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The contemporary fashion scene seems to be looking
back into the past for inspiration. The Chaniya-Choli, an old
favourite is all the rage—even finding favour in the fashion
streets of Europe. Designers today, by juxtaposing old and new have
succeeded in creating a most versatile dress code for the nineties.
In ethnic wear a garment
that is giving strong competition to the salwarkameez on the fashion
charts in the 90s is not the sari but the chaniya-choli. The
chaniya or ghagra as it is often called has very strong
traditions that date back to nearly 1500 B.C. with the coming of the
Aryans in India. The Vedas (coming from the root word vid
which means knowledge) have given indications in classics like the
Ramayana and Mahabharata that the chaniya-choli was the favourite
outfil for the women of that era. In a popular episode of the
Mahabharata, naughty Lord Krishna known for his mischief in his
childhood is believed to have hidden the chaniya-cholis of Radha, his
friend, and the gopis (young girls) while they were taking a
dip in the stream. The garba or dandiya raa.s a
popular dance of Gujarat which is performed with sticks during the
nine nights of Navratri prior to the Dusshera festival, requires the
ladies to wear the chaniya-choli. It is the swirling movements of
the dance that need a more flared garment. The sari being quite
restrictive is not suitable.
In modern times, it was
the screening of popular TV serials like the Ramayana and Mahabharata
that gave a tremendous boost to the chaniya-choli as a fashion
garment. No longer is the garment restricted to just the nine nights
before Dusshera; it is now a co-ordinate worn by girls throughout the
year. As an outfit it has universal appeal since anyone from the age
of 6-60 years can wear it.
The home of the
chaniya-choli is no doubt Kutch, Gujarat and Rajasthan. The outfit
is popular in the west and north of India. In the south, another
more streamlined version known as the pavade is popular.
Fabrics that are used for chaniya-cholis normally range from cotton,
silk to khadi and at times chiffon, organza, satin cotton, raw silk
and brocade. But the last variety is only for weddings and formal
occasions.
“It is the
embroidery and the shape that makes all the difference to the
chaniya-choli and one can identify it with the occasion it is meant
for,” explains designer, Bela Parekh who creates ethnic
chaniya-cholis.
“For Navratri, the
ethnic mirrorwork embroidery is popular with a bit of patchwork. The
flare of the chaniya should be about nine metres wide. While for
formal wear and weddings the embroidery is heavier in pearls, silk
sequins and zari. Here the chaniya is umbrella shaped,” she
adds.
The accompanying choli
comes in various lengths and shapes. It could be short and fitted
like a choli or long, extending below the waist in a loose blouse
fashion or it could be the kurti or kanjri style with
mirrorwork and a backless tie-up look. It is this kanjri that is
very popular and an extremely feminine item. The mirrorwork
embroidery is very distinctive of the region of Kutch and it is a
family tradition passed down through generations. The work is
exquisitely colourful with flashing mirrors bound in with colourful
thread. Very often the blouse sports rows of shells which tinkle as
the wearer moves. The fabric base colour is very earthy in shades of
maroon, black, blue, brown, beige. Some of the chaniyas are hand
block printed and then embellished with mirror or embroidered
patches. The price of a chaniya-choli could very from as little as
Rs. 100/- to even Rs. 10,000/- depending on the base material and
embellishments.
Along with the
chaniya-choli an odhni is an integral part of the garment. It
is in printed, plain or embroidered form and it does not necessarily
match the chaniya-choli. Some of the heavily embroidered odhnis with
mirrorwork could cost as much as Rs. 6000/-. In the last six years
the chaniya-choli has not only turned into a national craze but has
also crossed the seas and become a popular garment in the west and
east. Countries like USA, UK, Mauritius, Canada, Fiji, Dubai, South
Africa. Singapore, Nairobal and Japan are some of the countries
where chaniya-cholis have a ready market.
Today nearly 60 per cent
of chaniya-cholis are exported. “Manufacturers create 2-3
designs per week and at any given time nearly 500 designs are ready.
UK is one of the biggest importers of chaniya-cholis from India,”
informs Bela.
Chaniya-cholis are sold
all over the country and there are nearly 2000 shops that retail in
them. “A set consisting of chaniya-choli and odhni could be
exclusive or it could run into 300 pieces per style. The various
manufacturers have large capacities running into 200 pieces per day,”
says Bela who, however, specializes in exclusive one-of-a-kind
pieces. The creation of a chaniya-choli takes a couple of weeks to
create as the fabrics are embroidered in Gujarat, Kutch and Rajasthan
and sent to different craftsmen after which they are stitched into
garments. The tradition of embroidery in India dates back to the
ancient past. But there are some references to it in the 13th
century by explorers like Marco. Polo when he passed through India.
The form of embroidery
done in Kutch starts with sketches on the material in free style.
Though there is some uniformity in the geometrics of the designs, it
may vary in size and shape. Not many craftsmen, however, draw. Some
even use the grid arrangement or block print the designs. Yet the
artists given full vent to their imagination as they fill in the
designs with colourful threads and mirrors with very detailed fine
work, uniform in appearance and intricately executed.
At any given time over
500 workers in Gujarat. Kutch and Saurashtra are engaged in the
production of chaniya-cholis. Nearly 70 per cent of the work is by
hand in the form of embroidery and intricate embellishments. Each
artisan tries his utmost to perfect his design and create a beauteous
item “Unlike a salwar-kameez where there are just 2 to 3 items
of raw material used to create a garment, in the case of a
chaniya-choli nearly 25 different types of raw materials are used to
make a swirling chaniya-choli nearly 25 different types of raw
materials are used to make a swirling chaniya-choli and because of
this one can only produce about three sets a week whereas in the case
of a salwar-kameez the production would go upto nearly 50 pieces a
week,” reveals Bela.
There are various tribes
of Kutch that specialize in certain types of embroidery. The Rohanas
specialize in skirt work and they work on maroon handspun cloth in
shades to deep saffron, bright yellow, rust and navy thread.
The Sodhas use a
geometric style for their embroidery and are famous for their
kerchiefs, and turbans. The Garacia Jats are experts in tiny
embroidery on the yoke which inter-mingles with red, orange, blue and
green threads. While the Dhanetah Jats love embroidering broad pear
shaped mirrors using orange, black, yellow and red in chain stitch.
The beauty of the
chaniya-choli lies in the two separate parts of the garment. While
he chaniya or skirt is flowing and flares around the wearer the choli
or blouse is a snugly fitted piece of clothing that accentuates the
female form. The odhni, the third part of the total garment, acts as
a scarf or covering for the head and body and is a sign of modest
shyness for the wearer.
Because of the vagaries
of weather at times the work of the artisans slows down causing
several deadlines to be missed. A highly intricately embroidered
fabric could even take a year to complete. “No doubt the
chaniya-choli is the daily wear of the various people of Rajasthan,
Gujarat and Kutch but it will soon become the daily wear of women in
urban cities in India as well as in the west, because it is easily
acceptable by all. Similar to the western skirt and blouse the
chaniya-choli’s ornate designs will create excitement amongst
the fashion conscious women,” predicts Bela.
From ancient history to
the 20th century the chaniya-choli has made a long journey
that has sustained it as a garment of fashionable interest to not
only the Indian women but women in the west as well.
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