Kurti Charisma

Kurti Charisma

Essentially Indian in origin, the kurti is a tribute to changing times. Always a part of the Indian ethnic ensemble, it was relegated to rural India for the longest time ever. Initially this hip length blouse with side slits was worn with a lehenga - a voluminous round-cut long skirt cut on the bias and flaring from the waist down, typically worn in the northern parts of India by the village dwellers. The women there prefer their kurtis backless, and heavily hand embroidered. Decorated with mirrors, beads or plain thread work, the kurti could be coolly flashy or demurely subtle.

Till recent years, it remained at a status quo. Nobody in Urbania really used it much. Even when they dressed ethnic. In fact, the kurta – another ethnic Indian piece of clothing, quite similar to the
kurti, except longer – got far more recognition than the kurti did. It was worn both by men and women over the Salwar and Churidar. Women wore it with a dupatta, while men chose to wear it by itself. Again, things and fashions changed. The Kurta clad man decided he should carry a dupatta – it made him look macho. Only, while women draped it demurely over both shoulders, men swung it on
one shoulder or looped it around the neck, letting the beauty of their kurtas show.

With time, everybody found the kurta, dupatta and salwar ensemble too cumbersome. To wear and to maintain. The Indian woman discovered she preferred pants. Especially when she worked. Whether it was at home or outside. A new expression took precedence over tradition. Especially in the cities, where women are more modern, simple shirts replaced the ethnically designed elaborate Indian wear. She Indian woman was looking like any other in any part of the world. She began looking international. The look spoke of her exposure to global fashion, but spoke nothing of her individuality.
Somewhere, she was lost. Her identity, which is an extension of her individuality hid inside the shirt-trouser ensemble. Designers searched for ways to bring the Indian-ness back where it belonged. There was no way the woman who became used to the convenience of shirts and trousers was going to get back into the salwar-kurta-dupatta again. Still, she wanted to be identifiable. She craved
the intrigue of exquisite embroidery, the grandeur of glitter, the overt sensuality of shimmering sequins, the traditional allure of zardozi, the beauty of typical block prints and the wonder of weaves.

Finally, a brainwave struck. Someone somewhere decided to combine the traditional, rural kurti with jeans, skirts and trousers. Sometimes, she wore it slitted on the side, at others, she jazzed it
up with beads, buttons or plain embroidery. It caught on like no other trend in the past. The kurti had arrived. It jazzed up wardrobes, and filled the onlooker with a sense of awe only the Indian crafts people can evoke. The Indo-western look was born. It fused the east with the west and everybody was happy. Especially the Indian woman. She got to keep her tradition, and she got
to dress in a way that was convenient. Snazzy sensations ruled store racks.

Designers residing in different parts of India became inspired. At one time the Kurti was the exclusive domain of Lucknow, done in what is called ‘Chikan-kari’, earlier worn exclusively by kings and queens.
Crafts people sat around in groups, quietly decorating pieces of cloth with the typical hand embroidery done with needle and thread using essentially white threads. Watching them, one would get the impression they could do it al with their eyes closed, so quick and adept are they, that they can complete very complicated designs in a matter of hours. It soon traveled to different parts of
the country, and new dimensions were added depending on each designer’s ethnic interpretation. Fabrics and colors were experimented with. Cuts changed too. Some kurtis sported the bandh gala with a Chinese collar, giving them a formal look. Adding interesting dashes of intrigue, the kurti creators began giving it different cuts, while keeping a little bit of tradition intact.

In an age where unisex clothing holds it sway at the mall and across shopping aisles this overtly feminine form of clothing grabs the eye, and holds the attention, for it is so essentially feminine. Glass bead work fascinates the senses, as its intricacy engrosses the mind. For fleeting moments, the imagination soars as the textures of the different fabrics captivate. Working tirelessly, adding little twists of glamour to silks, cottons, georgettes and crepes, Indian designers has more than a few tricks up their fashionable sleeves, and are going all out to make them public. Just as
you begin thinking you’ve seen it all, a brand new thought with a fabulously tempting finish enters your orbit and you simply must grab it before it disappears into someone else’s wardrobe!!

At www.indianselections.com we are very particular about design and believe in getting the best that India has to offer for our clients. Constantly updating our repertoire, we are completely tuned in to trends. Our in-house designers constantly innovate, creating expressive ensembles with designs, fabrics, colors, cuts, silhouettes, weaves, textures and the different kinds of work that
is in vogue.