I see a little bit of me in you. And, a little bit of you in her.
There is a reflection that we all carry, of the innate nature of our souls that binds us all together.
I see a little bit of me in you. And, a little bit of me in all of us.
Length: 5.5 meters ; Width: 47 inches
Blouse Piece: No
Wash Care: Dry Wash
Note: Su, the model is wearing a blouse from our in house collection
NOTE: Sarees will be delivered within 10 days from the date of order
These sarees are a part of our World Art Day launch and celebrate art that helps us express ourselves in the best way possible. Art somehow manages to beautify our already infinitely beautiful lives and serves as a canvas that reflects the true nature of our soul.
This series consists of sarees that are designed by an immensely talented artist and are brought to life by our expert handloom weavers. The artist’s work comes alive on our made-in-heaven mul sarees through an intricate process known as screen-printing. This process involves the usage of a mesh-screen made of synthetic polymers that is strung onto a metal or wooden frame at high tension. A stencil with the negative image of what is to be printed is placed beneath the screen and emulsion is applied to create a positive image that lets the dye seep through the screen. The dye is then applied on the fabric through the screen to print the desired image.
The base fabric for these sarees is the forever-favourite made-in-heaven mul.
The mul cotton is what we call ‘made in heaven’ at Suta. Known in West Bengal as mul mul, the fabric is what can be categorised as muslin cotton. It is believed that this fine method of weaving cotton can be traced back to even before the Indus valley civilization. What makes this fabric special is the almost magical process of weaving it. Cotton fibres are separated and spun into strong threads. The lightest and the most delicate fibres are separated and are then spun into muslin thread. These are then woven into fabrics by skilled weavers. The history of muslin weaving is a beautiful chapter in the history of Indian textiles. The process of the yore was much more complex and involved many unique tools that look primitive but worked like magic. The upper jaw of a catfish was used to initially clean the cotton before spinning. To separate the lightest fibres, a Dhunkar (a bamboo bow) was used, which when strung in a distinctive way made the lighter fibres rise above the heavier ones. This process gave the title ‘woven air’ to the muslin fabric. Weavers famously wove on looms that were at ground level and operated the looms from pits dug in the ground. Even during the Mughal era, the muslin fabric was seen as a symbol of power for its finesse. History is full of anecdotes to prove the awe that the muslin fabric generated. Emperor Aurangazeb is said to have chided his daughter Zeb-un-Nisa for appearing naked in the court when in reality she had been wearing several layers of the muslin cloth! Such was the fabric’s delicateness. The almost invisible fabric had made an Arab traveller in the 10 th century remark that the degree of fineness is such that a garment can be drawn through a ring of a middling size. During the British colonisation and even during the Mughal rule, the art of weaving muslin took a hit as weavers were treated poorly and drought hit many of the weaving centres. As a result, today, the process of weaving has seen a lot of change. Nevertheless, the essence of it hasn’t changed and the charm of the fabric still remains.