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Square, triangular, or rectangular with tassels at
the ends – scarves have come of age as they move from beaches
into schools, colleges, workplaces and even parties. In fact they
have become the final word in finishing a look.
Scarves are no longer
simply a square or long narrow strip of material worn for warmth
round the neck or tied round the head. They have left behind the
peasant-inspired look and have crashed onto the beaches, in colleges,
evening out, day-time casual wear and the fashion magazines. Suddenly
they are in vogue and, along with bags, shoes, belts and jewellery,
have become the accessories of the moment.
Covering the head had
religious connotations among the Hindus, Christians, Parsis and
Muslims. For many years sin Indian the sari-pallav or the
dupatta or odhani has served this purpose. But the
scarf came in, in all probability, with the British and stayed on,
improving in quality and quantity. Today, it boasts of the newest
way to finish a ‘look.’
Its origin is steeped in
history from the time it made its appearance during the Elizabethan
era. It was a triangular piece of material worn over the front of the
head with the point either to the front or to the back of the neck.
The purpose of his was not completely understood as it accompanied a
coif which was a close fitting cap worn at night and during illness
as well as for indoor day wear as a foundation for hoods and hats. At
that time they were made of plain linen or fustian (a mixture of
cotton and wool with a silky finish) and embellished with cut-work or
embroidery in silk, gold and silver.
During the 17th
century when necklines were low, exposing the shoulders and upper
half of breasts, a variety of scarves served, at least partially, to
conceal nudity. Mufflers were worn by middle class women. This was a
kind of scarf or half-hand-kerchief which covered the lower part of
the face and was fastened behind the head, probably intended as a
protection against the severe winters. In the mid-18th
century came the Ranelagh mob, a square of fine material
folded diagonally and placed over the head with the ends fastened
under the chin or crossed over the throat and tied at the back. This
fashion was said to have been copied from the market women who tied
up their hair in this manner. Turban style caps also came onto the
scene during this time. They usually consisted of a scarf or length
of light weight material draped or twisted around the head in
various ways, sometimes with hanging ends. Jewels and feathers were
added as decorations.
Influences of Greek and
Parisian trends in the later part of the 18th century and
early 19th century led to wearing of long, wide scarves. A
‘madras’ turban consisted of a silk or cotton scarf,
patterned in bright colours such as blue and orange, tied like a
bandanna and fastened with a flower or brooch on the top, left hand
side. Another rpopular style during the Victorian period, especially
for evening wear, was a turban made of narrow gauze or lace scarves.
The war years in the
1940s marked a decline in ostentatious dressing which also included
dispensing with the hat. When a head covering was required, a long
scarf or piece of material was wound around the head and knotted on
top to form a turban. Or a large square piece of cloth could be
arranged in a similar fashion. Hats, when worn during this time, were
small, some worn at the back of the head. In the winter of the
mid-40s, many women draped the hat with scarves which could be
attached to the side, back or crown, a look appropriate to the severe
weather of the early moths of the year. Turbans became popular again.
Lengths of fabric were folded closely round the head and tied at the
back or side. Triangular pieces had the ends tied behind the head or
perhaps crossed over and brought forward to be knotted over the
forehead. These, and more sophisticated versions, were so arranged
as to hide the hair completely.
Gabrielle ‘Coco’
Channel, the single most important woman designer of the ‘50s,
introduced the triangular scarf again as an accessory along with
chunky glass bead necklaces.
The wearing of scarves,
everywhere, on all occasions, has since been a matter of choice and
not compulsion and therefore could rate as fashion. It has proved to
be a lasting vogue for head-squares have ever since graced royal and
aristocratic as well as plebian heads and necks and are often rich
and elegant and printed with beautiful original designs. Scarves can
be worn in any number of ways. By simply draping them around the
shoulders so that they fall in soft folds or secured with a huge
jeweled pin over one shoulder. Another variety of the turban could
come from patterned squares, which are ideal for twisting into
turbans which could be tied high on the head in a cluster of large
knots. A look that’s full eastern promise can be created with
a collection of exotic chiffon scarves braided into the hair or bound
tightly round a long ponytail. An extra length can be tied loosely
at the end so that fine wisps can float over bare shoulders for a
seductive touch. High-flying evenings could demand the
sophistication of delicate silks. A flash of vibrant colour can be
added with a long, vivid scarf length pinned high on a chic chignon
and then left to drape demurely over one shoulder.
Where ‘V’ necks
of varying degrees, either at the back of front are worn, often a
scarf is knotted at the base. A recent example which turned into a
trend0setter, was that of Princess Diana during her visit to
Pakistan. Dressed in pink pearl-encrusted gown designed by Katherine
Walker, she arrived at the President’s banquet with an addition
to the ensemble. In keeping with Muslim custom, she modestly covered
its plunging back neckline with a long silk chiffon scarf.
The fashion of wearing
scarves round the neck really set in during and after the Second
World War. They were printed silk or rayon with regimental badges as
motifs. They could be knitted in wool with fringed edges. The square
piece could be draped round the neck and tied at the back or side of
the neck. These could also be seen outdoors where their prime purpose
was to keep the hair confined. And they can still be seen in places
of worship of women of all religions where covering the head is
mandatory as a sign of respect.
Indian textiles are a
part of the decorative arts that reflect something fundamental in the
traditional way of life. And, as such, the array of scarves produced
from these forms are as numerous as the variety of materials in the
country. Most of these are exported or find popularity among the
overseas visitors who find their exotic designs, colours and fabric
rather fascinating.
India has a long standing
tradition of dyeing, printing and weaving. The earliest proof being
the discovery of a fragment of cloth in Mohenjodaro showing dyeing
was prevalent prior to 2000 BC. From the north, Rajasthan in
particular, comes what is known as tie-dye. The chunari which
is worn as the wedding scarf figures most often in the folk songs and
love lyrics of this region. Its design has inspired the scarf. The
work is usually intricate and detailed. Elephants, birds flowers and
charming dancing dolls are tie-dyed to form traditional designs. Or
the bandhani work is scattered over the scarf in isolated
dots or in dots grouped to form simple geometric designs. Ikat
is another kind of tie-dye. The difference is that the warp and weft
threads are dyed separately by the tie-dye process before weaving.
The traditional patterns are geometrical designs in the centre filed
with an 8-9 inch border. These scarves, locally called rumals
came from Pochampalli or Chirale in Andhra Pradesh. While the former
village preferred geometric motifs, the latter wove flowers, birds,
animals etc. Ikat was also woven in Gujarat.
Sanganer printing
takes its name from the village situated 15 miles south-east of
Jaipur in Rajasthan. Vegetable dyeing and printing is believed to
have originated here. According to folklore, in the time of Sultana,
the king of Sanganer, there lived a pious man named Namdeo. One night
he dreamt of the process of vegetable dyeing which was explained to
him in detail. The next morning he called his friends and instructed
them on what to do. The people were grateful to Namdeo and accepted
this craft as a gift of God. This became, for the poor villagers, not
only their daily work and livelihood, but also a form of worship.
This style of dyeing and block-printing won the patronage of the King
and became very popular. Namdeo is even today worshipped by the
printers of Rajasthan. Sanganeri printing is identified by its
typical small motif, usually floral Pattern, printed on richly
coloured cloth.
Moving further south from
this state, Gujarat and Kathiawar are famed as the heart of cotton
growing and printing belt. Cotton block printing and dyeing in this
area traces its origin to the same ancient source as the Jain
manuscripts of the 15th century. Motifs commonly used were
peacocks, dolls, elephants and horses. Block printing in diagonal
stripes called lahiria is also found on the fine cotton muslin
scarves that come from this region.
In Batik, melted
wax is applied in a design form on cloth (cotton or silk), which is
then dipped in cool vegetable or now, chemical dyes. Areas covered by
wax do not receive the dye and display a light pattern on the
coloured ground. When the design is complete, the wax is removed in
hot water. A cracking effect occurs when the dye seeps into the crack
of hardened wax. Originated in Indonesia, it is a popular art of West
Bengal.
For evening wear, scarves
could be woven in silk with designs and motifs in gold and silver
threads. These come from Varanasi, famed for its brocade weaves in
sheer silk organzas or silks.
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