5 Indian bridal fabrics that were once considered more auspicious than silk

For years, the Indian bridal fashion industry has promoted itself through silk fabrics like Kanjeevaram, Banarasi, Paithani, Muga, and numerous other intricately crafted bridal sarees. Silk has always been synonymous with grandeur, precious heirlooms, and luxurious bridal fashion that looks fabulous in pictures. But before bridal fashion became a binge on expensive fabrics and designer labels, various cultures and communities throughout India assigned auspiciousness to the fabric, colours, motifs, and festivals. Here are five traditional Indian textiles that illustrate why bridal luxury did not mean silk alone.

The Kerala Kasavu saree is possibly the best place to begin for anyone who believes that bridal splendour doesn’t always call for a rich-hued silk drape. Traditionally designed from pure cotton, the Kasavu’s identifiable trait lies in the off-white or cream body of the sari itself with a gold zari border. While the Kasavu is also available in cotton, it is mostly associated with the region’s traditional attire of Kerala. For weddings, Kasavu’s charm lies in its simplicity.

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In Bengal, the use of cotton in ceremonies has been of greater significance than what is perceived from the current trend of choosing heavier bridal silks. Within the array of textiles that occupy the textile landscape in Bengal is tant, the indigenous handwoven fabric of the region, along with Jamdani and other intricately woven textiles. The traditional red-and-white sari of Bengal is well known and is closely associated with the festive dressing of the region.

Although many brides nowadays choose red Banarasi silk to wear for their weddings, the red-and-white taant tradition has always been incorporated into Bengali wedding attire.

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Prior to the existence of embroidered lehengas and designer silk in modern bridal wear, there was Bandhani, which was popular in Gujarat and Rajasthan. The process of tying and dyeing smaller portions of the fabric results in motifs like polka dots as well as intricate designs. This unique tying and dyeing style is traditional to the states of Gujarat and Rajasthan and has been in use for centuries.

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The textile legacy of Odisha is another instance of cotton being used for ceremonial purposes. The cotton traditions of Sambalpuri Ikat are characterised by the method of resist dyeing and weaving yarns into designs. Through this technique, the distinctive blurred geometric and figurative designs that characterise Odisha’s ikat textiles emerge. Odisha textiles commonly utilise designs derived from nature, mythology, and local culture. Hence, the textile is not just an ornamental surface; it is rich in meaning in and of itself.

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The fifth addition is less about one special saree and more about the cultural importance of cotton in India. Cotton was woven from Bengal and Odisha into traditional decorative fabric styles, as well as in the neighbouring states of Tamil Nadu and Kerala. The fabric could be sheer, patterned, have embroidery, or even gold-edged, which made cotton far from being a plain, simple material.