Zee Talkies got a bunch of actors to recreate iconic roles in Marathi cinema for its 2013 calendar. The ones in this post are:
There are different kinds of handlooms in Maharashtra. I can’t exactly id the sarees but I am guessing Pic 1 is Maheshwari, Pic 2 is Narayanpet (a bit uncertain about this) and Pic 3 and 4 are Ilkal* because of the characteristic pallu. In Pics 1, 3 and 4 the blouse is khan.
In the pics you can see some of the several styles of bindi in Maharashtra. The first of course is the kumkum/sindoor worn by married women and not specific to Maharashtra. In Pic 2 you can see the chandrabindu – normally a red crescent with a black dot underneath – which is quite particular to Maharashtra (and maybe parts of Goa and Karnataka). In Pic 3 is a horizontal red line, also quite specific to Maharashtra. I canvassed a couple of friends but the only information I have that it possibly worn by rural women and is specific to some castes. A few accounts of Deccan paintings refer to it as chiri. Last up the black designs that used to be worn by tribal women (sometimes these were tattoos).
*Ilkal saris made of silk and mixed silks in Ilkal in Karnataka were very popular and fairly expensive in the 1900s or so in Maharashtra. Subsequently cheaper varieties were developed in Maharashtra which is why its probably a rural sari in pics 3 and 4.
Apologies for my absence!
As always on tumblr the 1980s. Not the best of decades for fashion but damn young Supriya Pathak was a goddess. And my style icon back in time. And a good actress to boot – someone please resurrect Idhar Udhar for us 1980s DD tragics. The other photograph is of Jayalalitha and Sivasankari. True story. I met Sivasankari once on a flight. Lovely lady. We had a brief chat in which I defended my lack of Tamil reading skills – what can I say, it was the age of Rushdie and Roy – recalling this makes me deeply embarrassed.
And all the work on each decade at this link. This might be the last decade I cover because I can’t make up my mind about the 1990s – retro or not?! Also 1990s fashion – just looking at it makes me faintly depressed….
In no specific order:
Shastri was responsible for the Jai Jawan, Jai Kisan slogan of the 1960s. Shastri’s visit to Amul was the first step in Operation Flood aka White Revolution that began in the 1960s and was intended to make India milk-sufficient. Per this link the Amul Girl was born in 1966.
Around 1961-1963 also saw the introduction of high yielding rice and wheat in India (see Green Revolution). Part of agricultural policy post this decade was also a result of the Bihar famine of 1966-67.
The National Institute of Design was set up in 1961 subsequent to The India Report (by Charles and Ray Eames) in 1958.
Reita Faria becomes the first Indian woman to win an international beauty pageant.
The fashions you have already seen. The big stars of the decade – Sadhana, Asha Parekh, Sharmila Tagore, Saira Banu et al – sported tightly draped saris, tightly draped churidar-kameez, big hair, pale lips and dramatic eye make-up. The Sadhana fringe was a bonafide craze. Sharmila Tagore rocked a bikini. And there was Helen, the cabaret queen of the country.
Ray, Ghatak and Mrinal Sen worked through the 60s but by the end of the decade you see the beginnings of the parallel cinema movement of the 70s and 80s in films like Gejje Pooje, Sara Akash etc with Bhuvan Shome being a commercial success. [X]
A general sum up of the decade through foreign eyes.
Love in Tokyo (1966) hardly needs any introduction. It’s the kind of frothy romance set in an exotic foreign locale (or at the very least Kashmir) that the 1960s specialised in. Naturally the leads are in their 60s best. With some curious Tokyo induced diversions.
Asha (Asha Parekh) wears a number of pastel coloured saris with elaborate embroidered borders. All very 60s. These are teamed with fitted long sleeved blouses which are also common in the 1960s. A similar combo, albeit with all over pattern, for Lata Bose (last panel).
It’s past the mid point of the 1960s, there is no way Asha wasn’t wearing a tight-fitted churidar-kameez.
Some other details: the eye make-up, the danglers(pic 1), the red sari and sleeveless blouse accessorised with an arm bracelet (pic 2), the back buttons on the blouse (pic 3) and the sari cape (pic 4 and 5). Neat hair ornament (pic 6). And pic 7, I don’t know what that is except that Asha seems to lounge around in while reading letters. And of course there was the love in tokyo hair bands though they seem to have passed me by.
Asha wore a pillbox hat.
I wasn’t sure whether she was Chinese or Japanese, we got both the cheongsam and kimono. Further the cheongsam was worn with a kimono cape which is like way ahead of its times given its 2014 avatar (I kid). To show us they are in Japan, Mehmood dressed as a geisha but we will NEVER SPEAK OF THAT AGAIN.
Ashok (Joy Mukherjee) was the perfect chocolate hero in a suit and a 60s tee.
The piece de resistance? Surely Asha’s sari-wrap which predates the Mumtaz version by two years. It seems to be pretty much a stitched version of the sari. Also we see yet again sleeveless blouse=arm bracelet.
I don’t think Love in Tokyo resulted in a sari-kimono (still waiting for that day) but it’s clothing certainly captures the slightly frivolous, cheerful nature of 1960s fashions.
Kadhalikka Neramillai (is a 1964 Tamil film. Given that it’s heroines are a pair of wealthy young girls you get plenty of 1960s fashions with a dash of the 1950s. Saris, salwars, slacks and half-saris all make an appearance.
The older girl is Kanchana (played by Kanchana who was a stylish, glamorous star of 1960s Tamil cinema). Some of her saris evoke the changing nature of traditional saris with each decade – an emphasis on the border, a longer blouse sleeve and the like. E.g. the pale blue sari. While the plain, translucent sari has echoes of the 1950s. She also wears a few salwar-kameez outifts teamed with some extremely diaphanous dupattas – for some reason this movie is a little light on the churidars of the 1960s. I like the neck detail of her purple and mustard kameez in the last but one panel below. And the odd trouser ensemble with an on trend scarf for the hair. Due to the nature of the role, her love interest Vasu (played by Muthuraman) has a fair bit of Indian clothes on, including a dhoti-kurta (last panel).
The younger girl, Nirmala (played by Rajasree) is more fashion forward and she has a lot of lovely outfits. Lots of salwar-kameez, slacks, the half-sari and the odd sari. What looks like a white sari is also a half-sari, albeit in a kind familiar from the 1960s, pale coloured saris with an embroidered border. The purple horizontal stripe kurta is also very 60s. Though the plait and ribbons, the blouse with a neck border (pic 7) -still channelling the 50s! Her love interest, Ashok (played by Ravichandran), is no slouch in the fashion department himself. Check out the red tee and the shoes!
A bit more of the sisters together.
A smaller role includes an aspiring actress in modest circumstances (played by Sachu). Bar a dress for an audition, it’s all quite traditional South India.
This movie is like a catalogue of 1960s half-sarees.
And the 1960s wedding picture.
So if you want to do a 1960s Tamil cinema fashion homage or just recreate a whole bunch of 1960s half-sarees look further than Kadhalikka Neramillai. And if you want a later film, there is always Adhey Kangal.