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When I compared the fee structure of fashion colleges across India a decade ago, NIFT clearly stood out with the best balance of quality and money. NIFT, being a government autonomous body admits students from myriad of socio-economical backgrounds, including reservations for not just the socially under-privileged sections but even the elite communities through management/NRI quota. I found myself amidst vast socio-economical diversity – from millionaires of Delhi to students who on vacations, returned home to remote villages. I faintly remember reading in Shefali Vasudev’s Powder Room that Rahul Mishra made it big from very modest backgrounds, a mud house in a village near Kanpur. But that’s one amazing super-talented Rahul Mishra….  Indian fashion runways otherwise command an array of talented names, many from NIFT, often with surnames that boast social status & point to wealthy families. But how do students from financially under-privileged or middle-class backgrounds fare in the college? What’s the plight of young Lee McQueens and Rahul Mishras in Indian fashion colleges? What do they do after college?

MONEY BRINGS YOU MARKS AT NIFT

This is not always the case but it’s not uncommon either.  A prominent fashion designer, a regular at India Fashion Week in Delhi, was part of the external jury panel for the summer internship project I did in Bangalore. He literally asked me why my document was so thin (barely 50-something pages) when there were other assignment documents wearing the look of a telephone directory. Now he put that question to me even without going through the document, not even a rough flip. I bluntly told him I was financially broke, didn’t have the money to print as many pages (it costs about Rs.20-25 a side those days at Nehru place in Delhi) and hence compressed the same content in as many pages, it’s less cumbersome, friendlier to read & understand that way. Not that I ever expected him to buy those words but I was definitely curious to get a reaction from him – He gave me the dirts… And it turned out he also gave me the least grades. No surprise in that reaction. The marks at NIFT are often directly proportional to the thickness of the document and price of the material going into the assignments.

If not the money itself, putting in lots of time and detailing fetches you labour-sympathy marks. Regardless of how unoriginal/ordinary that idea can get, the fact that someone put in 127 hours of work on a 5marks fabric swatch makes the jury members wanna give them the whole pie when you’ll probably be graded a 3 or 4 because, the idea is great, whereas “execution” can be better – as if you’re being trained to become a kaarigar (craftsman) in a factory. There was a clear emphasis on the hard work itself than ideas, imaginations or creativity during my five-year stay at the NIFT New Delhi.

In many ways, the students are trained to toil like sweatshop labours who can later serve the export houses that violate human rights and pimp our local labour to international labels at throw away prices.

It didn’t take long for me to connect the dots & fill the larger puzzle. It didn’t take long to not care for validation in form of marks as long as I could get my degree and flee the rotting bureaucratic ineptitude I found myself in.

RITUALS OF JUSTICE INACCESSIBLE TO STUDENTS WITHOUT POWER & MONEY

I was debarred from writing my last exam & my examination hall ticket was maliciously taken away by NIFT lab assistant without my knowledge before my last exam in my second semester at college in 2009. They literally hid it & asked me to collect it from the Delhi Center Coordinator Mrs. Usha Narasimhan. Apparently, there were differences held between Delhi centre & Head office on whether I should be given a chance to write exams since my attendance was 8% short of minimum req. 65% in a subject which was earlier covered up on medical credits since I missed classes due to typhoid followed by chicken pox in January 2009. By the summer, I had already written all the final sem exams and there was just one more to go.

The centre coordinator of 1st year batch asked me to take the issue to the Director General of NIFT Mr. Rajiv Takru who was an IAS officer and tales were rife among students on how he apparently won’t entertain us as long as daddies are rich with political connect & predictably he didn’t entertain an audience with me even after writing 17 letters explaining my academic capability, how I was diagnosed with genuine health problems & how I still managed to finish my assignments & I deserved to give my last exam when I’ve already given all the other exams, for which I’ve put on extra efforts despite my health conditions. I would wait outside his office for weeks without food or water wondering who the fuck does this man meet if not students of this college? Phone calls, letters all in vain. The exams which I already gave, spending physical effort, time & money (NIFT assignments are expensive af), they were all scrapped. This meant my educational loan would be screwed, I wanted to drop out of NIFT, but I wasn’t financially equipped then to do even that.

I joined NIFT Delhi with All India Rank 1 in my counselling & now I had a semester back & it was the first time as an adult that I genuinely considered suicide as an option to put an end to this fight happening on uneven power disparities. I had the courage to do it but it didn’t rationally make sense especially when it’s people who cared for me who’ll eventually be affected. I returned home. That’s when I said FUCK NIFT & these incompetent corrupt people running the college & wrote actively on this Purushu Arie fashion blog to create a fashion realm of my own that’s unaffected by the powerful elites who love to put down & suppress students from less-fortunate economical backgrounds. Indian government run educational institutions are saturated with such modern day Dronacharyas who mercilessly chop the fingers of millions of Ekalavyas, while Arjunas buy their way up with political/economical/social power.

LOOP HOLES IN FINANCIAL ASSISTANCE

NIFT has financial assistance programs where they refund up to 75% of the tuition fee to economically under-privileged from every social sections.  The paper work involved is somewhat elaborate and less favourable to students whose parents have salaried pay slip as opposed to someone with more independent channel of income and can quote Rs.50,000 as annual income while they meddle with iPhones, Mac Book & other expensive gadgets.

There are other financial schemes mentioned in NIFT websites and brochures, but I never managed to practically avail any those schemes simply because you don’t know who or where to avail it from, especially when one office points to another, till it boomerangs and you eventually lose patience and say: fuck this shit, I don’t have time to complete my assignments, forget wasting time with this tiresome game of musical chairs leading to emptiness.

In fact, my refundable caution deposit amounting to some 4-5 thousands, supposed to be paid by the college in 2013 right when I graduated is yet to be cleared as of 10^th April 2018, in spite of phone and email enquiries to NIFT officials.  It’s a conventional sarkari office where you’ll have to wait forever but they’ll never ever have time for you. Beyond a point, I consciously stopped putting the time & effort to enquire that money, probably to write it in this NIFT insider story here in this blog.

I considered myself an honourable young man back then who found it superficial to write letters to the same administration I was cynical of & distrusted. In some way, it was stupid on my part to care for honour. At NIFT you don’t play for honour, instead you play to survive.

OVER-PRICED FOR WHAT IT RETURNS

Are you wondering why that dude’s selling cotton saris for Rs. 80,000? The designer probably learned the art of over pricing from alma mater NIFT. NIFT is on par with what IIT is to engineering or IIM is to management in India. In fact, NIFT New Delhi is the only Indian college to even feature in world’s top 30-50 lists in its respective field of expertise, and yet, the returns through campus placements at NIFT is nowhere in comparison to that of IITs or IIMs. Despite being a government run institution, NIFT is a very expensive place to study at. The assignments are expensive, most NIFTs don’t have structured hostel fee or mess fees for educational loans to cover up the living/food expenses. In spite of shelling out a bomb for education, what you take back monetarily through campus placements at NIFT is very likely to be less than what your fellow engineering or doctor buddies do. NIFT students are largely placed in Indian retail houses or export houses where they’re mostly overworked and underpaid. A few wealthy kids manage to launch a label of their own after graduation, and the richest of the rich gets to lobby at fashion weeks, and a handful perhaps, who make it there on credits of talent.

FASHION STILL SAFELY IN CLUTCHES OF ELITEIST HEGEMONY

Because in India, it is easier for a Bollywood star-wife oblivious to the knowledge of apparel design to become a famous fashion designer than the students who actually clear national level entrance exams to study apparel design. You won’t see fashion designers announced as the next big actor at Filmfare awards but you’ll see these model turned actors who’re not even great at acting, advertised on “world-class” fashion magazines as the next big creative breakthrough in Indian fashion.

High-fashion apparel in India is a relatively young micro-industry within the larger textile industry. Textile sector is the second largest employer in India after agriculture sector. Much like in agriculture, the core heart of textile sector lies in rural India and yet the fashion industry is pretty much contained within the monopoly of elite society of Delhi-Mumbai. Thousands of fashion students graduate every year in India but it’s not necessarily the talented graduates but the ones with money who are largely welcomed & supported in the fashion industry (largely made up of power husbands, power wives, sugar daddies, sugar aunties, power tops, power bottoms), pretty much the reason why Indian fashion industry still largely draws parallels to silly sex filled free-booze gatherings of low IQ rich people.

Considering the costs involved in securing admission at private fashion institutions, it seems like NIFT is still the best and only bet for fashion aspirants from less-fortunate economical backgrounds in India and face the bitter music: Be extremely determined (& talented) and digest the fact that you need not necessarily be treated with the same fairness that the wealthy kids some baap-ka-naam will be treated. Life won’t be fair, 4 years will fly fighting, and it’s only then you’ll probably realise if it was worth it or not. Dronacharyas who discriminate students on virtues of birth or wealth have corrupted institutions of knowledge in India for years, but never ever let a small mind, regardless of age or socio-economical status or position of power convince you that you don’t deserve what you worked to earn.

Update: The attendance percentage in EOD was corrected from 2% to 8%

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I was literally laughing out loud reading the captions of Diet Sabya. Only a week in prior, I had stumbled on Desi Dior calling out plagiarism in fashion. Given the popularity of Diet Prada, it was bound to be a trickle down phenomenon hatching into similar accounts in both nomenclature style (remember how every blog after Style Rookie happened was named “Style-Something”) & the idea of calling out knock-offs in general – that’s the natural flow of trend cycle. Unlike the copy-cats they call out, Diet Sabya and Desi Dior are much needed knock-offs (of Diet Prada itself) especially given the dilapidated state of domestic laws tackling plagiarism in fashion.

The narration styles of the two accounts vary – Desi Dior is authored from a more design perspective, where the witty commentary invokes production angles, like in this post “But just to not get caught they be like “Master ji lining nude nahi white de do, aur chote mote changes kardenaa”. ”  Possibly someone with first hand knowledge of production?

The sarcastic interview styled commentary and references to sourcing requests assures me that the minds involved in Diet Sabya are clearly aware of scenes in fashion editorial/styling and perhaps lot more. Regardless of my own irrational curiosity driven guesses (and the highly possible inaccuracies), the two accounts have induced freshness to desi Instagram fashion which was stagnant on #ootd clones for some time now.

Given my own history of pointing out copy-cats, it came as no surprise at being asked the question: Are you Diet Sabya?

No, I am not Diet Sabya.

Seriously, NO 😀

*Although I wish to send flowers to whoever they are 😀

When I tweeted images comparing Shantanu Goenka to Alexander McQueen, live from the show venue in 2011, a local Delhi media reported it was  a mere inspiration. Of course, merely changing the colours or slightly altering the existing motifs or merely subtracting out the elements they’re unable to recreate is how most patrons of plagiarism define “inspiration”.

MOSAIC PLAGIARISM IN FASHION

Mosaic plagiarism is a strategically done plagiarism where elements are tweaked around a bit like in Shantanu Goenka’s McQueen rip off which merely alters the colour palette while retaining the silhouette, placement of trims and embellishment.

Here’s a case of mosaic plagiarism where the colour & neckline is tweaked.

Interviewer : So Amit, tell us about your time at Versace… specially after your stint at the (in)famous Morphe. Amit Aggarwal : Ugh, it’s pronounced Versac-ay. One second, Donatella is calling. . . Disclaimer: This post may cause heart burn and emotional unrest. . . (Left: @versace 2016; right: @amitaggarwalofficial 2017) . . #dietsabya #gandi #copy #

A post shared by DietSabya (@dietsabya) on Apr 12, 2018 at 2:57am PDT

DIRECT PLAGIARISM

Probably the most shameful and laziest among the lot involving a point-to-point copy like in the case of this trench dress which happened when three Bollywood stars collaborated to convince the world of their fashion design skills.

Left : @celine SS18 Right : @thelabellife khakhi trench midi dress. Let’s play a game, spot the difference maybe? What happens when actors put on a designer’s hat? Ctr C + Ctr V. Can you tell the difference because we cannot! They have come to a point where they do not even want to put in any efforts, like changing the colors! Our advice : Leave the designing to the designers. Oops maybe be not. Xoxo #Desidior #ripoff #knockoff #celine #aifwaw18 #fashionweek #lakmefashionweek #copy #same #fashion #labellife #CelineSS18 #designer #mumbai #designerripoff #wiwt #khakhi #trenchcoat #trenchdress #celinedress

A post shared by Desi Dior (@desidior) on Mar 26, 2018 at 4:56am PDT

More from the department of direct plagiarism…

#deniedsourcingrequest: #TBT to last year when @theanisha put @shahidkapoor in a head-to-toe rip-off of @kris_van_assche’s FW13 look—custom-made by @anujmadaancouture. Possibly the biggest style move of 2017! . . Still so #phresh that we had to #TBT on a damn Monday! . . Photo by the wonderful @colstonjulian . . #gandi #copy #custom #dietsabya #

A post shared by DietSabya (@dietsabya) on Apr 9, 2018 at 1:50am PDT

SELF PLAGIARISM

Self-plagiarism can be unintentional repetition of signature style or intentional getaway when one feels lazy or probably runs out of ideas. Self plagiarism in fashion is apt in this Desi Dior post where Param Sahib who happened to work at Manish Arora ended up repeating the same Manish Arora x KOOVS motif for his signature label.

Blast from the past : Is @manisharorafashion x @koovsfashion still selling? No it isn’t, but you can still get it. What we thought of an inspiration initially, doesn’t seem to stop. So basically if you want a Manish Arora rip off you should try this designer @parambanana in Chandani Chowk, he also does similar lehengas.. psstt ‘inspired’, only the colors are different. Xoxo #desidior #ripoff #knockoff #manisharora #koovs #wiwt #ootd #fashion #look #style #copy #inspired #stop #india #indiandesigner #outfit #instafashion #instagram #aifwaw18 #fdci #aifw

A post shared by Desi Dior (@desidior) on Mar 16, 2018 at 9:54am PDT

PATCHWORK PLAGIARISM

Patchwork plagiarism is very similar to mosaic plagiarism, just that the designer tweaks elements from more than one already existing designs. In case of patch work plagiarism in fashion, elements are often borrowed from archives of brands(.) This Huemn look which re-imagines from two different Margiela dresses: Tweak 1: Fasten the Margiela shirt collar on fabric of another Margiela reconstrucetd dress. Tweak 2: Substitute the voluminous Margiela sleeve twist (around waist) with slimmer band. Tweak 3: Add a voluminous collar to avoid viewer suspicion.

Fashion Vs. The Commonwealth: After 13 hours of voting —everyone who works in fashion (including top editors ) —declared this as a case of copy. However, everyone else (50% to be exact) thought this was totally original. So, this one is still very much up in the air! . . #vote #dietsabya

A post shared by DietSabya (@dietsabya) on Apr 5, 2018 at 12:56am PDT

ACCIDENTAL PLAGIARISM

Accidental plagiarism is what everyone claims when they’re found guilty of plagiarism… NOT. Kidding. Accidental plagiarism is what it is if I don’t credit this article for helping me structure this part of the content. Accidental plagiarism occurs when the artist unintentionally missed out on citing the original source of inspiration. Aditi Gupta’s element-to-element knock off turned out to be a “design-team” endeavour without the owners realising it was plagiarism.

Yellow yellow, गंदा fellow! . . (Left: @versace; right: @aditiguptaofficial) . . #gandi #copy #dietsabya #

A post shared by DietSabya (@dietsabya) on Apr 10, 2018 at 5:11am PDT

Every design is inspired from something or the other. Nature is the mother of every inspiration. The tangible aspects of every single design sold out there are ALL primary made of the most basic elements of nature – point, line (angular/curved), shape (geometric/organic), colour (only so many colours our eyes can sense) and so on. Every designer combines one or more these elements using the principles of designs like proportions, balance or rhythm to eventually arrive at the final design. It is very much possible that sometimes a design resembles another on basis of sheer coincidence.

There is always a possibility that Huemn’s Margiela look alike was mere coincidence. Because playing with shirt collar and sleeves is somewhat common especially with regards to deconstruction as a technique in fashion design, but the resemblances otherwise is too good for a coincidence.

In the era of trend books and organised fashion establishments, design process itself has become much like a common code programmed on robots. They all study and refer to more or less the same trend books and manufacture the same trends and you’ll see similar designs selling at the same point of time – which is what makes them trends at that point of time and fashion media will tell you to buy them because it’s trendy. Fashion is merely a reflection of the society, perhaps a society of unoriginal clones abusing resources with easy manufacturing facilities.

UPDATE: Links a la Mode, April 26th, 2018

This article was listed in top fashion blog stories of the week curated by Independent Fashion Bloggers community. Read all the blogs below –

• • Adorned in Armor: Three Things You Didn’t Know About Your Heart
  • Aesthetic Distance: I’m Back From My Blogging Vacation And I’ve Missed You…
  • A Girl in LA: Greetings from the Desert: My 2018 Coachella Photographs
  • Couture Crush: Red Layering and Crazy Rich Asians
  • Big Cup, Little Cup: Lingerie Trend Alert: 10 Tatoo Effect Lingerie Looks
  • Fashion to Live: Out in the City: Strappy Bodysuit + Maxi Dress + Sexy Heels
  • Gabriella Lundgren: Out and About with Strawbags and Baroque Pearls
  • Girl in Betsey: The Eyelash and Eyebrow Serums That Actually Work
  • Have Clothes, Will Travel: Visiting Buenos Aires in a Hurry – 1/2 Day Itinerary
  • Kintan Fashion: Who’s the Birthday Girl?!
  • Knowing My Style: Spring/Summer Color Trends for 2018
  • Purushu Arie: 5 Types of Plagiarism in Fashion Explained Through Diet Sabya & Desi Dior
  • Online Personal Stylist: How to Style Narrated Videos
  • Sifa’s Corner: 9 Expert Tips for Perfect Wedding Day Hair
  • Style Mouse: Where to Stay on Maui
  • Tales of Two Blog: Grand Canyon Walk – Blue Mountains
  • The Borrowed Babes: Why You Need a Tribe of Badass Babes
  • The Simply Luxurious Life: 9 Things to Do to Prepare for Traveling to France in the Next Three Months

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My previous account on the dark realities of neo-elitism at NIFT was met with polarised opinions. Firstly, quite a lot of students who identified with the article shared and thanked me for writing it. A few others who had more comfortable ride went on to comment their privileges and told how I made a mountain out of mole hill. Everyone’s entitled to their opinions and expressions. The average Joe says, don’t judge me until you walk in my shoes. I say, go ahead and spit out your judgements for you can never walk in my shoes.

After writing several sane & formal unanswered letters in paper to officials at NIFT, I happened to write this one last letter over email (dated: 2009) – A total emotional mess – infuriated, suicidal & helpless – DESPERATE AF but HONEST.

**

Sir/Madam

Iam R V Purusothaman, studying in Foundation Programme, Batch-5, NIFT New Delhi. I have no mistake from my side. Iam blindly being punished with a REPEAT SEMESTER for the semester Jan 2009 – May 2009. I had written numerous letters to the Director General. I have received no reply from him till date. I’ll have to take LEGAL ACTION, if this injustice prevails.

SERIOUS ILLNESS

I am a 6 ft tall man, who is 30 Kg underweight. I wasn’t like this earlier. I suffered from serious Typhoid and Chicken Pox back to back during the period January 2009 to March 2009. During January, I used to intake 12-15 tablets a day! I had to just feed on plain rice and bread. There were times, when I used to faint on the way to college. I slowly recovered from the typhoid during the end-February. But, I once again suffered from serious chicken pox where my health was rotten this time, as I had just recovered from typhoid. I was completely out of energy. Hence I could not attend many classes during the period as my health was f**ked up. But, still I was at least regular in all my submissions. I submitted all the assignments that i missed out during my absence.

ATTENDANCE SHORTAGE IN EOD (Elements of Design)

Due to the illness, though my overall attendance was up to mark, I fell 8% short of attendance than required in Elements of Design subject. Shortage of attendance would lead to many problems. Hence I submitted all my medical certificates. Still I coped up with all the submissions and exams including the MID-SEM exam that I missed during the period of my absence.

ROLE OF MRS. USHA NARASIMHAN

Mrs. Usha Narasimhan, my centre coordinator asked me not to attend few classes doubting that I may not be fit enough to attend the classes. Though she promised me that she’ll give me attendance in my absence, she never did so.

I produced all my medical certificate and documents to her, and she kept promising that I can cope up with my attendance as I have a genuine medical reason. She promised and reassured me of giving attendance in EOD, as fell short of attendance in it.

I asked her to give me EXTRA TUTORIALS, as she didn’t give me the attendance till the end. She again denied that citing that I had medical reason, and no one can stop me from giving my final exam.

The lady finally ditched me, denying everything. She asked me to wait, wait and keep waiting. The results are out now. Even today when I called her she asked me to keep waiting.

FOOLISNESS OF NIFT

I was granted hall ticket in spite of shortage of attendance as I had a genuine serious medical reason. I was finally granted attendance in EOD. I spent hell a lots of money and finally gave every exam, one by one. But, the thunder struck before my ITP(Integrated Term Project) Exam! My hall ticket was confiscated from me!

The college authorities announced in the LAST MINIUTE that my medical certificate has been rejected by the Director General. Hence, I cannot give the exam, and what else?? They wanted me to REPEAT THE SEMESTER!

IAM PUNISHED FOR NO MISTAKE FROM MY SIDE

All the money that I spent went in vein. I wrote numerous letters to many officials including the Director General, Registrar etc, explaining my situation that I was innocent and did not deserve to be punished. But I did not receive any reply from any officials.

I didn’t do any mistake.

Falling ILL isn’t my mistake!!

I was just 8% short of the required attendance without the medical credits, that too in one subject. My overall attendance was up to the mark even without the medical credits!

AM LEFT HELPLESS!

I hail from a middle class family and study with educational loans. If this stupid RE-SEMESTER decision taken by the college is finalized, then the banks would stop funding me. I cannot continue my education any longer!!

I had given all the submissions that I had missed out during the period of my absence. I even gave the MID-SEMESTER exam that I missed out. I have one of the best hand, work and talent in my batch. What else does a college need from me? Is shortage of attendance a justifiable reason to flunk a student?? They flunk students just to earn money from him?? Snatch money in the form of extra fees? Don’t they have brains to realize that this may damage the student’s career?

They have punished me for no mistake from my side!

It’s college’s mistake in fact!

MY QUESTIONS THAT COLLEGE SHOULD ANSWER

How can my centre coordinator promise me and reassure me that I’ll get attendance for medical reasons, and now finally backing out?
How can my centre coordinator ask me not to attend the classes and mark me absent?
How can a college change its rule, just one day before the examination?
How can a college reject my medical certificate just one day before the examination?
How can college give me a REPEAT-SEMESTER for falling 8% short of attendance in one subject??
I had given all my submissions. I even gave the mid-semester exam that I missed out. What else does the college want from me?? What does the college expect from an ill student who is seriously diagnosed with dangerous communicable disease?
Why didn’t I receive any reply to any of my complaint letters?

I want answers to all these questions. Let the college justify that I should be flunked and not given a chance.

***

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PRE-VEDIC

Most studies point out that modern Homo Sapiens developed in Africa some 200,000 years ago. Dating the earliest human migration to Indian mainland remains a matter of dispute but the most significant Indo-African resettlements took place around 70,000 years ago.

While archaeological evidence indicates inhabitation in Andaman Islands for more than 2200 years, genetic and cultural studies suggest the Andaman natives – Australoid-Malanesian settlers may have been isolated from other populations during the Middle Paleolithic era up to even 26,000 years ago!

Photo: Maurice Vidal Portman (1861-1935) – Pitt Rivers Museum, Oxford

“An early (staged) photograph to show Great Andamanese women (and the odd male) with a wide variety of hairstyles and body painting patterns. Clearly visible are only the wide variety of hair cuts. Notable also on the extreme left and right two women with bands for carrying infants. The people to the left of the centre pole are said to be showing body paint signifying mourning, those on the right celebratory paint. The girl, second from the right, in the middle row is said to be painted in red ochre as a sign for rejoicing.” – Citation from Clothes, Clay and Beautycare (of Great Andamanese people), by George Weber

Palaeolithic Indian inhabitants worshipped idols and deities, sacred status of animals including cows, peacocks, cobras, elephants, and plants like pipal, thulasi, and neem. The aboriginal people of India traditionally lived a hunter-gatherer lifestyle, and mostly wore little (or no) clothing, made of animal skin and vegetation. Ancient Indian Adivasis much like other Negrito, Australoid & Mongoloid natives wore elaborate jewellery in form of stones, animal claws, feathers etc.

INDUS VALLEY CIVILIZATION (3300–1500 BCE)

The Neolithic age marks the onset of urban Indus Valley Civilisation – one of the earliest sites with evidence of farming and herding in South Asia, which also meant access to fibres like cotton, flax, and linen. Archaeological remains of silk firers from Harappan sites suggest people also wore silks textiles and knew silk farming techniques. Indus valley figurines wear elaborate jewellery including necklaces, anklets, earrings, and bangles in stone, terracotta, gold, copper/bronze. Bead jewellery was popularly traded in this era. An Indus Valley female skeleton on display at the National Museum, New Delhi, wears a bangle on left hand. People covered their lower body with a short rectangular wrap tied with waist bands/belts. Figurines of this era also feature intricately detailed hairstyles and headgear, including flower decorations and a female in a turban. Men left their hair long, at times tied into buns. Nudity was a natural and acceptable notion in Indus Valley. While Varna system itself didn’t exist in Harappa-Mohenjo Daro cultures, it’s noteworthy that the priest-king figurine is more decorative than other figurines which are chiefly unclothed. Clothing was clearly established as a medium to express social status.

Indus people worshipped idols including Shiva lingam and select animals and plants. The Pashupati seal from this era is viewed as a possible representation of a “proto-Sivan” figure. Inhabitants of Indus Valley Civilisation are widely regarded as proto-Dravidian due to cultural similarities and indications of genetic studies. Many linguists in particular propose that Adi Dravida or  Ancient Dravidians were spread throughout the Indian subcontinent before the influx of Indo-Aryan languages. Some historians alternatively hypothesise that Indus people along with migrants from Steppe grasslands form ANI (Ancestral North Indians) whereas Indus Valley people who moved South and mixed with hunter-gatherers make up ASI (Ancestral South Indians). The recent Keezhadi excavations in Thamizh Nadu has unearthed Harappa like urban sites dating to Sangam era, strengthening the Indus-Dravidian ties.

AUSTRO-ASIATIC & SINO-TIBETIAN

Late Neolithic period sees the fall of Indus Valley Civilisation and migrations of Austro-Asiatic populations in North Eastern India till around first millennium BCE. Crossovers in ethnicity and language are observed by studying ethnic origins and linguistic affiliations, for example, Nicobarese considered to be Mongoloid speak Austro-Asiatic language, and among Bhils, Gonds and Oraon Adivasis are classified as Australoid groups, Bhil tribe speak Indo-European languages whereas Gondi and Oraon speak Dravidian languages.

The decline of Indus Valley Civilisation is followed with agrarian Indo-Aryan nomadic settlements in North-Western India referred as Arya Vrata in Vedas. The religion & language of Vedic people had strong traces of Indo-Iranian cultures, especially in cases of Vedic Sanskrit’s relations with Avesta, and Soma cult and the fire worship, both of which are preserved in Zoroastrianism. The Vedic religion comprises of Vedic Samhitas, Brahmanas, Aranyakas and early Upanishads.

VEDIC PERIOD (1500-600 BCE)

The first literary trace of the word “Shudra” is found in Rig Veda.

11. When they divided Purusa how many portions did they make?
What do they call his mouth, his arms? What do they call his thighs and feet?
12. The Brahman was his mouth, of both his arms was the Rajanya made.
His thighs became the Vaishya, from his feet the Shudra was produced.

– Rig Veda 10.90.11–12

Note: The term Varna in Vedas may refer to any of colour, outward appearance, tribe, race, or classification, whereas it strictly refers to social hierarchy (based on labour) in Dharmashastras like Manusmriti which were written later.

Rig Veda structures a two-fold Varna system on basis of tribe and lineage  – Arya Varna and Dasa Varna. Vedic nomads, culturally and genetically different from Indus valley people regarded themselves as Arya and the non-Vedic indigenous people of India were labelled Dasa or Dasyu – translates to barbarians, demons or slave in Vedic hymns depending on contexts of usage.

Several Rigveda hymns glorify white skinned Aryans defeating dark skinned Dasyus. Krishnam Vacham [Black skin: Vedic Sanskrit] was written off as impious.

“The mighty Thunderer with his fair-complexioned friends won the land, the sunlight, and the waters.”
– Rigveda, Book 1, Indra 100.18

“Indra in battles help his Āryan worshipper, he who hath hundred helps at hand in every fray, in frays that win the light of heaven.
Plaguing the lawless he gave up to Manu’s seed the black skin;”
-Rigveda, Book 1, Indra 130.8

Amar Chitra Katha depicting Aryan Indra fighting a dark-skinned mustached Dasyu – on back of a fair skinned elephant. Note: This image is a contemporary portrayal and Vedic people didn’t wear silk brocades. Silks gain prominence only after 1st century BCE.

While Rig Veda sanctions purity of fair-skinned lineage, later Vedic texts relate the notion of purity through hierarchy decided by profession. Evidence of clothing in this era comes only in form of Vedic knowledge which was verbally transferred to pupils by Brahmin teacher. Vedic people did not sew their clothes. Clothing was chiefly minimal and draped, however description of rich ornaments and jewellery are mentioned.

Some translations of references of clothing items in Rig Veda include:

1. Adhivastra – Veil
2. Kurlra – head-dress or head-ornaments
3. Andpratidhi – (any) covering of body

Atarva Veda also mentions:

1. Nivi – Innerwear
2. Vavri – covering of body
3. Upavasana – Veil
4. Kumba, Usnlsa, Trilta – Head-dress
5. Updnaha – Footwear
6. Kambla – Blanket

BRAHMINISM (c. 600–200 BCE)

The Vedic religion flourished under the Kurus of Kurukshetra as acknowledged by Atarva Veda. Rig Vedic Varna system of Arya and Dasa is replaced with four-fold Verna system on basis of labour in this period. The Brahmin priesthood and Kshatriya aristocracy dominated the Arya commoners (now called Vaishyas) and the Dasa labourers (now called Shudras). By late Vedic period, the Brahmin literature subjected Shudras to social ostracism for being guilty of sins committed in a previous life and they could expect rebirth into one of the “pure” upper-caste by submitting themselves as the slaves of top three Verna hierarchies, thereby marking the onset of the longest surviving apartheid in world history – the Brahminical caste system comprising of Brahmin, Kshatriya, Vaisya, Shudra and Avarna/Outcaste (in order of hierarchy.)

Since Vedic times, people from many strata of society throughout the subcontinent adapted to established Brahmanic social codes – leading to Sanskritisation of India. By late Vedic period, Brahminical kingdoms control a significant portion of Northern India. Mahajanapadas arise from late Rigvedic kingdoms by 600-500 BCE. Some renowned Brahmin kingdoms of Iron Age era included Nanda Empire, Magadha, Pauravas, and Taxila.

BUDDHISM & JAINISM

Mahavira (c. 549–477 BCE) and Buddha (c. 563-483 BCE), challenge the orthodoxy of the established Brahminical rituals, repudiated the authority of the Vedas, and rejected the Brahminical Varna system as well as Vedic rituals of animal sacrifice, thereby leading to the rise of two new religions Jainism and Buddhism.

MAURYAN EMPIRE – (300 BCE – 187 BCE)

Chandragupta Maurya establishes Mauryan Empire by overthrowing Nanda Empire with assistance of Chanakya. Megasthenes, the Greek historian upon his visit to India writes that there are no slaves in Mauryan empire. This could be a possible reference to ancient European style commercial slaves, since Arthashastra of this era otherwise mention slaves. Chanakya’s Arthashastra is probably among the first of shastras to provide some kind of rights to Dasas, the antithesis of Aryas. Verses of Arthashastra punishes prejudice towards Dasa including sexual exploitation, thereby adding light to the status of Shudras in preceding Brahminical socities of Mahajanapadas.

Employing a slave (dasa) to carry the dead or to sweep ordure, urine or the leavings of food; keeping a slave naked; hurting or abusing him; or violating the chastity of a female slave shall cause the forfeiture of the value paid for him or her. Violation of the chastity shall at once earn their liberty for them.

— Arthashastra, Translated by Shamasastry

A slave (dasa) shall be entitled to enjoy not only whatever he has earned without prejudice to his master’s work, but also the inheritance he has received from his father.

— Arthashastra, Translated by Shamasastry

A Mauryan statue depicting mauli (turban), kayabandh and loin cloth worn with coiled earrings.

Clothing in Mauryan era was primarily unstitched and comprised of two pieces. There’s no evidence of single long garment draped on both upper and lower body like the modern sari. The loin cloth worn in Vedic period was continued to be worn in this period. The Greek influence during the Mauryan era also contributes to the earliest Indian breast-covering garment – Pratidhi.

Mauryan Womens Costumes:
Uttariya: Upper cloth of printed cotton worn crosswise on the head.
Kayabandh: Embroidered flat cloth band, pattika style, worn in a looped knot with fringed ends.
Mekhala: Six-stringed hip belt of gold or silver beads.
Lambanam: long necklace made of chains held at intervals by flat bands, phalakahara style.
Kantha: Short necklace of five strings of beads in gold or silver.
Karnika: Trumpet-shaped earrings.
Kangan: Ten bracelets adorning each hand.
Baju Band: Decorative armlets worn on upper arms.
Kara: Anklets of twisted wire worn on both ankles.
Sitara: Star shaped forehead ornament of gold or silver with a stamped pattern.

Mauryan Mens Costumes:
Antariya: Kachcha style, both equal ends being taken between the legs after knotting the front; these ends are then held diagonally, fluted and tucked into the waist at the back to hang between the legs up to the ground
Uttariya: upavita fashion, worn across the chest and over the left shoulder
Kayalbandh: muraja style, drum-headed knobs at the ends, tied in a looped knot
Baju Band: armlets with elaborate incised pattern
Kangan: several bracelets on each wrist
Karnika: trumpet-shaped earring or karnaphul
Mauli: turban of printed cloth held by decorative bands wound over the top knot of hair and at the side of the head

Mauryan Warrior Costume:
Antariya: knee-length, worn in kachcha style with fluted end tucked in at centre front
Tunic : one of the earliest depictions of the cut and sewn garment; it has short sleeves and a round neck, full front opening with ties at the neck and waist, and is hip length
Boots : fitting to the knees Head band: tied at the back over short hair
A broad flat sword with cross straps on the sheath is suspended from the left shoulder.

Mauryan empire reached its prime at a time when Ashoka conquered (almost) entire India and converted to Buddhism after the Kalinga war in 236 CE. Chandragupta Maurya embraced Jainism after retiring. Buddhism becomes the Ashokan state religion. Vedic gods steadily lose relevance without patronage of the state in this period whereas the message of Buddha reaches off shores. Ashoka bans animal sacrifice rituals, which affected the influx of wealth and gifts for Brahmins in a new egalitarian social order in which they weren’t at top of hierarchy any more.

BRAHMIN COUNTER REVOLUTION – 187 BCE

Pushyamitra, a Brahmin Mauryan general assassinates the last Mauryan Emperor Brihadratha Maurya to establish Shunga empire whose inscriptions reach as far as Ayodhya. Pushyamitra not only revived Brahminical supremacy by reestablishing four-fold Varna system and animal sacrifices Yajas prohibited by Ashoka, but he also cruelly persecuted Buddhists. Vibhasa, a 2nd century Buddhist text, states that Pushyamitra burned Buddhist scriptures, killed Buddhist monks, and destroyed 500 monasteries in and around Kashmir.

Compilation of Ramayana and Mahabharata begins in this period with patronage of Brahmin kings and will be completed over approx. 600 years in Gupta period. Brahmins also responded with Dharmashastra (including Manusmriti) in this period to reclaim the authority of Vedas. Most of the basic ideas and practices of arising classical Hinduism will derive from the new Smriti literature.

SHUDRAS IN MANUSMRITI

“A Brahmana may confidently seize the goods of (his) Sudra (slave); for, as that (slave) can have no property, his master may take his possessions.” – Manusmriti 8.417

“Brahman men can marry Brahman, Kshatriya, Vaish and even Shudra women but Shudra men can marry only Shudra women.” – Manusmriti 3.12

“In case a Brahman man marries Shudra woman, their son will be called ‘Parshav’ or ‘Shudra’ because his social existence is like a dead body.” – Manusmriti 9.178

“Sudras who live according to the law, shall each month shave (their heads).” (Manusmriti 5.140)

Royal couple in Shunga period 100 BCE – The clothing of this period (along with Gupta costumes) is somewhat standardised in large-scale in depiction of Puranic Hindu gods.

EARLY PURANIC HINDUISM – (250 CE – 500 CE)

Ramayana and Mahabharata are compiled over a period of six hundred years and the writing was completed by 300 CE – 400 CE. Ramayana and Mahabharata are compiled as Itihasa (Sanskrit: History) whereas Purnas narrate the interactions of Vedic gods with people and demons. The early Puranas like Markandeya Purana, Matsya Purana, Vayu Purana and Vishnu Purana are roughly compiled from 250 CE to 500 CE. Few other Puranas written in this era like Brahmanda Purana, Vamana Purana and Kurma Purana and Linga Purana are completed till around 850 CE – 1200 CE.  Early Puranas were written in retaliation to popularity of Buddhism, with intent to reach out to the masses including tribals through simple story telling. However the Dharmashastra (treaties of Dharma) compiled in this period ordered the Vedic knowledge was exclusively retained only within upper-caste community member, who will be allowed to marry only within upper-caste community.

The epics and Purnas weren’t written by a single author but many, and further edited and reedited by several other authors – however the authors were all Brahmins. While the non-Brahmins worshipped even Yakshas by late Vedic period (which made no intellectual sense to Indra-centric Vedic knowledge), Brahma, Vishnu, and Shiva emerge as the new popular gods under the new Puranic reiligion.

KUSHANA EMPIRE (30 CE – 375CE)

The Kushanas bring in multicultural influences of Scythian, Hellenistic and Greek to Indian subcontinent. A headless statue of the Kushan Emperor Kanishka found in Bactria near Afghanistan shows him dressed in trousers, boots, tunics and overcoat. One of the most important costume development in this period was a rectangular cloth garment draped over both lower body and upper body – the sari drape, Roman influenced. Trade with China was directly established through silk route, providing access to exotic silks in colours of blues, gold, bronze, green, crimson, pink, red, yellow, yellow-green, and browns.

Kushan Royal Costume:
Chugha : calf-length overcoat with a wide richly embroidered border down the centre-front opening, hem and edge of long sleeves (probably ruched)
Tunic : Kurta-like long garment
Chalana : baggy trousers tucked into calf-length padded boots

Prince Siddhartha, Gandhara School of Art depicting the costumes of Brahmin priests and royal/court men.

Kushan men wore stitched calf length tunic. Owing to the Roman influence of Kushans Antariya in the era is worn sari-like, tied in front, while one end is passed between the legs, pleated and tucked in at the back, the other end is partly pleated and tucked in at the front, then wound around and worn over the left shoulder.

Mathura School of Art. Costumes of Kushan women include: Antariya (lehenga style) : simply wrapped around and tucked in at the left
Anatriya (sari style) : worn in the kachcha style, the other end being taken across the body and over the left shoulder
Uttariya : thrown casually over the shoulders
Tunic : with front opening, held at the neck by button; long ruched sleeves have ruching held by jewelled bands or buttons; tunic is form-fitting
Mekhala : four-stringed girdle with clasp and decorative leaf at the centre
Hara : one long pearl necklace worn between the breasts and one short one with a pendant
Kundala : large ring-type earrings
Head-dress : chaplet of leaves or turban with a central flower worn around the top knot of hair

SATVAHANA DYNASTY (221BC-218AD)

The Budhism and Jainism continued to decline under Satvahana rulers. Jain Satvahana king Simukha adopted Brahmin orthodoxy and performed Rajasuya and Ashwamedha sacrifices. Post Satavahana dynasty, Andhra Pradesh was divided into several kingdoms, such as Ikshvakus, Brihatpalayanas, Anandas, Salankayanas, Pitrubhaktas, Matharas, Vasishtas etc, who were all Orthodox Brahminism, Vaishnavite or Shivite rulers.

Woman wearing Pratidhi (breastband) Ajanta Caves, Maharashtra. By this period, there was considerable influences from the West, the Greco-Roman notion of covering breasts finds popularity in Indian subcontinent.

Costume of Dancing Girl (Ajanta Caves, Maharashtra):
Cholaka: fitted choli-type blouse with an apron front; the long sleeves are of dark red brocade, while the middle is of white silk probably tied at the back with ribbons that are visible
Antariya: worn in Lehenga style, is of silk with purple, green and yellow stripes with lozenge patterns in white
Muktavali: three stringed pearl necklace
Hara: necklace of large beads
Valaya: two simple and one ornamental bangle on each wrist
Kancala Kundala: elaborate earrings with pendants
Mukuta: tiara of gold
Hairstyle: large bun at the nape with flowers and several strings of pearls or gold chain wound around and held by brooches

ARYA-DRAVIDA CULTURAL FUSION

Ancient Thamizh classical work Sangam literature (which also included several women poets like Avvaiyar, Mudatamakkanniar, Kaakkaippaadiniyaar, Naachchellayaar, Naagaiyaar, Nanmullaiyaar, Ponmudiyaar, Ilaveyiniyaar and Nappasaliyaar,) was compiled between 400 BCE until 300 CE under the patronage of early Pandya, Chola and Chera kingdoms. Sangam texts, primarily secular in nature account details of early Dravidian religion which is non-Vedic in origin. The Brahminical four-fold caste system wasn’t practised socially in this era. The earliest reference of Paraiyar, drummers classified as Adi Dravida (Dalits) in modern India, occurs in a poem by the Sangam poet Mangudi Kilar in 2nd century CE, however any labelling of caste identity (social hierarchy) to the profession itself does not occur until the reign of Rajaraja Chola in 1100 CE.

In ancient Thamizh grammatical works Tholkappiyam, Murugun was described as the favoured god of Thamizh people and Shiva had the status of supreme god. Early iconography of Dravidian gods Murugan and Shiva and their association with native flora and fauna goes back to Indus Valley Civilization. It’s remarkable to note that Vedas find no reference of Shiva but Vedic deity Rudra is mentioned as Shiva in later post-Brahminism texts. Thirumal, Amman/Mariamman, Valli, Wanji-Ko & Kotravi were other popular ancient Dravidian gods. The architecture and style of Sangam period brick temple excavated at Salavanakuppam near Mahabalipuram, is different from the norms of Bhramnical Shilpa Shastra.

DARK AGES OF DRAVIDAN HISTORY (300 CE – 700 CE)

The Kalabharas invade and displace the three Tamil kingdoms by 300 CE – described as Dark Age in Thamizh literature.  Though Kalabharas conquer South India as Jains, they later preach Shaivism and Vaishnavism, possibly influenced by Puranic religion of late Gupta period. Kalabhara kings patronage Murugan who is now referred as Skandha and King Achyutavikranta, a Vaishnava becomes Tirumal devotee and Tirumal is merged with Vishnu, Amman with Parvati and Wanji-Ko with Indra in this period. Kalabhra coins dating towards the 600 CE employ both Prakrit and Thamizh in their inscriptions. This period represents the most significant religious fusion between ancient Dravidians and Indo-Aryans. However, this synthesis of religion is also widely criticised on grounds of Dravidian gods being hijacked or appropriated into Puranic and Vedic gods, and modification of Dravidian cultural history and knowledge. The rule of Kalabharas is ended by counter-invasions by Pallava, Pandya and Chola kings. Pallava king Mahendra Varman, a Buddhist, preaches Puranic Hinduism in the influence of Saivite saints. Thereafter, the Pallavas used Dravidian architecture to build some of the most important Hindu temples and academies of South India.  Shaivism, Shakthism and Vaishnavism emerge as the major religions of South India by the end of Kalabhara rule.

Varaha Avatar rescuing Bhumi Devi (Mother Earth) – 7th – 8th Century CE, Mahabalipuram, Pallava Kings

While the length of antariya seems to grow longer and take form of sari like drape in other parts of India in this period, people living in hot and humid Dravidian lands continued to wear short and minimal clothing. The panels from group of monuments at Mahabalipuram from the 7th-8th century Pallava empire depict people in short antariya or loin cloth tied with a kayabandh, uttariya, elaborate headgears, jatta hair, and jewellery including bangles, amulets and necklaces.

GUPTA EMPIRE (240 CE – 590 CE)

The Dark Age of Dravdian history also coincides with the Golden age in Northern-Central India. Gupta kings who were orthodox Vaishnavas, funded both Buddhism and Brahminism in seek of legitimacy for their dynasty.  Gupta kings built Buddhist temples and monastic universities such as those at Nalanda. Ramayana and Mahabharata also take their final shape in this era. The Bhagavad Gita successfully manages to merge both Brhamanic as well as Sarmanic traditions of Buddhists and Jains into one scripture. The growth of ritualism in Mahanya Buddhism increasingly blurred the differences between Buddhism and Brahminism. Buddha eventually emerges as an avatar of Vishnu in Vaishnavism. Ancient Brahminism gets a complete makeover under the patronage of Gupta kings. Vaishnavism and Shaivism are the most popular religion. The decline of Gupta period in 5th century AD marks the end of Ancient Indian history timeline (and commencement of Medieval period.)

Classical Sanskrit flourished under Guptas kings who supported extensive literary works in topics ranging from medicine, veterinary science, mathematics, astrology, astronomy and astrophysics. The iconic Aryabhata made extraordinary academic contributions in the Buddhist heart land, Pataliputtra. The golden age of Brahminical resurgence also meant the worst for Shudras and Outcastes as Manusmriti was strictly enforced in this period. BR Ambedkar points to this period for orchestrating the menace of untouchability.

“Cow-killing was made a mortal sin or a capital offence by the Gupta kings who were champions of Hinduism,” notes Dr Ambedkar. He quotes historian D.R. Bhandarkar, who in his Some Aspects of Ancient Indian Culture cites a copper plate inscription, dated 465 AD and belonging to Skandagupta’s reign, which equates gau-hatya, or cow-slaughter, with brahma-hatya, or the slaying of a Brahmin. This equivalence is more or less echoed in an earlier inscription of 412 AD. It was from then on cow-slaughter began to be considered a mortal sin. – Firstpost

In response to vegetarianism preached by Buddha & Mahavir, Brahmin kings take it a notch up by banning the consumption of cow meat. Kamadenu, the sacred gaumata also emerges as a significant Puranic deity. In his book, The Untouchables, Dr. BR Ambekar also writes:

There is really no necessity to enter upon any speculation as to whether beef-eating was or was not the principal reason for the rise of Untouchability. This new theory receives support from the Hindu Shastras. The Veda Vyas Smriti contains the following verse which specifies the communities which are included in the category of Antyajas and the reasons why they were so included

L.12-13 “The Charmakars (Cobbler), the Bhatta (Soldier), the Bhilla, the Rajaka (washerman), the Puskara, the Nata (actor), the Vrata, the Meda, the Chandala, the Dasa, the Svapaka, and the Kolika- these are known as Antyajas as well as others who eat cow’s flesh.”

The kings of Gupta period comprised mostly of stitched dresses which gained the importance of royalty during Kushan periods. Since Kushans were much influenced with the Western Roman Empire therefore the coats, trousers
and boots were pre dominant dresses of royal family. People continued to wear the new fashion with indigenous styles – antariya, uttariya and kayabandh.

Mens Costume, Gupta period: A-King (Ajanta, Cave XVII), B-King, making an
offering of lotus flowers to Lord Buddha (Ajanta, Cave I), C- King and Queen (Gupta gold coin), D- Prince
(Ajanta, Cave XVII), E- Minister (Ajanta), F- Chamberlain (Ajanta, Cave XVII), G- Guard (Ajanta, Cave
II), H- GUARD (Ajanta, Cave XVII), I- Foot Soldier (Ajanta, Cave XVII), J- Bikkhu (Ajanta, Cave XVI),
K- Horse Man (Ajanta, Cave XVI)

Womens costume, Gupta period: Costumes of women. A- Queen (from Gupta gold coin), B- Votary (Ajanta, Cave II), CAttendant (Ajanta, Cave I), D- Maid Servant (Ajanta, Cave XVII), E- Court Lady (Ajanta, Cave I), FPrincess (Ajanta, Cave I), G- Court Lady (Gwalior Museum), H-Female Votary (Ajanta, Cave VI), I- Maid (Ajanta, Cave XVI)

Poverty ridden lower caste communities continued to wear the basic loin cloth and antariya.

Images (Sculptures and Paintings): WIKICOMMONS

Costume Illustrations: 4to40.com

The post Influence of Caste System in Clothing – Ancient India appeared first on Purushu Arie.

Photo: Rajesh Thanikachalam | Location: Thirsty Crow, Chennai

Used clothes taking up space in your drawer don’t always remain in donation worthy condition. Given the amount of resources it takes to make the clothes, it is unwise to throw them away too. Colour blocking is a cool way to upcycle old clothes and breathe in freshness to your wardrobe. Mismatching two or more used clothes can reconstruct a whole new colour blocked style. Cutting used clothes and stitching it with components of other old clothes – it’s something I did a lot ever since I learned tailoring in fashion school. Our used clothes carry our personality, character and memories – thereby making it more interesting to carry forward the old clothes onto newer styles.

CREATIVITY IS MAKING MARVELLOUS OUT OF DISCARDED.

This gender neutral button-down green kurta was among the last samples I carried from my Beyond Binary collection. I upcylced the kurta by panelling it with used lime green tshirt to reconstruct a whole new Athleisure Kurta. It’s probably to do with the football World Cup. Spain, Portugal and a long list of four to six other teams I supported have all been knocked out. Regardless of the shockers, football world cup has made this summer lit af. Football has managed to bring together people and cultures in a world where international political diplomacy is rapidly degrading. Athleisure trend continues to roar this summer on backdrop of FIFA world cup. The word Athleisure has not only made it into dictionary but even on to the street hoardings of Bangalore and Chennai. Athleisure trend has managed to bridge sportswear with casual and formal wear, thereby providing immense freedom and versatility in dressing for our fast multi-faceted lives. Athleisure has successfully combined fitness, urban lifestyle needs and fashion trends into one complete lifestyle solution. Athleisure trend has found the patronage of both fashion and sports industry. FIFA world cup only seems to amplify the influence of athleisure fashion in our everyday lives. Athleisure is totally here to stay for now.

The green Athleisure Kurta is teamed with colour blocked trousers – made from used grey and green pants. The entire look comprising of grey, olive and lime green, displays an array of greens in harmony. Green stands for naturalist ethos – the need to reduce, reuse and recycle. Upcycling old clothes helps us to re-discover the foundations of nature and serenity. Green explores the notions of celebrating what’s natural.

In a pride flag, green denotes an individual’s natural choice of sexuality.

All images were shot by Rajesh Thanikachalam in solidarity with 2018 Pride Month featuring Chennai Fashion Bloggers (from left to right) Shiny, Shwetha, Neena, Purushu and Pavithra.

The post Athleisure Kurta – Upcycle Old Clothes appeared first on Purushu Arie.

1. Flora & Fauna Embroidery Patchworks

Since early 2010s majoritarian designers boasted how they’re hardcore minimalist and they found liberation in oneness – all that on backdrop of Normcore phenomenon, which in few years evolved into Athleisure with sportswear influences. Bold & colourful flora and fauna patchwork was the last element to be relevant in that design direction. But then, Alessandro Michelle happened to Gucci, and now several self-proclaimed Bollywood celebrity stylists to other heritage authentic labels are incorporating flora and fauna embroidery & patchworks to look as Gucci as possible. Their minimalism got Guccified – Flowers, honeybees, snakes are everywhere in 2018 clothing.

ROSES ARE RED,

SUIT MODIFIED IN BLUE,

TROUSERS ARE SHORTER,

& THEY THOUGHT WORLD WON’T KNOW?

Lessons from @madison_onpeddar (who blocked us btw) on how to copy a @gucci trouser suit and not get caught. Tip one : change the colour Tip two : make the trousers shorter. And voila! xoxo #copycat #copy #ripoff #designerknockoff #knockoff #shameshame #samesame #gucci #madisononpedder #madeinbandra

A post shared by Desi Dior (@desidior) on Jul 19, 2018 at 10:23pm PDT

STUNG BY #GANDI #COPY – SHAHID KAPOOR

Major Guts! . Can someone tag the stylist/Designer of @shahidkapoor’s Gucci-from-Daryaganj look? . #gandi #dietsabya #🤔 #🤢 #guts

A post shared by Diet Sabya (@dietsabya) on Jul 13, 2018 at 6:46am PDT

Not inspired by गुच्ची at all 🤣 . . Left: @gucci right: @casapopofficial . . #dietsabya #gandi #copy #🤢

A post shared by Diet Sabya (@dietsabya) on Jul 10, 2018 at 3:57am PDT

2. Green & Red Combo

Gucci is an Italian luxury brand founded in Florence in 1921. It only comes naturally for the brand to position green and red colour combinations as a major branding identity. It only comes naturally to unoriginal minds to flood their collections with green-red combos. Trying hard to look G-U-C-C-I?

Congratulations Gucci! You got Forever21, a Los Angeles, California headquartered brand to wear the colours of Italy!

3. Multi-Coloured Stripes

Multi-coloured stripes on hems, collars, plackets, shoes, bags and other accessories – are a major Gucci 2018 revolution. But then stripes are stripes and stripes are easiest to replicate and getaway with. Hence, it’s the most copied Gucci element in 2018.

This iconic Gucci stripe tshirt inspired several others. Left: Gucci, Right Top: Pull & Bear, Bershka, River Island. Right Bottom: Topshop, Zara, Topshop

Guess even went on to copy the classic square ‘G’, the diamond-shaped repeating pattern with interlocking G’s!! Left: Guess, Right: Gucci

India’s serial copy cat desginer label Falguni Shane Peacock tried to play it clever only to be busted by Diet Sabya!

TURNS OUT, BIGGEST FASHION TREND OF THE YEAR 2018 ISN’T A STYLE BUT A BRAND – GUCCI! CONGRATULATIONS ALESSANDRO MICHELE, YOUR ART RULES THEIR FATE!

The post 3 Ways Fashion Brands Are Trying Hard to Look Gucci in 2018 appeared first on Purushu Arie.

• SHOP

LUNGI BREAKING OFF CHAINS

Beyond Binary is a confluence of binary opposites that alters absolutist thought dimensions. Curves & edges, sharpeness & drape, femininity & masculinity – all elements converge in plurality to shape the label’s post-Genderism aesthetics.

Ancient Indian costumes – Sirradai (Antariya) & Meladai (Uttariya), which were gender neutral in nature, evolved into modern sari & lungi. Purushu Arie’s innovations: armhole sari & waistband lungi revolutionarily alters the functionality of the garments for 21st century needs.

The post Gender Neutral Installation – DYSCO x MIXX appeared first on Purushu Arie.

For most Thamizhians, fashion and style is beyond the paid manufactured trends found in magazines. Veshti clad Thamizh men are more likely to ask, “What’s Gucci my nigga? What’s Louis my killa?” Thamizh Nadu is a unique place where more fashion trends have trickled up from the lifestyle of common man than the trends that have trickled down from elite class. The clothing of Dravidian politics was mostly simple but boasts rich heritage and history. The unique style statement of Dr. Kalaignar Karunanidhi was embedded with deep political statements. Kalaignar Karunanidhi’s clothing politics only added to his radical voice. Honouring the legacy of the stalwart Dravidian leader, here’s a walk through Kalaignar Karunanidhi’s clothing politics.

In front row (left to right): Annadurai, M. Karunanidhi, MGR and Periyar wearing veshti-sattai at a DMK meet in then Madras. Image: The Hindu

VESHTI-SATTAI

In Madras, the rulers often wore the humble white veshti and the opulent bespoke suits belonged to their bureaucrats. Crisp white shirt and veshti is the trademark fashion of men in Thamizh Nadu politics. Kalaignar continued this Dravidian legacy by adopting the kara border veshti-sattai as his political uniform.

Kalaignar Karunanidhi & MGR wearing black glasses. Image: Newstm

BLACK GLASSES

Karunanidhi started wearing black glasses after he met with an accident in the late 1960s that damaged his left eye. The black glasses which he wore for more than half a decade was changed to amber brown upon his doctor’s recommendation just a few months before his demise. Coincidentally, Kalaignar’s long-time friend and eventual political rival MGR also wore black glasses. Together, the duo created unprecedented crazy for black goggles in Thamizh Nadu.

Alliance of the theist and atheist: Kalaignar Karunanidhi and former Prime Minister of India, Shri. Atal Bihari Vajpayee. Image: Rediff

YELLOW SHAWL  – KALAIGNAR SWAG

Dravidian ideologues chose to wear the common man’s thundu, a traditional cotton towel with kara borders in protest against the caste prejudice involved in wearing shawl over the shoulders. From there on, towels/thundu emerged as the raging iconography of Dravidian politics that vehemently opposed Brahmanical supremacist hegemony. Everyone from Periyar, Anna, MGR, Kalaignar to contemporaries like Vaiko have worn towels over shoulders. Though Karunanidhi initially wore white thundu featuring kara borders, he later chose the yellow shawl which became a trademark of Kalaignar swag. In MGR ruled 1980s, more than 20 people were killed by the police in the baton attack and shooting in a series of protests led by PMK founder Dr. Ramadoss. Thamizh Nadu has never seen such a big struggle before. After the demise of MGR, Karunanidhi succeeded in the elections and negotiated with the Vanniyar Sangam leaders headed by Dr. Ramadoss, and eventually segregated Vanniyars among the Most Backward Caste community. Kalaignar Karunanidhi gave a 20% reservation to the community, and as gratitude to his social reform, PMK leader Ramadoss garnered Kalaignar M Karunanidhi with the yellow shawl. The colour yellow denoted the Vanniyar flag and Kalaignar Karunanidhi donned the yellow shawl since 1989.

Kalaignar Karunanidhi in black shirt. Image: TOI

BLACK SHIRT

Symbolism was deeply embedded in Kalaignar’s clothing. Black shirts and flags were raging iconography of protest and anarchy in Thamizh politics. The colour black which was often associated with death, bad-luck and other things inauspicious, was encouraged by Dravidar Kazhagam found Periyar EV Ramasamy. Kalaignar Karunanidhi, a staunch rationalist and crusader of superstitions, proudly wore black shirt to mock and protest irrational forces.

M. Karunanidhi addressing the third meet of the International Conference of Thamizh Studies, inaugurated at the College de France in Paris on July 15, 1970. Image: The Hindu

GLOBAL THAMIZHA

It may be hard for the present generation to imagine Dr. Kalaignar in anything other than traditional white shirt, veshti, and yellow shawl he wore for several decades. However the five-time Thamizh Nadu chief minister also donned Western suits in early 60s and 70s especially when he travelled abroad to represent Thamizh Nadu on a global platform.

Karunanidhi wearing Madras checks. Image: New18

ROOTED IN MADRAS

The global Thamizhan was still rooted and grounded in the iconic Madras checks. Simple and comfortable lungis were integral part of Kalaignar’s leisurewear clothing.

The post Kalaignar Karunanidhi’s Clothing Politics appeared first on Purushu Arie.

Google search suggestions are very useful but sometimes hilarious AF too! People turn to Google search with all sorts of weird and funny questions and luckily for us, Google predictions throw up quite a few gem!

1. Like…. Do fashion models wear underwear? Only if they come for free… shm

2. #InstaModels are #happy #rich #paid #photoshopped and….. #fake?

3. And, if the fashion model is male, do they sleep with photographers?

4. Dear fashion photographers, do you sleep with models? Solve the riddle for us.

5. Do stylists pay for clothes? Do they return clothes?

6. Become a fashion editor for free clothes… but do fashion editors write? :O

7. Free clothes apart, are fashion shows free?

8. Why is fashion runway….

9. Are designer clothes worth it? The price tag covers the expenses of those weird fashion shows you see

10. high heels are…. selling though!

11. And, is fashion education selling….

12. Is that why designers are killing themselves? Or is it because they dress badly?

Lol. Do share the fun search predictions you discovered on comments or my Instagram…. and am not done yet – Here’s a bonus, just for gags

The post 12 Funny, Weird & WTF Google Search Suggestions on Fashion appeared first on Purushu Arie.

A lot of social transformations take place in Gupta period (240 CE – 590 CE), and the Brahminical four-fold varna system in ancient North India assumes the following characteristics:

1. Caste is hierarchical
2. Caste is hereditary
3. Purity of bloodline is established through marital norms (to marry within castes)
4. Occupations reserved only for specific caste on virtues of birth
5. Social ostracism & untouchability on basis of caste hierarchy

Chinese scholar Hieun Tsang, who visited India in 630 CE, writes that, “Brahminism dominated the country, Caste ruled the social structure and the persons following occupations like butchers, scavengers had to live outside the city”. The disintegration of Gupta kingdom leads to decentralisation of power of early-Classical Brahminism. The succeeding kingdoms of early Chalukyas, Karkota, Harsha and other Puranic kingdoms gift virgin lands as royal grants to Brahmins in returns for agrarian exploits and social status to the rulers. With royal patronage, Brahmins spread further across the Indian subcontinent and absorb several local indigenous and tribal traditions into the new Puranic religion. With expansion of Brahminical settlements, various local Dravidian communities were absorbed into the Brahminical four-fold varna system in this period, making the varna system even more complexly layered in South India than in North –  for example, incorporating local groups into Brahmin community led to stratification within the Brahmins, with some Brahmins having lower social status than other Brahmin communities.  

Read: Influence of Caste System in Clothing – Ancient India

Early Puranas were written in retaliation to popularity of Buddhism, with intent to reach out to the masses including tribal communities through simple story telling. Orthodox Brahmanism undergoes radical transformation under Puranic literature thereby laying foundation of what will later become mainstream modern “Hinduism”. The early Puranas like Markandeya Purana, Matsya Purana, Vayu Purana and Vishnu Purana are roughly compiled from 250 CE to 500 CE. Few other Puranas written in this era like Brahmanda Purana, Vamana Purana and Kurma Purana and Linga Purana are completed till around 850 CE – 1200 CE. There are 18 mahapuranas, 18 upapurnas, and several other Puranic compilations which narrate the interactions of Vedic gods with people and demons.

Classification of Brahminical texts, also identified as “Hindu scriptures” in modern era.

Puranic Brahminism is primarily a fusion and distortion of various Indian customs including Vedic, non-Vedic, pre-Vedic, post-Vedic and other tribal traditions. It is primarily because of the merger of differential cults that modern Hinduism often provides varying myths for a same deity with varying geography/cultures, for example: description of Sivan’s marriage (to Parvathi and Sati/Uma) is different in Thamizh texts from that of Sanskrit. Despite the merger of Dravidian deity Sivan with Vedic deity Rudra, the local South Indian myths focusing on the knowledge-bearer aspects of Sivan is continued to be preserved in Dravidian cultures (in form of Dhakshinamurthy and Nataraja among others,) whereas the Northern depictions focus more on the fierce Bolenath antics.

Evolutionary merger of Vedic deity Rudra and Dravidian deity Sivan under various Puranic and Non-Puranic religious movements.

Powered by the popularity of Puranas, Shiva goes on to assimilate other local cults by the suffixing of Isa or Isvara to the name of the local deity, for example Bhutesvara, Hatakesvara and Chandesvara. Puranic literature also introduces god Vishnu in form of animals like fish, tortoise, boar and even a humanoid-lion, as totem symbols to appease indigenous tribes and incorporate those clans into a rural pastoral society propagated through the stories of Krishna and Rama. Over a period of six hundred years, Puranic god Vishnu assimilates several local cults like Narayana, Jagannaths, and Thirumal. By 8th century Buddha is reintroduced as an avatar of Vishnu. Though Brahminical literature goes on to assimilate and distort various aborigine cultures, the indigenous local mythologies and tribal customs continued to survive in parallel  in form of oral traditions, rural village cults, and worship of kula devata/kula dheiyvam.

Puranic narratives at times varied from the previous Brahminical texts itself. For example: The Valmiki Ramayana written to counter Buddhism and reestablish Brahminism in post-Mauryan Aryavarta (North India) & Madhyadesha (Central India), describes people living in South of Vindhya mountains as dangerous dark skinned demons and asuras; however in 12th century Thamizh Puranic compilation Kamba Ramayanam written to synthesise Rama’s spiritual authority in largely Shivite Dravidian lands, the narrative is different in both spiritual concepts as well as in storyline. Likewise, burning down Raavana effigies on occasion of Dusshera doesn’t find popularity in South India like in Northern counterparts. Instead Dusshera is introduced as Vijayadhashami to Dravidian audience through Puranic mythology – celebration of defeat of demon Mahishasur by goddess Durga. In modern Bengal, several mulni basi or low caste groups celebrate Hudur Durga festival, where the asura Mahisasur is worshipped instead of Durga. They observe Durga as a symbol of upper caste domination over the Dalits. Another popular Indian festival Diwali is widely celebrated to mark the return of King Rama in North India, with roots in Ramayana. However, the Dravidian celebration of Dheepavali has nothing to do with Rama and instead commemorates the death of demon Narakasura by goddess Sathyabama (or Krishna according to other Brahmin texts) – legends rooted in Vishnu Purana and Bhagawata Purana.

By Puranic era, caste hierarchy on virtues of birth was no longer just a Brahminical propaganda but was extensively used by rulers, landlords and traders to their own greed. The history of South India clearly indicates that most of the medieval origin southern royal dynasties arose from trading and pastoral groups; hence they readily supported Brahmins in return for Kshatriya legitimacy. Brahmins and kings enjoyed a mutually beneficial relationship – rituals performed by the Brahmins gave Kshatriya legitimacy to the kings and the temple land grants made by kings to Brahmins elevated them in society to the level of wealthy landowners. Although the seeds of caste system in south India was sowed by migrations of Indo-Aryans and Sanskritization of the aborigine ancestral South Indians, the caste system in South India is altered by various local factors and evolves distinctly from that in North India. In South India, caste boundaries were not as strictly marked as in north India, and the only classification that remained consistent was – Brahmin caste, non-Brahmin castes and outcastes or untouchables who didn’t belong to the caste system. While Brahmins consistently enjoyed the top position in social hierarchy, the social status and classifications of non-Brahmins kept varying with various socio-political changes.

BRAHMINIZATION OF KERALA

In Sangam era, modern day Kerala region was ruled by ancient Thamizh kingdoms of Pandya, Chera and Chola. In late-Sangam age, Mayurasharma (345-365 CE) of Kadamba dynasty of Karnataka region invited Brahmins from North India to settle in Tulu Nadu and areas of Kerala. Ays who trace their lineage to Yadavas and claimed to have immigrated from Dwaraka (modern day Gujarat region) to South India with Sage Agastya, were a dominant Indo-Aryan origin power in South Kerala during the Sangam age. Indo-Aryan Kalabhra invasion marks the end of Sangam age and thereafter Kerala enters a phase of “dark ages”. Patrons of Brahminism like Chalkuyas and Pallavas also have claimed sovereignty over parts of Kerala during the dark ages. Most scholarly sources suggest that Namboothiri Brahmins, who claimed to be the descendants of the pure Rig Vedic Brahmins, migrated into Malabar coast region during the last phase of Sangam age or early Medieval period. In the Puranic work Kerala Mahatmyam, a Sanskrit text which is part of Brahmanda Purana, the genesis of Kerala is attributed to Parasurama – the sixth incarnation of Vishnu. According to Mahatmyam, Parasurama decided to give land grants to the Brahmins in repentance to human slaughter. Parasurama then claimed a new land by throwing axe (parasu) across the sea, with which a new land emerged – this land, Kerala, was given as dana (alms) to the Brahmins. According to Keralolpathi, authored in later Bhakti period, Parasurama then sent for Shudras from various countries and settled them in the land as the Adiyans and Kudiyans, or the slaves and tenants of the Brahmins. Keralolpathi also adds that that Parasurama established as many as 64 Brahmin settlements called the gramas of which 32 belong to modern day Kerala, and the other 32 which are in Tulu Nadu of modern day Karnataka. Unlike the Namboothiri Brahmins of Kerala, the Tulu Brahmins do not claim the ownership of the land. The Parasurama myth of creation of Kerala contradicts the Puranic legend of Dasavatharam where Vamana avatar (5th incarnation of Vishnu) predates the Parasurama avatar (6th incarnation of Vishnu). According to Puranic mythology, asura king Mahabali who ruled Kerala, failed to fulfil promise to provide land to Vamana and therefore bows down and submits to Vamana – the dwarf Brahmin. Traditionally, Malayalees celebrate Onam to commemorate the Dravidian King Mahabali. While some Malayali Dalit communities observe Onam as a black day since it symbolises Brahminical hegemony over the aborigine people of the region, few Brahminical groups proposed the day as Vamana Jayanthi to commemorate Vamana instead of Mahabali. The Parasurama’s creation of Kerala or Mahabali’s encounter with Vamana, can be viewed among the many other inconsistent Puranic Brahmin myths propagated to assert Brahminical supremacy and legitimacy of land holding rights in places where Brahmins migrated to. It is theorised that Kotravai, the mother goddess of ancient Cheras was assimilated into the present-day form of the goddess Durga in this period of Sanskritisation. Although the Brahmin settlements in Kerala begins in late Sangam era, significant Sanskritisation or Brahminisation of Malayali society begins after 8th century with the rise of Bhakti movement and socio-political conditions in war trodden kingdom of medieval Cheras.

PALLAVA DYNASTY (275 CE–897 CE)

Early Pallava dynasty gain prominence around 275 CE after the fall of the Satavahana dynasty. Pallavas are possibly Deccan aborigine pastorals who later served as feudatories of Satavahana rulers. Much like Satvahanas who adopted orthodox Brahmin religion, Pallava kings identified themselves as descents of Brahmin Ashwattama, assumed Bharadwaja gotra, and established Indo-Aryan model of kingship in medieval South India. Other theories suggest Pallavas were descendants of North Indian dynasties who moved southwards and adopted local traditions to their own use. Invasion of Indo-Aryan Kalabhra rulers leads to the eclipse of early Pallavan stronghold. Pallava king Simhavishnu dethrones Kalabhra rulers around 575 CE, and establishes medieval Pallava Empire in modern day Kanchipuram by 600 CE. His son Mahendravarman I and grandson Narasimhavarman I preach Shaivism and patronage the extraordinary group of monuments in Mahabalipuram. Narasimhavarman’s general Paranjothi was renowned for his devotion to Shiva and was one among the 63 Nayanars of Bhakti movement. The Pallava rule marks the rise of Bhakti movement and thereafter, Thamizh Nadu emerges as one of the most significant bastion for Brahminical patronage in Medieval India. This period sees a major influx of Brahmins from North India to South, as they were generously granted lands and gifts by Pallava rulers. 

Early medieval kingdoms after the disintegration of Gupta and Satvahana empires.

Ashwamedha yajna and other Vedic rituals, as well as the first Sanskrit language inscriptions of Thamizh Nadu in Grantha script is introduced to South India in Pallava period. Arya-Dravida socio-cultural synthesis hits an unprecedented high in this period as Pallava kings go on to build some of the most important Puranic temples and academies of medieval South India. Pallava kings popularised the practice of dedicating temples to different deities – most of the arising Thamizh origin Puranic mythologies are very closely tied to these shrines and the local gods they’re dedicated to. Exclusive Brahminical colonies known as agraharams emerge around the temples in this era. The immensely wealthy Dravidian temples were now directly controlled by the Brahmins who were no longer just priests but adopted new professional roles as financiers and traded in commodities, and these iconic Pallavan temples emerged as the citadels of orthodox Brahminical caste system. While the immigrant Indo-Aryan customs did not at first have supreme social powers in medieval Thamizh Nadu, their spiritual authority grows over time and Brahminical four-fold Varna system becomes an integral part of Dravidian society under the Pallavan rule. Earliest mentions of untouchability and slavery in South India are found in verses of Shivite Nayanar poems of Thevaram and Vaishnavite Alvar poems of Divya Prabhandam. Initially, untouchability in South India was mostly in relation to entry into temples; however untouchability extends to other social aspects in the period of Imperial Cholas in 11th and 12th century CE.

Varaha Avatar rescuing Bhumi Devi (Mother Earth) – 7th – 8th Century CE, Mahabalipuram, Pallava Kings. While the length of antariya grew longer and takes form of sari like drape in other parts of India by early Medieval period, people living in Dravidian kingdoms continued to wear minimal short clothes. The panels from group of monuments at Mahabalipuram from the 7th-8th century Pallava empire depict people in short loin cloth (kiludai) tied with a waist band, meladai, elaborate headgears, garlands, and extensive jewellery.

Pallava king Simhavishnu with his two queens.

The Satvahana influences in Pallavan costumes are evident in the breast-band of central India which finds its way into medieval Thamizh Nadu – known as Vambu, Vaar or Kachchu in Thamizh. Breast bands of some female figurines even feature halters. The male royal figurines of Pallavan era also depict 2-piece clothing sirradai (loin cloth draped on lower body) and meladai (draped on upper body). The lower garments worn in Pallava period in some cases appears longer than that worn by the royals in ancient Sangam era. The upper body drape of men corresponds to the present day angavastram clothing of modern day Pancha-Dravida Brahmins.

The single piece of garment draped over both upper & lower body – sari, which gains prominence during Kushan rule in North India, finds no reference in either of Pallavan arts or the Sangam works. It is also noteworthy that from the Mauryan sculptures of Sanchi and Barhut to the Satvahana arts of Amaravati and Ajanta, it is only women who are decked with anklets. This clothing trend is observed in early Pallava arts; however Pallavan arts of Rajasimhan at Kailasanatha temple, Kanchi and the Shore temple depict even men wearing leg ornaments.

Costumes & Jewellery of Pallava Kingdom, Image: Dr. Gift Siromoney, MCC Magazine, Vol. 39, April 1970

Costumes & Jewellery of Pallava Kingdom, Image: Dr. Gift Siromoney, MCC Magazine, Vol. 39, April 1970

FACIAL HAIR – Warriors sported moustache, rishis pointed beards, but kings and gods are clean-shaven.

MAKEUP – Men and women applied three colours to their body – sandal-wood paste, chunnam and red kunkum, and eye-lids with anjanam.

HEADGEARS & CROWNS – Krita Makuta is a tall cylindrical crown, mostly worn by Vishnu and royal figurines. Jata Makuta is a distinctive hair-style resembling the crown depicted on Sivan. Karanda makuta is the most popularly worn headgear by common men and women in the form of a cone with tassels and other decorations.

GARLANDS – Aathondai flower (Capparis zeylanica) was used by the Pallava kings for garlands. Nandikalambakam also refers to garlands being worn on crown. However, the flowers in the stone sculptures of Pallavan arts aren’t depicted with the same clarity as in the bronze figurines of succeeding Chola period.

NECKLACE – Necklaces were of gold and precious stones and often worn without pendants by both men and women. Pendants (thooku) were worn by females. Veera sangili or Swarnakshaka refers to pearl-strings which go over both shoulders and are tied in the middle, forming an  ‘ X ‘ in the front and back. Yagnopavita denotes a variety of ornaments which are worn over the left shoulder. Yagnopavita of different kinds with clasps, long ones going down to the leg, double and triple strands meeting at the clasp are found in Pallavan figurines at Mahabalipuram.

BELTS & WAISTBANDS – A men’s ornamental belt called the udhara bhanda is worn just above the stomach. A waist belt (arai naan or kati sutra) knotted in front with a bow is worn by people of every genders.

EARRINGS – Ear-ornaments were a big trend for Pallavan people. In the ears they wore makara kundala (makara kuzhai in Thamizh) shaped like a fish or a crocodile, and patra kundala (thodu or olai in Thamizh) a circular ornament which was inserted in the lobes. Precious stones and gold were used to make the ear-ornaments, but it was also common to use palm leaf, clay and shell for making the different kinds of patra kundala. Women appear with the makara kundala on the left ear and patra kundala on the right and vice versa.

ARM BANDS & BANGLES – In the Pallava period the bangles were made not only in gold (thodi) but also from sea-shells (valai). A simple circular band worn on upper arm is called thol valai.  The second kind is a cork-screw-shaped ornament which goes round the arm twice or thrice and is the most common arm-band in Mahabalipuram. The third is an elaborate ornament called thekeyura which is set with gems, and some of these keyuras have extraordinary cross-like pattern around a circle.

ANKLETS – Hollow anklets (silambu) worn by women were made of gold with loose pearls inside to produce a characteristic sound. Nandikalambakkam mentions the kazhal, a leg ornament worn by king Nandivarman.

Rings on fingers and toes as well as nose-rings are not depicted in Pallavan arts and neither are any ornaments on thighs.

EARLY CHALUKYAS (543 CE – 753 CE)

The Brahminical migrations to Telangana, Andhra, Goa and Karnataka dates to 600 BCE – 400 BCE. Satavahanas who initially ruled modern day Maharashtra-Goa region and later controlled Telangana, Andhra and Karnataka were the earliest Deccan dynasties to be Brahminized. The Satavahana rule in Karnataka was succeeded by Kadambas who were Havyaka Brahmins and adopted Vedic Brahminism. Early Chalukyas were initially subordinates to Kadambas and Pulakeshin I establishes the first soverign Chalukya dynasty in 543 CE. Origins of Chalukyas is subject to varying opinions. The early Chalukyas address themselves as descendants of the Brahmin Kadamba rulers in their inscriptions. Few theories suggest Chalukyas were descendent of Andhra Ikshvakus. Brahminical literature, such as the Ramayana and the Puranas, connect the Ikshvaku’s lineage to Ayodhya of the Kosala Kingdom in northern India. A later record of Eastern Chalukyas credit Chalukya lineage to a ruler of Ayodhya who came south, defeated the Pallavas and married a Pallava princess. Several historians hold the view that an earlier southern migration is a distinct possibility and their subsequent Kannadiga identity may have been due to their success as chieftains and kings in Karnataka region. The reign of the Chalukyas saw the arrival of Kannada as the predominant language of inscriptions along with Sanskrit, in southern peninsula outside the Tamizhakam (Thamizh country). The early Chalukya empire reaches its zenith under Pulakeshin II who conquered most of Deccan plateau and  pushed forth up to the Narmada, where he came face to face with Harshavardhana of Kanauj. The last Chalukya ruler, Kirtivarman II, was overthrown by Dantidurga of Rashtrakuta dynasty in 753.

Costumes of medieval Karnataka – Illustrated depiction of Chalukya king Pulakesin II receiving envoys from Persia. Costumes of Chalukya ruled Karnataka corresponds with the costumes worn by their arch-rivals Pallavas. The illustration depicts king Pulakeshin II wearing short lower garment drape, headgear, armband, bracelets, earrings and necklace. Illustration also depicts women’s breast covering which reached the region with Satavahana rulers.

Artist’s depiction of the defeat of Chalukya king Pulikesin II by Mahamalla Narasimhavarman Pallava at Badami.

Costumes and jewellery at Cave temple of Badami, 578 CE in the rein of Kirtivarma I of Chalukya dynasty.

BHAKTI MOVEMENT (7th century CE)

The Bhakti movement originated in 7th century CE in Thamizh Nadu at a time when Brahminical religious customs had to compete the popularity of Buddhism and Jainism in South India. The Bhakti movement promoted devotion among masses regardless of socio-economical identities. While most Bhakti poets, Shaiva Alwars & Vaishnava Nayanars, belonged to Brahmin & Arasar (ruler) class, the  movement also included poets of other communities like Vanigars, Vellalas, Idaiyars, Kuyavar, Panar, Vedar, Sanar, Saliyar, Sekkar, and Vannar. While caste itself isn’t the central theme of Bhakti movement, its sincere devotion to god regardless of caste identity gains acceptance from a wide range of communities, and later reaches northwards through Karnataka and Maharashtra, and reaches its zenith in 15th century Bengal and northern India. The “surrender-to-God” approach of Bhakti movement later influences devotional practices in Islam such as Sufism and majorly revolutionised another medieval Indian religion – Sikhism.

Kannappa Nayanar, a non-Brahmin born in Vyadha (hunter) family was one of the 63 Nayanars or holy Saivite saints mentioned in Sundarar’s 8th century Bhakti movement poems. The figurine depicts Kannappa in beard and moustache, wearing popular Pallavan era attire: short sirradai (lower garment), waistband, veera sangili maalai (across chest), thodi (bangles), thol valai (arm band), thodu (earrings) and footwear.

Thiruthondar Thogai, an 8th century compilation of list of Saiva sect Nayanars who spearheaded the Bhakti movement, makes a one-line reference to Nandhanar (also known as Thirunaalaippovar,) as one of the Nayanars who was longing to enter the temple. Though the texts does not explain what hurdles he had to face in entering the temple, by 11th cenutry AD, another Thamizh Saivite text Thiruthondar Thiruvanthathi states that Thirunaalaippovar was a Pulaiyar, a lower caste by birth, who sought access to the Shivaloganadar temple in Tiruppungur and the Nataraja temple in Chidambaram. As the threat to popularity of Brahminical philosophies from Buddhism reduced substantially under the state patronage of Pallavas and medeival Cholas, the caste-based social order regains its importance in Puranas as observed in 12th century account of Nandhanar in Periya Puranam. The Periya Purana of 12th century CE goes on to appropriate & assimilate the protest of Nandhanar by adding that he gains access to temple worship only after his caste-oppressed Pulaiya body is ‘purified’ by the sacrificial fire, and he reappeared like a Brahmin sage, wearing matted hair (characteristic of a Shaiva) and the sacred thread worn by Brahmins across his chest. The Puranic version is interpreted as a classic Brahmanical supremacist propaganda, where a particular lower caste individual is granted salvation by transforming into a Brahmin; where the superiority of the Brahmins is reinforced and the ban of Pulaiyars in temple is not challenged.

1942 poster of Thamizh film – Nandhanar

MEDIEVAL CHERAS (800 CE -1102 CE)

Cheras reestablish their political authority in Kerala region under the leadership of Kulasekhara Varman by 9th century CE. All the kings of second Chera empire adopted the official title Kulasekhara Perumal, originating from the founder of the dynasty. Hence, the second Cheras are also known as Kulashekaras or Perumals. The revival of Chera power between 9th and 10th centuries is remarked as the golden period of Kerala history. Kulashekara kings were great patrons of the arts, literature and science. Under the patronage of Perumals, Kerala even gets its own distinct writing script – Manipravalam, which was used to write an admixture of Proto Thamizh-Malayalam language and Classical Sanskrit. Several religion including Jainism, Buddhism, Christianity, Islam and Puranic Brahminism co-existed peacefully in Kulashekaras kingdom. The medieval Chera Empire was divided into provinces under the rule of Nair Chieftains, with each province comprising a number of Dhesams under the control of local chieftains. There were two kinds of chieftainships: hereditary – like the governors of Kollanatu, Venatu, Eralanatu, and Valluvanatu; and nominated like the chieftains of Ramavajanatu, Nanrulainatu and Netumpuraiyumatu.

Chera kingdom, chieftaincies, and Chola mandalams c. 11th century

Though the medieval Cheras enjoyed lordship over a number of independent chiefs in the locality, they didn’t wield complete control over Kerala region as a centralised kingdom. By 8th century, Brahmin settlements controlled vast estates of land in the fertile river valleys. These settlements were significant in controlling the power of medieval Chera throne. A council of Brahmins called Nalu Tali, a junior prince called Koyil Adhikarikal and bodyguards known as Ayiram (thousand) were closely associated with power control of Perumals. The new social equations powered the monumental rise of Namboothiri Brahmins and Puranic religion in medieval Kerala. With the rising political authority of priests, the Namboothiris were at the top of medieval Kerala’s caste hierarchy, outranking even the kings. The prolonged series of wars with the Cholas led to significant weakening of the Chera ruler’s control over their territories. Several local Chieftains used the political instability to assert their independent rule. The disintegration of the Perumal suzerainty resulted in the emergence of Venatu, Kozhikotu and Kolattunatu as independent kingdoms. In coming years, Namboothiri Brahmins of Kerala go on to interpret Manusmriti according to their whims and wills, resulting in one of the most complex and worst case of apartheid caste system prevalent in Indian subcontinent.

Illustrated depiction of costumes of Namboothiri Brahmin

Mundu, a plain white rectangular cloth wrapped around the waist was the most common attire of worn by every gender in medieval Kerala. This plain white dress was worn by all, regardless of their caste, however Namboothiri Brahmins and rulers distinguished themselves in mundu with kasavu zari. Long traditional mundu were twisted and used as Uthareeyams in the form of a large Yajnopaveetham by Namboothiri men. Namboothiri males also wore Kapunim tied round the waist, passed between the thighs and tucked in at the front and back, with pleated front. The melmundu was a fabric worn over shoulders and also indicated caste status. For example, in presence of an upper caste person, the lower caste men should keep their melmundu either around waist and tucked under armpits. The upper caste sections wore rich silks and very fine semi transparent cotton clothes. Namboothiri men also wore wooden sandals called methiyyadi. Sporting a Kaduma, a tuft of lock of hair which was knotted and kept in different styles, was mandatory for Namboothirs. Kaduma was popular even among other social sections including the Malabar Christians.

Methiyyadi features a mushroom-shaped knob in front on a wooden.

The Namboothiri women wore Pudava around the waist usually measuring up to 7 feet in length and 2 feet in breadth. The Pudava was also draped in Kapunim style. The practice of covering the upper body didn’t gain prominence in Kerala till the influx of Christianity and Islam. Women wore mulakacha, a fitted bodice which was knotted from behind. By late medieval period, it was trendy for upper caste women to wear Neriyathum, a shawl like garment draped around the torso. This act of wearing clothes on the upper body was illegal for the lower caste women and was interpreted with disrespect towards the upper caste. Nair men and women wore a mundu and did not cover their chest. Nair women adorned themselves with ornaments and flowers. Widows however were prohibited from wearing ornaments.

Andal – the only female among the 12 Alvar saints featured hairstyle and jewellery which are unique to early medieval Kerala.

Illustrated portrayal of royal costumes of 17th century Kerala. The image depicts Johan Nieuhof’s audience with the Queen of Quilon (Kollam).

Illustrated depiction of a Malabar man and woman, around 1680 CE. Image: Dutch by the trade diplomat Johan Nieuhof

Women belonging to lower caste communities mostly wore Ottamundu – a short piece of cloth which was draped on the lower body. Thorthu was wrapped and tied around their waist commonly by people from lower caste communities. Agriculture labourers also wore Thoruthu as Thalekettu (turban). Ezhavas, Pulayas and Parayans wore a short loin cloth called Konakam. Other lower caste comunnities like Thanta Pulaya and Nayadi continued to wear leaves and vegetation as garments.

ADI SHANKARA’S ADVAITA VEDANTA (8TH CENTURY)

Adi Shankara, a Namboothiri Brahmin from present day Kerala region criticised the superstitious beliefs of ritual centric Brahminism. Shankara observed that the masses could not be kept interested in the religion without the power of the prayers. Shankara enabled the integration of the ongoing Bhakti movement with orthodox Vedic Brahminism stating that they were two sides of the same coin. Adi Shankara even identified the merits of Buddha’s teachings and incorporated them with Smartha traditions. It can also be commented that Adi Shankara emerged as the most important figure in wiping out Buddhism from India and reviving the authority of Brahminical literature. Although Shankara advocated harmony of castes, he wasn’t against caste system itself. Instead Shankaracharya protected and propagated Brahminical caste system. Adi Shankara interpreted Brahminical texts in such a way which would give lower-caste the right to know itihasa (Ramayana & Mahabharat) and Puranas, which in turn powered the popularity of Puranic Brahminism but denied them the knowledge of Vedas which were strictly confined within upper-caste sections. 

In the book “Riddles in Hinduism”, Dr. B R Ambedkar points out the irony where Adi Shankara’s Vedanta contradicts his own preaching of casteism.

“Why then Vedanta failed to produce a new society? This is a great riddle. It is not that the Brahmins did not recognize the doctrine of Vedanta. They did. But they did not ask how they could support inequality between the Brahmin and the Shudra, between man and woman, between casteman and outcaste? The result is that we have on the one hand the most democratic principle of Vedanta and on the other hand a society infested with castes, subcastes, outcastes, primitive tribes and criminal tribes. Can there be a greater dilemma than this? What is more ridiculous is the teaching of the Great Shankaracharya. For it was this Shankarcharya who taught that there is Brahman; this Brahman is real; that it pervades all; And at the same time upheld all the inequities of the Brahminic society. Only a lunatic could be happy with being the profounder of two such contradictions. Truly as the Brahmin is like a cow, he can eat anything and everything as the cow does and still remain a Brahmin.”

– Dr. B. R Ambedkar

Both the Bhakti movement and Advaita Vedanta failed to annihilate discrimination on basis of caste. In contrast, the omnipresence of caste in medieval Indian society became such that by 8th century CE, varna and jati find acceptance even in Jain literature. Several non-Brahmin communities who enjoyed economical status appropriated the popularity of Puranic Brahminism to their own benefits with myths associating their heritage and lineage to various Puranic gods who were popular at the time. The caste system in South India only grew more rigid and complex with the spiritual authority of Bhakti movement and Advaita Vedanta. For the first time in history, South Indian society fully vexed with strict untouchability and other complex casteist norms.

RASHTRAKUTAS (753 CE – 982 CE)

The early Chaluyas of Badami were succeeded by Rashtrakutas in 753 CE. The origin of the Rashtrakuta dynasty again is subject to many controversies with possibilities suggesting north western ethnic groups, tribes of Punjab, Maratha origin, Andhra Reddys, and native Kannadiga ancestry itself. Rashtrakutas supported the spirit of religious tolerance and were patrons of Jainism, Shaivism, Vaishnavism, and Shakthi faiths. They also supported Buddhism, although the religion declined significantly by this time with spread of Adi Shankara’s Advaita Vedanta in South India. Even the Buddhists and Jains who originally disregarded caste system, adopted it with the rampant prevalence of Brahminical social order in South India. Besides the four traditional castes, inscriptions from medieval Karnataka speak of up to 18 castes and sub-castes. Among the 18 caste divisions, Brahmins enjoyed the supreme status and most of other castes in Karnataka were primarily tribes who were assigned caste identities by the local Brahmins and rulers. Brahmins increasingly practised non-Brahminical professions such as agriculture, trade and in army. Gavera, Gatriga, Setti, Settigutta, Ankakaras, Gandiga, Gauvnda are few Vaishya classification mentioned in the inscriptions. Other caste divisions in medieval Karnataka include: Panchalas (smits, sculptors and carpenters), Agasa (washermen), Navida (barber), Kumbhar (potter), Mochchiga (cobbler), Meda (basket maker), Golla (gowherd), Uppara (mason) etc. Zakaya or Lahud caste consisted of communities specialising in dance and acrobatics. Capital punishment, although widespread, was not given to the Kshatriya sub-castes or to Brahmins. In Rashtrakuta Empire, inter-caste marriages was common among lower caste communities, whereas the upper caste community avoided nuptials outside their caste divisions. Inter-caste socialisation was discouraged and dining together between people of various castes was avoided. Untouchability takes shape in Karnataka during Rashtrakuta and succeeding Western Chalukya rule. Saniagara, Chandala, Holeya, Madiga, Naviga were considered lowest castes in the society. They usually resided in the outskirts of the village or town and had their own deities and temples. While Shudras are rarely mentioned in the preceding rule of early Chalukyas, Antyajas – lower caste sections who consumed cow meat were involved in various menial services. Alberuni who visited India during 1007 to 1033 CE, states that “After the Shudra follow the people called Antyaja, who are not reckoned amongst any castes. There are eight classes of them, who freely intermarry with each other, except the fuller, shoemaker, and weaver, for no others would condescend to have anything to do with them. These eight guilds are the fuller, shoemaker, juggler, the basket and shield-maker, the sailor, fisherman, the hunter of wild animals and of birds, and the weaver.”

Costume illustration of Kailasa stambha and other artworks from the Kailashnath Temple Kailash Temple at Ellora Caves

Costume illustration showing Kama and Rati at Kailasha temple Ellora Cave 16

Costumes and jewellery at Mallikarjuna temple, Pattadakal dating to 7th-9th centuries CE, sponsored by the Chalukya and Rashtrakuta dynasties.

The costumes of Rashtrakutas continued to follow the trends of Pallavas and early Chalukyas. However inscriptions from the period suggest that only upper-caste people could wear turbans, and the practice trickled down to the lower caste sections much later in the region.

MEDIEVAL CHOLAS (848 CE–1279 CE)

Raja Raja Chola I of Chola dynasty establishes one of the mightiest empires of India controlling the areas stretching from Sri Lanka in the south to Kalinga in the north. Medieval Cholas claimed chakravartin legitimacy, adopted the Brahminical social order of preceding Pallavas, and employed Brahmins as their priests. Aided by Bhakti movement’s influence, Brahmins gained supreme status in social and religious spheres of medieval Chola kingdom. Even the accession of a king to the throne had to be legitimatised by the Brahmin priests in the days of medieval Cholas. Caste regulations in respect of temple entry became more rigorous. Untouchability and unapproachability became rampant. The number of sub-castes multiplied. While Thamizh gains the status of global language under the Chola kings, they simultaneously promoted the learning of Vedas and Sanskrit. First Thamizh version of Ramayana is compiled by Kambar in this period. The Brahmin community of the Chola country not only consisted of local Thamizh Brahmins but also Brahmins from Malayala region, Brahmins from Kasmiradesa,  Aryan Brahmins from Gowdedesa, and Brahmanasa from Uttararastra of Uttara-patha.  They received variety of gift from the rulers, in the form of tax-free lands, gold, money and other moveable assets. In Chola kingdom, Brahmins not only served their traditional roles of priests but also assumed the roles of ministers, commanders, councillors and local administrators.

Chola Empire & territories in 1030 CE. Medieval Chola kings excelled in administration, revenue models, tax collection, and also built a massive naval fleet.

Brahminization of Thamizhakam reached its peak during the period of imperial Cholas and this led to a form of slavery, mainly associated with land ownership. With the distribution of tax-free lands as gift to Brahmins by the kings during the Pallava and Chola periods, Brahmins, who were until then mostly advisers and purohits to the king, became landowners in several places. While the Pallava and Chola kings boosted Brahmins with the status of landlords, several indigenous Adi-Dravidian communities like Paraiyar and Pallars were alienated from their own lands under the new casteist social order.

Caste divisions in medieval Chola dynasty was also classified as Idankai and Valankai (in Thamizh) or Edagai and Balagai (in Kannada), translating to left arm and right arm respectively. Several texts of this era refer to troubled relations between the right-hand and the left-hand factions. The genesis of the division into right hand and left hand castes is one of the riddles of south Indian history. Ninety eight sects under each of the two divisions were generally of the industrial and agricultural classes. The Brahmins, ruling class and a few other communities who claimed the highest social status were kept aloof from these two classifications.

Classification of castes under Valankai & Idankai divisions in medieval Chola kingdom.

Vellalas, a dominant caste of land-owners occupied the first place in the social scale among the non-Brahmins in medieval Chola kingdom. They called themselves Pillai, Chettiar, and Mudaliar.  While earlier Thamizh texts classify Vellalas as cultivators & non-cultivators, several new sub-castes emerge among Vellalas as they assume new roles and contribute to the royal and military services of Cholas. Vanigar is another caste division that’s primarily associated with trade. The word Vaniyam signifies trade in oil and its production. Though the oil-traders held low status in the social scale, they provided significant service in lighting the temples – a major consumer of oil products in Chola country, and thereafter are believed to have earned their high social status. Vanniyars are the only Thamizh origin caste to have their own Puranic compilation – Vanniyar Puranam. Paraiyar, derived from the root word Parai which means a drum, denoted the caste of drummers. Some of them also served as bonded agricultural labours, domestic servants, gravediggers, watchmen, scavengers, hunters, soldiers and potters. Paraiyars claimed to be the descendants of Ravana who resisted the Aryan cultural invasion in South India. Paraiyar division also included Valluva – priests who performed the funeral obsequies in the royal household before the rise of Brahmin power in South India. By medieval Chola period, Valluvas abstained from beef eating – a dietary habit continued by the other Pariyars. Some of the other popularly mentioned caste divisions in Chola inscriptions include: Chakkiliyar (cobblers), Chetti (merchants),  Ahambadiyar (land owners), Muttaraiyar (army generals), Ambattan (Barbers), Pallar (agriculture labours), Kammala (artisans), Thattan (gold smiths), Kollan (black smiths), Thacchan (carpenters), Karuman (stone masons), Visvakarma (metal smiths) and Kaikkolars (weavers).

Aided by flourishing trade and pan-continental influence, the weaving community (Kaikkolar) of Chola kingdom produced various types of clothes for the requirements of the temples, royal households and also for common people. Padaliputram (Poddaalapura), Chirapalli, Nagapatnam, Cholapatnam and Thondaimandalam were important centres of textile production. Pumpattu, Pachchilai pattu, Konkala pattu, Pulivur pattu, Patola pattu and Venpattu were different types of silk produced in this period. Fabrics woven with gold threads for auspicious occasions were called ponnadai. While silks mostly adorned the royals, cotton weaves remained popular among the commoners as pointed out by 13th century Chinese writer named Chau-Ju-Jua. Sella (Muslin) and Vichithra (Chintz) were the other mainly woven fabrics in this period.

Granite sculpture of Brahmini wearing kachhu (breast band) with halters, lower garment reaching mid-calf length, thodu (bangles), silambu (anklets) and paampusurul (arm band)  – Chola Kingdom, 11th Century.

Periya Puranam accounts that women wore attractive cottons and silks. Tugil aruvai, tuni, tundu, were the
names of the cotton cloth, whereas silk cloth was referred as Pattadai, Ponnaram, Uttarivam, and Manikilaradai. Tugil and Kalingam were perhaps imported clothes. Tugil seems to have been fine in texture and worn in summer season. Kalingam was a dyed cloth and black in colour. Young women wore red silks upon attaining puberty.

King Rajaraja Chola and guru Karuvur Thevar, Brihadeesvara temple, Thamizh Nadu, 11th century. This is the earliest known royal portrait in Indian painting. This may not be an exact rendering of the king’s features, rather a stylised representation.

The changes from Pallavan clothing to Chola clothing appear more evolutionary than revolutionary in nature. Emergence of pudavai, a predecessor of contemporary sari, can be noted as the most significant change in the silhouettes of Chola costumes from that of Pallavas. Earliest pudavai is worn around the waist with the chest bared. 10th century text Seevaga Sinthamani states that pudavai was folded with pleats in front. The length of earliest pudavai is unknown. Surrupudavai and Niravadi pudavai are the two variations of the costume in the reign of Kulottunga Chola (1070-1122 AD). Niravadi pudavai is three-yards in length. Cotton pudavais were referred to Parutti Pudavai. A 11th century inscription refers to the presence of tailors in medieval Thanjavur. The tailors stitched kachchu (breast-covering) which was intricately embellished and decorative. Kiludai (lower garment) and meladai (upper drape) remained the primary garments worn by every gender. Unlike the short lower garments worn in Pallava period, the Chola figurines consistently feature kiludai reaching the calf length or ankles. Women also wore Kachchu (breast covering) which was mostly popular among the urban dwellers and royals. Long & stretched ear-lobes piercing was in fashion.

Queen Sembiyan Mahadevi 10th century CE Chola Empire. The figurine is wearing Karanda makuta (crown), Yagnopavita (across chest), Mekalai (girdle), ankle-length Pudavai, Paampusurul (arm band with a cobra head), Valai (bangles), and Kolusu (anklet). The figurine also depicts long & stretched ear holes.

Most aspects of the Pallavan jewellery are continued to be worn in Chola period. Most of these ornaments were worn by people of every sex. The mekalai (girdle) worn by Chola figures are far more elaborate and detailed than Pallavas. Chola figurines also feature necklaces that are worn closer to the neck than in Pallava figurines. Heavy lockets encrusted with precious stones like ruby and emerald was particularly worn by the royals. Pearl fishing was an important aspect of Chola trade and pearl ornaments were popularly worn in this period. Pearl necklace usually with 7, 5, or 3 strands was called Saptasari, Panchasari or Trisari respectively. Ekevalli is a single strand bejewelled chain made out of pearls, corals, lapis lazuli and sapphires. Udhrabandha was a waist band or belly used round the torso above the naval but below the breasts. Chudamani is a head ornament worn at the parting of the hair in the centre of head. Chuttu is a disc-like or circular shaped ornament, suspended from the parting of the hair by means of a small chain usually laid on the parting line on the head. Chuttu was worn by women of all classes including princess, court attendants and temple dancing girls. Thodu (earrings) came in several shapes including circular-ring, circular disc, spiral, fish shape and large gem stone encrusted. Nose ornaments (absent in Pallava art) emerges as a big trend for every sexes as indicated in the Inscriptions from Thanjavur during the reign of Devaraya II. Valayal (bangle) made of gold was known as Katakam. The arm band worn in Chola period, known as paampusural features a cobra head at the upper end. Modhiram translates to ring worn on the fingers and the toe ring was called Thirukkal modhiram; the latter was particularly popular among married women. Married women also wore Thali, a pendant worn by married ladies as a sacred symbol of their being married women. Thilakam or pottu (bindhi) was worn on forehead by both married and unmarried women. Young girls popularly styled their hair in two or more plaits possibly even five. Married women were more likely to tie their hair in coiffure or Kondai in Thamizh. In Chola era, art of preparation and use of cosmetics was one among the 64 arts and women of this period used make-up box (Toilet Box) which comprised pastes, washes and unguents. Natural perfumes and different kinds of herbal juice were used to decorate their hands, feet, fingers and toes. Collyrium was applied to eyelids and eyebrows with the brush called kol. People of medieval Chola kingdom also applied sandal and turmeric paste on their bodies – a tradition that has origin in post Sangam period and it continues to be in use even to-day.

Chola Fresco of Dancing girls, Brihadisvara Temple, Thanjavur, 1100 CE

In the Chola period, there are references to dancing girls known as Devar Adigalar or Devadasi who were bought for temples. Dancing girls usually wore a kiludai (lower garment) and araikkachchu was worn at the hip.

The outcastes or untouchables and tribal people in medieval Chola period wore animal skins, dried leaves, and peacock feathers as clothes. 

WESTERN CHALUKYAS (973 CE – 1189 CE)

Taliapa II, a descent of the earlier Chalukyas of Vatapi, overpowers the Rashtrakutas to establish Western Chalukya Empire. Western Chalukyas exert control over Karnataka, Maharashtra, parts of Southern Gujarat and Madhya Pradesh, Telangana and Western Andhra. Western Chalukyas were in constant battle with Cholas over the control of fertile Vengi region of Andhra. Fall of Rashtrakutas coinciding with the defeat of Western Ganga Dynasty to Cholas who patronaged Puranic Brahminism, leads to the fall in popularity of Jainism in South India. Under the influence of saint Basavanna, a new religious movement emerges in Karnataka – Veerashaivim or later known as Lingayatism. Lingayatism has roots in Thamizh Nayanar Shaivism and emphasised personal religious experience over text-based dogmatism. Basavanna was an influential Lingayat figure who promoted personalised direct worship of Shiva and rejected ritual-centric worship and casteist norms of Brahminical literature. By later medieval period and up to 21st century, several Lingayats campaigned for recognition of Lingayatism as a separate religion, arguing that Lingayatism rejects the social discrimination propagated by “Hinduism” – a modern term used to collectively denote Vedic, Puranic and other local Indian cults assimilated by Brahminism.

A necklace with pendant containing linga symbol of Shiva are worn by Lingayats. Rudraksha beads and Vibhuti (sacred ash on forehead) are other symbols adopted as a constant reminder of one’s principles of faith.

The rise of Veerashaivaism was instrumental in challenging the Brahminical caste system which however continued to prevail with royal support of Western Chalukyas. Brahmins continued to enjoy their status as providers of knowledge and justice, and served as ministers and administrators who formulated social rules by functioning as neutral arbiters through Panchayats. Much like in preceding Rashtrakuta rule, Brahmins enjoyed various royal grants. Corresponding to the social norms in Chola kingdom, Brahmins of medieval Karnataka lived in agraharas built around the temples. Schools and hospitals were built in the vicinity of these agraharas and kept away from the reach of lower caste sections. Kshatriya was a loose classification legitimised by Brahmins to rulers and chieftains. In religious field, the Kshatriyas were the only other caste allowed to study the vedas in medieval Karnataka. By this period kings considered it their duty to protect caste rules. Kings labelled themselves as protectors of Varnashrama Dharma. Vaishya was again a loose term since Brahmins exercised significant hegemony on trade. The non-Brahmin trading community largely went by the name Bananja or Vira-bananja, which maintained its own military to safe guard transport service. Contemporary genetic studies suggest that by the time of Chalukyas and Rashtrakutas, the ruling class (Kshatriyas) were drawn from marrying outside their caste and eventually, the mixing of the population with lower caste & tribal communities halted thereafter.

Costumes and Jewellery at Kamalishwara Temple Jalsangvi built by Vikramaditya VI, Western Chalukya Dynasty, 1076-1126 CE

Depiction of costumes of man and woman from Eastern Chalukya sculpture, Alampur

HOYSALA EMPIRE (1026 CE – 1343 CE)

The constant war between Cholas and Western Chalukyas leads to weakening of both dynasties, marking the rise of Hoysala Empire in Karnataka. Hoysalas governed most of Karnataka, minor parts of Thamizh Nadu and parts of western Andhra Pradesh and Telangana between the 11th and the 14th centuries.

Panel depicting Hoysala king Vishnuvardhana (1110-1142), Channekasava Temple, Belur, Karnataka.

Hoysala kings, who appear to have been agriculturists turned royals, supported pastoral Vokkaliga community and their settlements to promote agriculture in the state. Hoysala kings also exempted the Vokkaligas from paying house tax and inducted members from the community in military services. Expansions of Hoysala territory in Thamizh kingdoms saw large scale migrations of Thamizh people who were appointed as as officers and soldiers of the empire and were given land concessions. In the Hoysala period Brahmins continued to serve the state in both civil and military positions of authority other than their traditional roles as priests. Brahminical temples enjoyed royal patronage and were not only associated with religion but served as complex institutions related to fiscal, political, and cultural needs. Although Brahminism enjoyed popularity in Hoysala society, it was influenced by three philosophers – Basavanna, Madhavacharya and Ramanuja. Lingayatism grew significantly by 12th century with association of Basavanna. Madhavacharya criticised the teachings of Adi Shankara and argued the world is real and not an illusion and his Dvaita Vedanta which countered Adishankara’s Advaita, gained popularity enabling him to establish up to eight mathas in Udupi region. Ramanuja too criticised Advaita Vedanta, preached the way of personalised devotion or bhakti and emerged as the most instrumental exponent of the Sri Vaishnavism tradition.  Sri Vaishnavism is based on philosophies derived from Vedas and Divya Prabandham.

Icon of Ramanuja, Sri Ranganathaswamy Temple, Srirangam, Thamizh Nadu

2ND PANDYAN EMPIRE (1212 CE – 1345 CE)

Pandyas, credited to be the oldest among the three ancient Dravidian kingdoms dating up to the first Sangam, reestablish their territorial authority in medieval period by 13th century. The discriminatory caste stratification continued to prevail under the Pandyas, who established the largest empire in Thamizh Nadu after the fall of Cholas. Following the traditions of Pallavas and Cholas, Pandya rulers continued to grant tax-free lands to the temples and the priestly Brahmins. Valankai division continued to occupy high positions in the military services of the Pandyas. Vellalas continued to enjoy their socio-economic status under the Pandya rule. Nadar community members were employed in tax collection by Pandyas and as hereditary tax collectors, the Nadars held civil authority over the lands on their control. The Parava community was associated with pearl fishing and pearl was considered as an auspicious ornament. Muthu maalai or pearl necklace featuring 104 pearls arranged on a silk string was worn by Pandya royals.

The fashion trends of medieval Pandya kingdom reflected the costume culture as found in imperial Chola kingdom. Clothing was largely unstitched; however jewellery was elaborate and exquisite. The length of pudavai worn by women covered the legs till ankles. Pudavai featured elaborate pleats and drapery. Pudavai continued to remain a garment that covered only the waist and not the upper-body. However breast-bands or Kachchu are frequently depicted in medieval Pandyan arts.

Costumes & jewellery depicted in sculptures from the temple archives of Meenakshi Temple museum, Madurai. Image: Keith Stanley

A civil war broke out between Sundara Pandya and Vira Pandya who were the sons of king Maravarman Kulasekhara Pandya. Sundara Pandya invited Malik kafur of Delhi Sultanate to invade the country. In 1311, Malik Kafur’s army drove away Vira Pandya and conquers Pandya Nadu. About half a century later Vijaya Nagar rulers defeated the sultanates and brought the Thamizh country under their rule.

KAKATIYA DYNASTY (1163 CE – 1323 CE)

A 10th century inscription of the Vengi Chalukyas suggests that early Kakatiyas served as military generals to Rashtrakutas. Kakatiyas were an indigenous Andhra power who established their sovereign rule in Andhra region in 1163 CE and ruled till the first quarter of 14th century. One of the prominent features of Kakatiya rule was the emergence of Shudras as a political elite and the other social groups accepted the superiority of Kakatiyas as rulers at a time when rest of the Indian subcontinent was rotting with the evil of Brahminical caste system. Most of the Kakatiya records do not mention the varna (social class) of the family, but the ones that do, proudly describe them as Shudra. The Kakatiyas also maintained marital relations with other Shudra families, such as the Kotas and Natavadi chiefs. Caste itself seems to have been of low importance as a social identifier however the Kakatiya rulers identified themselves as Shudras in ritual orders. Kakatiya rulers promoted egalitarianism and anyone, regardless of birth, could acquire the Nayaka title to denote warrior status. This period marks the emergence of sub-castes of Andhra Brahmins divided on the basis of regions such as Velanatis, Veginatis and Mulakanatis, besides Srotriyas and Niyogis. Native Telugu language inscriptions replace Kannada in Andhra region for the first time in the reign of Kakatiya ruler Prataparudra I.

Panel depicting costumes in Kakatiya kingdom, Warangal Fort, 12th century CE

People in medieval Andhra continued to wear unstitched garments and sewing didn’t gain popularity. However, women did wear bodice known as kolaka or kanchuka. Clothes were mainly made of cotton although silk was used by elite sections. Turbans were common and draped in a variety of styles. Ornaments made of gold, silver and other precious stones were popular among every gender. Sandalwood paste was the most common cosmetic followed by natural perfumes. Flowers were popularly used to decorate the hair. Eye-salva or anjana made of black antimong powder was not only worn to enhance beauty but for superstitious reasons too.

The Koh-i-Noor Diamond, which is now among the jewels set in the British Crown, was mined and first owned by the Kakatiya Dynasty.

The prosperous Kakatiya kingdom attracts the attention of Delhi sultanate ruler Alauddin Khalji by early 14th century. Although the initial attacks were met with resistance, the last sovereign ruler of Kakatiya dynasty, Prataparudra-deva accepts the position subordinate to the sultanate at Delhi. With the demise of the Kakatiya dynasty in 1323, several regional kingdoms emerge along with the first Deccan sultanate of Bahamani.

All images are sourced from WikiCommons unless mentioned otherwise.

The post Influence of Caste System in Clothing – Medieval South India Before Sultanates appeared first on Purushu Arie.

AXL ROSE

So never mind the darkness, we still can find a way. Cause nothin lasts forever, even cold November rain.

Besides Rowdy Roddy Piper of then WWF, Axl Rose was among the earliest personalities I saw in Scottish Kilt. It was fascinating to see men rocking skirt-like silhouettes in the era of gendered fashion. The attire had lot in common with the popular lungi worn by South Indian men, including the pattern – checks. The sight of lungi and kilt always made me ponder over the futile notion of gender-tagging clothes. Waist-wrap garments were popularly worn by every genders in clothing history and Axl Rose was instrumental in pointing it out to millennials like myself.

DAVID BOWIE

“Nobody reads anymore, nobody goes out and looks and explores the society and culture they were brought up in. People have attention spans of five seconds and as much depth as a glass of water.” – David Bowie

I was so late to David Bowie that I was listening to the man who played Tesla in Prestige by the time I dug up his music in Youtube. Better late than never. It was the Academy Award nominated costumes of Velvet Goldmine that kindled my curiosity for Bowie and thereafter, his vast discography filled up my playlist for several months to come. Bowie’s music was ethereal, his personality was surreal and his costumes were literally supernatural. He made me fall in love with glam rock. David Bowie’s style altered my views on style, gender and sexuality like no one else did before. A hand drawn portrait of Hunky Dory is among the few images I’ve put up in my bedroom wall.

FREDDIE MERCURY

“A concert is not a live rendition of our album. It’s a theatrical event.” – Freddie Mercury

We Will Rock You was among the earliest English songs I heard, I Want To Break Free was among the earliest drag attire I saw, and Freddie Mercury was among the earliest queer icons I knew about. As a child who grew up in a hetero-normative society, I initially found Freddie’s style to be ridiculous. Over time, Freddie Mercury made me realise how ridiculous the hetero-normative society is. Catsuits with chest hair and a thick moustache – his flamboyant style effortlessly blended the polar opposites of masculinity and femininity. Nothing seemed like an absolute binary anymore and he literally killed the idea of gendered fashion. Thanks to Freddie Mercury – 70s seem so ahead of time than 2000s itself!

GRACE JONES

“If you are lonely when you are alone, you’re in bad company.” – Grace Jones

I stumbled upon visuals of Grace Jones while studying fashion history of 20th century. Fierce, outrageous, and bolder than the boldest – Grace Jones’ style was revolutionary. She could bare it all in nothing but just an underwear and then effortlessly pull off a boxy suit. While women are mostly told to accentuate their curves, she took it on herself to break every known fashion rule out there. The only rule in Grace Jones’ rule-book – there are no rules! Zero gender fucks given!

MICHAEL JACKSON

It don’t matter if you’re black or white…

The King of Pop is a household name in India. His dance is widely mimicked on Indian television and his songs are among the most familiar American tunes known in South Asia. Being the most famous person on the planet, Michael Jackson left behind his perennial imprints on most socio-cultural aspects including fashion. By 80s, it appeared like even his sweat would glitter. Make up and military jackets went hand-in-hand. Michael Jackson wore styles from womenswear runway and the entire world took notes.

PRINCE

“I don’t really care so much what people say about me because it usually is a reflection of who they are.” – Prince

Frilly shirts, lace gloves, bikini briefs, high heels, black eyeliner and bouffant curls – Prince’s gender fluid statement was radical and right there on-your-face. He’s yet another star from the 70s and 80s who sparked the dialogues on gender fluidity that we’re having today. The Purple Rain star reinvented flamboyance which appeared lost for centuries since the time of France’s King Louis XIV. Prince broke countless barriers in fashion and gender to provide a more inclusive and diverse fashion to the future generation.

BONUS: KURT COBAIN

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ONE QUESTION THAT NEVER SEEMS TO DIE…

WHO BUYS THESE RUNWAY CLOTHES?

This is among the most circulated fashion memes in FB groups. Do only Nicky Minaj & Lady Gaga step out looking like oddballs or are these clothes sold off on Halloween sale? Not every style you see on the runway makes it to boutiques; some of them land in museums instead. There are infinite possibilities with fabric and some looks are merely a testimony to a fashion designer’s skill or meant to challenge the established notions of aesthetics.

FASHION SHOW AS AN ART EXHIBITION

Unlike the run-off-mill clothes that you wear on a daily basis, these outrageous runway styles involve innovative techniques and are painstakingly created for even up to several months. Sometimes, the clothes showcased on ramp are merely exaggerated artisanal expressions that narrate the creative direction, inspiration, theme, mood, fabrics and other techniques involved in the collection. These styles are artisanal display of both creative & technical skill but don’t completely write off the wearability yet. Several celebrities have worn outlandish styles directly off the runway.

Rihanna wore a Kawakubo straight from the runway…

Image: W Magazine

Katy Perry wore a John Galliano creation for Margiela to MET Ball…

Image: Popsugar

MARKETING PURPOSE

These styles not only elevate a fashion show into an art exhibition but also bring in media attention. This theatrical display of creative and technical skill on runway helps in getting press coverage, brand awareness and positioning. The exaggerated runway styles are extensively marketed or sold as art – as a private collectable or for museums and magazine photo shoots.

Viktor & Rolf SS2010 on Dazed Magazine Cover

RUNWAY STYLES PROVIDE INSPIRATION TO RETAIL STYLES

The exaggerated runway styles are translated into subtle design elements on the styles that are meant for retailing. .

Image (both): Viktor & Rolf SS2010 | Exaggerated cut out detail on gown is translated on the blouse.

Bandage drape forms at Rick Ovens SS2018

RISKS THAT DESIGNERS CAN GET AWAY WITH

The world of luxury is very closed and exclusive. It is a much smaller industry in comparison and designers often get away with the risks they take on the runway. Unlike film critics, fashion magazines barely write anything negative about fashion shows. Massive advertorial income of fashion media flows in from high-fashion brands and therefore, even the most badly executed outfit and even copy-cat designs get a thumbs up from several fashion editors. Apart from mockery in form of social media memes, there isn’t much criticism of clothes on runway within the fashion world itself. Hence, designers fearlessly experiment with the styles presented on runway.

FASHION AS A MEDIUM OF AVANT-GARDE

Avant-Garde is a French term for “advanced-guard”. The term is used to denote any art form that pushes boundaries of accepted norm and questions status quo. Avant-garde is based on innovation, risks and thinking forward. Constant change and innovation is the key to progress. Avant garde sits on top-echelon of creativity ladder thereby contributing to some of the greatest artistic and cultural achievements have been made. In 2018’s see-now-get-now model of sales, fashion shows are lot more about the clothes itself than art. Several industry veterans claim that fashion is no longer a form of avant garde. However, few designers like Rei Kawakubo, Rick Owens, Viktor & Rolf, Yohji Yamamoto, Gareth Pugh & John Galliano have continued to reject manufactured thought and shape the future by wandering into unexplored territories of fashion.

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Poor representation of North East region in mainstream fashion media is among the many riddles of Indian fashion industry. Most places in North East India are deprived of conventional fashion retailers who fund the ad revenues of mainstream Indian fashion media. But that only made North Eastern fashion far more unconventional than any other part of India. Thanks to Instagram, the indigenous fashion and style inspiration from North East India is now readily available on internet. This post attempts to curate a list of Instagram fashion influencers from North East India whom I’ve followed for a while. I’ve omitted established models and designers and limited the list exclusively to bloggers/insta-influencers.

AIEN JAMIR

Aien Jamir’s fashion blog dates to 2009 and her infamous Instagram account Fashion & I has over 60K followers. Aien is featured in various popular magazines including Vogue, Cosmopolitan, Elle, Grazia, Femina and L’officiel. This North East origin fashion influencer’s work profile includes collaborations with big names like Gap, Nike, Adidas, H&M, Mac, Bobbi Bown, Aeropostale etc.

BARNALI PEGU

Barnali Pegu of DashesOfMe is a Pune/Delhi/Mumbai based fashion influencer and as much of a fashion innovator. It was her quirky personal style that caught my attention a few years ago and now Barnali’s Instagram profile mostly features her styling work which is just as inspirational.

JOAN DOMINIQUE RAI

Joan and I were featured in the same gender fluid cover story for Indian express newspaper. His Instagram account TheWhiteHairedGuy is all about breaking the established sartorial stereotypes for a guy. His fearless style features wigs, earrings, glitter, safety pins and plenty of other daring accessories. Joan’s approach towards fashion has in many ways influenced my own design aesthetics in recent past.

KANGKAN RABHA

Kangkan Rabha‘s photography and street fashion aesthetics attracted big Instagram following and his influence grew swiftly. Hailing from Guwahati in Assam, this north east origin fashion influencer went on to work with several renowned Indian stylists and is currently represented by Feat. Artists.

NIKITA AGARWAL MANCHANDA

Nikita Agarwal Manchanda hails from Gangtok, has worked in Bangalore and now lives in Kolkata. Many many years ago, I had the opportunity to meet Nikita in Bangalore – and the ideas we exchanged is something I carried on ever since. She is spot on with her vision and perspective. Nikita started as a traditional blogger in 2011 who wrote online as a hobby before establishing herself as a full-time blogger. Her instagram account Pen Twister offers no-nonsense style (& lifestyle) solutions. This North East fashion blogger and influencer also reviews beauty products, food and travel destinations – and take my word, all that stuff is coming from an intelligent woman who knows what she’s saying.

NILU YULEENA THAPA

Nilu is among the biggest fashion influencer names in India today. The instagram account Big Hair Loud Mouth documents Nilu’s style, beauty, and travel chronicles. She has an array of blogging awards and wins to her name. Her personal style is documented in several fashion magazines circulated in India and Nilu has also collaborated with biggest fashion brand names known nationally and internationally. Her personal style is very trendy (and glamorous too).  This particular look from her collaboration with Dior takes the glam quotient to a different league altogether by recreating the iconic New Look of 40s.

RUPJYOTI GOGOI

From North East, and now in Chennai – Rupjyoti Gogoi of Sherriied has an edgy, creative and experimental personal style that easily gives away her counter-cultural exposure. In an insta post, she draped three unique looks with one sari – and thereafter, we worked together on the video shoot feat. Convertible Sari. She’s active with the lifestyle events in Chennai and her experimental trendy style has quickly caught the attention of the city’s fashion scene.

With so many fashion influencers out there, it’s only obvious that I missed out many other talented names that I am not aware of. Please free to add your favourite north east fashion influencers and instagrammers in the comments.

Fashion illustrations by Purushu Arie
My previous blog post “This Sari Can Be Worn in 5 Seconds!” was selected by Independent Fashion Bloggers community as part of Links à la Mode, Sept. 20th, 2018

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Loeffler Randall, Trademark Bags, Alexis Clothing, Apparis, Chloe Gosselin, Khaite, Designer Skirts, Jewel Tone Clothing, Rigid Denim, Men’s Michael Kors,

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Photo: Kumar, Model: Hemanth Sharma, Costume & Styling: Purushu Arie

The shape of circle is often attributed to life. A circle seems way too orderly for the chain of random events that contributed this moment. The circle itself changes direction at every infinite point that make up its circumference. Life also moves to-and-fro, like a pendulum in a binary polar. Sometimes, you are the crow and other times, you are the pole. On some days you are the joke and on other days, you make the jokes. But not everything that goes around comes around. Sometimes you know where the direction takes you but other times you never anticipated what was coming. Some directions have remained consistent and infinite. More directions have seemed arbitrary. As a fashion design student who started this blog, I played my strengths by writing about fashion, design, and trends. By early to mid 2010s with peak commercialisation of fashion blogs, the blog & social media posts were increasingly about shopping, OOTDs, travel, holidays and even gadgets and automobiles. Some fads are clearly necessary to fill the omnipresent voids. Some bridges had to be burnt… and with changing directions of continuity and discontinuity, my own target audience have changed over the years. The primary keywords of the website have changed over time. I’ll never accurately know how the winds move but I am steering the directions with all my ability. Changing directions are a reality check and at this hour, the currents are constantly converging and diverging.

Only thing constant about gender is fluidity.

Shop

Blue lungi shirt

Tie-up wrap lungi

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