2017

Costumes of an Age an of Costumes Costumes of an Age

‘Costumes of ’

Taken on the stage after the formal show in 1953 or 1954. In this Homai Vyarawalla photograph, though mannequins are positioned in a manner that gives full prominence to the map of India, it appears to have been taken in haste: several are not looking their best and some are even partially hidden.

Cover Image: ‘... when weaving was done in squares and stripes only’

Anjolie is wearing anikat in traditional colours of white, red and black representing knowledge, beauty/blood and Lord Jagganath, the presiding deity of Odisha.Ikat refers to the process by which the pre- Kathiawar court costume arranged pattern is produced by partly dyeing the warp and weft threads before they are woven. The original text in the commentary Kathiawar consisted of several small princely states outside the reads as follows ` the women seldom wear a blouse, the sari being purview of British India. This 18th-century costume from one draped to cover the whole body. Great stress is laid on the silver of these states consists of a full-length somewhat fitting skirt jewellery, which is of an unusual design and is their wealth. Peasants with deep pleats to one side and a shortcholi (blouse) tied at all over India put their wealth into silver ornaments carried on their the back. A longodhani (veil) and elaborate jewellery completes person, and turn them into money when the need arises. The weight the ensemble. of the jewellery varies with the poverty or wealth of the owner”. Model: Leela Oberoi (nee Leela Naidu) Model: Anjolie Dev (Anjolie Ela Menon) October 7, 1958 October 7, 1958

CURATOR: Malavika Karlekar DESIGN: Sundaresh and Malavika Karlekar Costumes of an Age

In the summer of 1956, -based Mary Badhwar decided to and ladies' tea party for members of a visiting World Bank delegation. approach the Ministry of Education, Government of India, for At a meeting convened by B.K. Nehru, Secretary in the Ministry, its support for what was clearly a novel idea: a pageant of Indian costumes structure was worked out and as is clear from some of the following `showing the different styles and fashions in vogue in this country photographs, the emphasis shifted from the tableau format to a over the last 20 centuries, with some emphasis on the Ajanta period'. straightforward display of women's attire over the centuries As Mary, a gynaecologist trained at King George's Hospital, Lucknow representing different social groups. Three years later, on January 25, and the wife of a senior bureaucrat, had curated a successful 1961, Queen Elizabeth II of Britain and the Duke of Edinburgh were ‘Costumes of India’ show a few years earlier (see the group photograph guests of honour at Ashoka Hotel's banquet hall. They witnessed an above), she felt emboldened to do another show for the 9th session of even grander version of `Costumes of India' where lighting was UNESCO to be hosted in New Delhi later that year. She asked professionally done by All India Radio, make up by Lakme and whether it could be held in front of the Red Fort's Diwan-e-Aam or costumes and jewellery were on loan from Sangeet Natak Akademi Lodi Gardens: the former venue had often been used for mushairas and other government bodies. Court costumes were shared for the and civic receptions, she wrote. Not unexpectedly, permission was event by Maharani of Jaipur, the Begums of Bhopal and refused for the Diwan-e-Aam, but after a personal appeal to Minister Rampur and Princess Kusum of Bharatpur. These included a of Education Maulana Abdul Kalam Azad, Mary got permission to “fabulous `Bharatpur ' and Mary “promised to guard it with hold the show in the area in front of the open mosque right in the my life” Luckily, the two shows were widely photographed and our centre of the historic Lodi Gardens. Some of those who participated calendar is based on some of these images from the actual shows or in the show are names and institutions memorialised in post- photo shoots on the roof of the hotel independent India's newly emergent cultural scene. Curator's note Newspapers reported that mannequins in shimmering costumes – A distinct serendipity undergirds the calendar for 2017 as, some years ago, soon some designed by a young Shama Zaidi based on her research at the after close family friend Mary Badhwar's passing, among her papers I chanced National Archives - sashayed down and around the historic site, upon this cache of images, as well as brochures, commentary and appropriately flood lit for the event and compered by the inimitable correspondence relating to these pageants. As the theme does not conform to Roshan Menon. The pageant of dance and music that combined earlier CWDS calendars that focussed on the girl child, womens' education, the fantasy with an evocation of the country's past glory had been lives of prominent activists and academics and so on, I did not think of these choreographed by well-known dance teacher Kamal Kirtikar and photographs as `calendar worthy'. A post-colonial fanciful presentation of others. While danseuses Indrani and Sundari Shridharani Indian women's costumes, a number of them, courtly dress, did not quite fit in. had important roles, most participants were ingénues trained over a Though, of course, the photographs did represent moments in the young nation's short period. desire to juxtapose new ideas and institutions with those that had a long In giving legitimacy to an unusual tribute to a new India, Maulana history, in this case, evolution of women's attire. Thus, of late, I started Azad acknowledged that the world beyond should know more about thinking of them in the way that artists view and use `found objects' and, this country. While its Five Year Plans, stress on a mixed economy, encouraged by senior colleagues, have gone ahead. Incidentally, some old styles agricultural production as well as science, technology and that we have shown could find a resonance in contemporary design. The industrialization had quickly became buzz words, a rich history and selection of costumes reflected not only Mary’s personal choice, but also their varied cultural past needed more international focus. And what could availability and the willingness of institutions and owners to share these. Thus be better than presenting an elaborate pageant of Indian fabrics and some regions were well-represented and others did not feature in any of the dress to a captive audience of delegates at the UNESCO session! shows. A few days later, this well-received show was followed by a repeat I am deeply grateful to my old friend, Jaya Jaitly (she is also the model for the performance during the official visit of Chou En-lai, Prime Minister of month of June) for invaluable help in descriptions of costumes and names of the State Council of the People’s Republic of China. As far as Mary some models. Unfortunately, we were not able to identify a few, and if they or Badhwar and her group of enthusiastic friends were concerned, the their friends and relatives do chance upon this calendar, we hope that they success of the 1956 `Costumes of India' show – of which, alas, there enjoy our presentation. are no photographs – prepared the way for two more extravaganzas. In Malavika Karlekar 1958, the Ministry of Finance commissioned another costume show ‘. . . their costume is decorative and their jewellery unusual’

Sakina wears thepheran , the voluminous Kashmiri woollen gown that hangs in many folds. It is a loose-fitting garment that provides protection against the cold and is generally made of wool. Thepheran is worn over loose pyjamas and has elaborate embroidery inzari (gold thread), wool or silk in the front, cuffs and hem. The under layer is normally in light white cotton. Sakina’s jewellery is elaborate and heavy.

Model: Sakina Saadat Ali October 7, 1958 Sun Mon Tue Wed Thu Fri Sat 1 2 3 4567

Guru Govind Singh’s New Year’s Day Birthday 8 9 10 11 12 13 14

Makar Sankranti Pongal 15 1617 18 19 20 21

22 23 24 25 26 27 28

Republic Day 29 30 31

December February S MTWT F S S MTWT F S 1 2 3 1 2 3 4 4 5678 910 5 6 7 8 9 10 11 11 12 13 14 15 16 17 12 13 14 15 16 17 18 18 19 20 21 22 23 24 19 20 21 22 23 24 25 January 2017 25 26 27 28 29 30 31 26 27 28 ‘In a basket carried on the back, they transport a child or their household goods’

Sayeda displays a Kulupattoo that is worn over achuridar -like lower garment and a full-sleeved shirt. Heavier than a shawl but not quite as bulky as a blanket, the pattoo is woven in strips that are usually stitched together, and kept in place by brooches. It was often woven by individual families from goats' hair. A piece of cloth, thegachchi , is tied around the waist, and acts as a belt As in this image, silver chains, long earrings and a headpiece were traditionally worn. The little girl is wearing a round Kulu cap. The colourful borders on her garment are woven on a smaller loom that are subsequently attached to the pattoo.

Models: Sayeda and Rebab January 25, 1961 Sun Mon Tue Wed Thu Fri Sat 1 2 3 4

Basant Panchami/ Sri Panchami 5 6 7 8 9 10 11

Guru Ravidas’s Birthday 12 13 14 15 16 17 18

19 20 21 22 23 24 25

Swami Dayananda Shivaji Jayanti Saraswati Jayanti Maha Shivaratri 26 27 28

January March S MTWT F S S MTWT F S 1 2 3 4 5 6 7 1 2 3 4 8 9101112 13 14 5 6 7 8 9 10 11 15 16 17 18 19 20 21 12 13 14 15 16 17 18 22 23 24 25 26 27 28 19 20 21 22 23 24 25 February 2017 29 30 31 26 27 28 29 30 31 ‘One drape ankle-length, one short’

Striking in its simplicity, the beauty of the Maharashtrian sari lies in the precise draping of its nine-yard length of silk. Nine- yard were hand-woven in cotton or silk. Thepallus (end pieces) were not elaborate as they were usually out of view, tucked in at the waist. Oonita highlights the minimalist presentation with flowers in her hair.

Model: Oonita January 25, 1961 Sun Mon Tue Wed Thu Fri Sat 1 2 3 4

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Holika Dahan/ Dolyatra 19 20 21 22 23 24 25

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Chaitra Sukladi/ Gudi Padava/ Ugadi/ Cheti Chand

February April S MTWT F S S MTWT F S 1 2 3 4 30 1 5 6 7 8 9 10 11 2 3 4 5 6 78 12 13 14 15 16 17 18 9 10 11 12 13 14 15 19 20 21 22 23 24 25 16 17 18 19 20 21 22 March 2017 26 27 28 23 24 25 26 27 28 29 ‘. . . life on the banks of the river’

The Baluchari sari originated in Baluchar, a village on the banks of the Bhagirathi in the region of Bengal. The Nawab, members of his court and of the , became collectors of these unusual textiles. Woven from locally cultivated mulberry silk, the rich creamy base took colour easily, deep maroons, reds and purple being favourite hues. The shot effect was achieved by using different coloured thread for the warp and for the weft. It is the motifs on the woven borders and elaboratepallus that are of special interest and these echoed change in modes of travel - the elephant and rider has been around for centuries - styles of dress as well as reflected the unmistakable interaction between the ruling class and the local population.

Model: Jalabala Ramachandran (Jalabala Vaidya) October 7, 1958 Sun Mon Tue Wed Thu Fri Sat 30 1

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Ram Navami 9 10 11 12 13 14 15

Good Friday Vaisakhadi(Bengal)/ Mahavir Jayanti Hazarat Ali’s Birthday Vaisakhi/ Vishu Mesadi Bahag Bihu (Assam) 16 17 18 19 20 21 22

Easter Sunday 23 24 25 26 27 28 29

March May S MTWT F S S MTWT F S 1 2 3 4 1 2 3 4 5 6 5 6 7 8 9 10 11 7 8 9 10 11 12 13 12 13 14 15 16 17 18 14 15 16 17 18 19 20 19 20 21 22 23 24 25 21 22 23 24 25 26 27 April 2017 26 27 28 29 30 31 28 29 30 31 ‘Here comes the bride’

The Gujarati bride goes to her husband's home ‘with her head modestly covered wearing the sari which is a gift from the bridegroom's mother’. This bridal sari is known asgharchola or that which one wears on entering a new home. Thegharchola is divided in squares, in combinations of red and white. Squares are demarcated by threads and have patterns in block prints or tie and dye depicting auspicious symbols. As in this photograph, thepallu is draped over the right shoulder; it is so placed in Gujarat, UP and parts of Uttarakhand. Saroj wears elaborate gold jewellery and a large nose ring.

Model: Saroj Vasist October 7, 1958 Sun Mon Tue Wed Thu Fri Sat 1 2 3 4 5 6

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Guru Rabindranath’s Birthday Buddha Purnima 14 15 16 17 18 19 20

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28 29 30 31

April June S MTWT F S S MTWT F S 30 1 1 2 3 2 3 4 5 6 78 4 5 6 7 8 910 9 10 11 12 13 14 15 11 12 13 14 15 16 17 16 17 18 19 20 21 22 18 19 20 21 22 23 24 May 2017 23 24 25 26 27 28 29 25 26 27 28 29 30 ‘. . . distinctive peasant costume of Saurashtra’

Though not as full as the Rajasthani peasant woman's ghagra (skirt), that of the young woman from Saurashtra is intricately embroidered with multi-coloured thread inlayed with mirrors. The embroidery is heavy on the borders and scattered all over the skirt. The odhani is also embroidered, tie- dyed or printed by hand and is tucked into the heavily embroidered short, backless . June wears silver jewellery consisting of beads, a hansli (choker) bangles, anklets and earrings. She is perhaps on her way to the village well.

Model: June Chettur (Jaya Jaitly) October 7, 1958 Sun Mon Tue Wed Thu Fri Sat 123

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Jamat-Ul-Vida 25 26 27 28 29 30

Rath Yatra Idu’l Fitr

May July S MTWT F S S MTWT F S 1 2 3 4 5 6 30 31 1 7 8 9 10 11 12 13 2 3 4 5 6 78 14 15 16 17 18 19 20 9 10 11 12 13 14 15 21 22 23 24 25 26 27 16 17 18 19 20 21 22 June 2017 28 29 30 31 23 24 25 26 27 28 29 ‘Rajasthan Court – 18-19th Century’

Jamila looks suitably imperious as, in keeping with courtly tradition, she positions the edge of her shimmeringzari -bordered odhani to combine modesty with status. The ensemble, more than a hundred years old, is of fine red cotton and brocade. The blouse, a chemise-like garment, is heavily worked withzari bands, and comes below the waist. Jamila wears elaborate enamel on gold (minakari ) jewellery including the unusual ornament on her forehead known in Rajasthan as bhor tika.

Model: Jamila Verghese January 25, 1961 Sun Mon Tue Wed Thu Fri Sat 30 31 1

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June August S MTWT F S S MTWT F S 1 2 3 1 2 3 4 5 4 5 6 7 8 910 6 7 8 9 10 11 12 11 12 13 14 15 16 17 13 14 15 16 17 18 19 18 19 20 21 22 23 24 20 21 22 23 24 25 26 July 2017 25 26 27 28 29 30 27 28 29 30 31 ‘The skirt is full and swings as the wearer walks’

Red and black, yellow and green material and a variety of embroidery stitches – herringbone, cross stitch, rela- makki(chain stitch) and mallik kanta or chevron stitch are still used by Lambadi women of the Hyderabad region on their skirts andodhanis. The are structured out of various pieces of embroidered cloth. Strings of coins are worn around the neck and the tasselled earrings have silver beads threaded through them. Cowrie shells and mirrors – some square and others circular – are embedded in this elaborate three-piece costume.

Model: Vimla Vaidya January 25, 1961 Sun Mon Tue Wed Thu Fri Sat 12345

6 7 8 9 10 11 12

Raksha Bandhan 13 14 15 16 17 18 19

Independence Day Parsi New Year’s Day Janmashtami (Vaishnav) (Nauraj) 20 21 22 23 24 25 26

Vinayaka Chaturthi/ Ganesh Chaturthi 27 28 29 30 31

July September S MTWT F S S MTWT F S 30 31 1 1 2 2 3 4 5 6 78 3 4 5 6 7 89 9 10 11 12 13 14 15 10 11 12 13 14 15 16 16 17 18 19 20 21 22 17 18 19 20 21 22 23 August 2017 23 24 25 26 27 28 29 24 25 26 27 28 29 30 ‘A garment “to gladden our eyes” ’

This one hundred and fifty-year oldlehenga (full skirt) was originally 90 yards in width, and worn by a lady of the Bharatpur court. Charu however had only 45 yards to deal with as the damaged parts had to be cut away and thelehenga re-made. Gold and green brocade embellish the fine cotton of the skirt and the choli andodhani are also intricately worked. Heavy jewellery of pearls, enamel and gold as well as glass bangles completed the re-fashioning of this outfit of a Rajput noblewoman.

Model: Charu Mathur (Charu Sija Mathur) January 25, 1961 Sun Mon Tue Wed Thu Fri Sat 1 2

Idu’l Zuha (Bakrid) 3 4 5 6 7 8 9

Onam 10 11 12 13 14 15 16

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Dussehra Dussehra Dussehra (Maha Saptami) (Maha Ashtami) (Maha Navmi) Dussehra

August October S MTWT F S S MTWT F S 1 2 3 4 5 1 2 3 4 5 6 7 6 7 8 9 10 11 12 8 9101112 13 14 13 14 15 16 17 18 19 15 16 17 18 19 20 21 20 21 22 23 24 25 26 22 23 24 25 26 27 28 September 2017 27 28 29 30 31 29 30 31 ‘. . . the careful hussif [housewife]’

Sourced from the Indian Museum, Calcutta (), this finejamdani sari from Dacca was, at the time of the show, fifty years old. It is perhaps during , and housewife Jamuna is dressed to go to the temple, herthali (metal plate) arranged with a conch shell and flowers. She wears the sari in the traditional Bengali manner without pleats in front and a long pallu wrapped around her left shoulder and over her head. At the end of it hang her bunch of keys. Her young daughter too wears the sari in a similar fashion, though without her head covered and of course, no keys.

Models: Jamuna and Deepa Nag October 7, 1958 Sun Mon Tue Wed Thu Fri Sat 1 2 3 4 5 6 7

Mahatma Gandhi’s Maharishi Valmiki’s Muharram Birthday Birthday 8 9 10 11 12 13 14

Karaka Chaturthi (Karva Chouth) 15 16 17 18 19 20 21

Deepavali (South India) Naraka Chaturdasi Diwali (Deepavali) Govardhan Puja Bhai Duj 22 23 24 25 26 27 28

Pratihar Sashthi / Surya Sashthi (Chhat Puja) 29 30 31

September November S MTWT F S S MTWT F S 1 2 1 2 3 4 3 4 5 6 7 89 5 6 7 8 9 10 11 10 11 12 13 14 15 16 12 13 14 15 16 17 18 17 18 19 20 21 22 23 19 20 21 22 23 24 25 October 2017 24 25 26 27 28 29 30 26 27 28 29 30 ‘From the hills of Assam’

Themekhela - chador is a two-piece set worn by the women of Assam. The skirt-like lower portion, the mekhela, that is draped from the waist downwards is not unlike a , but has broad pleats that are tucked in at the waist. The chador repeats the weave and pattern of themekhela and both are of heavymuga or tassar silk. The hand-woven patterns on these are geometric and usually in two contrasting colours. The blouse (not worn here) is similar to that of the sari.

Model: Jasjit October 7, 1958 Sun Mon Tue Wed Thu Fri Sat 1 2 3 4

Guru Nanak’s Birthday 5 6 7 8 9 10 11

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Guru Teg Bahadur’s Martyrdom Day 26 27 28 29 30

October December S MTWT F S S MTWT F S 1 2 3 4 5 6 7 31 1 2 8 9101112 13 14 3 4 5 6 7 89 15 16 17 18 19 20 21 10 11 12 13 14 15 16 22 23 24 25 26 27 28 17 18 19 20 21 22 23 November 2017 29 30 31 24 25 26 27 28 29 30 ‘Madras temple sari’

This heavily- worked Kanjivaram sari withzari may have belonged to adevadasi (temple dancer) or adorned a stone deity in a temple and is likely to have been woven in the 19th or early 20 th century. Temple saris have broad borders at both ends, usually in deep maroon. Uma wears heavy gold jewellery including a long, thick chain, earrings andoddiyanam or belt around her waist.

Model: Uma Rao October 7, 1958 Sun Mon Tue Wed Thu Fri Sat 31 1 2

Milad-Un-Nabi or Id-E-Milad (Birthday of Prophet Mohammad) 3 4 5 6 7 8 9

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Christmas Day Christmas Eve

November January S MTWT F S S MTWT F S 1 2 3 4 1 2 3 4 5 6 5 6 7 8 9 10 11 7 891011 12 13 12 13 14 15 16 17 18 14 15 16 17 18 19 20 19 20 21 22 23 24 25 21 22 23 24 25 26 27 December 2017 26 27 28 29 30 28 29 30 31 Centre for Women’s Development Studies 25 Bhai Vir Singh Marg (Gole Market), New Delhi-110001 Phone +91 11 23345530/ 23365541/ 23366930/ 23347996 Fax +91 11 23346044 E.mail [email protected] / [email protected] Website http://www.cwds.ac.in