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BIG BOSS heeft ons huis verlaten op zoek naar een nieuwe liefde; een aap met een vriendelijk karakter en gevoel voor humor. Om samen een beetje rond te hangen in hoge bomen en te genieten van de zon.
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BIG BOSS has left our house to look for the love of his life. He dreams about a cheerful monkey, to climb trees and have lots of fun with.
Sunny Leone Images #Sunny #Leone #Images
Sunny leone images including wallpapers, posters, photo shoots, hot pics, biography movie still images explore latest pics of sunny leone also get bollywood actress, movie, parties event photos.
Sunny Leone is a Canadian actress, businesswoman, model and a former adult movie star. She was born as Karenjit Kaur Vohra but popularly known as Sunny Leone. The name Leone was kept by a former Penthouse magazine owner. She has also played the roles in mainstream films and television shows. She was seen in the 5th season of Bigg Boss in 2011, which was her first Indian television show. Leone was part of movies like Jism 2, Shootout at Wadala, Jackpot, Ragini MMS 2 and Ek Paheli Leela. Now she will be seen in upcoming movies like 'Mastizaade' and 'Tina and Lolo'. goo.gl/EfBwwa
In a white cropped tee: Sunny Leone makes a bold statement with her cropped white tee shirt and tries to woo Amar and Sky as part of a task.
I made costumes of Amitji in Bade Miya Chote Miya and Lal Badshah
from wikipedia
Amitabh Bachchan ([əmɪtaːbʱ bəttʃən] ( listen), born Amitabh Harivansh Bachchan on 11 October 1942) is an Indian film actor. He first gained popularity in the early 1970s as the "angry young man" of Hindi cinema, and has since appeared in over 180 Indian films in a career spanning more than four decades.[1][2] Bachchan is regarded as one of the greatest and most influential actors in the history of Indian cinema.[3][4][5]
Bachchan has won numerous major awards in his career, including three National Film Awards as Best Actor, and fourteen Filmfare Awards. He is the most-nominated performer in any major acting category at Filmfare, with 37 nominations overall. In addition to acting, Bachchan has worked as a playback singer, film producer and television presenter. He also had a stint in politics in the 1980s. He has received both the Padma Shri and the Padma Bhushan civilian awards from the Indian government.
Bachchan was born in Allahabad, Uttar Pradesh. His father, Harivansh Rai Bachchan, was a Hindi poet, and his mother, Teji Bachchan, was a Sikh from Faisalabad (now in Pakistan).[6] Bachchan was initially named Inquilaab, inspired from the famous phrase Inquilab Zindabad, during the Indian independence struggle. However, at the suggestion of fellow poet Sumitranandan Pant, Harivansh Rai changed the name to Amitabh which means, "the light that would never go off." Though his surname was Shrivastava, his father had adopted the pen-name Bachchan (meaning child-like in colloquial Hindi), under which he published all his works. It is with this last name that Amitabh debuted in films, and, for all public purposes, it has become the surname of all members of his family. Bachchan's father died in 2003, and his mother in 2007.[7]
Amitabh is the elder of Harivansh Rai Bachchan's two sons, the second being Ajitabh. His mother had a keen interest in theatre and had been offered a role in a film, but preferred her domestic duties. She had some degree of influence in Bachchan's choice of career because she always insisted that he should take the centre stage.[8]
Bachchan made his film debut in 1969 as a voice narrator in Mrinal Sen's National Award winning film Bhuvan Shome. Thereafter he got his first acting role as one of the seven protagonists in Saat Hindustani, a film directed by Khwaja Ahmad Abbas and featuring Utpal Dutt, Madhu and Jalal Agha. Though the film was not a financial success, Bachchan won his first National Film Award for Best Newcomer.[9]
Anand (1971) followed, where he starred alongside Rajesh Khanna. Bachchan's role as a doctor with a cynical view of life garned him his first Filmfare Best Supporting Actor Award. He then played his first negative role as an infatuated lover-turned-murderer in Parwaana (1971). This was followed by several films including Reshma Aur Shera (1971). During this time, he made a guest appearance in the film Guddi which starred his future wife Jaya Bhaduri. He narrated part of the film Bawarchi. In 1972, he made an appearance in the road action comedy Bombay to Goa, directed by S. Ramanathan. Many of his films during this early period did not do well, but that was about to change.[10]
Rise to stardom: 1973–1983
Director Prakash Mehra cast him in the leading role for the film Zanjeer (1973) as Inspector Vijay Khanna. The film was a sharp contrast to the romantically themed films that had generally preceded it and established Amitabh in a new persona—the "angry young man" of Bollywood cinema.[2] He earned a Filmfare nomination for Best Actor. Filmfare considers this one of the iconic performances of Bollywood history.[10] The year 1973 was also when he married Jaya, and around this time they appeared in several films together; not only in Zanjeer but in films such as Abhimaan which followed and was released only a month after their marriage. Later, Bachchan played the role of Vikram in the film Namak Haraam, a social drama directed by Hrishikesh Mukherjee and scripted by Biresh Chatterjee addressing themes of friendship. His supporting role won him his second Filmfare Best Supporting Actor Award.[citation needed]
Bachchan in Deewar.
In 1974, Bachchan made several guest appearances in films such as Kunwara Baap and Dost, before playing a supporting role in Roti Kapda Aur Makaan. The film, directed and written by Manoj Kumar, addressed themes of honesty in the face of oppression and financial and emotional hardship. Bachchan then played the leading role in film Majboor, released on 6 December 1974, which was a remake of the Hollywood film Zigzag. The film was only a moderate success at the box office.[11] In 1975, he starred in a variety of film genres from the comedy Chupke Chupke, the crime drama Faraar to the romantic drama Mili. 1975 was the year when he appeared in two films which are regarded as important in Hindi cinematic history. He starred in the Yash Chopra directed film Deewaar, opposite Shashi Kapoor, Nirupa Roy, and Neetu Singh, which earned him a Filmfare Nomination for Best Actor. The film became a major hit at the box office in 1975, ranking in at number 4.[12] Indiatimes Movies ranks Deewaar amongst the Top 25 Must See Bollywood Films.[13] Released on 15 August 1975 was Sholay (meaning flames), which became the highest grossing film of all time in India, earning INR 2,36,45,00,000 equivalent to US$ 60 million, after adjusting for inflation.[14] Bachchan played the role of Jaidev. In 1999, BBC India declared it the "Film of the Millennium" and like Deewar, has been cited by Indiatimes movies as amongst the Top 25 Must See Bollywood Films.[13] In that same year, the judges of the 50th annual Filmfare Awards awarded it with the special distinction award called Filmfare Best Film of 50 Years.
Bachchan starred in comedies such as Chupke Chupke (1975) and Amar Akbar Anthony (1977) and in films such as Kabhie Kabhie (1976). In 1976, he was once again cast by director Yash Chopra in his second film, Kabhi Kabhie, a romantic tale in which Bachchan starred as a young poet named Amit Malhotra who falls deeply in love with a beautiful young girl named Pooja played by actress Rakhee Gulzar. The film saw him again nominated for the Filmfare Best Actor Award. In 1977, he won his first Filmfare Best Actor Award for his performance in Amar Akbar Anthony where he played the third lead opposite Vinod Khanna and Rishi Kapoor as Anthony Gonsalves. In 1978 he starred in all four of the highest grossing films of India in that year.[15] He once again resumed double roles in films such as Kasme Vaade as Amit and Shankar and Don playing the characters of Don, a leader of an underworld gang and his look alike Vijay. His performance won him his second Filmfare Best Actor Award. He also performed in Trishul and Muqaddar Ka Sikandar which both earned him further Filmfare Best Actor nominations. He was billed a "one-man industry" by the French director François Truffaut.[16]
In 1979, for the first time, Amitabh was required to use his singing voice for the film Mr. Natwarlal in which he starred alongside Rekha. His performance in the film saw him nominated for both the Filmfare Best Actor Award and the Filmfare Best Male Playback Awards. In 1979, he also received Best Actor nomination for Kaala Patthar (1979) and then went on to be nominated again in 1980 for the Raj Khosla directed film Dostana, in which he starred opposite Shatrughan Sinha and Zeenat Aman. Dostana proved to be the top grossing film of 1980.[17] In 1981, he starred in Yash Chopra's melodrama film Silsila, where he starred alongside his wife Jaya and rumoured lover Rekha. Other films of this period include Ram Balram (1980), Shaan (1980), Lawaaris (1981), and Shakti (1982) which pitted him against legendary actor Dilip Kumar.[18]
1982 injury while filming Coolie
On 26 July 1982, while filming Coolie in the University Campus in Bangalore, Bachchan suffered a near fatal intestinal injury during the filming of a fight scene with co-actor Puneet Issar.[19] Bachchan was performing his own stunts in the film and one scene required him to fall onto a table and then on the ground. However as he jumped towards the table, the corner of the table struck his abdomen, resulting in a splenic rupture from which he lost a significant amount of blood. He required an emergency splenectomy and remained critically ill in hospital for many months, at times close to death. The public response included prayers in temples and offers to sacrifice limbs to save him, while later, there were long queues of well-wishing fans outside the hospital where he was recuperating.[20] Nevertheless, he spent many months recovering and resumed filming later that year after a long period of recuperation. The film was released in 1983, and partly due to the huge publicity of Bachchan's accident, the film was a box office success.[21]
The director, Manmohan Desai, altered the ending of Coolie after Bachchan's accident. Bachchan's character was originally intended to have been killed off but after the change of script, the character lived in the end. It would have been inappropriate, said Desai, for the man who had just fended off death in real life to be killed on screen. Also, in the released film the footage of the fight scene is frozen at the critical moment, and a caption appears onscreen marking this as the instant of the actor's injury and the ensuing publicity of the accident.[20]
Later, he was diagnosed with Myasthenia gravis. His illness made him feel weak both mentally and physically and he decided to quit films and venture into politics. At this time he became pessimistic, expressing concern with how a new film would be received and stated before every release, "Yeh film to flop hogi!" ("This film will flop").[22]
Politics: 1984–87
In 1984, Bachchan took a break from acting and briefly entered politics in support of long-time family friend, Rajiv Gandhi. He contested Allahabad's seat of 8th Lok Sabha against H. N. Bahuguna, former Chief Minister of Uttar Pradesh and won by one of the highest victory margins in general election history (68.2% of the vote).[23] His political career, however, was short-lived: he resigned after three years, calling politics a cesspool. The resignation followed the implication of Bachchan and his brother in the "Bofors scandal" by a newspaper, which he vowed to take to court. Bachchan was eventually found not guilty of involvement in the ordeal.[24]
His old friend, Amar Singh, helped him during a financial crisis due to the failure of his company ABCL. Therefore Bachchan started to support Amar Singh's political party, the Samajwadi party. Jaya Bachchan joined the Samajwadi Party and became a Rajya Sabha member.[25] Bachchan has continued to do favors for the Samajwadi party, including advertisements and political campaigns. These activities have recently gotten him into trouble again in the Indian courts for false claims after a previous incident of submission of legal papers by him, stating that he is a farmer.[26]
A 15 year press ban against Bachchan was imposed during his peak acting years by Stardust and some of the other film magazines. In his own defense, Bachchan claimed to have banned the press from entering his sets until late 1989.[27]
Slump and retirement: 1988–1992
In 1988, Bachchan returned to films, playing the title role in Shahenshah, which was a box office success due to the hype of Bachchan's comeback.[28] After the success of his comeback film however, his star power began to wane as all of his subsequent films failed at the box office. The 1991 hit film, Hum, for which he won his third Filmfare Best Actor Award, looked like it might reverse this trend, but the momentum was short-lived as his string of box office failures continued. Notably, despite the lack of hits, it was during this period that Bachchan won his first National Film Award for Best Actor, for his performance as a Mafia don in the 1990 film Agneepath. These years would be the last he would be seen on screen for some time. After the release of Khuda Gawah in 1992, Bachchan went into semi-retirement for five years. In 1994, one of his delayed films Insaniyat was released but was also a box office failure.[29]
Producer and acting comeback 1996–99
Bachchan turned producer during his temporary retirement period, setting up Amitabh Bachchan Corporation, Ltd. (A.B.C.L.) in 1996, with the vision of becoming a 10 billion rupees (approx 250 million $US) premier entertainment company by the year 2000. ABCL's strategy was to introduce products and services covering the entire section of the India's entertainment industry. Its operations were mainstream commercial film production and distribution, audio cassettes and video discs, production and marketing of television software, celebrity and event management. Soon after the company was launched in 1996, the first film was produced by the company. Tere Mere Sapne failed to do well at the box office but launched the careers of actors such as Arshad Warsi and South films star Simran. ABCL produced a few other films, none of which did well.
In 1997, Bachchan attempted to make his acting comeback with the film Mrityudata, produced by ABCL. Though Mrityudaata attempted to reprise Bachchan's earlier success as an action hero, the film was a failure both financially and critically. ABCL was the main sponsor of the 1996 Miss World beauty pageant, Bangalore but lost millions. The fiasco and the consequent legal battles surrounding ABCL and various entities after the event, coupled with the fact that ABCL was reported to have overpaid most of its top level managers, eventually led to its financial and operational collapse in 1997. The company went into administration and was later declared a failed company by Indian Industries board. The Bombay high court, in April 1999, restrained Bachchan from selling off his Bombay bungalow 'Prateeksha' and two flats till the pending loan recovery cases of Canara Bank were disposed of. Bachchan had, however, pleaded that he had mortgaged his bungalow to Sahara India Finance for raising funds for his company.[30]
Bachchan attempted to revive his acting career and had average success with Bade Miyan Chote Miyan (1998),[29] and received positive reviews for Sooryavansham (1999)[31] but other films such as Lal Baadshah (1999) and Hindustan Ki Kasam (1999) were box office failures.
Return to prominence: 2000–present
In 2000, Amitabh Bachchan appeared in Yash Chopra's box-office hit, Mohabbatein, directed by Aditya Chopra. He played a stern, older figure that rivalled the character of Shahrukh Khan. His role won him his third Filmfare Best Supporting Actor Award. Other hits followed, with Bachchan appearing as an older family patriarch in Ek Rishtaa: The Bond of Love (2001), Kabhi Khushi Kabhie Gham... (2001) and Baghban (2003). As an actor, he continued to perform in a range of characters, receiving critical praise for his performances in Aks (2001), Aankhen (2002), Khakee (2004) and Dev (2004). One project that did particularly well for Bachchan was Sanjay Leela Bhansali's Black (2005). The film starred Bachchan as an aging teacher of a deaf-blind girl and followed their relationship. His performance was unanimously praised by critics and audiences and won him his second National Film Award for Best Actor and fourth Filmfare Best Actor Award. Taking advantage of this resurgence, Amitabh began endorsing a variety of products and services, appearing in many television and billboard advertisements. In 2005 and 2006, he starred with his son Abhishek in the hit films Bunty Aur Babli (2005), the Godfather tribute Sarkar (2005), and Kabhi Alvida Na Kehna (2006). All of them were successful at the box office.[32][33] His later releases in 2006 and early 2007 were Baabul (2006),[34] Ekalavya and Nishabd (2007), which failed to do well at the box office but his performances in each of them were praised by critics.[35]
In May 2007, two of his films Cheeni Kum and the multi-starrer Shootout at Lokhandwala were released. Shootout at Lokhandwala did very well at the box office and was declared a hit in India, while Cheeni Kum picked up after a slow start and only had average success.[36] A remake of his biggest hit, Sholay (1975), entitled Ram Gopal Varma Ki Aag, released in August of that same year and proved to be a major commercial failure in addition to its poor critical reception.[36] The year also marked Bachchan's first appearance in an English-language film, Rituparno Ghosh's The Last Lear. The film premiered at the 2007 Toronto International Film Festival on 9 September 2007. He received positive reviews from critics who hailed his performance as his best ever since Black.[37] Bachchan was slated to play a supporting role in his first international film, Shantaram, directed by Mira Nair and starring Hollywood actor Johnny Depp in the lead. The film was due to begin filming in February 2008 but due to the writer's strike, was pushed to September 2008.[38] The film is currently "shelved" indefinitely.[39] Vivek Sharma's Bhoothnath, in which he plays the title role as a ghost, was released on 9 May 2008. Sarkar Raj, the sequel of the 2005 film Sarkar, released in June 2008 and received a positive response at the box-office. Paa, which released at the end of 2009 was a highly anticipated project as it saw him playing his own son Abhishek's Progeria-affected 13-year-old son, and it opened to favourable reviews, particularly towards Bachchan's performance. It won him his third National Film Award for Best Actor and fifth Filmfare Best Actor Award. In 2010, he debuted in Malayalam film through Kandahar, directed by Major Ravi and co-starring Mohanlal.[40] The film was based on the hijacking incident of the Indian Airlines Flight 814.[41] Bachchan did not receive any remuneration for this film.[42]
Television career
In the year 2000, Bachchan stepped up to host India's adaptation of the British television game show, Who Wants to Be a Millionaire? entitled, Kaun Banega Crorepati. As it did in most other countries where it was adopted, the program found immediate success. He has hosted all but one of the seasons of the show. Canara Bank withdrew its law suit against Bachchan in November 2000. Bachchan hosted KBC till November 2005, when he fell ill. At that time he was admitted to Lilavati Hospital's ICU once more, to undergo surgery for diverticulitis of the small intestine.[43] During the period and that following his recovery, most of his projects were put on hold, including KBC.[44] He has hosted all but one season of the show. Its success set the stage for his return to film popularity. In 2009 Oscar winning movie Slumdog Millionaire in the first question of Who Wants to be a Millionaire? contest "Amitabh Bachchan" was the correct answer to the question "Who was the star of Zanjeer? Feroz Abbas Khan performed as Amitabh Bachchan in a scene in the movie while Anil Kapoor performed as the host of the contest. Bachchan hosted the third season of the reality show Bigg Boss in 2009.[45]
wall art by Ranjit Dahiya
Porn star Mia Khalifa will not come in Bigg Boss 9
www.bharatavarsha.in/porn-star-mia-khalifa-will-not-come-...
"Perseverance is the act of true role models and heroes."
(Liza M. Wiemer – American award winning educator)
Gauhar Khan is an Indian model, VJ and actress who appears in Hindi films.
She made her screen debut in the 2003 "Miss India: The Mystery", then she subsequently earned wide critical recognition in the 2009 Rocket Singh: Salesman of the Year.
In 2010, she joined the cast of the first-ever Bollywood musical, Zangoora: The Gypsy Prince at Kingdom of Dreams, Gurgaon, where she plays the female lead opposite Hussain Kuwajerwala.
She achieved further commercial success by starring in films such as the action thriller Game (2011), and the revenge drama Ishaqzaade (2012), a critical and commercial success.[
She rose to prominence by featuring in songs including "Naa Pere Kanchan Mala" (Shankar Dada M.B.B.S., 2004), "Nasha Nasha" (Aan: Men at Work, 2004), "Parda Parda" (Once Upon a Time in Mumbaai, 2010) and "Jhalla Walla" and "Chokra Jawaan" (Ishaqzaade, 2012).
Along with her sister Nigaar Khan, she appeared in a TV show "The Khan Sisters".
She is a current participant of the Indian reality show, Bigg Boss 7, where the guests Shahid Kapoor, Ileana D'Cruz, Anil Kapoor, Sharman Joshi, Jaaved Jaaferi, Sania Mirza and Kangana Ranaut described her as an outspoken and the most powerful contestant of the show.
In addition to acting in films, she is active in humanitarian work, has a number of endorsement deals.
She has always been in the media spotlight, for having a "outspoken" and "bold" personality and she is recognized as a "fashionista" and a style icon in India due to her unique sense of style, she is also widely appreciated for her performances in her films.
I took this picture of Gauhar one evening in Delhi during the break between two sequences of a film in which we were both working.
Gauhar in the movie "Ishaqzaade" (2012) youtu.be/3Iw_9y5NvwU
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Video watch online Bigg Boss 9 19th December 2015 latest new full Episode 70 Colors Tv drama serial Bigg Boss 9 Double Trouble Day 52 complete show episodes by colorstv.
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Telecast Date: 19th December 2015
Bigg Boss Season 9 also known as BB9 is an Indian Soap Opera Hindi Drama Serial. All videos, live news, written updates and Bigg Boss 9 19th December 2015 episodes are available on Bigg Boss 9
Bigg Boss 9 19th December 2015 Written Update
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In the swimming pool
As part of a task, Pooja Bedi and Sunny from Sky's team and Pooja Missra and Mehek from Sidharth's team jump into the pool wearing swimsuits, in search of keys (the task was to collect the most number of keys).
Sunny Leone obliged the cameras by flaunting her curves in her black bikini.
bollyy.com/double-bonanza-for-jasmin-bhasin-2/
Sneha Wagh is a big fan of Bigg Boss and has been following the ongoing season closely. The actor feels that the celebrity who deserves to win Bigg Boss is former cricketer Sreesanth. “Bigg Boss 12 was a little cold in the beginning but we were all intrigued with Sreesanth.
Bigg Boss house after Sunny Leone of another porn star entry
www.bharatavarsha.in/bigg-boss-house-after-sunny-leone-of...
Leone hangs out with Sidharth in the outer area of the house. The actress is on good terms with all the inmates.
Sunny Leone has brought some refreshing change in the Bigg Boss house. She entered the reality show when tempers were flaring, and the inmates were getting on each other's nerves.
With some of the negativity (read Pooja Missra) out of the show, contestants are more relaxed and are showering Leone with attention. While the girls have taken the task of doling out gyan on how to cope with the new surroudings, the boys are unapologetically smitten by the Indo-Canadian beauty.
And here's why.
We look at her sexiest avatars in the house so far!
Facing household chores head on: Sunny carried out her duties in the house, which included mopping the floor.
Juhi Parmar observed that Sunny would be the perfect Bollywood actress as she has a charming and innocent face.
A Sari, saree, sadi, or shari is a South Asian female garment that consists of a drape varying from 4.5 metres to 8 metres in length and 60 cm to 1.20 m in breadth that is typically wrapped around the waist, with one end draped over the shoulder, baring the midriff.
The sari is usually worn over a petticoat (called 'parkar' (परकर) in Marathi lahaṅgā or lehenga in the north; seelai in Tamil, pavada (or occasionally langa) in Malayalam, Kannada and Telugu, chaniyo, parkar, ghaghra, or ghagaro in the west; and shaya in eastern India), with a fitted upper garment commonly called a blouse (ravike in South India and choli elsewhere). The blouse has short sleeves and is usually cropped at the midriff. The sari is associated with grace and is widely regarded as a symbol of Indian, Nepalese, Bangladesh, and Sri Lankan cultures.
ETYMOLOGY
The word sari described in Sanskrit शाटी śāṭī which means 'strip of cloth' and शाडी śāḍī or साडी sāḍī in Prakrit, and which was corrupted to sāṛī in Hindi. The word 'Sattika' is mentioned as describing women's attire in ancient India in Buddhist Jain literature called Jatakas. This could be equivalent to modern day 'Sari'. The term for female bodice, the choli is derived from another ruling clan from ancient Tamil Nadu, the Cholas. Rajatarangini (meaning the 'river of kings'), a tenth-century literary work by Kalhana, states that the Choli from the Deccan was introduced under the royal order in Kashmir.
ORIGINS AND HISTORY
In the history of Indian clothing the sari is traced back to the Indus Valley Civilisation, which flourished during 2800–1800 BC around the western part of the Indian subcontinent. Sari draping leaves back, cleavage, and side view of belly bare. The origin of such exposing attire can be attributed to humid climate of the land. The earliest known depiction of the sari in the Indian subcontinent is the statue of an Indus Valley priest wearing a drape.
Ancient Tamil poetry, such as the Silappadhikaram and the Sanskrit work, Kadambari by Banabhatta, describes women in exquisite drapery or sari. The ancient stone inscription from Gangaikonda Cholapuram in old Tamil scripts has a reference to hand weaving. In ancient Indian tradition and the Natya Shastra (an ancient Indian treatise describing ancient dance and costumes), the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari.
Sculptures from the Gandhara, Mathura and Gupta schools (1st–6th century AD) show goddesses and dancers wearing what appears to be a dhoti wrap, in the "fishtail" version which covers the legs loosely and then flows into a long, decorative drape in front of the legs. No bodices are shown.
Other sources say that everyday costume consisted of a dhoti or lungi (sarong), combined with a breast band called 'Kurpasika' or 'Stanapatta' and occasionally a wrap called 'Uttariya' that could at times be used to cover the upper body or head. The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in Malayalam) is a survival of ancient Indian clothing styles. The one-piece sari is a modern innovation, created by combining the two pieces of the mundum neryathum.
It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture the lower garment was called 'nivi' or 'nivi bandha', while the upper body was mostly left bare. The works of Kalidasa mentions 'Kurpasika' a form of tight fitting breast band that simply covered the breasts. It was also sometimes referred to as 'Uttarasanga' or 'Stanapatta'.
The tightly fitted, short blouse worn under a sari is a choli. Choli evolved as a form of clothing in the 10th century AD, and the first cholis were only front covering; the back was always bare but covered with end of saris pallu. Bodices of this type are still common in the state of Rajasthan.
In South India and especially in Kerala, women from most Hindu communities wore only the sari and exposed the upper part of the body till the middle of the 20th century.Poetic references from works like Silappadikaram indicate that during the Sangam period in ancient Tamil Nadu, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered. Similar styles of the sari are recorded paintings by Raja Ravi Varma in Kerala. By the mid 19th century, though, bare breasted styles of the sari faced social revaluation and led to the Upper cloth controversy in the princely state of Travancore (now part of the state of Kerala) and the styles declined rapidly within the next half a century.
In ancient India, although women wore saris that bared the midriff, the Dharmasastra writers stated that women should be dressed such that the navel would never become visible. By which for some time the navel exposure became a taboo and the navel was concealed.
Red wedding saris are the traditional garment choice for brides in Indian culture. Sari fabric is also traditionally silk. Over time, colour options and fabric choices for Indian brides have expanded. Today fabrics like crepe, Georgette, charmeuse, and satin are used, and colours have been expanded to include gold, pink, orange, maroon, brown, and yellow as well. Indian brides in Western countries often wear the sari at the wedding ceremony and change into traditional Indian wear afterwards (lehnga, choli, etc.).
STYLES OF DRAPING
There are more than 80 recorded ways to wear a sari. Fashion designer Aaditya sharma declared, "I can drape a sari in 54 different styles".
The most common style is for the sari to be wrapped around the waist, with the loose end of the drape to be worn over the shoulder, baring the midriff. However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. The French cultural anthropologist and sari researcher Chantal Boulanger categorised sari drapes in the following families:
- Nivi – styles originally worn in Andhra Pradesh; besides the modern nivi, there is also the kaccha nivi, where the pleats are passed through the legs and tucked into the waist at the back. This allows free movement while covering the legs.
- Bengali and Odia style.
- Gujarati/Rajasthani/Pakistani – after tucking in the pleats similar to the nivi style, the loose end is taken from the back, draped across the right shoulder, and pulled across to be secured in the back
- Maharashtrian/Konkani/Kashta; this drape is very similar to that of the male Maharashtrian dhoti. The centre of the sari (held lengthwise) is placed at the centre back, the ends are brought forward and tied securely, then the two ends are wrapped around the legs. When worn as a sari, an extra-long cloth of nine yards is used and the ends are then passed up over the shoulders and the upper body. They are primarily worn by Brahmin women of Maharashtra, Karnataka, Andhra Pradesh and Goa.
- Madisar – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards saree.
- Kodagu style – this drape is confined to ladies hailing from the Kodagu district of Karnataka. In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder, and is pinned to the rest of the sari.
- Gobbe Seere – This style is worn by women in the Malnad or Sahyadri and central region of Karnataka. It is worn with 18 molas saree with three four rounds at the waist and a knot after crisscrossing over shoulders.
- Gond – sari styles found in many parts of Central India. The cloth is first draped over the left shoulder, then arranged to cover the body.
- Malayali style – the two-piece sari, or Mundum Neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders. Also the Kerala sari, a sort of mundum neryathum.
- Tribal styles – often secured by tying them firmly across the chest, covering the breasts.
Kunbi style or denthli:Goan Gauda and Kunbis,and those of them who have migrated to other states use this way of draping Sari or Kappad, this form of draping is created by tying a knot in the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fasten on the back.
NIVI STYLE
The nivi is today's most popular sari style from Andhra Pradesh. The increased interaction with the British saw most women from royal families come out of purdah in the 1900s. This necessitated a change of dress. Maharani Indira Devi of Cooch Behar popularised the chiffon sari. She was widowed early in life and followed the convention of abandoning her richly woven Baroda shalus in favour of the traditional unadorned white. Characteristically, she transformed her "mourning" clothes into high fashion. She had saris woven in France to her personal specifications, in white chiffon, and introduced the silk chiffon sari to the royal fashion repertoire.
The chiffon sari did what years of fashion interaction had not done in India. It homogenised fashion across this land. Its softness, lightness and beautiful, elegant, caressing drape was ideally suited to the Indian climate. Different courts adopted their own styles of draping and indigenising the sari. In most of the courts the sari was embellished with stitching hand-woven borders in goldfrom Varanasi, delicate zardozi work, gota, makaish and tilla work that embellished the plain fabric, simultaneously satisfying both traditional demands and ingrained love for ornamentation. Some images of maharanis in the Deccan show the women wearing a sleeveless, richly embellished waistcoat over their blouses. The Begum of Savanur remembers how sumptuous the chiffon sari became at their gatherings. At some courts it was worn with jaali, or net kurtas and embossed silk waist length sadris or jackets. Some of them were so rich that the entire ground was embroidered over with pearls and zardozi.
Nivi drape starts with one end of the sari tucked into the waistband of the petticoat, usually a plain skirt. The cloth is wrapped around the lower body once, then hand-gathered into even pleats below the navel. The pleats are tucked into the waistband of the petticoat. They create a graceful, decorative effect which poets have likened to the petals of a flower. After one more turn around the waist, the loose end is draped over the shoulder. The loose end is called the pallu, pallav, seragu, or paita depending on the language. It is draped diagonally in front of the torso. It is worn across the right hip to over the left shoulder, partly baring the midriff. The navel can be revealed or concealed by the wearer by adjusting the pallu, depending on the social setting. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallu may be hanging freely, tucked in at the waist, used to cover the head, or used to cover the neck, by draping it across the right shoulder as well. Some nivi styles are worn with the pallu draped from the back towards the front, coming from the back over the right shoulder with one corner tucked by the left hip, covering the torso/waist. The nivi sari was popularised through the paintings of Raja Ravi Varma. In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing nivi sari. The ornaments generally accepted by the Hindu culture that can be worn in the midriff region are the waist chains. They are considered to be a part of bridal jewellery.
PROFESSIONAL STYLE OF DRAPING
Because of the harsh extremes in temperature on the Indian Subcontinent, the sari fills a practical role as well as a decorative one. It is not only warming in winter and cooling in summer, but its loose-fitting tailoring is preferred by women who must be free to move as their duties require. For this reason, it is the clothing of choice of air hostesses on Air India. This led to a professional style of draping a sari which is referred to "Air-Hostess style sari". An air hostess style sari is tied in just the same way as a normal sari except that the pleats are held together quite nicely with the help of pins. A bordered sari will be just perfect for an Air-Hostess style drape where the pallu is heavily pleated and pinned on the shoulder. Even the vertical pleats that are tucked at the navel are severely pleated and pressed. Same goes for the pallu pleats that are pinned at the shoulder. To get the perfect "Air-hostess" a complimentary U-shaped blouse that covers the upper body completely is worn which gives a very elegant and formal look. Mastering the "Air-hostess" style drape helps to create the desired impact in a formal setting like an interview or a conference.
Saris are worn as uniforms by the female hotel staff of many five star luxury hotels in India as symbol of culture. Recently, in a makeover design, Taj Hotels Resorts and Palaces, decided the welcoming staff at the group's Luxury Hotels would be draped in the rich colours and designs of the Banarasi six yards. The new saris were unveiled at the Taj property in Mumbai. It will be subsequently replicated at all 10 Luxury Hotels of the group across the country for duty managers and front office staff. Taj had adopted three villages in Varanasi and employed 25 master weavers there for the project. The vision finally took shape after 14 months, once the weavers had a good work environment, understood the designs and fine-tuned the motifs.
Similarly, the female politicians of India wear the sari in a professional manner. The women of Nehru–Gandhi family like Indira Gandhi and Sonia Gandhi wear the special blouse for the campaign trail which is longer than usually and is tucked in to prevent any midriff show while waving to the crowds.Stylist Prasad Bidapa has to say, "I think Sonia Gandhi is the country's most stylish politician. But that's because she's inherited the best collection of saris from her mother-in-law. I'm also happy that she supports the Indian handloom industry with her selection." BJP politician Sushma Swaraj maintains her prim housewife look with a pinned-up pallu while general secretary of AIADMK Jayalalithaa wears her saris like a suit of armour.
SARIS IN INDIAN LAW
In 2014, an Indian family court in Mumbai ruled that a husband objecting to his wife wearing a kurta and jeans and forcing her to wear a sari amounts to cruelty inflicted by the husband and can be a ground to seek divorce. The wife was thus granted a divorce on the ground of cruelty as defined under section 27(1)(d) of Special Marriage Act, 1954.
BANGLADESH
Sharee or saree (in Bengali=শাড়ি) is the national wear of Bangladeshi women. Most women who are married wear sharee as their regular dress while young-unmarried girls wear sharee as an occasional dress. The shari is worn by women throughout Bangladesh. Sari is the most popular dress for women in Bangladesh, both for casual and formal occasion. Although Dhakai Jamdani (hand made shari) is worldwide known and most famous to all women who wear shari but there are also many variety of shari in Bangladesh.There are many regional variations of them in both silk and cotton. e.g.- Tanta/Tant cotton shari, Dhakai Benaroshi shari, Rajshahi silk shari, Tangail Tanter shari, Tassar silk shari, monipuri shari and Katan shari are the most popular in Bangladesh.
PAKISTAN
In Pakistan, the sarees are still popular and worn on special occasions. The Shalwar kameez, however, is worn throughout the country on a daily basis. The sari nevertheless remains a popular garment among the middle and upper class for many formal functions. Sarees can be seen worn commonly in metropolitan cities such as Karachi and Islamabad and are worn regularly to weddings and other business type of functions. Sarees are also worn by many Muslim women in Sindh to show their status or to enhance their beauty. The sari is worn as daily wear by Pakistani Hindus, by elderly Muslim women who were used to wearing it in pre-partition India and by some of the new generation who have reintroduced the interest in saris.
SRI LANKA
Sri Lankan women wear saris in many styles. Two ways of draping the sari are popular and tend to dominate: the Indian style (classic nivi drape) and the Kandyan style (or osaria in Sinhalese). The Kandyan style is generally more popular in the hill country region of Kandy from which the style gets its name. Though local preferences play a role, most women decide on style depending on personal preference or what is perceived to be most flattering for their figure.
The traditional Kandyan (osaria) style consists of a full blouse which covers the midriff completely and is partially tucked in at the front as is seen in this 19th-century portrait. However, modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the Dravidian style noted earlier in the article.
The Kandyan style is considered the national dress of Sinhalese women. It is the uniform of the air hostesses of SriLankan Airlines.
During the 1960s, the mini sari known as 'hipster' sari created a wrinkle in Sri Lankan fashion, since it was worn below the navel and barely above the line of prosecution for indecent exposure. The conservative people described the 'hipster' as "an absolute travesty of a beautiful costume almost a desecration" and "a hideous and purposeless garment".
NEPAL
The sari is the most commonly worn women's clothing in Nepal. In Nepal, a special style of sari draping is called haku patasihh. The sari is draped around the waist and a shawl is worn covering the upper half of the sari, which is used in place of a pallu.
AFGHANISTAN
Sari's have been worn by the Afghan royal family house and upper family classes as well by Muslim women at special functions.
SIMILARITIES AND DIFFERENCES WITH OTHER ASIAN CLOTHING
While the sari is typical to Indian traditional wear, clothing worn by South-East Asian countries like Burma, Malaysia, Philippines, and Singapore resemble it, where a long rectangular piece of cloth is draped around the body. These are different from the sari as they are wrapped around the lower-half of body as a skirt, worn with a shirt/blouse, resembling a sarong, as seen in the Burmese Longyi, Filipino Malong, Tapis, Laotian Xout lao, Thai Sinh's, and Timorese Tais. Saris, worn predominantly in India, Pakistan, Sri Lanka, Bangladesh, and Nepal are usually draped with one end of the cloth fastened around the waist, and the other end placed over the shoulder baring the midriff.
SAREE ORNAMENTATION AND DECORATIVE ACCESSORIES
Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three-foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu; it is the part thrown over the shoulder in the nivi style of draping.
In past times, saris were woven of silk or cotton. The rich could afford finely woven, diaphanous silk saris that, according to folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were handwoven and represented a considerable investment of time or money.
Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work.
More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom, as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating ikat patterns. Sometimes threads of different colours were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself. These accents are called buttis or bhuttis (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.
Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with coloured silk thread. Zardozi embroidery uses gold and silver thread, and sometimes pearls and precious stones. Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and Swarovski crystals.
In modern times, saris are increasingly woven on mechanical looms and made of artificial fibres, such as polyester, nylon, or rayon, which do not require starching or ironing. They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim.
Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the overall market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven saris are still popular for weddings and other grand social occasions.
SARI OUTSIDE SOUTH ASIA
The traditional sari made an impact in the United States during the 1970s. Eugene Novack who ran the New York store, Royal Saree House told that he had been selling it mainly to the Indian women in New York area but later many American business women and housewives became his customers who preferred their saris to resemble the full gown of the western world. He also said that men appeared intrigued by the fragility and the femininity it confers on the wearer. Newcomers to the sari report that it is comfortable to wear, requiring no girdles or stockings and that the flowing garb feels so feminine with unusual grace.
As a nod to the fashion-forward philosophy established by the designs of Emilio Pucci, the now-defunct Braniff International Airways envisioned their air hostesses wearing a more revealing version of a sari on a proposed Dallas-Bombay (conceivably via London) service in the late 1970s. However this was never realised because of Halston's resistance to working with a palette outside of his comfort zone. The former Eagan, Minnesota–based Northwest Airlines considered issuing saris to flight attendants working the Minneapolis-Amsterdam-Delhi route that began in the 1990s. This never occurred largely because of a union dispute.
The sari has gained its popularity internationally because of the growth of Indian fashion trends globally. Many Bollywood celebrities, like Aishwarya Rai,[48] have worn it at international events representing the Indian culture. In 2010, Bollywood actress Deepika Padukone wanted to represent her country at an international event, wearing the national costume. On her very first red carpet appearance at the Cannes International Film Festival, she stepped out on the red carpet in a Rohit Bal sari.
Even popular Hollywood celebrities have worn this traditional attire. Pamela Anderson made a surprise guest appearance on Bigg Boss, the Indian version of Big Brother, dressed in a sari that was specially designed for her by Mumbai-based fashion designer Ashley Rebello. Ashley Judd donned a purple sari at the Youth AIDS Benefit Gala in November 2007 at the Ritz Carlton in Mclean, Virginia. There was an Indian flavour to the red carpet at the annual Fashion Rocks concert in New York, with designer Rocky S walking the ramp along with Jessica, Ashley, Nicole, Kimberly and Melody – the Pussycat Dolls – dressed in saris.
TYPES
While an international image of the modern style sari may have been popularised by airline stewardesses, each region in the Indian subcontinent has developed, over the centuries, its own unique sari style. Following are other well-known varieties, distinct on the basis of fabric, weaving style, or motif, in South Asia:
CENTRAL STYLES
Chanderi Sari – Madhya Pradesh
Maheshwari – Maheshwar, Madhya Pradesh
Kosa Silk – Chhattisgarh
Dhokra Silk – Madhya Pradesh
EASTERN STYLES
Tangail Tant Saree – Bangladesh
Jamdani – Bangladesh
Muslin – Bangladesh
Rajshahi Silk (Eri Silk) – Bangladesh
Tussar Silk Saree – Rajshahi Bangladesh
Dhakai Katan – Bangladesh
Khadi Saree – Comilla Bangladesh
Jute Cotton – Bangladesh
Mooga Silk – Assam
Mekhla Cotton – Assam
Dhaniakhali Cotton – West Bengal
Shantipuri Cotton – Shantipur, West Bengal
Phulia Cotton – Phulia, West Bengal
Begumpur Cotton – Begumpur, West Bengal
Garad Saree (Korial) – Murshidabad, West Bengal
Tant Saree – Farshganj, West Bengal
Murshidabad Silk – West Bengal
Baluchari Silk – Bishnupur, Bankura West Bengal
Kantha Silk & Cotton Saree – West Bengal & Bangladesh
Batic Saree – West Bengal & Bangladesh
Sambalpuri Silk & Cotton Saree – Sambalpur, Odisha
Bomkai Silk & Cotton Saree – Bomkai, Ganjam, Odisha
Khandua Silk & Cotton Saree – Nuapatna, Cuttack, Odisha
Sonepuri Silk & Cotton Saree – Subarnapur, Odisha
Berhampuri Silk – Behrampur, Odisha
Mattha Silk Saree – Mayurbhanj, Odisha
Bapta Silk & Cotton Saree – Koraput, Odisha
Tanta Cotton Saree – Balasore, Odisha
Manipuri Tant Saree - Manipur
WESTERN STYLES
Paithani – Maharashtra
Bandhani – Gujarat, Rajasthan, Pakistan
Kota doria – Rajasthan, Pakistan
Lugade – Maharashtra
Patola – Gujarat, Pakistan
SOUTHERN STYLES
Mysore Silk – Karnataka
Ilkal Saree – Karnataka
Molakalmuru Sari – Karnataka
Venkatagiri – Andhra Pradesh
Mangalagiri Silk Sarees – Andhra Pradesh
Uppada Silk Sarees – Andhra Pradesh
Chirala Sarees – Andhra Pradesh
Bandar Sarees – Andhra Pradesh
Bandarulanka – Andhra Pradesh
Kuppadam Sarees – Andhra Pradesh
Dharmavaram Silk Saree – Andhra pradesh
Kanchipuram Sari (locally called Kanjivaram Pattu) – Tamil Nadu
Kumbakonam – Tamil Nadu
Thirubuvanam – Tamil Nadu
Coimbatore Cotton Tamil Nadu
Chinnalampattu or Sungudi Tamil Nadu
Balarampuram – Kerala
Mundum Neriyathum – Kerala
Mayilati Silk – Kerala
Kannur Cotton – Kerala
Kalpathi Silk Sarees – Kerala
Maradaka Silk – Kerala
Samudrikapuram Silk and Cotton – Kerala
Pochampally Sari or Puttapaka Sari – Telangana
Gadwal Sari – Telangana
Narayanpet – Telangana or Maharashtra
NORTHERN STYLES
Banarasi – Uttar Pradesh
Shalu – Uttar Pradesh
Tanchoi – Uttar Pradesh
Bagru – Rajasthan, Pakistan
WIKIPEDIA
A Sari, saree, sadi, or shari is a South Asian female garment that consists of a drape varying from 4.5 metres to 8 metres in length and 60 cm to 1.20 m in breadth that is typically wrapped around the waist, with one end draped over the shoulder, baring the midriff.
The sari is usually worn over a petticoat (called 'parkar' (परकर) in Marathi lahaṅgā or lehenga in the north; seelai in Tamil, pavada (or occasionally langa) in Malayalam, Kannada and Telugu, chaniyo, parkar, ghaghra, or ghagaro in the west; and shaya in eastern India), with a fitted upper garment commonly called a blouse (ravike in South India and choli elsewhere). The blouse has short sleeves and is usually cropped at the midriff. The sari is associated with grace and is widely regarded as a symbol of Indian, Nepalese, Bangladesh, and Sri Lankan cultures.
ETYMOLOGY
The word sari described in Sanskrit शाटी śāṭī which means 'strip of cloth' and शाडी śāḍī or साडी sāḍī in Prakrit, and which was corrupted to sāṛī in Hindi. The word 'Sattika' is mentioned as describing women's attire in ancient India in Buddhist Jain literature called Jatakas. This could be equivalent to modern day 'Sari'. The term for female bodice, the choli is derived from another ruling clan from ancient Tamil Nadu, the Cholas. Rajatarangini (meaning the 'river of kings'), a tenth-century literary work by Kalhana, states that the Choli from the Deccan was introduced under the royal order in Kashmir.
ORIGINS AND HISTORY
In the history of Indian clothing the sari is traced back to the Indus Valley Civilisation, which flourished during 2800–1800 BC around the western part of the Indian subcontinent. Sari draping leaves back, cleavage, and side view of belly bare. The origin of such exposing attire can be attributed to humid climate of the land. The earliest known depiction of the sari in the Indian subcontinent is the statue of an Indus Valley priest wearing a drape.
Ancient Tamil poetry, such as the Silappadhikaram and the Sanskrit work, Kadambari by Banabhatta, describes women in exquisite drapery or sari. The ancient stone inscription from Gangaikonda Cholapuram in old Tamil scripts has a reference to hand weaving. In ancient Indian tradition and the Natya Shastra (an ancient Indian treatise describing ancient dance and costumes), the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari.
Sculptures from the Gandhara, Mathura and Gupta schools (1st–6th century AD) show goddesses and dancers wearing what appears to be a dhoti wrap, in the "fishtail" version which covers the legs loosely and then flows into a long, decorative drape in front of the legs. No bodices are shown.
Other sources say that everyday costume consisted of a dhoti or lungi (sarong), combined with a breast band called 'Kurpasika' or 'Stanapatta' and occasionally a wrap called 'Uttariya' that could at times be used to cover the upper body or head. The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in Malayalam) is a survival of ancient Indian clothing styles. The one-piece sari is a modern innovation, created by combining the two pieces of the mundum neryathum.
It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture the lower garment was called 'nivi' or 'nivi bandha', while the upper body was mostly left bare. The works of Kalidasa mentions 'Kurpasika' a form of tight fitting breast band that simply covered the breasts. It was also sometimes referred to as 'Uttarasanga' or 'Stanapatta'.
The tightly fitted, short blouse worn under a sari is a choli. Choli evolved as a form of clothing in the 10th century AD, and the first cholis were only front covering; the back was always bare but covered with end of saris pallu. Bodices of this type are still common in the state of Rajasthan.
In South India and especially in Kerala, women from most Hindu communities wore only the sari and exposed the upper part of the body till the middle of the 20th century.Poetic references from works like Silappadikaram indicate that during the Sangam period in ancient Tamil Nadu, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered. Similar styles of the sari are recorded paintings by Raja Ravi Varma in Kerala. By the mid 19th century, though, bare breasted styles of the sari faced social revaluation and led to the Upper cloth controversy in the princely state of Travancore (now part of the state of Kerala) and the styles declined rapidly within the next half a century.
In ancient India, although women wore saris that bared the midriff, the Dharmasastra writers stated that women should be dressed such that the navel would never become visible. By which for some time the navel exposure became a taboo and the navel was concealed.
Red wedding saris are the traditional garment choice for brides in Indian culture. Sari fabric is also traditionally silk. Over time, colour options and fabric choices for Indian brides have expanded. Today fabrics like crepe, Georgette, charmeuse, and satin are used, and colours have been expanded to include gold, pink, orange, maroon, brown, and yellow as well. Indian brides in Western countries often wear the sari at the wedding ceremony and change into traditional Indian wear afterwards (lehnga, choli, etc.).
STYLES OF DRAPING
There are more than 80 recorded ways to wear a sari. Fashion designer Aaditya sharma declared, "I can drape a sari in 54 different styles".
The most common style is for the sari to be wrapped around the waist, with the loose end of the drape to be worn over the shoulder, baring the midriff. However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. The French cultural anthropologist and sari researcher Chantal Boulanger categorised sari drapes in the following families:
- Nivi – styles originally worn in Andhra Pradesh; besides the modern nivi, there is also the kaccha nivi, where the pleats are passed through the legs and tucked into the waist at the back. This allows free movement while covering the legs.
- Bengali and Odia style.
- Gujarati/Rajasthani/Pakistani – after tucking in the pleats similar to the nivi style, the loose end is taken from the back, draped across the right shoulder, and pulled across to be secured in the back
- Maharashtrian/Konkani/Kashta; this drape is very similar to that of the male Maharashtrian dhoti. The centre of the sari (held lengthwise) is placed at the centre back, the ends are brought forward and tied securely, then the two ends are wrapped around the legs. When worn as a sari, an extra-long cloth of nine yards is used and the ends are then passed up over the shoulders and the upper body. They are primarily worn by Brahmin women of Maharashtra, Karnataka, Andhra Pradesh and Goa.
- Madisar – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards saree.
- Kodagu style – this drape is confined to ladies hailing from the Kodagu district of Karnataka. In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder, and is pinned to the rest of the sari.
- Gobbe Seere – This style is worn by women in the Malnad or Sahyadri and central region of Karnataka. It is worn with 18 molas saree with three four rounds at the waist and a knot after crisscrossing over shoulders.
- Gond – sari styles found in many parts of Central India. The cloth is first draped over the left shoulder, then arranged to cover the body.
- Malayali style – the two-piece sari, or Mundum Neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders. Also the Kerala sari, a sort of mundum neryathum.
- Tribal styles – often secured by tying them firmly across the chest, covering the breasts.
Kunbi style or denthli:Goan Gauda and Kunbis,and those of them who have migrated to other states use this way of draping Sari or Kappad, this form of draping is created by tying a knot in the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fasten on the back.
NIVI STYLE
The nivi is today's most popular sari style from Andhra Pradesh. The increased interaction with the British saw most women from royal families come out of purdah in the 1900s. This necessitated a change of dress. Maharani Indira Devi of Cooch Behar popularised the chiffon sari. She was widowed early in life and followed the convention of abandoning her richly woven Baroda shalus in favour of the traditional unadorned white. Characteristically, she transformed her "mourning" clothes into high fashion. She had saris woven in France to her personal specifications, in white chiffon, and introduced the silk chiffon sari to the royal fashion repertoire.
The chiffon sari did what years of fashion interaction had not done in India. It homogenised fashion across this land. Its softness, lightness and beautiful, elegant, caressing drape was ideally suited to the Indian climate. Different courts adopted their own styles of draping and indigenising the sari. In most of the courts the sari was embellished with stitching hand-woven borders in goldfrom Varanasi, delicate zardozi work, gota, makaish and tilla work that embellished the plain fabric, simultaneously satisfying both traditional demands and ingrained love for ornamentation. Some images of maharanis in the Deccan show the women wearing a sleeveless, richly embellished waistcoat over their blouses. The Begum of Savanur remembers how sumptuous the chiffon sari became at their gatherings. At some courts it was worn with jaali, or net kurtas and embossed silk waist length sadris or jackets. Some of them were so rich that the entire ground was embroidered over with pearls and zardozi.
Nivi drape starts with one end of the sari tucked into the waistband of the petticoat, usually a plain skirt. The cloth is wrapped around the lower body once, then hand-gathered into even pleats below the navel. The pleats are tucked into the waistband of the petticoat. They create a graceful, decorative effect which poets have likened to the petals of a flower. After one more turn around the waist, the loose end is draped over the shoulder. The loose end is called the pallu, pallav, seragu, or paita depending on the language. It is draped diagonally in front of the torso. It is worn across the right hip to over the left shoulder, partly baring the midriff. The navel can be revealed or concealed by the wearer by adjusting the pallu, depending on the social setting. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallu may be hanging freely, tucked in at the waist, used to cover the head, or used to cover the neck, by draping it across the right shoulder as well. Some nivi styles are worn with the pallu draped from the back towards the front, coming from the back over the right shoulder with one corner tucked by the left hip, covering the torso/waist. The nivi sari was popularised through the paintings of Raja Ravi Varma. In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing nivi sari. The ornaments generally accepted by the Hindu culture that can be worn in the midriff region are the waist chains. They are considered to be a part of bridal jewellery.
PROFESSIONAL STYLE OF DRAPING
Because of the harsh extremes in temperature on the Indian Subcontinent, the sari fills a practical role as well as a decorative one. It is not only warming in winter and cooling in summer, but its loose-fitting tailoring is preferred by women who must be free to move as their duties require. For this reason, it is the clothing of choice of air hostesses on Air India. This led to a professional style of draping a sari which is referred to "Air-Hostess style sari". An air hostess style sari is tied in just the same way as a normal sari except that the pleats are held together quite nicely with the help of pins. A bordered sari will be just perfect for an Air-Hostess style drape where the pallu is heavily pleated and pinned on the shoulder. Even the vertical pleats that are tucked at the navel are severely pleated and pressed. Same goes for the pallu pleats that are pinned at the shoulder. To get the perfect "Air-hostess" a complimentary U-shaped blouse that covers the upper body completely is worn which gives a very elegant and formal look. Mastering the "Air-hostess" style drape helps to create the desired impact in a formal setting like an interview or a conference.
Saris are worn as uniforms by the female hotel staff of many five star luxury hotels in India as symbol of culture. Recently, in a makeover design, Taj Hotels Resorts and Palaces, decided the welcoming staff at the group's Luxury Hotels would be draped in the rich colours and designs of the Banarasi six yards. The new saris were unveiled at the Taj property in Mumbai. It will be subsequently replicated at all 10 Luxury Hotels of the group across the country for duty managers and front office staff. Taj had adopted three villages in Varanasi and employed 25 master weavers there for the project. The vision finally took shape after 14 months, once the weavers had a good work environment, understood the designs and fine-tuned the motifs.
Similarly, the female politicians of India wear the sari in a professional manner. The women of Nehru–Gandhi family like Indira Gandhi and Sonia Gandhi wear the special blouse for the campaign trail which is longer than usually and is tucked in to prevent any midriff show while waving to the crowds.Stylist Prasad Bidapa has to say, "I think Sonia Gandhi is the country's most stylish politician. But that's because she's inherited the best collection of saris from her mother-in-law. I'm also happy that she supports the Indian handloom industry with her selection." BJP politician Sushma Swaraj maintains her prim housewife look with a pinned-up pallu while general secretary of AIADMK Jayalalithaa wears her saris like a suit of armour.
SARIS IN INDIAN LAW
In 2014, an Indian family court in Mumbai ruled that a husband objecting to his wife wearing a kurta and jeans and forcing her to wear a sari amounts to cruelty inflicted by the husband and can be a ground to seek divorce. The wife was thus granted a divorce on the ground of cruelty as defined under section 27(1)(d) of Special Marriage Act, 1954.
BANGLADESH
Sharee or saree (in Bengali=শাড়ি) is the national wear of Bangladeshi women. Most women who are married wear sharee as their regular dress while young-unmarried girls wear sharee as an occasional dress. The shari is worn by women throughout Bangladesh. Sari is the most popular dress for women in Bangladesh, both for casual and formal occasion. Although Dhakai Jamdani (hand made shari) is worldwide known and most famous to all women who wear shari but there are also many variety of shari in Bangladesh.There are many regional variations of them in both silk and cotton. e.g.- Tanta/Tant cotton shari, Dhakai Benaroshi shari, Rajshahi silk shari, Tangail Tanter shari, Tassar silk shari, monipuri shari and Katan shari are the most popular in Bangladesh.
PAKISTAN
In Pakistan, the sarees are still popular and worn on special occasions. The Shalwar kameez, however, is worn throughout the country on a daily basis. The sari nevertheless remains a popular garment among the middle and upper class for many formal functions. Sarees can be seen worn commonly in metropolitan cities such as Karachi and Islamabad and are worn regularly to weddings and other business type of functions. Sarees are also worn by many Muslim women in Sindh to show their status or to enhance their beauty. The sari is worn as daily wear by Pakistani Hindus, by elderly Muslim women who were used to wearing it in pre-partition India and by some of the new generation who have reintroduced the interest in saris.
SRI LANKA
Sri Lankan women wear saris in many styles. Two ways of draping the sari are popular and tend to dominate: the Indian style (classic nivi drape) and the Kandyan style (or osaria in Sinhalese). The Kandyan style is generally more popular in the hill country region of Kandy from which the style gets its name. Though local preferences play a role, most women decide on style depending on personal preference or what is perceived to be most flattering for their figure.
The traditional Kandyan (osaria) style consists of a full blouse which covers the midriff completely and is partially tucked in at the front as is seen in this 19th-century portrait. However, modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the Dravidian style noted earlier in the article.
The Kandyan style is considered the national dress of Sinhalese women. It is the uniform of the air hostesses of SriLankan Airlines.
During the 1960s, the mini sari known as 'hipster' sari created a wrinkle in Sri Lankan fashion, since it was worn below the navel and barely above the line of prosecution for indecent exposure. The conservative people described the 'hipster' as "an absolute travesty of a beautiful costume almost a desecration" and "a hideous and purposeless garment".
NEPAL
The sari is the most commonly worn women's clothing in Nepal. In Nepal, a special style of sari draping is called haku patasihh. The sari is draped around the waist and a shawl is worn covering the upper half of the sari, which is used in place of a pallu.
AFGHANISTAN
Sari's have been worn by the Afghan royal family house and upper family classes as well by Muslim women at special functions.
SIMILARITIES AND DIFFERENCES WITH OTHER ASIAN CLOTHING
While the sari is typical to Indian traditional wear, clothing worn by South-East Asian countries like Burma, Malaysia, Philippines, and Singapore resemble it, where a long rectangular piece of cloth is draped around the body. These are different from the sari as they are wrapped around the lower-half of body as a skirt, worn with a shirt/blouse, resembling a sarong, as seen in the Burmese Longyi, Filipino Malong, Tapis, Laotian Xout lao, Thai Sinh's, and Timorese Tais. Saris, worn predominantly in India, Pakistan, Sri Lanka, Bangladesh, and Nepal are usually draped with one end of the cloth fastened around the waist, and the other end placed over the shoulder baring the midriff.
SAREE ORNAMENTATION AND DECORATIVE ACCESSORIES
Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three-foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu; it is the part thrown over the shoulder in the nivi style of draping.
In past times, saris were woven of silk or cotton. The rich could afford finely woven, diaphanous silk saris that, according to folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were handwoven and represented a considerable investment of time or money.
Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work.
More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom, as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating ikat patterns. Sometimes threads of different colours were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself. These accents are called buttis or bhuttis (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.
Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with coloured silk thread. Zardozi embroidery uses gold and silver thread, and sometimes pearls and precious stones. Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and Swarovski crystals.
In modern times, saris are increasingly woven on mechanical looms and made of artificial fibres, such as polyester, nylon, or rayon, which do not require starching or ironing. They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim.
Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the overall market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven saris are still popular for weddings and other grand social occasions.
SARI OUTSIDE SOUTH ASIA
The traditional sari made an impact in the United States during the 1970s. Eugene Novack who ran the New York store, Royal Saree House told that he had been selling it mainly to the Indian women in New York area but later many American business women and housewives became his customers who preferred their saris to resemble the full gown of the western world. He also said that men appeared intrigued by the fragility and the femininity it confers on the wearer. Newcomers to the sari report that it is comfortable to wear, requiring no girdles or stockings and that the flowing garb feels so feminine with unusual grace.
As a nod to the fashion-forward philosophy established by the designs of Emilio Pucci, the now-defunct Braniff International Airways envisioned their air hostesses wearing a more revealing version of a sari on a proposed Dallas-Bombay (conceivably via London) service in the late 1970s. However this was never realised because of Halston's resistance to working with a palette outside of his comfort zone. The former Eagan, Minnesota–based Northwest Airlines considered issuing saris to flight attendants working the Minneapolis-Amsterdam-Delhi route that began in the 1990s. This never occurred largely because of a union dispute.
The sari has gained its popularity internationally because of the growth of Indian fashion trends globally. Many Bollywood celebrities, like Aishwarya Rai,[48] have worn it at international events representing the Indian culture. In 2010, Bollywood actress Deepika Padukone wanted to represent her country at an international event, wearing the national costume. On her very first red carpet appearance at the Cannes International Film Festival, she stepped out on the red carpet in a Rohit Bal sari.
Even popular Hollywood celebrities have worn this traditional attire. Pamela Anderson made a surprise guest appearance on Bigg Boss, the Indian version of Big Brother, dressed in a sari that was specially designed for her by Mumbai-based fashion designer Ashley Rebello. Ashley Judd donned a purple sari at the Youth AIDS Benefit Gala in November 2007 at the Ritz Carlton in Mclean, Virginia. There was an Indian flavour to the red carpet at the annual Fashion Rocks concert in New York, with designer Rocky S walking the ramp along with Jessica, Ashley, Nicole, Kimberly and Melody – the Pussycat Dolls – dressed in saris.
TYPES
While an international image of the modern style sari may have been popularised by airline stewardesses, each region in the Indian subcontinent has developed, over the centuries, its own unique sari style. Following are other well-known varieties, distinct on the basis of fabric, weaving style, or motif, in South Asia:
CENTRAL STYLES
Chanderi Sari – Madhya Pradesh
Maheshwari – Maheshwar, Madhya Pradesh
Kosa Silk – Chhattisgarh
Dhokra Silk – Madhya Pradesh
EASTERN STYLES
Tangail Tant Saree – Bangladesh
Jamdani – Bangladesh
Muslin – Bangladesh
Rajshahi Silk (Eri Silk) – Bangladesh
Tussar Silk Saree – Rajshahi Bangladesh
Dhakai Katan – Bangladesh
Khadi Saree – Comilla Bangladesh
Jute Cotton – Bangladesh
Mooga Silk – Assam
Mekhla Cotton – Assam
Dhaniakhali Cotton – West Bengal
Shantipuri Cotton – Shantipur, West Bengal
Phulia Cotton – Phulia, West Bengal
Begumpur Cotton – Begumpur, West Bengal
Garad Saree (Korial) – Murshidabad, West Bengal
Tant Saree – Farshganj, West Bengal
Murshidabad Silk – West Bengal
Baluchari Silk – Bishnupur, Bankura West Bengal
Kantha Silk & Cotton Saree – West Bengal & Bangladesh
Batic Saree – West Bengal & Bangladesh
Sambalpuri Silk & Cotton Saree – Sambalpur, Odisha
Bomkai Silk & Cotton Saree – Bomkai, Ganjam, Odisha
Khandua Silk & Cotton Saree – Nuapatna, Cuttack, Odisha
Sonepuri Silk & Cotton Saree – Subarnapur, Odisha
Berhampuri Silk – Behrampur, Odisha
Mattha Silk Saree – Mayurbhanj, Odisha
Bapta Silk & Cotton Saree – Koraput, Odisha
Tanta Cotton Saree – Balasore, Odisha
Manipuri Tant Saree - Manipur
WESTERN STYLES
Paithani – Maharashtra
Bandhani – Gujarat, Rajasthan, Pakistan
Kota doria – Rajasthan, Pakistan
Lugade – Maharashtra
Patola – Gujarat, Pakistan
SOUTHERN STYLES
Mysore Silk – Karnataka
Ilkal Saree – Karnataka
Molakalmuru Sari – Karnataka
Venkatagiri – Andhra Pradesh
Mangalagiri Silk Sarees – Andhra Pradesh
Uppada Silk Sarees – Andhra Pradesh
Chirala Sarees – Andhra Pradesh
Bandar Sarees – Andhra Pradesh
Bandarulanka – Andhra Pradesh
Kuppadam Sarees – Andhra Pradesh
Dharmavaram Silk Saree – Andhra pradesh
Kanchipuram Sari (locally called Kanjivaram Pattu) – Tamil Nadu
Kumbakonam – Tamil Nadu
Thirubuvanam – Tamil Nadu
Coimbatore Cotton Tamil Nadu
Chinnalampattu or Sungudi Tamil Nadu
Balarampuram – Kerala
Mundum Neriyathum – Kerala
Mayilati Silk – Kerala
Kannur Cotton – Kerala
Kalpathi Silk Sarees – Kerala
Maradaka Silk – Kerala
Samudrikapuram Silk and Cotton – Kerala
Pochampally Sari or Puttapaka Sari – Telangana
Gadwal Sari – Telangana
Narayanpet – Telangana or Maharashtra
NORTHERN STYLES
Banarasi – Uttar Pradesh
Shalu – Uttar Pradesh
Tanchoi – Uttar Pradesh
Bagru – Rajasthan, Pakistan
WIKIPEDIA
Sunny: The Pole Dancer: After talking about Kim Kardashian's image, Sunny Leone decided to show her sensual side to her housemates who are still unaware about her porn-star image.
She got a standing ovation for her seductive turn as a pole dancer.
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In the month of september 2014, I was assigned by Endemol India to shoot 360 degree virtual walk through panoramas of the entire Bigg Boss House which I did ...... a new concept in marketing ie buying Bigg Boss Merchandise placed inside the house selecting each of them through the virtual panoramas .. I had a great time shooting the beautiful living area .. the dining and the kitchen and of course the beautiful bedroom.
Assistant during this shoot: Swapnil Angre
Thanks to Endemol India, Snapdeal.com and Nitish Parmar
Though Bigg Boss has ended, I thought I should share these photographs of the house over here with all my friends ...
A Sari, saree, sadi, or shari is a South Asian female garment that consists of a drape varying from 4.5 metres to 8 metres in length and 60 cm to 1.20 m in breadth that is typically wrapped around the waist, with one end draped over the shoulder, baring the midriff.
The sari is usually worn over a petticoat (called 'parkar' (परकर) in Marathi lahaṅgā or lehenga in the north; seelai in Tamil, pavada (or occasionally langa) in Malayalam, Kannada and Telugu, chaniyo, parkar, ghaghra, or ghagaro in the west; and shaya in eastern India), with a fitted upper garment commonly called a blouse (ravike in South India and choli elsewhere). The blouse has short sleeves and is usually cropped at the midriff. The sari is associated with grace and is widely regarded as a symbol of Indian, Nepalese, Bangladesh, and Sri Lankan cultures.
ETYMOLOGY
The word sari described in Sanskrit शाटी śāṭī which means 'strip of cloth' and शाडी śāḍī or साडी sāḍī in Prakrit, and which was corrupted to sāṛī in Hindi. The word 'Sattika' is mentioned as describing women's attire in ancient India in Buddhist Jain literature called Jatakas. This could be equivalent to modern day 'Sari'. The term for female bodice, the choli is derived from another ruling clan from ancient Tamil Nadu, the Cholas. Rajatarangini (meaning the 'river of kings'), a tenth-century literary work by Kalhana, states that the Choli from the Deccan was introduced under the royal order in Kashmir.
ORIGINS AND HISTORY
In the history of Indian clothing the sari is traced back to the Indus Valley Civilisation, which flourished during 2800–1800 BC around the western part of the Indian subcontinent. Sari draping leaves back, cleavage, and side view of belly bare. The origin of such exposing attire can be attributed to humid climate of the land. The earliest known depiction of the sari in the Indian subcontinent is the statue of an Indus Valley priest wearing a drape.
Ancient Tamil poetry, such as the Silappadhikaram and the Sanskrit work, Kadambari by Banabhatta, describes women in exquisite drapery or sari. The ancient stone inscription from Gangaikonda Cholapuram in old Tamil scripts has a reference to hand weaving. In ancient Indian tradition and the Natya Shastra (an ancient Indian treatise describing ancient dance and costumes), the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari.
Sculptures from the Gandhara, Mathura and Gupta schools (1st–6th century AD) show goddesses and dancers wearing what appears to be a dhoti wrap, in the "fishtail" version which covers the legs loosely and then flows into a long, decorative drape in front of the legs. No bodices are shown.
Other sources say that everyday costume consisted of a dhoti or lungi (sarong), combined with a breast band called 'Kurpasika' or 'Stanapatta' and occasionally a wrap called 'Uttariya' that could at times be used to cover the upper body or head. The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in Malayalam) is a survival of ancient Indian clothing styles. The one-piece sari is a modern innovation, created by combining the two pieces of the mundum neryathum.
It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture the lower garment was called 'nivi' or 'nivi bandha', while the upper body was mostly left bare. The works of Kalidasa mentions 'Kurpasika' a form of tight fitting breast band that simply covered the breasts. It was also sometimes referred to as 'Uttarasanga' or 'Stanapatta'.
The tightly fitted, short blouse worn under a sari is a choli. Choli evolved as a form of clothing in the 10th century AD, and the first cholis were only front covering; the back was always bare but covered with end of saris pallu. Bodices of this type are still common in the state of Rajasthan.
In South India and especially in Kerala, women from most Hindu communities wore only the sari and exposed the upper part of the body till the middle of the 20th century.Poetic references from works like Silappadikaram indicate that during the Sangam period in ancient Tamil Nadu, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered. Similar styles of the sari are recorded paintings by Raja Ravi Varma in Kerala. By the mid 19th century, though, bare breasted styles of the sari faced social revaluation and led to the Upper cloth controversy in the princely state of Travancore (now part of the state of Kerala) and the styles declined rapidly within the next half a century.
In ancient India, although women wore saris that bared the midriff, the Dharmasastra writers stated that women should be dressed such that the navel would never become visible. By which for some time the navel exposure became a taboo and the navel was concealed.
Red wedding saris are the traditional garment choice for brides in Indian culture. Sari fabric is also traditionally silk. Over time, colour options and fabric choices for Indian brides have expanded. Today fabrics like crepe, Georgette, charmeuse, and satin are used, and colours have been expanded to include gold, pink, orange, maroon, brown, and yellow as well. Indian brides in Western countries often wear the sari at the wedding ceremony and change into traditional Indian wear afterwards (lehnga, choli, etc.).
STYLES OF DRAPING
There are more than 80 recorded ways to wear a sari. Fashion designer Aaditya sharma declared, "I can drape a sari in 54 different styles".
The most common style is for the sari to be wrapped around the waist, with the loose end of the drape to be worn over the shoulder, baring the midriff. However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. The French cultural anthropologist and sari researcher Chantal Boulanger categorised sari drapes in the following families:
- Nivi – styles originally worn in Andhra Pradesh; besides the modern nivi, there is also the kaccha nivi, where the pleats are passed through the legs and tucked into the waist at the back. This allows free movement while covering the legs.
- Bengali and Odia style.
- Gujarati/Rajasthani/Pakistani – after tucking in the pleats similar to the nivi style, the loose end is taken from the back, draped across the right shoulder, and pulled across to be secured in the back
- Maharashtrian/Konkani/Kashta; this drape is very similar to that of the male Maharashtrian dhoti. The centre of the sari (held lengthwise) is placed at the centre back, the ends are brought forward and tied securely, then the two ends are wrapped around the legs. When worn as a sari, an extra-long cloth of nine yards is used and the ends are then passed up over the shoulders and the upper body. They are primarily worn by Brahmin women of Maharashtra, Karnataka, Andhra Pradesh and Goa.
- Madisar – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards saree.
- Kodagu style – this drape is confined to ladies hailing from the Kodagu district of Karnataka. In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder, and is pinned to the rest of the sari.
- Gobbe Seere – This style is worn by women in the Malnad or Sahyadri and central region of Karnataka. It is worn with 18 molas saree with three four rounds at the waist and a knot after crisscrossing over shoulders.
- Gond – sari styles found in many parts of Central India. The cloth is first draped over the left shoulder, then arranged to cover the body.
- Malayali style – the two-piece sari, or Mundum Neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders. Also the Kerala sari, a sort of mundum neryathum.
- Tribal styles – often secured by tying them firmly across the chest, covering the breasts.
Kunbi style or denthli:Goan Gauda and Kunbis,and those of them who have migrated to other states use this way of draping Sari or Kappad, this form of draping is created by tying a knot in the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fasten on the back.
NIVI STYLE
The nivi is today's most popular sari style from Andhra Pradesh. The increased interaction with the British saw most women from royal families come out of purdah in the 1900s. This necessitated a change of dress. Maharani Indira Devi of Cooch Behar popularised the chiffon sari. She was widowed early in life and followed the convention of abandoning her richly woven Baroda shalus in favour of the traditional unadorned white. Characteristically, she transformed her "mourning" clothes into high fashion. She had saris woven in France to her personal specifications, in white chiffon, and introduced the silk chiffon sari to the royal fashion repertoire.
The chiffon sari did what years of fashion interaction had not done in India. It homogenised fashion across this land. Its softness, lightness and beautiful, elegant, caressing drape was ideally suited to the Indian climate. Different courts adopted their own styles of draping and indigenising the sari. In most of the courts the sari was embellished with stitching hand-woven borders in goldfrom Varanasi, delicate zardozi work, gota, makaish and tilla work that embellished the plain fabric, simultaneously satisfying both traditional demands and ingrained love for ornamentation. Some images of maharanis in the Deccan show the women wearing a sleeveless, richly embellished waistcoat over their blouses. The Begum of Savanur remembers how sumptuous the chiffon sari became at their gatherings. At some courts it was worn with jaali, or net kurtas and embossed silk waist length sadris or jackets. Some of them were so rich that the entire ground was embroidered over with pearls and zardozi.
Nivi drape starts with one end of the sari tucked into the waistband of the petticoat, usually a plain skirt. The cloth is wrapped around the lower body once, then hand-gathered into even pleats below the navel. The pleats are tucked into the waistband of the petticoat. They create a graceful, decorative effect which poets have likened to the petals of a flower. After one more turn around the waist, the loose end is draped over the shoulder. The loose end is called the pallu, pallav, seragu, or paita depending on the language. It is draped diagonally in front of the torso. It is worn across the right hip to over the left shoulder, partly baring the midriff. The navel can be revealed or concealed by the wearer by adjusting the pallu, depending on the social setting. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallu may be hanging freely, tucked in at the waist, used to cover the head, or used to cover the neck, by draping it across the right shoulder as well. Some nivi styles are worn with the pallu draped from the back towards the front, coming from the back over the right shoulder with one corner tucked by the left hip, covering the torso/waist. The nivi sari was popularised through the paintings of Raja Ravi Varma. In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing nivi sari. The ornaments generally accepted by the Hindu culture that can be worn in the midriff region are the waist chains. They are considered to be a part of bridal jewellery.
PROFESSIONAL STYLE OF DRAPING
Because of the harsh extremes in temperature on the Indian Subcontinent, the sari fills a practical role as well as a decorative one. It is not only warming in winter and cooling in summer, but its loose-fitting tailoring is preferred by women who must be free to move as their duties require. For this reason, it is the clothing of choice of air hostesses on Air India. This led to a professional style of draping a sari which is referred to "Air-Hostess style sari". An air hostess style sari is tied in just the same way as a normal sari except that the pleats are held together quite nicely with the help of pins. A bordered sari will be just perfect for an Air-Hostess style drape where the pallu is heavily pleated and pinned on the shoulder. Even the vertical pleats that are tucked at the navel are severely pleated and pressed. Same goes for the pallu pleats that are pinned at the shoulder. To get the perfect "Air-hostess" a complimentary U-shaped blouse that covers the upper body completely is worn which gives a very elegant and formal look. Mastering the "Air-hostess" style drape helps to create the desired impact in a formal setting like an interview or a conference.
Saris are worn as uniforms by the female hotel staff of many five star luxury hotels in India as symbol of culture. Recently, in a makeover design, Taj Hotels Resorts and Palaces, decided the welcoming staff at the group's Luxury Hotels would be draped in the rich colours and designs of the Banarasi six yards. The new saris were unveiled at the Taj property in Mumbai. It will be subsequently replicated at all 10 Luxury Hotels of the group across the country for duty managers and front office staff. Taj had adopted three villages in Varanasi and employed 25 master weavers there for the project. The vision finally took shape after 14 months, once the weavers had a good work environment, understood the designs and fine-tuned the motifs.
Similarly, the female politicians of India wear the sari in a professional manner. The women of Nehru–Gandhi family like Indira Gandhi and Sonia Gandhi wear the special blouse for the campaign trail which is longer than usually and is tucked in to prevent any midriff show while waving to the crowds.Stylist Prasad Bidapa has to say, "I think Sonia Gandhi is the country's most stylish politician. But that's because she's inherited the best collection of saris from her mother-in-law. I'm also happy that she supports the Indian handloom industry with her selection." BJP politician Sushma Swaraj maintains her prim housewife look with a pinned-up pallu while general secretary of AIADMK Jayalalithaa wears her saris like a suit of armour.
SARIS IN INDIAN LAW
In 2014, an Indian family court in Mumbai ruled that a husband objecting to his wife wearing a kurta and jeans and forcing her to wear a sari amounts to cruelty inflicted by the husband and can be a ground to seek divorce. The wife was thus granted a divorce on the ground of cruelty as defined under section 27(1)(d) of Special Marriage Act, 1954.
BANGLADESH
Sharee or saree (in Bengali=শাড়ি) is the national wear of Bangladeshi women. Most women who are married wear sharee as their regular dress while young-unmarried girls wear sharee as an occasional dress. The shari is worn by women throughout Bangladesh. Sari is the most popular dress for women in Bangladesh, both for casual and formal occasion. Although Dhakai Jamdani (hand made shari) is worldwide known and most famous to all women who wear shari but there are also many variety of shari in Bangladesh.There are many regional variations of them in both silk and cotton. e.g.- Tanta/Tant cotton shari, Dhakai Benaroshi shari, Rajshahi silk shari, Tangail Tanter shari, Tassar silk shari, monipuri shari and Katan shari are the most popular in Bangladesh.
PAKISTAN
In Pakistan, the sarees are still popular and worn on special occasions. The Shalwar kameez, however, is worn throughout the country on a daily basis. The sari nevertheless remains a popular garment among the middle and upper class for many formal functions. Sarees can be seen worn commonly in metropolitan cities such as Karachi and Islamabad and are worn regularly to weddings and other business type of functions. Sarees are also worn by many Muslim women in Sindh to show their status or to enhance their beauty. The sari is worn as daily wear by Pakistani Hindus, by elderly Muslim women who were used to wearing it in pre-partition India and by some of the new generation who have reintroduced the interest in saris.
SRI LANKA
Sri Lankan women wear saris in many styles. Two ways of draping the sari are popular and tend to dominate: the Indian style (classic nivi drape) and the Kandyan style (or osaria in Sinhalese). The Kandyan style is generally more popular in the hill country region of Kandy from which the style gets its name. Though local preferences play a role, most women decide on style depending on personal preference or what is perceived to be most flattering for their figure.
The traditional Kandyan (osaria) style consists of a full blouse which covers the midriff completely and is partially tucked in at the front as is seen in this 19th-century portrait. However, modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the Dravidian style noted earlier in the article.
The Kandyan style is considered the national dress of Sinhalese women. It is the uniform of the air hostesses of SriLankan Airlines.
During the 1960s, the mini sari known as 'hipster' sari created a wrinkle in Sri Lankan fashion, since it was worn below the navel and barely above the line of prosecution for indecent exposure. The conservative people described the 'hipster' as "an absolute travesty of a beautiful costume almost a desecration" and "a hideous and purposeless garment".
NEPAL
The sari is the most commonly worn women's clothing in Nepal. In Nepal, a special style of sari draping is called haku patasihh. The sari is draped around the waist and a shawl is worn covering the upper half of the sari, which is used in place of a pallu.
AFGHANISTAN
Sari's have been worn by the Afghan royal family house and upper family classes as well by Muslim women at special functions.
SIMILARITIES AND DIFFERENCES WITH OTHER ASIAN CLOTHING
While the sari is typical to Indian traditional wear, clothing worn by South-East Asian countries like Burma, Malaysia, Philippines, and Singapore resemble it, where a long rectangular piece of cloth is draped around the body. These are different from the sari as they are wrapped around the lower-half of body as a skirt, worn with a shirt/blouse, resembling a sarong, as seen in the Burmese Longyi, Filipino Malong, Tapis, Laotian Xout lao, Thai Sinh's, and Timorese Tais. Saris, worn predominantly in India, Pakistan, Sri Lanka, Bangladesh, and Nepal are usually draped with one end of the cloth fastened around the waist, and the other end placed over the shoulder baring the midriff.
SAREE ORNAMENTATION AND DECORATIVE ACCESSORIES
Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three-foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu; it is the part thrown over the shoulder in the nivi style of draping.
In past times, saris were woven of silk or cotton. The rich could afford finely woven, diaphanous silk saris that, according to folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were handwoven and represented a considerable investment of time or money.
Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work.
More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom, as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating ikat patterns. Sometimes threads of different colours were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself. These accents are called buttis or bhuttis (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.
Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with coloured silk thread. Zardozi embroidery uses gold and silver thread, and sometimes pearls and precious stones. Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and Swarovski crystals.
In modern times, saris are increasingly woven on mechanical looms and made of artificial fibres, such as polyester, nylon, or rayon, which do not require starching or ironing. They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim.
Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the overall market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven saris are still popular for weddings and other grand social occasions.
SARI OUTSIDE SOUTH ASIA
The traditional sari made an impact in the United States during the 1970s. Eugene Novack who ran the New York store, Royal Saree House told that he had been selling it mainly to the Indian women in New York area but later many American business women and housewives became his customers who preferred their saris to resemble the full gown of the western world. He also said that men appeared intrigued by the fragility and the femininity it confers on the wearer. Newcomers to the sari report that it is comfortable to wear, requiring no girdles or stockings and that the flowing garb feels so feminine with unusual grace.
As a nod to the fashion-forward philosophy established by the designs of Emilio Pucci, the now-defunct Braniff International Airways envisioned their air hostesses wearing a more revealing version of a sari on a proposed Dallas-Bombay (conceivably via London) service in the late 1970s. However this was never realised because of Halston's resistance to working with a palette outside of his comfort zone. The former Eagan, Minnesota–based Northwest Airlines considered issuing saris to flight attendants working the Minneapolis-Amsterdam-Delhi route that began in the 1990s. This never occurred largely because of a union dispute.
The sari has gained its popularity internationally because of the growth of Indian fashion trends globally. Many Bollywood celebrities, like Aishwarya Rai,[48] have worn it at international events representing the Indian culture. In 2010, Bollywood actress Deepika Padukone wanted to represent her country at an international event, wearing the national costume. On her very first red carpet appearance at the Cannes International Film Festival, she stepped out on the red carpet in a Rohit Bal sari.
Even popular Hollywood celebrities have worn this traditional attire. Pamela Anderson made a surprise guest appearance on Bigg Boss, the Indian version of Big Brother, dressed in a sari that was specially designed for her by Mumbai-based fashion designer Ashley Rebello. Ashley Judd donned a purple sari at the Youth AIDS Benefit Gala in November 2007 at the Ritz Carlton in Mclean, Virginia. There was an Indian flavour to the red carpet at the annual Fashion Rocks concert in New York, with designer Rocky S walking the ramp along with Jessica, Ashley, Nicole, Kimberly and Melody – the Pussycat Dolls – dressed in saris.
TYPES
While an international image of the modern style sari may have been popularised by airline stewardesses, each region in the Indian subcontinent has developed, over the centuries, its own unique sari style. Following are other well-known varieties, distinct on the basis of fabric, weaving style, or motif, in South Asia:
CENTRAL STYLES
Chanderi Sari – Madhya Pradesh
Maheshwari – Maheshwar, Madhya Pradesh
Kosa Silk – Chhattisgarh
Dhokra Silk – Madhya Pradesh
EASTERN STYLES
Tangail Tant Saree – Bangladesh
Jamdani – Bangladesh
Muslin – Bangladesh
Rajshahi Silk (Eri Silk) – Bangladesh
Tussar Silk Saree – Rajshahi Bangladesh
Dhakai Katan – Bangladesh
Khadi Saree – Comilla Bangladesh
Jute Cotton – Bangladesh
Mooga Silk – Assam
Mekhla Cotton – Assam
Dhaniakhali Cotton – West Bengal
Shantipuri Cotton – Shantipur, West Bengal
Phulia Cotton – Phulia, West Bengal
Begumpur Cotton – Begumpur, West Bengal
Garad Saree (Korial) – Murshidabad, West Bengal
Tant Saree – Farshganj, West Bengal
Murshidabad Silk – West Bengal
Baluchari Silk – Bishnupur, Bankura West Bengal
Kantha Silk & Cotton Saree – West Bengal & Bangladesh
Batic Saree – West Bengal & Bangladesh
Sambalpuri Silk & Cotton Saree – Sambalpur, Odisha
Bomkai Silk & Cotton Saree – Bomkai, Ganjam, Odisha
Khandua Silk & Cotton Saree – Nuapatna, Cuttack, Odisha
Sonepuri Silk & Cotton Saree – Subarnapur, Odisha
Berhampuri Silk – Behrampur, Odisha
Mattha Silk Saree – Mayurbhanj, Odisha
Bapta Silk & Cotton Saree – Koraput, Odisha
Tanta Cotton Saree – Balasore, Odisha
Manipuri Tant Saree - Manipur
WESTERN STYLES
Paithani – Maharashtra
Bandhani – Gujarat, Rajasthan, Pakistan
Kota doria – Rajasthan, Pakistan
Lugade – Maharashtra
Patola – Gujarat, Pakistan
SOUTHERN STYLES
Mysore Silk – Karnataka
Ilkal Saree – Karnataka
Molakalmuru Sari – Karnataka
Venkatagiri – Andhra Pradesh
Mangalagiri Silk Sarees – Andhra Pradesh
Uppada Silk Sarees – Andhra Pradesh
Chirala Sarees – Andhra Pradesh
Bandar Sarees – Andhra Pradesh
Bandarulanka – Andhra Pradesh
Kuppadam Sarees – Andhra Pradesh
Dharmavaram Silk Saree – Andhra pradesh
Kanchipuram Sari (locally called Kanjivaram Pattu) – Tamil Nadu
Kumbakonam – Tamil Nadu
Thirubuvanam – Tamil Nadu
Coimbatore Cotton Tamil Nadu
Chinnalampattu or Sungudi Tamil Nadu
Balarampuram – Kerala
Mundum Neriyathum – Kerala
Mayilati Silk – Kerala
Kannur Cotton – Kerala
Kalpathi Silk Sarees – Kerala
Maradaka Silk – Kerala
Samudrikapuram Silk and Cotton – Kerala
Pochampally Sari or Puttapaka Sari – Telangana
Gadwal Sari – Telangana
Narayanpet – Telangana or Maharashtra
NORTHERN STYLES
Banarasi – Uttar Pradesh
Shalu – Uttar Pradesh
Tanchoi – Uttar Pradesh
Bagru – Rajasthan, Pakistan
WIKIPEDIA
Goofing around: The porn star is seen with a whip as Sidharth, who's take a shine to the newest entrant, cooks in the background.
Upon her arrival, Leone was asked by Bigg Boss to choose from Sky and Sidharth to be her shadow and she went for Sid.
Contemplating her next move: Leone may be well on her way to sig her first Bollywood film. Mahesh Bhatt is reportedly going to pay a visit to the Bigg Boss house and close the deal with her for Jism 2.
Wearing a lehenga: Contrary to her line of work, Sunny chose to make her entry into the Bigg Boss house in traditional Indian attire.
She wore a heavily embroidered lehanga-choli and accessorized with mang tika. She arrived in a traditional palanquin that was carried by eight men into the house.
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Today Big B Big Gun Once Angry Eng Man of Bollywood turns 69 crowds outside his bungalow .. I worked with Amitji in Bade Miya Chote Miya dressing Amitji was not a difficult task but making him look like Govinda took my breath away..
About Mr Amitabh Bachchan Wikipedia
Amitabh Bachchan (Hindi: अमिताभ बच्चन [əmɪtaːbʱ bəttʃən] ( listen), born Amitabh Harivansh Bachchan on 11 October 1942) is an Indian film actor. He first gained popularity in the early 1970s as the "angry young man" of Hindi cinema, and has since become one of the most prominent figures in the history of Indian cinema.[1][2]
Bachchan has won numerous major awards in his career, including four National Film Awards, three of which are in the Best Actor category, and fourteen Filmfare Awards. He is the most-nominated performer in any major acting category at Filmfare, with 36 nominations overall. In addition to acting, Bachchan has worked as a playback singer, film producer and television presenter, and was an elected member of the Indian Parliament from 1984 to 1987.
Born in Allahabad, Uttar Pradesh, Amitabh Bachchan hails from a Hindu Kayastha family.[3][4] His father, Dr. Harivansh Rai Bachchan was a well-known Hindi poet, while his mother, Teji Bachchan was a Sikh-Punjabi from Faisalabad (now in Pakistan).[5] Bachchan was initially named Inquilaab, inspired from the famous phrase Inquilab Zindabad, during the Indian independence struggle. However, at the suggestion of fellow poet Sumitranandan Pant, Harivansh Rai changed the name to Amitabh which means, "the light that would never go off." Though his surname was Shrivastava, his father had adopted the pen-name Bachchan (meaning child-like in colloquial Hindi), under which he published all his works. It is with this last name that Amitabh debuted in films, and, for all public purposes, it has become the surname of all members of his family. Bachchan's father died in 2003, and his mother in 2007.[6]
Amitabh is the eldest of Harivansh Rai Bachchan's two sons, the second being Ajitabh. His mother had a keen interest in theatre and had been offered a role in a film, but preferred her domestic duties. She had some degree of influence in Bachchan's choice of career because she always insisted that he should take the centre stage.[7] He attended Allahabad's Jnana Prabodhini and Boys' High School (BHS), followed by Nainital's Sherwood College, where he majored in the art stream. He later went on to study at Kirori Mal College of the University of Delhi and completed a Bachelor of Science degree. In his twenties, Bachchan gave up a job as freight broker for the shipping firm, Bird and Co., based in Calcutta now known as Kolkata, to pursue a career in acting.
Career
Early work: 1969–1972
Bachchan made his film debut in 1969 as a voice narrator in Mrinal Sen's National Award winning film Bhuvan Shome. Thereafter he got his first acting role as one of the seven protagonists in Saat Hindustani, a film directed by Khwaja Ahmad Abbas and featuring Utpal Dutt, Madhu and Jalal Agha. Though the film was not a financial success, Bachchan won his first National Film Award for Best Newcomer.[8]
Anand (1971) followed, where he starred alongside Rajesh Khanna. Bachchan's role as a doctor with a cynical view of life garned him his first Filmfare Best Supporting Actor Award. Amitabh then played his first negative role as an infatuated lover-turned-murderer in Parwaana (1971). This was followed by several films including Reshma Aur Shera (1971). During this time, he made a guest appearance in the film Guddi which starred his future wife Jaya Bhaduri. He narrated part of the film Bawarchi. In 1972, he made an appearance in the road action comedy Bombay to Goa, directed by S. Ramanathan.
Rise to stardom: 1973–1983
Director Prakash Mehra cast him in the leading role for the film Zanjeer (1973) as Inspector Vijay Khanna. The film was a sharp contrast to the romantically themed films that had generally preceded it and established Amitabh in a new persona—the "angry young man" of Bollywood cinema,.[2] He earned a Filmfare Nomination for Best Actor. 1973 was also the year he married Jaya and around this time they appeared in several films together, not only in Zanjeer but in films such as Abhimaan which followed and was released only a month after their marriage. Later, Bachchan played the role of Vikram in the film Namak Haraam, a social drama directed by Hrishikesh Mukherjee and scripted by Biresh Chatterjee addressing themes of friendship. His supporting role won him his second Filmfare Best Supporting Actor Award.
In 1974, Bachchan made several guest appearances in films such as Kunwara Baap and Dost, before playing a supporting role in Roti Kapda Aur Makaan. The film, directed and written by Manoj Kumar, addressed themes of honesty in the face of oppression and financial and emotional hardship. Bachchan then played the leading role in film Majboor, released on 6 December 1974, which was a remake of the Hollywood film Zigzag. The film was only a moderate success at the box office.[9] In 1975, he starred in a variety of film genres from the comedy Chupke Chupke, the crime drama Faraar to the romantic drama Mili. 1975 was the year when he appeared in two films which are regarded as important in Hindi cinematic history. He starred in the Yash Chopra directed film Deewar, opposite Shashi Kapoor, Nirupa Roy, and Neetu Singh, which earned him a Filmfare Nomination for Best Actor. The film became a major hit at the box office in 1975, ranking in at number 4.[10] Indiatimes Movies ranks Deewaar amongst the Top 25 Must See Bollywood Films.[11] Released on 15 August 1975 was Sholay (meaning flames), which became the highest grossing film of all time in India, earning INR 2,36,45,00,000 equivalent to US$ 60 million, after adjusting for inflation.[12] Bachchan played the role of Jaidev. In 1999, BBC India declared it the "Film of the Millennium" and like Deewar, has been cited by Indiatimes movies as amongst the Top 25 Must See Bollywood Films.[11] In that same year, the judges of the 50th annual Filmfare awards awarded it with the special distinction award called Filmfare Best Film of 50 Years.
Bachchan starred in comedies such as Chupke Chupke (1975) and Amar Akbar Anthony (1977) and in films such as Kabhie Kabhie (1976). In 1976, he was once again cast by director Yash Chopra in his second film, Kabhi Kabhie, a romantic tale in which Bachchan starred as a young poet named Amit Malhotra who falls deeply in love with a beautiful young girl named Pooja played by actress Rakhee Gulzar. The film saw him again nominated for the Filmfare Best Actor Award. In 1977, he won his first Filmfare Best Actor Award for his performance in Amar Akbar Anthony where he played the third lead opposite Vinod Khanna and Rishi Kapoor as Anthony Gonsalves. In 1978 he starred in all four of the highest grossing films of India in that year.[13] He once again resumed double roles in films such as Kasme Vaade as Amit and Shankar and Don playing the characters of Don, a leader of an underworld gang and his look alike Vijay. His performance won him his second Filmfare Best Actor Award. He also performed in Trishul and Muqaddar Ka Sikander which both earned him further Filmfare Best Actor nominations. He was billed a "one-man industry" by the French director François Truffaut.[14]
In 1979, for the first time, Amitabh was required to use his singing voice for the film Mr. Natwarlal in which he starred alongside Rekha. His performance in the film saw him nominated for both the Filmfare Best Actor Award and the Filmfare Best Male Playback Awards. In 1979, he also received Best Actor nomination for Kaala Patthar (1979) and then went on to be nominated again in 1980 for the Raj Khosla directed film Dostana, in which he starred opposite Shatrughan Sinha and Zeenat Aman. Dostana proved to be the top grossing film of 1980.[15] In 1981, he starred in Yash Chopra's melodrama film Silsila, where he starred alongside his wife Jaya and rumoured lover Rekha. Other films of this period include Ram Balram (1980), Shaan (1980), Lawaaris (1981), and Shakti (1982) which pitted him against legendary actor Dilip Kumar.[16]
1982 injury while filming Coolie
On 26 July 1982, while filming Coolie in the University Campus in Bangalore, Bachchan suffered a near fatal intestinal injury during the filming of a fight scene with co-actor Puneet Issar.[17] Bachchan was performing his own stunts in the film and one scene required him to fall onto a table and then on the ground. However as he jumped towards the table, the corner of the table struck his abdomen, resulting in a splenic rupture from which he lost a significant amount of blood. He required an emergency splenectomy and remained critically ill in hospital for many months, at times close to death. The public response included prayers in temples and offers to sacrifice limbs to save him, while later, there were long queues of well-wishing fans outside the hospital where he was recuperating.[18] Nevertheless, he spent many months recovering and resumed filming later that year after a long period of recuperation. The film was released in 1983, and partly due to the huge publicity of Bachchan's accident, the film was a box office success.[19]
The director, Manmohan Desai, altered the ending of Coolie after Bachchan's accident. Bachchan's character was originally intended to have been killed off but after the change of script, the character lived in the end. It would have been inappropriate, said Desai, for the man who had just fended off death in real life to be killed on screen. Also, in the released film the footage of the fight scene is frozen at the critical moment, and a caption appears onscreen marking this as the instant of the actor's injury and the ensuing publicity of the accident.[18]
Later, he was diagnosed with Myasthenia gravis. His illness made him feel weak both mentally and physically and he decided to quit films and venture into politics. At this time he became pessimistic, expressing concern with how a new film would be received. Before every release he would negatively state, "Yeh film to flop hogi!" ("This film will flop").[20]
Politics: 1984–87
In 1984, Bachchan took a break from acting and briefly entered politics in support of long-time family friend, Rajiv Gandhi. He contested Allahabad's seat of 8th Lok Sabha against H. N. Bahuguna, former Chief Minister of Uttar Pradesh and won by one of the highest victory margins in general election history (68.2% of the vote).[21] His political career, however, was short-lived: he resigned after three years, calling politics a cesspool. The resignation followed the implication of Bachchan and his brother in the "Bofors scandal" by a newspaper, which he vowed to take to court. Bachchan was eventually found not guilty of involvement in the ordeal.[22]
His old friend, Amar Singh, helped him during a financial crisis due to the failure of his company ABCL. Therefore Bachchan started to support Amar Singh's political party, the Samajwadi party. Jaya Bachchan joined the Samajwadi Party and became a Rajya Sabha member.[23] Bachchan has continued to do favors for the Samajwadi party, including advertisements and political campaigns. These activities have recently gotten him into trouble again in the Indian courts for false claims after a previous incident of submission of legal papers by him, stating that he is a farmer.[24]
A 15 year press ban against Bachchan was imposed during his peak acting years by Stardust and some of the other film magazines. In his own defense, Bachchan claimed to have banned the press from entering his sets until late 1989.[25]
Slump and retirement: 1988–1992
In 1988, Bachchan returned to films, playing the title role in Shahenshah, which was a box office success due to the hype of Bachchan's comeback.[26] After the success of his comeback film however, his star power began to wane as all of his subsequent films failed at the box office. The 1991 hit film, Hum, for which he won his third Filmfare Best Actor Award, looked like it might reverse this trend, but the momentum was short-lived as his string of box office failures continued. Notably, despite the lack of hits, it was during this period that Bachchan won his first National Film Award for Best Actor, for his performance as a Mafia don in the 1990 film Agneepath. These years would be the last he would be seen on screen for some time. After the release of Khuda Gawah in 1992, Bachchan went into semi-retirement for five years. In 1994, one of his delayed films Insaniyat was released but was also a box office failure.[27]
Producer and acting comeback 1996–99
Bachchan turned producer during his temporary retirement period, setting up Amitabh Bachchan Corporation, Ltd. (A.B.C.L.) in 1996, with the vision of becoming a 10 billion rupees (approx 250 million $US) premier entertainment company by the year 2000. ABCL's strategy was to introduce products and services covering the entire section of the India's entertainment industry. Its operations were mainstream commercial film production and distribution, audio cassettes and video discs, production and marketing of television software, celebrity and event management. Soon after the company was launched in 1996, the first film was produced by the company. Tere Mere Sapne failed to do well at the box office but launched the careers of actors such as Arshad Warsi and South films star Simran. ABCL produced a few other films, none of which did well.
In 1997, Bachchan attempted to make his acting comeback with the film Mrityudaata, produced by ABCL. Though Mrityudaata attempted to reprise Bachchan's earlier success as an action hero, the film was a failure both financially and critically. ABCL was the main sponsor of the 1996 Miss World beauty pageant, Bangalore but lost millions. The fiasco and the consequent legal battles surrounding ABCL and various entities after the event, coupled with the fact that ABCL was reported to have overpaid most of its top level managers, eventually led to its financial and operational collapse in 1997. The company went into administration and was later declared a failed company by Indian Industries board. The Bombay high court, in April 1999, restrained Bachchan from selling off his Bombay bungalow 'Prateeksha' and two flats till the pending loan recovery cases of Canara Bank were disposed of. Bachchan had, however, pleaded that he had mortgaged his bungalow to Sahara India Finance for raising funds for his company.[28]
Bachchan attempted to revive his acting career and had average success with Bade Miyan Chote Miyan (1998),[27] and received positive reviews for Sooryavansham (1999)[29] but other films such as Lal Baadshah (1999) and Hindustan Ki Kasam (1999) were box office failures.
Television career
In the year 2000, Bachchan stepped up to host India's adaptation of the British television game show, Who Wants to Be a Millionaire? entitled, Kaun Banega Crorepati. As it did in most other countries where it was adopted, the program found immediate success. Canara Bank withdrew its law suit against Bachchan in November 2000. Bachchan hosted KBC till November 2005, and its success set the stage for his return to film popularity. In 2009 Oscar winning movie Slumdog Millionaire in the first question of Who Wants to be a Millionaire? contest "Amitabh Bachchan" was the correct answer to the question "Who was the star of Zanjeer? Feroz Abbas Khan performed as Amitabh Bachchan in a scene in the movie while Anil Kapoor performed as the host of the contest. Bachchan hosted the third season of the reality show Bigg Boss in 2009.[30]
Return to prominence: 2000–present
In 2000, Amitabh Bachchan appeared in Yash Chopra's box-office hit, Mohabbatein, directed by Aditya Chopra. He played a stern, older figure that rivalled the character of Shahrukh Khan. His role won him his third Filmfare Best Supporting Actor Award. Other hits followed, with Bachchan appearing as an older family patriarch in Ek Rishtaa: The Bond of Love (2001), Kabhi Khushi Kabhie Gham (2001) and Baghban (2003). As an actor, he continued to perform in a range of characters, receiving critical praise for his performances in Aks (2001), Aankhen (2002), Khakee (2004) and Dev (2004). One project that did particularly well for Bachchan was Sanjay Leela Bhansali's Black (2005). The film starred Bachchan as an aging teacher of a deaf-blind girl and followed their relationship. His performance was unanimously praised by critics and audiences and won him his second National Film Award for Best Actor and fourth Filmfare Best Actor Award. Taking advantage of this resurgence, Amitabh began endorsing a variety of products and services, appearing in many television and billboard advertisements. In 2005 and 2006, he starred with his son Abhishek in the hit films Bunty Aur Babli (2005), the Godfather tribute Sarkar (2005), and Kabhi Alvida Na Kehna (2006). All of them were successful at the box office.[31][32] His later releases in 2006 and early 2007 were Baabul (2006),[33] Eklavya and Nishabd (2007), which failed to do well at the box office but his performances in each of them were praised by critics.[34]
In May 2007, two of his films Cheeni Kum and the multi-starrer Shootout at Lokhandwala were released. Shootout at Lokhandwala did very well at the box office and was declared a hit in India, while Cheeni Kum picked up after a slow start and was declared an overall average hit.[35] A remake of his biggest hit, Sholay (1975), entitled Ram Gopal Varma Ki Aag, released in August of that same year and proved to be a major commercial failure in addition to its poor critical reception.[35] The year also marked Bachchan's first appearance in an English-language film, Rituparno Ghosh's The Last Lear. The film premiered at the 2007 Toronto International Film Festival on 9 September 2007. He received positive reviews from critics who hailed his performance as his best ever since Black.[36] Bachchan was slated to play a supporting role in his first international film, Shantaram, directed by Mira Nair and starring Hollywood actor Johnny Depp in the lead. The film was due to begin filming in February 2008 but due to the writer's strike, was pushed to September 2008.[37] The film is currently "shelved" indefinitely.[38] Vivek Sharma's Bhoothnath, in which he plays the title role as a ghost, was released on 9 May 2008. Sarkar Raj, the sequel of the 2005 film Sarkar, released in June 2008 and received a positive response at the box-office. His latest movie was Paa, which released at the end of 2009. Paa was a highly anticipated project as it saw him playing his own son Abhishek's Progeria-affected 13-year-old son, and it opened to favourable reviews, particularly towards Bachchan's performance. It won him his third National Film Award for Best Actor and fifth Filmfare Best Actor Award. In 2010, he debuted in Malayalam film through Kandahar, directed by Major Ravi and co-starring Mohanlal.[39] The film was based on the hijacking incident of the Indian Airlines Flight 814.[40] Bachchan did not receive any remuneration for this film.[41]
Health
2005 hospitalisation
In November 2005, Amitabh Bachchan was admitted to Lilavati Hospital's ICU once more, to undergo surgery for diverticulitis of the small intestine.[42] This occurred after Bachchan complained of pains in his abdomen some days prior. During the period and that following his recovery, most of his projects were put on hold, including the television show he was in the process of hosting, Kaun Banega Crorepati. Amitabh returned to work in March 2006.[43]
Voice
Bachchan is known for his deep, baritone voice. He has been a narrator, a playback singer and presenter for numerous programmes. Renowned film director Satyajit Ray was so impressed with Bachchan's voice, that he decided to use his voice as commentary in Shatranj Ke Khiladi since he could not find a suitable role for him.[44] In 2005, Bachchan has lent his voice to the Oscar-winning French documentary March of the Penguins, directed by Luc Jacquet.[45]
Controversies and criticism
Barabanki land case
In the runup to the Uttar Pradesh state assembly elections, 2007, Bachchan made a film extolling the virtues of the Mulayam Singh government. His Samajwadi Party was routed, and Mayawati came to power.
On 2 June 2007 a Faizabad court ruled that he had legally acquired agricultural land designated specifically for landless Dalit farmers.[46] It was speculated that he might be investigated on related charges of forgery, as he has allegedly claimed he was a farmer.[47] On 19 July 2007, after the scandal broke out, Bachchan surrendered the land acquired in Barabanki in Uttar Pradesh and Pune. He wrote to the chief minister of Maharashtra, Vilasrao Deshmukh, to donate the lands that were allegedly acquired illegally in Pune.[48] However, the Lucknow Court has put a stay on the land donation and said that the status quo on the land be maintained.
On 12 October 2007, Bachchan abandoned his claim in respect of the land at Daulatpur village in Barabanki district.[49] On 11 December 2007, the Lucknow bench of the Allahabad High Court gave a clean chit to Bachchan in a case pertaining to alleged fraudulent allotment of government land to him in Barabanki district. A single Lucknow bench of Justice said there was no finding that the actor "himself committed any fraud or manipulated any surreptitious entry in the revenue records".[50][51]
After receiving a positive verdict in Barabanki case, Amitabh Bachchan intimated to Maharashtra government that he did not wish to surrender his land in Maval tehsil of Pune district.[52]
Apart from National Film Awards, Filmfare Awards and other competitive awards which Bachchan won for his performances throughout the years, he has been awarded several honours for his achievements in the Indian film industry. In 1991, he became the first artist to receive the Filmfare Lifetime Achievement Award, which was established in the name of Raj Kapoor. Bachchan was crowned as Superstar of the Millennium in 2000 at the Filmfare Awards. The Government of India awarded him with the Padma Shri in 1984 and the Padma Bhushan in 2001. France's highest civilian honour, the Knight of the Legion of Honour, was conferred upon him by the French Government in 2007, for his "exceptional career in the world of cinema and beyond".[62]
In 1999, Bachchan was voted the Greatest Star of stage or screen of the Millennium by BBC online poll where he defeated many Hollywood legends.[63] In 2001, he was honoured with the Actor of the Century award at the Alexandria International Film Festival in Egypt in recognition of his contribution to the world of cinema.[64] Many other honours for his achievements were conferred upon him at several International Film Festivals, including the Lifetime Achievement Award at the 2010 Asian Film Awards.[65]
In June 2000, he became the first living Asian to have been immortalised in wax at London's prestigious Madame Tussauds Wax Museum.[66] Another statue was installed at New York [67] and Hong Kong in 2009.[68]
In 2003, he was conferred with the Honorary Citizenship of the French town of Deauville.[69] He was honoured with an Honorary Doctorate by the Jhansi University in 2004,[70] the Delhi University in 2006,[71] the De Montfort University in Leicester, UK in 2006,[72] the University Brandan Foster by the Leeds Metropolitan University in Yorkshire in 2007.[73] Another an Honorary Doctorate was conferred by the Queensland University of Technology in Australia in 2009. But he turns down the honour as mark of protest to racial attacks on Indian students.[74]
Severals books have been written about Bachchan. Amitabh Bachchan: the Legend was published in 1999,[75] To be or not to be: Amitabh Bachchan in 2004,[76] AB: The Legend: (A Photographer's Tribute) in 2006 [77]/, Amitabh Bachchan: Ek Jeevit Kimvadanti in 2006,[78] Amitabh: The Making of a Superstar in 2006,[79] Looking for the Big B: Bollywood, Bachchan and Me in 2007 [80] and Bachchanalia in 2009.[81] Bachchan himself has also written a book in 2002: Soul Curry for you and me – An Empowering Philosophy That Can Enrich Your Life.[82
In a red salwar kameez: Sunny learned some dance moves from Mehek Chahal when she was assigned the task of dancing on the hit Mr India song Kaate Nahi Katate Ye Din Ye Raat with Sidharth.
She looked cute in the red salwar kameez.
Video watch online Bigg Boss 9 1st December 2015 latest new full Episode 52 Colors Tv drama serial Bigg Boss 9 Double Trouble Day 50 complete show episodes by colorstv.
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Telecast Date: 1st December 2015
Bigg Boss Season 9 also known as BB9 is an Indian Soap Opera Hindi Drama Serial. All videos, live news, written updates and Bigg Boss 9 1st December 2015 episodes are available on Bigg Boss 9
Bigg Boss 9 1st December 2015 Written Update
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Munnabhai's fans can cheer. Bombay Times has learnt that the third portion of the establishment will go on floors quickly after the Sanjay Dutt biopic in 2018. Executive Rajkumar Hirani and maker Vidhu Vinod Chopra have concluded an idea, which will be examined with the performer without further ado. Sanjay, who finished the last leg of his prison term early this year, is powerful amped up for the venture. He shares, "We have an idea set up as of now. Raju and Mr Chopra are taking a shot at the script. We'll begin 'Munnabhai 3' instantly after the biopic wraps up. I'm likewise anticipating that film since it's to a great degree exceptional for me." The initial two portions of the establishment — 'Munnabhai MBBS' (2003) and 'Lage Raho Munna Bhai' (2006), are among Sanjay's best movies. Does he feel any weight when coming back to the arrangement? The performing artist says, "Mr chopra doesn't give an approval to any venture till he is completely fulfilled. There have been discussions for some time now, however I comprehend why Raju and he aren't hustling. They need to better 'Lage Raho' principles, which will require a considerable measure of exertion. Concurred, that it's an establishment that individuals will love to see each year however basically, we can't do that since we need to have a strong story. What's more, splitting that takes a while." ======================================================== Watch more: -------------------- ??Ranbir Kapoor - Aishwarya Rai Bachchan’s Steamy Photos Are Too Hot To Handle ??https://www.youtube.com/watch?v=ksqlr-yGQCY ??Bigg Boss 10 Contestant VJ Bani Is Dating This Bollywood Hottie ??https://www.youtube.com/watch?v=IZPDJXW5v9I ??Top 10 Richest Bollywood Actors In 2016?? ??https://www.youtube.com/watch?v=nHvMWQwxbzU ??Top 10 Highest Bollywood Grossing Movies Of 2016 ??https://www.youtube.com/watch?v=-kLMSByxJAo ??Top 10 Bigger BOOBS Bollywood Actress of 2016 || Big boobs actresses of bollywood ??https://www.youtube.com/watch?v=okF2bGaZXtY
Video watch online Bigg Boss 9 6th December 2015 latest new full Episode 57 Colors Tv drama serial Bigg Boss 9 Double Trouble Day 52 complete show episodes by colorstv.
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Video Owner: Color Tv – Colors Official Website COLORS.IN All Rights Reserved.
Telecast Date: 6th December 2015
Bigg Boss Season 9 also known as BB9 is an Indian Soap Opera Hindi Drama Serial. All videos, live news, written updates and Bigg Boss 9 6th December 2015 episodes are available on Bigg Boss 9
Bigg Boss 9 6th December 2015 Written Update
itnakaronamujhepyar.com/video-bigg-boss-9-6th-december-20...
Video watch online Bigg Boss 9 3rd December 2015 latest new full Episode 54 Colors Tv drama serial Bigg Boss 9 Double Trouble Day 52 complete show episodes by colorstv.
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Video Owner: Color Tv – Colors Official Website COLORS.IN All Rights Reserved.
Telecast Date: 3rd December 2015
Bigg Boss Season 9 also known as BB9 is an Indian Soap Opera Hindi Drama Serial. All videos, live news, written updates and Bigg Boss 9 3rd December 2015 episodes are available on Bigg Boss 9
Bigg Boss 9 3rd December 2015 Written Update
itnakaronamujhepyar.com/video-bigg-boss-9-3rd-december-20...
Video watch online Bigg Boss 9 2nd December 2015 latest new full Episode 53 Colors Tv drama serial Bigg Boss 9 Double Trouble Day 52 complete show episodes by colorstv.
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Video Owner: Color Tv – Colors Official Website COLORS.IN All Rights Reserved.
Telecast Date: 2nd December 2015
Bigg Boss Season 9 also known as BB9 is an Indian Soap Opera Hindi Drama Serial. All videos, live news, written updates and Bigg Boss 9 2nd December 2015 episodes are available on Bigg Boss 9
Bigg Boss 9 2nd December 2015 Written Update
itnakaronamujhepyar.com/video-bigg-boss-9-2nd-december-20...
Video watch online Bigg Boss 9 25th November 2015 latest new full Episode 46 Colors Tv drama serial Bigg Boss 9 Double Trouble Day 45 complete show episodes by colorstv.
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Telecast Date: 25th November 2015
Bigg Boss Season 9 also known as BB9 is an Indian Soap Opera Hindi Drama Serial. All videos, live news, written updates and Bigg Boss 9 25th November 2015 episodes are available on Bigg Boss 9
Bigg Boss 9 25th November 2015 Written Update
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Neha Sharma is a famous Indian Actress, Model, and Fashion Designer. Neha started her film career from south Indian movies. She belongs political family, her father is a politician. Neha is also good in Kathak (Indian classical dance) as well as she knows many dance styles such as salsa, jazz, Hip Hop, Merengue, etc.
READ MORE>> biographyeducation.com/2021/10/neha-sharma-biography-age-...
IFFD India Runway Week, 2015
As I made my way through Opulent Hotel for the India Runway Week Season, I saw many celebs and socialites making the event glitzy and glamorous. The event was organized by Indian Federation for Fashion Development and all the 35 designers got a chance to showcase their collection here.
The first day started with ‘My Best Friend’ by Jenjum Gadi and he showcased all the bridesmaids in ravishing indo-western attires. I remember the work of Designer Masumi Mewawala, which spoke about innovation and style.
Other designers who showcased on Day 1 were Manish Patel, Vishala Shree, Megha, Varija Bajaj, Anvita Deo, Rohini Gugnani, Mukti Tibrewal and Manish Gupta. Manish Gupta’s show was spectacular with a mascot walking the ramp with a social message by PETA to avoid leather.
The second day was dedicated to the hard work of students of Fashionista, The school of Fashion Technology. The collection spoke of modern and traditional elements. Then it was Kaaisha Studio by Shalini Gupta for whose collection actress Madhurima Tuli walked the ramp. Other designers who showcased their brilliant work were Farzana Rahman, Ashfaque Ahmad, Rajdeep Ranawat, Deeksha Sharma, Surbhi Jain, Sanya Garg, Rifali Chandra, Jigar & Paneri Gosar, and Sagar Tenali
Then came the gand finale, which had celebs like Amyra Dastur, Ajaz Khan & Taapsee Pannu walking the ramp in beautiful ensembles. Designer Sameer Junaidi made actress Amyra Dastur look like a portrait of rare art and with her was the Ajaz Khan of Bigg Boss fame.
Later in the evening, actress Taapsee Pannu walked for designer Tanieya Khanuja. The collection was summery and Hawaiian like lime & neon green with mustard, peaches and white. There were backless gowns and dresses, peplum flirty frill chic tops paired with trousers. It was indeed a wearable collection. There were jackets and capes and beachwear. One particular garment, which caught my eye, was a black and white swimsuit paired with a jacket. There were red and black dresses with asymmetrical pattern. With the use of net and feathers, contrast between gold, black and beige and was very gen-x in its outlook, its sexiness and its oomph.
Showstopper Amyra was dressed in a flower vase type gown that was innovative and unique.
The designer Ambreen Khan showcased colors like maroon with black plastic sequence; very different & contemporary with ruling colors being Navy blue and black. The models danced & swirled around the chairs and kept the audience mesmerized & glued to their seats. She showcased beautiful saree gowns with full sleeve blouses that looked sophisticated, chic and sexy.
On the finale day collections by Vanica Chhabra, Govinda Raju, Neha Yadav, Sweta Kedia, Rahul Kapoor, Samyuktha, Anup Bisani, Suvagata Saha, Bani Khuranna, Akassh K Agarwal, Moet Barar & Rajni K Sethi were also showcased the received the appreciation from the fashionistas.
Avinash Pathania, Founder, IFFD said “As the IFFD team is young and we know it’s difficult for young entrepreneurs to survive. Everyone talks about youth but no one is doing anything substantial for him or her. Young Fashion Movement is one small step to give more opportunities to young talent in the field of fashion”
It was a great event. Team Shivangi Reviews looks forward to the next season.
XOXO
Shivangi
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**********DON`T FORGET DO SUBSCRIBE MY CHANNEL******* --------------------------------------------------------------------------------------------------------- Actress Alia Bhatt recently promoted her upcoming ‘slice of life’ flick Dear Zindagi on the sets of reality show Super Dancers. ====================================================== Watch more: -------------------- **Ranbir Kapoor - Aishwarya Rai Bachchan’s Steamy Photos Are Too Hot To Handle **https://www.youtube.com/watch?v=ksqlr-yGQCY **Bigg Boss 10 Contestant VJ Bani Is Dating This Bollywood Hottie **https://www.youtube.com/watch?v=IZPDJXW5v9I **Top 10 Richest Bollywood Actors In 2016?? **https://www.youtube.com/watch?v=nHvMWQwxbzU **Top 10 Highest Bollywood Grossing Movies Of 2016 **https://www.youtube.com/watch?v=-kLMSByxJAo **Top 10 Bigger BOOBS Bollywood Actress of 2016 || Big boobs actresses of bollywood **https://www.youtube.com/watch?v=okF2bGaZXtY =================================================== Alia Bhatt Spotted Promoting Dear Zindagi On Super Dancer ALIA BHATT,BOLLYWOOD,DEAR ZINDAGI,DEAR ZINDAGI MOVIE,FEATURED
IFFD India Runway Week, 2015
As I made my way through Opulent Hotel for the India Runway Week Season, I saw many celebs and socialites making the event glitzy and glamorous. The event was organized by Indian Federation for Fashion Development and all the 35 designers got a chance to showcase their collection here.
The first day started with ‘My Best Friend’ by Jenjum Gadi and he showcased all the bridesmaids in ravishing indo-western attires. I remember the work of Designer Masumi Mewawala, which spoke about innovation and style.
Other designers who showcased on Day 1 were Manish Patel, Vishala Shree, Megha, Varija Bajaj, Anvita Deo, Rohini Gugnani, Mukti Tibrewal and Manish Gupta. Manish Gupta’s show was spectacular with a mascot walking the ramp with a social message by PETA to avoid leather.
The second day was dedicated to the hard work of students of Fashionista, The school of Fashion Technology. The collection spoke of modern and traditional elements. Then it was Kaaisha Studio by Shalini Gupta for whose collection actress Madhurima Tuli walked the ramp. Other designers who showcased their brilliant work were Farzana Rahman, Ashfaque Ahmad, Rajdeep Ranawat, Deeksha Sharma, Surbhi Jain, Sanya Garg, Rifali Chandra, Jigar & Paneri Gosar, and Sagar Tenali
Then came the gand finale, which had celebs like Amyra Dastur, Ajaz Khan & Taapsee Pannu walking the ramp in beautiful ensembles. Designer Sameer Junaidi made actress Amyra Dastur look like a portrait of rare art and with her was the Ajaz Khan of Bigg Boss fame.
Later in the evening, actress Taapsee Pannu walked for designer Tanieya Khanuja. The collection was summery and Hawaiian like lime & neon green with mustard, peaches and white. There were backless gowns and dresses, peplum flirty frill chic tops paired with trousers. It was indeed a wearable collection. There were jackets and capes and beachwear. One particular garment, which caught my eye, was a black and white swimsuit paired with a jacket. There were red and black dresses with asymmetrical pattern. With the use of net and feathers, contrast between gold, black and beige and was very gen-x in its outlook, its sexiness and its oomph.
Showstopper Amyra was dressed in a flower vase type gown that was innovative and unique.
The designer Ambreen Khan showcased colors like maroon with black plastic sequence; very different & contemporary with ruling colors being Navy blue and black. The models danced & swirled around the chairs and kept the audience mesmerized & glued to their seats. She showcased beautiful saree gowns with full sleeve blouses that looked sophisticated, chic and sexy.
On the finale day collections by Vanica Chhabra, Govinda Raju, Neha Yadav, Sweta Kedia, Rahul Kapoor, Samyuktha, Anup Bisani, Suvagata Saha, Bani Khuranna, Akassh K Agarwal, Moet Barar & Rajni K Sethi were also showcased the received the appreciation from the fashionistas.
Avinash Pathania, Founder, IFFD said “As the IFFD team is young and we know it’s difficult for young entrepreneurs to survive. Everyone talks about youth but no one is doing anything substantial for him or her. Young Fashion Movement is one small step to give more opportunities to young talent in the field of fashion”
It was a great event. Team Shivangi Reviews looks forward to the next season.
XOXO
Shivangi
LIKE ME ON Facebook: www.facebook.com/shivangireviews & spread the joy!!
Leave your comments: #ShivangiReviews
Post Credit: Nidhi
JOIN my Facebook Group:https://www.facebook.com/groups/shivangireviews/
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Food Reviews on:
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Comedy Circus Ke Mahabali to witness Sunny Leone and Sachiin Joshi! - www.bolegaindia.com/gossips/Comedy_Circus_Ke_Mahabali_to_...
IFFD India Runway Week, 2015
As I made my way through Opulent Hotel for the India Runway Week Season, I saw many celebs and socialites making the event glitzy and glamorous. The event was organized by Indian Federation for Fashion Development and all the 35 designers got a chance to showcase their collection here.
The first day started with ‘My Best Friend’ by Jenjum Gadi and he showcased all the bridesmaids in ravishing indo-western attires. I remember the work of Designer Masumi Mewawala, which spoke about innovation and style.
Other designers who showcased on Day 1 were Manish Patel, Vishala Shree, Megha, Varija Bajaj, Anvita Deo, Rohini Gugnani, Mukti Tibrewal and Manish Gupta. Manish Gupta’s show was spectacular with a mascot walking the ramp with a social message by PETA to avoid leather.
The second day was dedicated to the hard work of students of Fashionista, The school of Fashion Technology. The collection spoke of modern and traditional elements. Then it was Kaaisha Studio by Shalini Gupta for whose collection actress Madhurima Tuli walked the ramp. Other designers who showcased their brilliant work were Farzana Rahman, Ashfaque Ahmad, Rajdeep Ranawat, Deeksha Sharma, Surbhi Jain, Sanya Garg, Rifali Chandra, Jigar & Paneri Gosar, and Sagar Tenali
Then came the gand finale, which had celebs like Amyra Dastur, Ajaz Khan & Taapsee Pannu walking the ramp in beautiful ensembles. Designer Sameer Junaidi made actress Amyra Dastur look like a portrait of rare art and with her was the Ajaz Khan of Bigg Boss fame.
Later in the evening, actress Taapsee Pannu walked for designer Tanieya Khanuja. The collection was summery and Hawaiian like lime & neon green with mustard, peaches and white. There were backless gowns and dresses, peplum flirty frill chic tops paired with trousers. It was indeed a wearable collection. There were jackets and capes and beachwear. One particular garment, which caught my eye, was a black and white swimsuit paired with a jacket. There were red and black dresses with asymmetrical pattern. With the use of net and feathers, contrast between gold, black and beige and was very gen-x in its outlook, its sexiness and its oomph.
Showstopper Amyra was dressed in a flower vase type gown that was innovative and unique.
The designer Ambreen Khan showcased colors like maroon with black plastic sequence; very different & contemporary with ruling colors being Navy blue and black. The models danced & swirled around the chairs and kept the audience mesmerized & glued to their seats. She showcased beautiful saree gowns with full sleeve blouses that looked sophisticated, chic and sexy.
On the finale day collections by Vanica Chhabra, Govinda Raju, Neha Yadav, Sweta Kedia, Rahul Kapoor, Samyuktha, Anup Bisani, Suvagata Saha, Bani Khuranna, Akassh K Agarwal, Moet Barar & Rajni K Sethi were also showcased the received the appreciation from the fashionistas.
Avinash Pathania, Founder, IFFD said “As the IFFD team is young and we know it’s difficult for young entrepreneurs to survive. Everyone talks about youth but no one is doing anything substantial for him or her. Young Fashion Movement is one small step to give more opportunities to young talent in the field of fashion”
It was a great event. Team Shivangi Reviews looks forward to the next season.
XOXO
Shivangi
LIKE ME ON Facebook: www.facebook.com/shivangireviews & spread the joy!!
Leave your comments: #ShivangiReviews
Post Credit: Nidhi
JOIN my Facebook Group:https://www.facebook.com/groups/shivangireviews/
FOLLOW ME ON Twitter: @shivangisinha
Food Reviews on:
Wix: jhenwick.wix.com/shivangireviews
Blogger: shivangireviews.blogspot.in/
Website: www.shivangisinha.com/
E-mail: mail@shivangireviews.com or shivangireviews@gmail.com
FOR MORE PHOTOS LOG ON TO: www.flickr.com/photos/shivangireviews/sets/
IFFD India Runway Week, 2015
As I made my way through Opulent Hotel for the India Runway Week Season, I saw many celebs and socialites making the event glitzy and glamorous. The event was organized by Indian Federation for Fashion Development and all the 35 designers got a chance to showcase their collection here.
The first day started with ‘My Best Friend’ by Jenjum Gadi and he showcased all the bridesmaids in ravishing indo-western attires. I remember the work of Designer Masumi Mewawala, which spoke about innovation and style.
Other designers who showcased on Day 1 were Manish Patel, Vishala Shree, Megha, Varija Bajaj, Anvita Deo, Rohini Gugnani, Mukti Tibrewal and Manish Gupta. Manish Gupta’s show was spectacular with a mascot walking the ramp with a social message by PETA to avoid leather.
The second day was dedicated to the hard work of students of Fashionista, The school of Fashion Technology. The collection spoke of modern and traditional elements. Then it was Kaaisha Studio by Shalini Gupta for whose collection actress Madhurima Tuli walked the ramp. Other designers who showcased their brilliant work were Farzana Rahman, Ashfaque Ahmad, Rajdeep Ranawat, Deeksha Sharma, Surbhi Jain, Sanya Garg, Rifali Chandra, Jigar & Paneri Gosar, and Sagar Tenali
Then came the gand finale, which had celebs like Amyra Dastur, Ajaz Khan & Taapsee Pannu walking the ramp in beautiful ensembles. Designer Sameer Junaidi made actress Amyra Dastur look like a portrait of rare art and with her was the Ajaz Khan of Bigg Boss fame.
Later in the evening, actress Taapsee Pannu walked for designer Tanieya Khanuja. The collection was summery and Hawaiian like lime & neon green with mustard, peaches and white. There were backless gowns and dresses, peplum flirty frill chic tops paired with trousers. It was indeed a wearable collection. There were jackets and capes and beachwear. One particular garment, which caught my eye, was a black and white swimsuit paired with a jacket. There were red and black dresses with asymmetrical pattern. With the use of net and feathers, contrast between gold, black and beige and was very gen-x in its outlook, its sexiness and its oomph.
Showstopper Amyra was dressed in a flower vase type gown that was innovative and unique.
The designer Ambreen Khan showcased colors like maroon with black plastic sequence; very different & contemporary with ruling colors being Navy blue and black. The models danced & swirled around the chairs and kept the audience mesmerized & glued to their seats. She showcased beautiful saree gowns with full sleeve blouses that looked sophisticated, chic and sexy.
On the finale day collections by Vanica Chhabra, Govinda Raju, Neha Yadav, Sweta Kedia, Rahul Kapoor, Samyuktha, Anup Bisani, Suvagata Saha, Bani Khuranna, Akassh K Agarwal, Moet Barar & Rajni K Sethi were also showcased the received the appreciation from the fashionistas.
Avinash Pathania, Founder, IFFD said “As the IFFD team is young and we know it’s difficult for young entrepreneurs to survive. Everyone talks about youth but no one is doing anything substantial for him or her. Young Fashion Movement is one small step to give more opportunities to young talent in the field of fashion”
It was a great event. Team Shivangi Reviews looks forward to the next season.
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Shivangi
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In a red sari: When Vidya Balan made an appearance to promote her film The Dirty Picture on Friday, she gifted Sunny a red sari as a goodwill gesture.
Both ladies later danced to one of the film's songs.
From Wikipedia, the free encyclopedia
Shakti Kapoor (born 3 September 1958) is an Indian Bollywood actor. He is known as one of the leading villains in Bollywood movies for more than three decades. He has also been applauded for playing comic roles in several movies. Through the eighties and nineties, Kapoor teamed up with another senior actor Kader Khan as the comical or evil duo in over 100 films. Kapoor is one of the few Bollywood actors who played the stereotype Bollywood negative roles and negative characters with a comic touch with equal finesse.
Shakti Kapoor was born as Sunil Kapoor (real name) in Delhi, India to a Punjabi family. He grew up in New Delhi and he did his graduation from Kirori Mal College, Delhi University. His father ran a tailor shop in Connaught Place, New Delhi. When leading actor / director Sunil Dutt offered him the role of the main villain in the movie Rocky, he thought the name 'Sunil Kapoor' was too weak for a villain, so he renamed him 'Shakti Kapoor'. oiut6rhhhuioyityurtextrwer
Career[edit]
As a struggler in Bollywood, initially Shakti Kapoor did many small inconsequential roles in movies, all the while looking out for a suitable role as a leading man. The years 1980-81 established Shakti Kapoor as a talented actor in Bollywood when two of his movies Qurbani and Rocky became blockbusters. He had played the role of the main villain in both these movies. The early eighties saw a spate of Bollywood "star-sons" getting launched and the film-makers found the debonair and talented Kapoor a perfect counterpart for the debuting star-sons.
In 1983, the Jeetendra-Sridevi starrer, Himmatwala and the Subhash Ghai directed movie Hero were blockbusters and Kapoor had played key villain roles in both these movies. By then he had firmly established himself as one of the most sought-after villains in Bollywood and this trend was to last for the next two decades. Through the eighties and nineties, it was observed that practically every Bollywood movie either had Kapoor or Amrish Puri playing the negative character.
In the nineties, he often diversified to positive comic roles and performed them with equal finesse. He has been nominated for the Filmfare Award in the Best Comedian category and won once, for his performance as Nandu in David Dhawan's film, Raja Babu. Some of his popular comic roles have been as Inspector Bhinde in Insaaf, Prasad in Baap Numbri Beta Dus Numbri, Crime Master Gogo in Andaz Apna Apna, Tohfa, as Batuknath in Chaalbaaz and as Goonga in Bol Radha Bol.
Kapoor has been a popular reference for mimicry artistes who emulate his style and dialogues such as "Aaaooo Lolita" from the movie Tohfa, "Main Nanha sa Chotta sa Bachcha Hoon" from the movie Chaalbaaz and "Nandu sabka bandhu, samajhta nahi hai yaar" from the movie Raja Babu.[2][3] Since 2000, Kapoor is a regular fixture in Priyadarshan films like Hungama, Hulchul, Chup Chup Ke and Malamaal Weekly and most recently Malayalam remake Bhagam Bhag. He also acted in few Bengali films of Kolkata. In 2011, he has featured in the reality television show Bigg Boss (season 5) as one of the contestants. He has appeared in musical comedy Aasman Se Gire Khajoor Pe Atke [1],[2],[3] with his sister-in-law Padmini Kolhapure.
Personal Life[edit]
Shakti Kapoor is married to Shivangi (Padmini Kolhapure's elder sister) and has two children, a son Siddhanth Kapoor (who is DJ turned assistant director turned actor) and a daughter Shraddha Kapoor (who is an actress).
Awards[edit]
1995: Filmfare Best Comedian Award - Raja Babu
Selected Filmography[edit]
Further information: Shakti Kapoor filmography
Darwaza (1978)
Khel khiladi ka (1977)
Jaani Dushman (1979)
Sargam (1979)
Rocky (1980) - R.D.
Aasha (1980) - Mr. Shakti
Morcha (1980)
Qurbani (1980) - Vikram Singh
Rocky (1981)
Naseeb (1981)
Satte Pe Satta (1982) - Mangal Anand
Waqt Ke Shehzade (1982) - Shakti Singh
Mahaan (1983)
Himmatwala (1983)
Tohfa (1984)
Akalmand (1984) - Shakti
Bhago Bhut Aaya - Jagjit / Mangal Singh
Karma (1986) - Jagga / Jolly
Janbaaz (1986)
Dance Dance (1987) - Resham
Insaaf (1987) - Insp. Bhinde
Satyamev Jayate (1987) - Bagga
Aag Hi Aag (1987) - Daku Gangwa
Pyar Ka Mandir (1988) - Dilip
Ram-Avtar (1988) - Gundappa Swami
Vijay (1988) - Suresh Padampati
Mujrim (1989) - Sabajdur
Jaisi Karni Waisi Bharnii (1989)
Chaalbaaz (1989) - Batuknath Lallan Prasad Malpani / Balma
Maha-Sangram (1990) - Babu Kasai
Baap Numbri Beta Dus Numbri (1990) - Prasad
Nachnewale Gaanewale (1990)
Bol Radha Bol (1992)
Adharm (1992)
Khiladi (1992) - Suresh Malhotra
Geet (1992) - Hari Saxena
Aankhen (1993) - Tejeshwar
Muqabla (1993)
Andaz Apna Apna (1994) - Crime Master Gogo
Raja Babu (1994) - Nandu
Khoja Babu (1995) - touching story of a Bengali boy living in Hyderabad who contracted Psoriasis.
Main Khiladi Tu Anari (1994) - Goli
Jallaad (1995) - Shakti Jackson
Bewafa Saman (1995) - Jailer Zalim Singh
Yaraana (1995)- Banke
Loafer (1996) - Ravi's Mama
Judwaa (1997) - Rangeela
Prithvi (1997) -
Bhai (1997) - Bharat
Monermanush (1997) (Bengali Movie)
Hamaara Faisla (1998) - Swaroop Pictures (Music-Rituraj)
Hero Hindustani (1998) - Cadbury
Gunda (1998) - Chuttiya
Hum Saath-Saath Hain: We Stand United (1999) - Anwar
Heeralal Pannalal (1999) - Bhos D Ka
Mere Aaghosh Mein (2000)
Har Dil Jo Pyar Karega (2000) - Abdul's Uncle
Zubeidaa (2001) - Dance Master Hiralal
Ek Rishtaa: The Bond of Love (2001) - Ladoo Mama
Haan Maine Bhi Pyaar Kiya (2002) - Chinni
Talaash: The Hunt Begins... (2003) - Upadhyay
Hungama (2003) - Teja Bhai
Musafir (2004) - Wacko Jacko
Hulchul (2004) - Kashinath
Dosti: Friends Forever (2005) - Bharucha
Malamaal Weekly (2006) - Joseph
Chup Chup Ke (2006) - Natwar
Bhagam Bhag (2006) - Guru
Nehlle Pe Dehlla (2007) - Balram 'Balu' Sahni
Bombay to Goa (2007) - A.C.P Shakti Singh
De Dana Dan (2009) - as Musha Heerapoorwala / Suber
Baabarr (2009) - Sarfaraaz
No Problem (2010) - Commissioner of Police
Naughty @ 40 (2011) - Sharafat Ali
Bin Bulaye Baraati (2011)
Arabeem Ottakom P. Madhavan Nayarum in Oru Marubhoomikkadha (Malayalam) (2011) - Hosni Mubarak
Daal Mein kuch Kaala Hai (2012)
Rabba Main Kya Karoon (2013)
Sahasam (2013) Telugu Movie