I have seen his theme of using long sleeve saree blouses in some of his previous collections.
Look at the how different the fabrics are for each of these blouses. I especially like the top picture with bright colorful design of the sleeves.
Bridal Asia 2008 held at Hyatt Regency in Delhi.
Thank you India Times for the images.
Here are more illustrations by Dhurandhar, done about the turn of the 20th century. The group of ladies is particularly interesting because of the variety of blouses shown. At the right is a traditional choli with the woven border decorating the sleeves and back. On the left we see a very short choli with trendy puffed sleeves. The girl in the brownish saree wears a fitted bodice in Anglo/Euro style with a squared neck and tails at the back. The standing figure sports a blouse with long sleeves gathered above and below the elbow, and heeled shoes with her kaccha saree.
This painting is so cheerful and bright that I want to go run through fields of flowers too! Must say that I find the kaccha saree worn with bare feet much more appealing than with tight shoes! The artist’s ability to create the zari shine on the saree and the light on the choli is simply wonderful.
This British Library image has pencilled on the mount: Camatti women, Mason caste. Kamatti can be related to a number of people and/or places, but generally along the western coast from Bombay to Goa to Kerala and elsewhere. Let me know if you recognise specific regional clues or the period use of the term. Created in the late 1860s to early 1870s, the creased print is a bit dull and the too-white sarees have lost some detail. Using no props, the women were posed like the three graces, sitting on the studio floor.
But looking straight at the viewer is a woman of true natural beauty! Her hard-to-see saree border is patterned like tiles, woven in subtle shades. The blouses are close to their skin tones – at least in a sepia print – neither pastel nor rich and deep. The choli fabrics are slightly textured, striped or an open weave that clings but moves, with sleeves to the elbows. The simplicity is timeless, though perhaps not shown to best advantage. For instance, the girl on the right looks better close up, but the little print doesn’t enlarge well.
This time the photographer got the focus and lighting right, and the whole thing just glows! Also on the floor, the women demonstrate the grinding process with a stone mill brought from home. These saree fabrics show up better; the checks and broad pallu stripes on the left-side girl are particularly photogenic. Her choli is fancier, with a slightly shiny woven diamond pattern, though the model’s lowered brows show she was not comfortable posing.
The plain saree at the right had a very softly coloured border that photographed faintly. But look at the girl’s graceful arms and her right hand with that elegant, long thumb! [I must interject here that my hands are short and wide, my feet are short and square, and I’m generally non-elegant all over.] Many thanks to the unknown artists who took such pictures for us to appreciate today, part of the Archaeological Survey of India collections online.
This is a close-up of a larger photograph of the teacher and students at a government normal school. Training ladies, some quite young, to become teachers was still a new concept in 1872 or 1873. The fashion details revealed are lovely and varied. White blouses with long sleeves are worn with sarees that have prominent borders by four students. Another two in such blouses are different: one saree is an amazing print on a dark ground, long blouse over the saree, while the other girl has a borderless dotted saree (and a cute shoe just visible), with a striped blouse, effectively combining patterns. Standing on the left is a girl whose white saree has a faint pattern, but over-exposed so the details are impossible to determine. It is probable that they are all Parsi girls.
Two more students wear traditional woven cotton sarees in neat checks or simple striped borders with the choli not visible, and the older woman has a decorated silk choli. These three, with heads uncovered, wear fancy nose rings in the usual Indian fashion. And last we come to their English teacher! She is in the latest Western style dress, tight corset visible, with a watch on a chain tucked into her wide belt. The rows of bias-cut ruffles are headed with dark braid or ribbon and she has a white collar/jabot pinned below the throat. Yes, even calmly sitting on the pretty bench with her students in the garden, the British lady would have been less comfortable than those wrapped in sarees.
This combo is nicely done! I like both of the blouses that go with the saree and I also appreciate that the the blouses are different enough that they add a new youthful look to the saree. Both the blouses seem perfectly coordinated and go well with the intricate embroidery of the saree.
As for the saree, I would have added just a hint of red to the embroidery on the border and may be on the body of the saree but because of the density of the work, it is better to be cautious.
A beautiful faux georgette saree with red and beige panels with floral pattern done in sequence, stone and beads along with sequence buttis and floral butties. Pallu of the saree is worked with sequins buttis and sequins, stones and beads work in floral motifs. saree comes with two blouses. One blouse is in beige colour with embellished sleeves in sequins, stones and beads.The second blouse comes in red pure dupion with scalloped edges is fully embellished with sequins, stones and beads.
This is an offering from Ashika, about $250, if you must ask. Special tip of the hat to them for not calling this Maa Beti saree.
I don’t know why they call it Royal Dove though. I was never a fan of long sleeve blouses but did changed my mind after seeing this photo … it’s also one of the most popular Saree in Facebook Saree boutiques, not sure it’s because of the model or the Saree.