Father and son, Sunil and Amit Daga of the Amarawati Tea Company share...
It has put the town of Pratapgarh...
MARWAR talks to Akshat Ghiya, who chose to broaden his horizons...
Through kaleidoscope eyes
Uniquely designed Mughal
karnphool in kundan and
meena...
Tarot reader Ritika Talwar foretells...
Tackling the destructive disease of cancer head on...
Marwari wedding fashion: Poshaks to Bandhgalas
Times have changed and so have the tastes, but Marwari weddings have managed to strike a perfect balance between tradition and modernity—showcased perfectly in the evolving nature of the bridal trousseau. Marwar speaks to Kunwarini Shweta Rathore and Anju Poddar as well as the best Marwari designers in Indian fashion to understand how wedding fashion has changed over the years.
Text: Reshma S. Kulkarni and Niyati Patel
Amidst Rajasthan’s ochre-coloured sand stretching out in the distance, a wedding procession brings in the welcome dazzle of vibrant colour—reds, pinks, indigos and greens accompanied by glittery gold and silver! Marwari weddings have always been lavish and colourful affairs; traditionally, a gorgeous ghaghra-choli and a flowing odhana make up the bridal poshak—the most integral and intricate part of the procession.
Historically speaking
These ghaghras or lehengas in flaming reds, rani pinks and brilliant oranges were either embedded with precious stones, incorporated elaborate inlay work or used hand-woven silver and gold gota patti as embellishment. Discussing the traditional notions of singaar, designer Anand Kabra, whose family hails from the Sikar district of Rajasthan, shares, “The laal-pila concept has a prominent place in Marwari celebrations, especially weddings. Symbols of happiness, womanhood and fertility, these colours have been preferred traditionally for bridal trousseaus.” Raghavendra Rathore, who calls Jodhpur home, concurs: “The gota patti work on bridal wear along with intricate embroidery is synonymous with the trousseau of a traditional Marwari bride.”
Anju Poddar, author of A Wedding in the House and an authority on Marwari culture and wedding rituals, elaborates that the poshak’s gota or zardozi work usually incorporates traditional motifs of flowers, peacocks and paisley. The ghaghra, an important element of the three-piece poshak, is of three types—the kalidaar (a panelled skirt), the pat (another type of panelled skirt popular among the Maheshwari community) and the oreb (cross-cut design).