figure 3) [21]. A major change in the women’s costume came
practice during that era. Ajanta cave murals (around 500 AD) during this time as the Muslims, in keeping with their
showed women wearing sarees that cover the entire body. In traditions, introduced the veil, covering the women’s face and
early 1500’s, a Portuguese traveller described women wearing head [22]. The Muslims also introduced advancements in saree
a long 5 yard garment made of cotton or silk of bright colors. materials such as intricate hand embroidery and
One end of this garment is secured around the waist (below embellishments. During the era, the changes in the saree were
navel) and the other end of the garment is draped across the well documented through use of miniature paintings and
breast, over the shoulder in such a way that the arm and the hand-illustrated manuscript, showing the evolution of the
other shoulder remains uncovered. The next stage in the drape basic garment into the gracefully draped intricate range of
of the saree came with the influence of the Greeks and the saree [23].

Fig 3: Mughal Costumes

The advent of British rule (mid 18th Century) bought changes the pleats in the form of fan folding and tucks them in the
in the Indian costume especially in the manner of wearing a center on the navel. And in the end she would drape the loose
saree. The final drape as is seen today, came about only end (called the pallu** [2] or pallav) diagonally across her
during this period when women's garments went through front and let it drop over her shoulder to the back. The long
major revolution as seen in Figure 2h [18] and 2i [19]. Since end of the saree usually hangs freely from the back of her
then, till present date, this aspect of wearing a saree has shoulder is often adorned with intricate designs and beautiful
remained constant through time. The drape of the saree ornaments [25]. Today the Nivi style is prominent and is
differs from region to region and is further accentuated by popular across India worn by modern women and is perceived
diverse culture, tradition, patterns, weaves, structure and by outsiders to be the traditional form of Indian dress [24].
embroidery. The "Nivi" is the most popular style of draping
the saree. Jayanada Nandini Devi identified “Nivi” style of Symbolism and Traditional Meaning of Saree
saree in 1866. She got inspiration from the colonialism and The saree has become a fashion statement in today’s world,
wanted to try something modest [24]. however, the symbolism and traditional meaning is still
The woman would first wrap the saree around her waist and important. The saree has many traditions attached to it, which
tuck one end of it into the top of her petticoat. She then makes have evolved over centuries. In ancient times, the stitched
~ 301 ~
International Journal of Home Science

cloth was considered impure. The one-piece saree was fashion designers and luxury brands have evinced an interest
considered auspicious and was (and still continues to be) in the Indian fashion market. There has also been a substantial
worn during important Hindu occasions such as religious interest in creations of the Indian designers by the global
ceremonies, weddings, festivals, rituals related to birth of a buying houses [28]. Trade has increased into and out of India.
child, etc. The particular style of draping the saree originated In this backdrop, the influence of Indian drapes (saree
from the belief that the navel and the midriff should be left silhouette) and the design origin is discussed and compared
bare as they were considered the life source (as they connect with creations of selected global fashion designers. This is
to the umbilical cord). This is chronicled in the Natya Shastra, supported by a famous quote by author Bonnie English
an ancient South Indian text from around 200 AD. The “Fashion makes the world go round”, which is true is both
primeval perception of the beauty of the ideal Indian women commercial and cultural context [28].
(small waist, large bust and flaring hips) as is depicted in
various sculptures, was most aptly portrayed in a saree. The International Designer Collections Inspired By Saree
costume emphasized the waist, accentuated the bust and Drape
outlined the hips through the pleated fabric flattering the Alexander McQueen Fall 2008 Collection
female. Alexander McQueen ready to wear collection (Figure 4 a) [3]
was showcased in Paris in 2008. It was inspired by designer’s
Juxtaposition of Saree Designs trip to India and was an amalgamation of the Indian and
The foreign designers are connecting to Indian culture and its British couture. The designer described this collection as a
elegant traditions through creation of fusion designs. It is fashion fairy tale and was one of his most romantic
important for foreign designers to understand the Indian collections. He used empire length chiffons and silk sarees
fashion elements, personality, culture, history and traditions in draped creatively in a contemporary manner. A lot of
order to “Indianize” products which is essential for their emphasis was on embellishments like embroidery using
growth and acceptability in the local market. Indian peacock motifs complemented with heavy Maharaja
India was always a luxury appreciating country from the time style jewellery and embroidered slippers. The draping style
of Maharajas to the middle affluent consumer today [26]. was inspired from a traditional style popular in South India,
According to a report released by Assocham, the luxury known as madisaru pudavi (Figure 4b) [29] and (Figure 4c) [30].
market in India is growing significantly and it reached 18 The saree was 9 yards in length which is longer than the
billion US dollar in 2017 and to expand fivefold in the next normal 5 yards saree. This style is still worn by married
three years [27]. According to IMBR (Information Brahmin women from Gurukkal, Iyer and Iyyenar
Management and Business Review) 2016 report there has communities of Tamil Nadu (South India) during important
been a 25 per cent growth in the Indian luxury market from occasions like marriage, religious ceremonies and death
2015-2016. Over the last decade, since the liberalization of ceremonies. It is worn without the petticoat (skirt worn
Indian trade and the opening up of the economy, a lot of underneath).

Fig 4 (a): Alexander McQueen collection Fall 2008; Fig 4(b): Women from 1850’s; Fig 4 (c): Women of 2014.

Hermes Spring Summer Collection 2008 "This is part of our effort to connect to India's culture and to
The French fashion house Hermès launched its "Hermès the tradition of elegance of Indian women," and "We've put
saree" collection, just before the Diwali festive season in all our skills into making them to pay homage to the Indian
2008. Mr. Bertrand Michaud President of the company said tradition.” Modernized drapes of saree were seen in this
~ 302 ~
International Journal of Home Science

collection. Fabric used was cashmere and silk twill. Bright early 20th century (Figure 5b) [31]. This was recorded in
colours, geometric patterns, traditional motifs were used Rabindra Nath Tagore’s (Nobel Prize winning Indian author)
accompanied by the head gears. All the three pictures in famous novel ‘Chokher Bali”. The white cotton saree without
Figure 5 portrays very similar style of draping the saree but blouse was worn by Bengali’s widows as a sign of mourning.
all have been documented from different eras. Hermes This figurative styles have also been used by painter Raja
collection (Figure 5a) [3] displayed a model with saree worn Ravi Verma (Figure 5c) [32] in humanizing mythological
without a blouse and one shoulder left bare. This can be seen figures especially the Hindu Goddesses and regional women
truly inspired from saree drapes popular in east Bengal in of that era.

Fig 5(a): Hermes collection 2008; Fig 5(b): Bengali women 20th Century; Fig 5(c): Painting of Raja Ravi Verma 1800’s.

Dries Van Noten's Spring –Summer 2010 Collection was observed from a saree of short length, showing a casual
The spring summer 2010 collection showcased by Dries Van look to it as it ruffles at the waist (Figure 6a) [33]. This type of
Noten at Paris Fashion week witnessed a lot of energy and drape of the saree is traditional Maharashtrian style (West
colour. There was a mix of gilded saree wraps with slim fitted India). It is worn as a knee length saree by Koli tribe. It is
trousers. Fine Indian ethnic fabrics like ikat print, Indian commonly worn as a saree style mainly by fisherwomen
batik, tie and dye were used. Indian jewellery like pearl (Figure 6b) [34] and (Figure 6c) [35]. The feature of the Van
chokers, pendants and semiprecious stones and crystals Noten collection was the use of the Indian Ikat print and tie
accompanied the dresses. The inspiration of the silhouettes and dye, the traditional Indian textiles.

Fig 6(a): Dries Van Noten Collection Fig 6(b): Maharashtrain style; Fig 6(c): Koli Tribe Women.
Spring Summer 2010;

~ 303 ~
International Journal of Home Science

Coco Chanel Pre Fall 2012 Collection early 1900s, the Christian moral influence on the Indian attire
The creative director of Chanel, Karl Lagerfeld showcased his led to the introduction of the full-length blouse accompanied
India inspired collection – “Paris Bombay” for Pre Fall 2012 by the saree. The saree during this era was more in the form
at Grand Palais Paris. It was a fusion of Indian and European of a skirt. A short saree worn with boots accompanied with
fashion with draping silhouettes inspired from the saree and add-ons like brooches, to pin up the saree became a trend
rich silk materials from India. Maharaja (Royal) jewellery, during that era. Figure 7b37 shows a photograph of 2
used as hair embellishments, complimented the garments. A missionary women, Isabelle Dux and E.N. Thillayampalam,
lot of attention was paid to the detailing with crystal and pearl who participated in the missionary meeting at Washington in
embroidery. Accessories included stone studded purses and 1922 attired in the local costume of that time, thus
sandals. Figure 7a36 clearly shows that the inspiration is from emphasizing the draping style.
saree of short length from 1920s. During the late 1800s and

Fig 7(a): Coco Chanel Collection 2012; Fig 7(b): Missionary women, 1922

Marchesca Spring 2013 Collection Manipuri saree’s length varies from full length to knee length
The Marchesca NYFW Spring 2013 collection of Keren Craig and is frequently worn on traditional functions, folk dance
& Georgina Chapman (Figure 8a) [38] was inspired by India. performances and in rural areas (Figure 8b) [39] and (Figure
Their lace and sheers were emulated from Indian sculptural 8c)40. Dublas women, a tribe found in Western Indian states
shapes and drapes with a view to create a fusion of Eastern of Maharashtra and Gujarat, also wear the knee length saree.
(Manipur) & Western (Maharashtra) India fashion. The A peculiar recognition of the style is through the practice of
feature of the collection was its use of the saree folding in the women, sometimes using one end of the saree to cover their
silhouette, creating elegant fabric drapes for western dresses head and face.
such as knee-length skirts, cocktail dresses etc. The pleat-less

Fig 8 (a): Marchesca collection 2013; Fig 8(b): Manipur Dancer; Fig 8(c): Dublas Women.
~ 304 ~
International Journal of Home Science

Although various International designers have created fusion 8. Chishti Rita Kapur. Saris Tradition and Beyond. Edited
collections inspired by the traditional saree, the Indian touch by Martand Singh. Lustre, 2010.
is evident in their collections which has on one hand 9. Arts OI. (n.d.). Old Indian Arts. Retrieved June 17, 2018,
facilitated in broadening and widening boundaries and on the (online: http://www.oldindianarts.in/2011/07/draupadi-
other hand helped in strengthening and firming existing vastraharan-scene-from-great.html)
boundaries of self, identity, and culture. 10. Kaikobad NK, Sultana F, Daizy AH, Khan MM. Sari-The
Most Draping Attire of Indian Sub Continental Women:
Conclusion A Critical Study. IOSR Journal of Humanities and Social
India has diverse culture, which varies from state to state and Science. 2014; 19(12):18-24. doi:10.9790/0837-
region to region. Every 200 to 300 kilometres culture of the 19123182.
place, language, costume, food etc. change which also depend 11. Priest King. Mohenjo daro, Sindh Pakistan. The Ancient
on the climatic conditions of that region/ state. Indus Civilization. 2014. [online]. Available at:
There are more than 108 different ways to drape a saree. This http://www.harappa.com/har/indus-
characterizes the saree as the most exceptional and versatile saraswati.html.[Accessed 17 June 17].
unstitched garment, which has survived since eternity and has 12. Fraser P. Gandhara was an ancient kingdom, now in
gained popularity. These were just few examples of draping a Pakistan, 2013. [online]. Available at:
saree, which are discussed in this paper. http://enews.buddhistdoor.com/en/news/d/39920.[Access
The influence of saree drape will keep on increasing in the ed 09 June 17].
years to come with the growth of Indian economy. The in- 13. Anon ND. Conflict in the Greek World - Ancient
depth knowledge about Indian drapes will help fashion [online]. Available at:
designers to create innovative collections. The advancements http://www.worldofgreece.weebly.com.[Accessed 11
in technology will make the global differences in fashion June 17]
lesser and lesser in times to come. Increasing trend of Indian 14. Kumar SS. Kannagi Statue [online], 2013. Available at:
drapes, materials, motifs, embroideries, symbols etc. will get http://www.thehindu.com/features/friday-review/history-
noticed with the acceptance / inspiration in global fashion. and-culture/reinventing-
The brand awareness has increased with frequent foreign silappadikkaram/article5096394.ece.[Accessed 04 June
travels by Indians for work, tourism and study and also the 17].
continuous increase in number of foreigners residing in India 15. Anon. Indian Mughal Empire costumes [online].
for work, education and other projects. Further, the rapidly Available at: http://world4.eu/indian-mughal-empire-
expanding Indian middle class is also showing increasing costumes, 1858. [Accessed 20 May 17].
affinity to “Indianised” designs by International fashion 16. Bolisetty D. The Complete Hindu Attire of An Indian
designers. Woman, 2013. [online]. Available at:
It can be can clearly seen that the influence of Indian drapes http://www.fashionlady.in/the-complete-hindu-attire-of-
especially saree silhouette is being recognized worldwide by an-indian-woman/6044. [Accessed 09 June 17].
many International designers. Designers are using the saree 17. Clio. An Attractive Vintage Saree Post Card. Saree
silhouette in various forms and are creating a fashion fusion. Drrams blog, 2011. [online] Available at:
With the involvement of foreign designers saree silhouette/ http://sareedreams.com/2011/09/an-attractive-vintage-
drape will evolve further in the times to come and will also saree-postcard-two-ways.[Accessed 22 June 17].
gain popularity worldwide. 18. Sharad K. Indian Saree draping blog, 2012. [online]
Available
References at:http://indiansareedrapping.blogspot.in/2012/01/differe
1. English Bonnie. A cultural history of Fashion in the 20th nt-ways-to-drape-saree.html [Accessed 20 June 17]
and 21st Centuries: From Catwalk to Sidewalk. 2nd 19. Stancati M, Rana P. Hermès Goes Local with India Saree
Edition. Bloomsbury Academia, 2013. Launch. Lifestyle & Culture, India real time blog, 2011,
2. Paola Colaiacomo. The Impact of Traditional Clothing n [blog] October 12. [online] Available at:
Italian Fashion Design from Germana Marucelli to http://blogs.wsj.com/indiarealtime/2011/10/12/hermes-
Gianni Versace. Fashion Theory (Taylor and Francis). goes-local-with-india-saree-launch. [Accessed 29 May
2010; 12(2):183-213. 17].
3. Dabral Anupam. 10 International Fashion Shows Inspired 20. Racinet Auguste. The Complete Costume History. 1.
By India. DB Corp ltd. April 30, 2015. Taschen, 2006.
https://english.fashion101.in/news/FAS-LUX-LXF-10- 21. Staff Sun. The Mughal Influence on Vaisnavism, 12.
international-fashion-shows-inspired-by-india- http://www.harekrsna.com/sun/features/05-
4977611.html (accessed February 09, 2018). 10/features1723.html. Accessed on 06 August 2018.
4. Atwal Glyn, Soumya Jain. The Luxury Market in India: 22. Dey Sumita. Fashion, Attire and Mughal women: A story
Maharajas to Masses. Edited by Soumya Jain. Palgrave behind the purdha. International Research Journal of
Macmillan, 2012. Interdisciplinary & Multidisciplinary Studies (IRJIMS)
5. Patil Vimla. The Origin of Saree. eSamskriti. 2012. (Scholar Publications, Karimganj, 788711). 2015;
http://www.esamskriti.com/essay-chapters/the origin of 1(1):39-42.
Saree (accessed June 02, 2014). 23. Sharma Yuthika. Art In Between Empires: Visual Culture
6. Ranavaade Vaibbhavi Pruthviraj. A Semiotic Study of & Artistic Knowledge in Late Mughal Delhi 1748-1857.
The Indian Sari. PhD Thesis, Department of Clothing and Phd Thesis, School of Arts and Sciences, Columbia
Textiles, The Maharaja Sayajirao University of Baroda, University, 2013.
Vadodara, 2017. 24. Craik Fashion J. The key concepts. Oxford: Berg, 2009.
7. Mahapatra NN. Sarees of India. Woodhead Publishing 25. Lynton Linda, Sanjay Singh K. The Sari: Styles, Patterns,
India, 2016. History, Technique. Thames and Hudson, 2002.
~ 305 ~
International Journal of Home Science

26. Heikkila Pia. Luxury brands seek riches of India. The

National. 2011. 17.
https://www.thenational.ae/business/luxury-brands-seek-
riches-of-india-1.589185?videoId=5586140233001
(accessed May 2018, 13).
27. Crossley Isabelle. Assocham: India's luxury market to
reach 30 billion USD in, 2018.
http://in.fashionnetwork.com/news/Assocham-India-s-
luxury-market-to-reach-30-billion-USD-in-
2018,952733.html (accessed May 4, 2018).
28. English Bonnie. A cultural history of Fashion in the 20th
and 21st Centuries: From Catwalk to Sidewalk. 2nd
Edition. Bloomsbury Academia, 2013.
29. Subramanian Ram. The Brahmin Way of Wearing A
Saree, 2014. http://tamilnadu.com/fashion-style/madisar-
pudavai.html (accessed April 25, 2018).
30. Swaminathan Chitra. Interview for Vishakha Hari,
Kathakalakshepam is a way of life. The Hindu. 03, 2010.
https://www.thehindu.com/todays-paper/tp-features/tp-
metroplus/Story-is-song/article15900541.ece (accessed
April 17, 2018).
31. Ram Vibha. Different styles of saree draping. Clothing
and Apparel. December 30, 2011.
http://indusladies.com/community/threads/different-
styles-of-saree-draping.155133/ (accessed March 05,
2018).
32. Verma Raja Ravi, Lady on the Bridge. Sotheby’s Modern
and Contemporary South Asian Art auction in New York
City. Tilottama by Raja Ravi Varma highlight of
Sotheby’s auction in New York. New York, 2018.
33. Sui Anna. Dries Van Noten, Spring Favourite Evening
Look, 2010.
https://marmeladeevans.typepad.com/you_frivolous_mo
mmy/2010/01/spring-2010favorite-evening-looks.html.
34. Costumes of Goa. Shrivedant Foundation, 2014.
http://hinduscriptures.in/vedic-society/dresses/costumes-
of-goa (accessed February 27, 2018).
35. Koli Women of Arnala ~ 1965. [online]. Available at:
http://www.reocities.com/unitedit/people/VasaiKoli.jpg
[Accessed 14 August 14]
36. Socha Miles, Katya Foreman, Laurent Folcher. Chanel
Pre-Fall, 2012. WWD. WWD. December 06, 2011.
https://wwd.com/runway/pre-fall-
2012/paris/chanel/review/ (accessed April 21, 2018).
37. Ramabai Pandita. Vintage Indian Clothing. 2012, 11.
https://vintageindianclothing.com/2012/11/11/the-
missionary-post/ (accessed March 02, 2018).
38. Ahuja Shilpa. Inspiration India – How Marco Polo
Brought Us A Treasure Trove of Ideas. University of
fashion.com. December 23, 2016.
https://www.universityoffashion.com/blog/inspiration-
india-marco-polo-brought-us-treasure-trove-ideas/
(accessed April 06, 2018).
39. Manipuri Saree. Love the style, love the drape, 2013.
http://sareedreams.com/wpcontent/cache/supercache/ww
w.sareedreams.com/search/traditional-saree/page/28/
(accessed June 12, 2015).
40. Rambabu Ruby Parihar. 2011, 10.
http://www.cinejosh.com/gallery-large/3714/2/23/ruby-
parihar-photos.html (accessed March 28, 2018).

~ 306 ~