Table of Contents
1. History of Ethnic Wear……………………………………………………….....…..3
2. Types of
Occasion and their Specific Attire………..................................................6
2.1 Makar
Sakranti or Pongal……………………….…………………………………....6
2.2 Vasant
Panchami……………………………………………………………….…..…6
2.3 Vasant
Navratri………………………………………………………………………..6
2.4 Onam…………………………………………………………………………………..7
2.5 Baisakhi………………………………………………………………………………..7
2.6 Eid-Ul-Fitra……………………………………………………………………………7
2.7 Durga
Puja…………………………………………………………………………..…8
2.8 Diwali…………………………………………………………………………………..8
2.9
Janmashtami……………………………………...………………………………….....8
2.10 Wedding
day……………...……………………………………………………….....10
3. Industry
Overview………………………………………………………………………9
3.1 Market Size………………………………………………………….…………………9
3.1.1 Organized Vs Unorganized sector………………………………………..….….....10
3.1.2 Ready-to-Wear (RTW) and
Ready-To-Stitch (RTS) Segments…..……………….10
3.1.3 Transition for the younger
generation……….…………..………………………....10
3.1.4 Tier I cities Vs Tier II cities Vs
The metros……………………………………......11
3.2 Latest Trends……………………………………………………………………..…12
3.2.1Georgette and Faux Georgette
sarees….……..……………………………………...12
3.2.2Brasso……………………………….………………………………………......……13
3.2.3Banarasi Silk……………………….……...……………………………………...…..13
3.2.4Punjabi suits……………………….……………………………………………...…..14
3.2.5 Costumes of Women in Delhi………………………………………….......................14
3.2.6 Traditional Vs Western……..…………………………………………………….....15
3.3Key
players in ethnic wear segment…………………………………………..…..…...16
3.3.1 Biba…...…………..………………………………………………...…..………....…..16
3.3.2 Fabindia…………………………………………………………………......................17
3.3.3 Meena Baazar………………………………………….................................................17
3.3.4 W……………………………………………….…………………………………....…18
4. Referencing……………………………………………………………………………...…19
1. HISTORY OF ETHNIC WEAR
In female costume, however, the variety is
much grater and hence it is more difficult to pin-point the exact sources.The antariya, which was 18-36 inch
wide and 4-8 yards long, was worn in several different ways. The short or long antariya was worn in the kachcha style or as a lehnga, in which case it was
first wrapped around the right hip then around the body and tucked in at the
left hip. It was drawn very tight across in the hips accentuating their curve
most seductively, and was normally calf-length. Another form of the antariya was worn in the Kachcha and lehnga style together. This was usually a
very short antariya only up to mid-thigh called calanika. It was drawn first in kachcha style, the longer end of the three
yard long material was then wrapped around like a short lehnga. A common form was a
skimpy antariya made of cheap linen worn mainly by
lower classes. Normally the nobility wore the ankle-length antariya and women of high rank, attendant
usually wore the shorter form. But in all cases it was tied under the navel and
supported by the hip bones.The antariya was occasionally worn like the
Indonesian sarong- a wide garment reaching from under the armpits to mid-thigh
in a simple wraparound fashion. The main difference in the Gupta period, as
distinct from the previous periods, is that the kachcha style became less popular with women,
being replaced gradually by the more feminine lehnga or lungi was we call it today, although the
queen and other ladies of the royal family remained conservative. This
conservative kachcha style is still adopted by the women of
Maharashtra and SouthIndia.
The skirt, bhairnivasani,
evolved from the antariya which when stitched on one side became
tabular and was worn gathered together at the waist, and held by a girdle. This
was one of the earliest forms of a clumsily stitched skirt and used as early as
the Early Bronze period by the Germanic race. The bhairnivasani was first used by the Jain and
Buddhist nuns, and arose from the idea that a woman’s body was sinful and had
to be covered. Also, the kachcha and the lehnga style were considered too seductive as
they entailed the antariya to be pulled tightly across the hips.
With the Jain sect in particular, an extraordinary amount of clothing was worn
by the nuns to completely hide the shape of the female form. From the bhairnivasani evolved the skirt with the drawstring
or nada, calledghagri.
The ghagri was a narrow skirt six feet long- the
same length as original antariya.
It was worn mainly by village women, and was very attractive since the border
of the cloth was used vertically in the centre to decorate it.
A heavily gathered skirt, an elaboration on the ghagri probably introduced by foreigners, is
also seen. It seems to be mainly used by dancers, so that the swirling effect
is enhanced by its many folds, which may have been gored. The skirt is still
worn by mainly rural peoples, including the Lambadi and Banjaragypsies
of India.
Women wore langoti type drawers, the ardhoruka, which had evolved
from the needs of modesty. This was a short strip of cloth worn around the
waist with an attached piece from the centre of the waist, which was drawn up
between the legs and tucked in behind. Like the bhairnivasani this too was an early garment
originally used by women ascetics.
Jain nuns wore four of these ardhorukas one on top of another, something like
the medieval ‘chastity belt’.It would be interesting to find a satisfactory
answer as to why, at this particular juncture, Indian women frequently began to
clothe the top half their bodies. For many centuries before, they had moved
around self consciously nude above waist. There were probably two reasons. One
was that the female attendants in the King’s court thrown into the company of
beautiful foreigners who wore upper garments, must have realized that covering
the bosom could even be more attractive than exposing it, and accordingly
emulated the dress style of the foreigners.
Also, with the impact of Buddhism, Jainsm,
and Christianity the belief that the body was sinful and must be concealed to
avoid temptation was percolating through India, In medieval Europe, around this
time, similar changes were occurring in female clothing, and women began
covering themselves from head to foot.
The breast-band had been used since Vedic times,
as with Greeks, mainly as a support for breasts rather than covers them. There
was in addition to the breast-band, an indigenous stitched garment known as cholaka, chola, choli, cholika and kancholika,
which is mentioned in early Sanskrit literature.
The primitive choliwas cut very simply from a
square piece of cloth, with a slit for the neck. This was also the early form
used as protection by the women of the Germanic or Teutonic races in the Early
Bronze age. This evolution from the unstitched to the stitched garments had an
inescapable logic as it evolved for purely functional purposes. In the case of
the Germanic races it was protection from the cold, and in India it served the
purpose of modesty. A further development of the choli was the fold back at the bottom edge
and the introduction of string, attached to make it back less, very like the
garments worn today by women in Rajasthan and elsewhere.
The apron-like attachment at the front of
the choli, visible in some
of the frescoes, could have evolved from the need for protection against the
cold for the front part of the body, as the back was normally covered by the
head-veil, or as a modesty covering over the stomach which was exposed, the
skirt or lehnga being worn below the navel. Here again
the back was covered by the head-veil. Another choli,
which ends just above the waist, is made of diaphanous material and seen
particularly in the dress of princesses and other royal ladies. This choli appears to be fastened in
front, probably knotted, as in the case with certain cholis in use today. This would cover the
back completely, but expose most of the midriff in front. The Persian shirt or kurta, with its side-opening at
the neck, slit sides and four poted.clothing in india varies from region to region depending
on the ethnicity, geography, climate and cultural
traditions of the people of that region. Historically, men and women clothing
has evolved from simple langotas to cover the body to elaborate
costumes not only used in daily wear but also on festive occasions as well as
rituals and dance performances. In urban areas, western clothing is common and
uniformly worn by people of all strata. India also has a great diversity in
terms of weaves, fibers, colours and material of clothing. Colour codes are
followed in clothing based on the religion and ritual concerned. For instance, hindu ladies wear white clothes to
indicate mourning, while Christians wear white to weddings.
SAREE
The saree is one of the oldest form of clothing on
planet earth, with references of it dating back centuries — and it’s still
going strong. What’s surprising is that most of the western world is unaware of
the great significance behind this piece of women clothing.In the year 4000bc.The place
is Hastinapura. Draupadi, the wife of the 5 Pandavas, the erstwhile rulers of
Indraprastha, has been put up as a stake in a game of dice against the
Kauravas.The dice rolls, and the Pandavas lose. Draupadi has been won by the
Kauravas. Not a part of the game, Draupadi is dragged to the court by
Dushasan — the second eldest in the royal line of the Kauravas.
The
elders & the king of Hastinapura turn a blind eye to Draupadi’s protests of
the legality of her being used as a stake in the game. On the other hand, the
evil Kauravas have their own agenda. The eldest of the Kauravas orders Dushasan
to disrobe Draupadi to quench his thirst for revenge, as they technically owned
her now.And here’s where a miracle takes place — no matter how hard Dushasan
tries, an unending stream of cloth continues to cover & protect the dignity
of Draupadi — queen of the Pandavas. Draupadi’s cheerharan at the dice
game & the unending saree.The above is a scene from the Mahabharata,
the grand epic of ancient India. That cloth that covered Draupadi is what was
(and is) known as the saree.
The Immortality of the
Indian saree was
considered fashionable in the 70's of the west is no longer considered
fashionable today. In India, there have been thousands of invasions, conquests
by foreign rulers, changes in cultures & rulers — and
then some .the hemline had become thoroughly Indianised and was
commonly Over the past 6 centuries, a lot has changed in the world.
Fashion trends keep on changing what used even by women. Another
style of the kurta was with crossover flaps and
side-opening in the angarkha style. Ankle-length fitted tunics in
brocade still appear foreign and may have been a Turanian Tartar (a nomadic
race of Mongolian stock from Central Asia) contribution to the fashions at
court. The uttariya remained, but was worn very sheer and
more as flattering accessory, rather than as the substantial article of
clothing it had once been. It is normally seen in Ajanta, delicately wafting
behind, like the floating ribbon decoration, which was also in fashion at the
Persian court at this time.
2. TYPES OF
OCCASIONS AND THEIR SPECIFIC ATTIRES
2.1 MAKAR
SANKRANTI OR PONGAL
Pongal
is one of the most popular harvest festivals of southern India, mainly
Tamil Nadu, Karnataka and Andhra
Pradesh .According to a tradition, the Marathis
wear black clothes, because they consider the black
sesame as auspicious. Til Gul is prepared and exchanged on the day.
2.2 VASANT
PANCHAMI
Vasant Panchami
(also called Saraswati Puja by Bengalis, Oriyas and Biharis) is celebrated for
the blessing of Saraswati, goddess of wisdom and the arts. People clad themselves in yellow, as it
signifies spirituality and prosperity. The color
yellow also signifies the color of the ripened spring crop. The goddess is
dressed in yellow and the deity is worshipped by the worshippers who are
dressed in yellow.
2.3 VASANT
NAVRATRI
Navratri is the Hindu festival of
worship and dance. In Sanskrit the term literally means "nine
nights". During this festival the forms of Shakti are worshipped, and
effigies are burned. Navratri Garba is the most colorful form
of the dance. The performers, both men and women, would clad themselves in
colorful and magnetically attractive traditional attire. The most chosen attire
for the dance is sari, worn in the typical Gujarati style.
2.4 ONAM
Onam is a harvest festival,
celebrated mainly in the Indian state of Kerala. Like many other religious
festivals in India, Onam is celebrated by people across all castes and faiths.
Kerela’s tradional dress is worn on onam.
2.5 BAISAKHI
The
harvest festival of Baisakhi is celebrated with pomp and gaiety across the
vibrant state of Punjab. Apart from prayers in Gurudwara, The farmers in Punjab
celebrate Baisakhi with fun and fervor, as it is their harvest festival. The
energetic performance of bhangra and gidda dance fills the atmosphere with the
festive spirit, which is reflected from the eyes of the people. Women clad
themselves in their traditional gidda dress, while men wear the customary
attire for bhangra.
2.6 EID-UL-FITR
Eid ul Fitr,
also known as Choti Id, is celebrated by different names in different Muslim
nations. They wear new clothes on this occasion and visit the mosque (masjid)
to worship Allah.
2.7 DURGA PUJA
Durga Puja is
celebrated with pomp and gaiety in West Bengal and among the Bengalis all
around the world. Women wear there traditional dress on this greatly
celebrated festival.
2.8 DIWALI
Many interesting
rituals and traditions have been attached to the celebrations of Diwali. On
this day, people wear new traditional clothes and share gifts and sweets with
their friends and relatives.
2.9 JANMASHTAMI
Janmashtami, the
birthday of Lord Krishna is celebrated with great fun and fervor throughout the
country.
Hindu marriage
ceremony is a systematic and customary procedure and consists of several steps.
Each and every ritual has a distinct meaning and purpose. It is celebrated with
lots of enthusiasm, zeal and fan fare. It includes lots of emotional and sensitive
rituals especially "Kanya Daan" and "Vidaii". Basically all
types of hindu marriages are similar in form with slight variations in region
and community.
3. INDUSTRY OVERVIEW
3.1
Ethnic wear market size
Ethnic wear comprises 75% of the total women’s wear market. It is a dominant contributor and will continue to grow at an optimistic 9.3%. This category offers a unique blend of comfort and fashion to the consumer making it the preferred apparel for most occasions. Although sarees have the largest share of 53% within the segment, the salwar kameez category will be the primary driver of its growth. The salwar-kameez category contributes almost 38% to the overall ethnic wear market and is growing at 10.8%. The preference for salwar kameez and sarees is a regional choice; in northern regions of India, it is the preferred apparel for both regular and festive occasions as it has been a traditional garment across generations while other regions also prefer sarees for special occasions. While the Tier I cities tend to be strongly governed by a traditional usage of the sari, the ethnic wear category is increasingly becoming the category sought as it offers both convenience and conformity. Thus the focus tends to be on comfort fabrics such as cotton with mid-fashion quotient.
3.1.1 Organized
Vs Unorganized sector
Currently,
ethnic wear is dominated by the unorganized sector. Interestingly, the
unbranded and unorganized sectors straddle all segments of the Indian ethnic
wear market and continue to dominate 85% of the market. Further, in the organized sector, the largest
skew of brands’ as well as formats’ product offerings is within the mid-premium
segment. Overall, the sector is fragmented,
with few brands having a strong positioning.
The lack of clear product and service differentiation has however led to
low brand loyalty and few national brands are gaining salience. The organized
sector is dominated and driven by brands and formats offering mid-fashion,
contemporary wear. Ready-to-wear has a
greater presence in the organized sector in comparison to Ready-to-stitch.
Consumers are increasingly seeking convenience, comfort, and style from the
ethnic wear segment and this trend seems to be driving the growth of modern
formats, the organized sector, and Ready-to-wear.
3.1.2 Ready-to-Wear
(RTW) and Ready-To-Stitch (RTS) Segments
The
quest for convenience as well as fashion is reflected in the skew towards RTW
product offerings from key brands and formats. Further, the RTW segment will
continue to grow at an optimistic rate and also drive the growth of the
organized sector. A limited number of brands focus on RTS offerings within the
organized sector. The preference for RTW and RTS differs based on region and
occasion. In the larger cities, RTS fabrics are preferred primarily for special
occasions as it offers the option of customizing embellishments and styling the
offering’s uniqueness. Being a regular article of clothing for most consumers,
ethnic wear emerges as a mid-involvement category leading to a fairly high
purchase frequency and impulse buying, although specific occasions tend to
witness higher involvement of the consumer in the decision making hierarchy.
Consumers spend moderate amounts on ready-to-wear salwar kameez with a high
frequency of purchase. Ready-to-stitch, being an occasion-based wear, witnesses
a lower frequency of purchase but with higher ticket value.
3.1.3 Transition
for the younger generation
Characterized
by the rising number of independent women indulging in value-seeking shopping
behavior, ethnic wear has transitioned from being just traditional wear to
daily wear that combines tradition with contemporary fashion. Brands have
identified the transition and offer products positioned across occasions as
casual, formal, weddings, semi casual etc. They are targeting the younger
generation with ethnic wear being positioned as affordable, comfortable, and
contemporary fashion. Fashion quotient is a combined function of fabric,
innovative and contemporary styling and vibrant, varied colors. The growth in
the organized sector is primarily due to consumers’ seeking contemporary
everyday office-wear. With the shift in usage and fashion trends, ethnic wear
is being accepted by the younger generation as everyday apparel.
3.1.4 Tier I
cities Vs Tier II cities Vs The metros:-
Large
format players have tapped into the need-gap in ethnic wear by offering their
own private labels. These private labels straddle the mass as well as popular
price segments. Across all type of metro cities, the traditional or unorganized
market is preferred for RTS fabrics as these markets offer a varied choice
across a wide price spectrum. In Tier I cities, local retailers are preferred
while large format retailers are gaining in preference. The lack of established
brands drives consumers towards local traditional retailers for both ready-to-wear
and ready-to-stitch products in Tier I and Tier II cities. However, with modern
retail penetrating smaller towns, consumers are seeking convenience and product
choices and therefore preferring large format retailers as well. There also is
a strong presence of regional brands in metros, mini metros, and Tier I and
Tier II cities. Strong loyalty emerges towards regional brands owing to
heritage and trust factors and they are preferred over national brands.
Regional brands have carved out a niche through a comprehensive ethnic wear
ambience and experience as well as product offerings. This, coupled with the
heritage aspect, leads to consumers’ willingness to pay a slight premium. Along with a strong casual and contemporary
ethnic wear range, they also offer occasion-based and bridal collections which
make them a preferred destination for many.
3.2 Latest
trends
By the turn of 21st century, Women
started Wearing more comfortable clothing and
exposure to international fashion led to a fusion of Western and Indian styles
of clothing such as the kurti have been combined with jeans to form
part of casual attire. Fashion designers in India have blended several elements
of Indian traditional designs into conventional Western Wear to create a unique
style of contemporary Indian fashion. The
market has evolved With newer trends coming in and increasing the demand
like the old art of embroidery has revived and revamped the fashion circuit,
introduction of new fabrics, awareness through fashion shows, advertising etc, Wide
choice due to added brands, etc.
3.2.1
Georgette and Faux Georgette sarees
Georgette is the ultimate
fashionable fabric which is known for its elegance and appeal. It has evolved
as the dominating fabric for the summer season with the changing trends in
styling ideas. Georgette has a light crepe texture which provides a bouncy and
flowing look to it. It is thin, classy and has a regal touch in it. Georgette
Sarees are known for its sheer magnificence which reciprocates femininity.
Their flamboyance is reflected through diverse colours, prints and patterns. The Georgette Sarees can be wonderfully
draped in any occasion, Wedding or festivity. They look graceful with intricate
kundan, zari, resham and zardosi Work. Traditionally made of silk, the
georgette sarees have an enigmatic appeal which can be dyed into a myriad of
hues. Faux Georgette resembles the perfect blend of contemporariness with the
customary glamour. It has strengthened its popularity among the youth who like
to experiment with the new flavors and designs. This stylish material is made with
the conflux of polyester and nylon.
Brasso is made by skillfully
burning fabrics through a chemical process. Interesting patterns and designs
are created in Brasso which
no other fabric can recreate. It is used extensively in Indian ethnic Wear in
Saree Blouses, Anarkalis and even in Indo-Western
dresses Brasso is usually made with a base fabric like Viscose Rayon,
Georgette and Velvet. Brasso has a luxurious and unique feel to it which makes
it popular in the fashion circuit and occasional Wear dressing. The textured
effect of Brasso results in a very flattering saree drape. Brasso is also used
in lounge Wear and a favorite among anyone looking for a unique look in terms
of fabric. The velvet Brasso is one of the most sought after variant due to its
soft and royal feel. Brasso clothing should preferably be dry cleaned and kept
out of direct sunlight for making it last longer.
Banarasi Silk come from the
city of Varanasi in Uttar Pradesh, India. Famous for its use in the Banarasi
Silk Sarees it is a very fine variety of Silk. It has been mentioned in
religious text and scriptures since the first millennium, its roots are deeply
seated in the Indians as well as the Buddhist culture. Originally made from
real gold and silver zari and threads, each saree took about a year to finish
completely. Banarsi Silk flourished during the Mughal period during which it
saw the influence of Persian motifs which can be seen even today. The silk used
was procured from China earlier, but now it is produced indigenously in the
southern states of Karnataka and Andhra Pradesh. It took Weeks and months for
three skilled craftsmen to complete one Banarasi Silk Saree but with the advent
of latest technologies it is now being procduced at a much faster pace.
The latest trends on the runway
these days are centered on the gypsy look, which popularize these salwar kameez
designs. From young college girls to the Working Women, everyone prefers Wearing
Patiala suits and semi-Patiala salwar kameez because of the comfort and chic
look it renders. Punjabi Wedding suits are heavily embellished with exquisite
use of embroidery and luxurious fabrics like brocade, raw silk, georgette,
organza, net and more. Phulkari embroidery, glittering sequins, fine zardozi Work,
multicolor thread embroidery and intricate resham embroidery with use of bead Work
and cut dana Work.
3.2.5 Costumes of Women in Delhi
The
mixed folks also follow their particular tradition to select costumes.
Salwar-Kameez is mostly admired by women with dupatta. This dress is very
popular among girls in India. The Turko-Mongol or Turko-Persian pattern was
brought to Indian subcontinent. Since then this dress has got a big fame and
become a part of daily clothing. Salwar Suits with unique embroidery
with expensive stones and art work are designed and purchased by rich ladies.
Normal women wear such pricy cloths in special occasions like marriage, parties
and festivals.
Ladies wear sarees in different colors, designers, shades and patterns. Popular
fashion designers like Sabyasachi Mukherjee, Ritu Kumar and Neeta Lulla come up
with exclusive embroidery like Zardozi, which is a Persian kind of embroidery
that can be done with silver or gold thread.
3.2.6 Traditional Vs Western
In olden days We stuck
to only ethnic Wear but recently the trend has shifted to corporate Wear and
Western Wear due to rising corporate culture and increase in employment of
Women. This has supposedly shrunk the market of ethnic Wear as Western Wear has
penetrated their domain.
Surprisingly,
a recent study on average trading density (sales per sq ft per month) across
organised retail formats ranks traditional ethnic fashion almost double that of
Western fashion brands such as Biba, W and Global Desi have an average trading
density of Rs. 1600 psfm compared to Rs. 900 psfpm for national Western
fashion brands and Rs 850 psfpm for international labels.This only shoWs that
although the market has shrunk but it yet enjoys poWer over Western dressing.
Overall, the
increasing number of women within the working force, coupled with the keen
desire to experiment, leads to an increase in the acceptance of contemporary
ethnic wear with trendy and comfort elements. Key trends of mix-and-match
fashion, vibrant prints, minimalistic embroidery, comfort at smart pricing, and
easy accessibility are visible across India. The mid-premium range across
pricing and product offerings with an optimum mix of RTW, RTS, and sarees
within the ethnic wear category, coupled with an enhanced shopping experience,
will increasingly lead to a high preference among consumers and the success of
ethnic wear players.
3.3 Key Players of
Ethnic Wear Market
India is witnessing a remarkable growth
of organized ethnic wear brands. India’s fashion heritage is known for its rich
tradition. No doubt, Indians have acknowledged western wear and made it a part
of their daily wear, but still Indians especially women prefer to adorn rich
conventional wears for special occasions like weddings and festivals. This
cherished love of Indians for rich cultural dressing has encouraged even the creative fashion designers and the ethnic wear
brands of today. They are in a lookout for ethnic designs that take us close to
our cultural roots and remind us of the glorious past. Following are some of
the key players of the ethnic wear industry-
BIBA was started
in 1986 by Meena Bindra for her line of Salwar, Kameez and Dupattas . It was a
line which was fashionable and affordable. New ranges were added with time and
BIBA started a very stylish Mix-n-Match range which was added as a second
category. The Mix-n-Match in BIBA is very contemporary in feel and look, while
their Salwar Kameez are very ethnic with focus on Indian crafted look, hand block
prints and vegetable dyes. They have added Unstitched suits and a girls festive
collections for the age group of 2 – 12 years over time. 'BIBA by Rohit Bal' is a premium ethnic wear
collection designed particularly to tap the niche premium ethnic wear segment
in the country. It offers outfits such as anarkalis and churidar kurtas. 'BIBA
by Rohit Bal' is an amalgamation of Rohit Bal's signature design sensibilities
and BIBA's ethnic brand lineage. The collection adds to the Indian celebrations
and revelries for the upcoming festive season.BIBA's first standalone store was opened in
Inorbit Malad Mumbai in 2004 and today BIBA has 155 stand alone stores across
India. BIBA is also available in more than 225 Multi brand outlets.
Fabindia is an Indian chain store retailing garments, furnishings, fabrics and ethnic
products handmade by
craftspeople across rural India. Established in 1960 by John Bissell, an American working for the Ford Foundation, New Delhi, Fabindia started out exporting home furnishings, before stepping into domestic retail in 1976, when it
opened its first Fabindia retail store in Greater
Kailash, New Delhi. Today it has over 170 stores
across India and abroad, and is managed by his son, William Bissell. Fabindia's
retail expansion plans started taking shape 2004 onwards, it opened multiple
and larger stores in metros like Mumbai, Chennai and Delhi, while at the same
time spreading out beyond metros. Now, it has stores in 21 states of India.
The premier brand, which debuted in Delhi, has been incessantly
progressing since the last four decades. It deals with silk, crepe, cotton,
embroidery, brocades, and Handlooms. Across the country, Meena Bazaar has its
feet firmly rooted in Indian ethnics; exquisite sarees, suits, bridal lehengas,
ready-mades, dress materials and shawls to name a few. The group currently
spans 40 plus retail outlets in India, across 12 states. A robust pan-India
expansion plan is in progress, along with increasing their presence overseas. With
more and more consumers getting wired to the internet and lives getting busier
in general, Meena Bazaar’s online store provides is the perfect answer to
customer’s eternal shopping needs. Along with its presence in the American and
European continents already, the brand is going the Asian way by launching in
far east as well as in Dubai and expanding to more locations in the United
States.
With an aim to provide fashion in a modern retail environment
to the Indian woman, W set up its first Brand Store in Delhi in 2002-03 in
Lajpat Nagar. The W stores
are designed in line with the brand identity - spirited, contemporary and
innovative to lend a pleasant shopping experience. Today W has about a 100 Brand Stores and over
600 touch points across India. W mirrors
the new age Indian woman. Rooted at home and taking on the world with panache,
playing myriad of roles with élan and taking on the challenges in her
stride. consists of everything ranging
from salwar kameez, tunics, Work Wear, festive Wear, and fusion Wear comprising
skirts, trousers and a lot more, so every Woman has ample to choose from.
