With its sinuous folds of fabric, the sari is a garment that is many things at once: modest and sexy, regal and prosaic, formal and casual. But above all, it is uniquely South Asian and essentially feminine.
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The Sari Series: An Anthology of Drape is a non-profit project by Border&Fall that documents the various regional sari drapes of India through short film. It includes over 80 how-to drape films and 3 independent art films.
As we publicly embark on our cultural documentation of the sari through short film, I would like to share why we decided to participate in an ongoing conversation about its relevance with a project of this scope and magnitude.
We seem to read, use and speak these terms all the time, as both makers and consumers. However most are self-defined … ambiguous, self-regulated and therefore open to interpretation.
Obscured by distance and fed largely by what filters through Bollywood, it appears the more recent wave of design thinking emerging from India is likely going unnoticed by its own who live on foreign shores.
As an unstitched piece of cloth, the sari and its drape has adapted to utility, climate and culture. This article explores five regional sari drapes which have historically enabled the work of the wearer.
Himanshu Verma is known in a few ways: as the ‘Saree Man’, Ghenda Phool, or one who ends emails with the salutation, ‘Jai Sari!’.