A retrogressive Journey of Branded sarees: Commodity to Brand to commodity - Importance of Generation Y & Netigens- An analysis
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IRACST – International Journal of Commerce, Business and Management (IJCBM), ISSN: 2319–2828
Vol. 1, No3, December 2012
A retrogressive Journey of Branded sarees:
Commodity to Brand to commodity – Importance of
Generation Y & Netigens- An analysis
M Kishore Babu, Associate Professor, K L U Business Sk. Shahnaz, Assistant Professor, Eswar College of
School, Director, International Relations, K L University, Engineering, Narasarao Pet, Guntur, AP, India
Guntur, A.P, India
P Aruna, Assistant Professor, Sarada College,
Vijayawada, AP, India
Abstract— India has a rich cultural heritage of handloom Their signature tunes on television helped in creating a mass
industry and world famous workmanship of hand-woven appeal. But today, no manufacturer / seller of saris is spending
textiles. Sarees are most preferred costume among women. as heavily on advertisements as they might have done till a few
The individual’s saree consumption process is seen to be a years ago.
“complex construct” (Allere, 1997 p.61). Holt (1995) BACKGROUND NOTE:
simplifies the matter and divided consumption into two
different views, “economic and symbolic” In recent times A sari or saree is a strip of unstitched cloth, ranging from four
the sari market is stagnant; focus is shifting from saris to to nine metres in length that is draped over the body in various
salwar kameezes, and companies which used to specialize in styles. It is popular in India, Bangladesh, Nepal, Sri Lanka,
saris are creating more of dress materials. Especially in the Bhutan, Burma, and Malaysia. The most common style is for
younger generation, sari has become an outfit to be worn the sari to be wrapped around the waist, with one end then
on special occasions and not on a daily basis, largely a draped over the shoulder baring the midriff. The sari is usually
cosmetic garment today.” “The biggest challenge today is worn over a petticoat ( laha gā or "lehenga" in the
retaining the younger generation’s interest and bringing north, langa/pavada/pavadai in the south, chaniyo, parkar in
them into the sari-wearing culture.” The innovative saris the west, and shaya in eastern India), with a blouse known as a
are priced at the higher end, but serve to create a brand choli or ravika forming the upper garment. The choli has short
image for the company attracts customers. This helps sleeves and a low neck and is usually cropped, and as such is
attracting customers in a big way.“The biggest difference particularly well-suited for wear in the sultry South Asian
in marketing for the different sexes is that men do not summers. The word sari is a derivative from Sanskrit word
mind going to a party and seeing others wearing the same śā ī which gives a meaning 'strip of cloth' and
shirt as they are wearing, but a woman wants exclusivity in śā ī or sā ī in Prakrit, and which was
her purchases. It would be good if marketers pay focus on corrupted to Hindi word sā ī. In the history of Indian clothing
generation ‘y’ (born between 1977-994), however, the mass the sari is traced back to the Indus Valley Civilization, which
of influences that affect the generation Y consumers is the flourished during 2800-1800 BC around the western part of
media. The media could include a wide range of the Indian subcontinent. The earliest known depiction of the
technology. sari in the Indian subcontinent is the statue of an Indus Valley
priest wearing a drape.
Key words: Nivi style, Generation Y, Netigens, saree with Ancient Tamil poetry, such as the Silappadikaram
pockets and the Sanskrit work, Kadambari by Banabhatta, describes
women in exquisite drapery or sari. In ancient Indian tradition
and the Natya Shastra (an ancient Indian treatise describing
I. INTRODUCTION: ancient dance and costumes), the navel of the Supreme Being
Think sari brands, and you would have to wonder where is considered to be the source of life and creativity, hence the
they all went. Go to a Bombay Dyeing showroom, ask for a midriff is to be left bare by the sari. Sculptures from the
sari, and you’re told they will be available only during Diwali – Gandhara, Mathura and Gupta schools (1st-6th century AD)
for the past couple of years, it has been making saris once a show goddesses and dancers wearing what appears to be a
year and selling them till stocks last. The Vimal’s, Vareli’s and dhoti wrap, in the "fishtail" version which covers the legs
Vipul’s of the sari world of not so long ago are but specks on loosely and then flows into a long, decorative drape in front of
the sari scene today. Names such as Garden Vareli, Bombay the legs. No bodices are shown.
Dyeing and Vimal, most of them primarily in menswear, took Other sources say that everyday costume consisted of
the sari from the local retail shops and gave it a brand identity a dhoti or lungi (sarong), combined with a breast band and a
in the 90s through television advertising. Vipul and parag saris veil or wrap that could be used to cover the upper body or
followed suit and attained relative popularity for their brands.
96IRACST – International Journal of Commerce, Business and Management (IJCBM), ISSN: 2319–2828
Vol. 1, No3, December 2012
head. The two-piece Kerala mundum neryathum (mundu, a • Kodagu style – this drape is confined to ladies hailing
dhoti or sarong, neryath, a shawl, in Malayalam) is a survival from the Kodagu district of Karnataka. In this style, the pleats
of ancient Indian clothing styles. The one-piece sari is a are created in the rear, instead of the front. The loose end of
modern innovation, created by combining the two pieces of
the sari is draped back-to-front over the right shoulder, and is
the mundum neryathum.
It is generally accepted that wrapped sari-like garments, pinned to the rest of the sari.
shawls, and veils have been worn by Indian women for a long • Gobbe Saree - This style is worn by women in the
time, and that they have been worn in their current form for Malnad or Sahyadri and central region of Karnataka. It is worn
hundreds of years. The tightly fitted, short blouse worn under with 18 molas saree with three four rounds at the waist and a
a sari is a choli. Choli evolved as a form of clothing in 10th knot after crisscrossing over shoulders.
century AD and the first cholis were only front covering, the
• Gond – sari styles found in many parts of Central
back was always bare but covered with end of saris pallu or
veil. Bodics of this type are still common in state of Rajasthan. India. The cloth is first draped over the left shoulder, then
In Kerala and Tamil Nadu, it is indeed documented arranged to cover the body.
that women from many communities wore only the sari and • Malayali style - the two-piece sari, or Mundum
exposed the upper part of the body till the 20th century. Poetic Neryathum, worn in Kerala. Usually made of unbleached
references from works like Silappadikaram indicate that cotton and decorated with gold or colored stripes and/or
during the Sangam period in ancient Tamil Nadu, a single
borders. Also the Set-saree, a sort of mundum neryathum.
piece of clothing served as both lower garment and head
covering, leaving the bosom and midriff completely • Tribal styles – often secured by tying them firmly
uncovered.[7] In Kerala there are many references to women across the chest, covering the breasts.
being bare-breasted, including many paintings by Raja Ravi • Kunbi style or denthli:Goan Gauda and Kunbis,and
Varma. those of them who have migrated to other states use this way
The most common style is for the sari to be wrapped of draping Sari or Kappad,this form of draping is created by
around the waist, with the loose end of the drape to be worn
tying a knot in the fabric below the shoulder and a strip of
over the shoulder, baring the stomach. However, the sari can
be draped in several different styles, though some styles do cloth which crossed the left shoulder was fasten on the back.
require a sari of a particular length or form.
The French cultural anthropologist and sari
researcher Chantal Boulanger categorized sari drapes in the The nivi style is today's most popular sari style. (Dongerkerry
following families: K. S. 1959).
The nivi drape starts with one end of the sari tucked
• Nivi – styles originally worn in Andhra Pradesh; into the waistband of the petticoat, usually a plain skirt. The
besides the modern nivi, there is also the kaccha nivi, where cloth is wrapped around the lower body once, then hand-
gathered into even pleats just below the navel. The pleats are
the pleats are passed through the legs and tucked into the waist
also tucked into the waistband of the petticoat. They create a
at the back. This allows free movement while covering the graceful, decorative effect which poets have likened to the
legs. petals of a flower.
• Bengali and Oriya style. After one more turn around the waist, the loose end is
• Gujarati – after tucking in the pleats similar to the draped over the shoulder. The loose end is called the pallu or
Nivi style, the loose end is taken from the back, draped across pallav or seragu or paita depending on the language. It is
draped diagonally in front of the torso. It is worn across the
the right shoulder, and pulled across to be secured in the back
right hip to over the left shoulder, partly baring the midriff.
• Maharashtrian/Konkani/Kashta; this drape is very The navel can be revealed or concealed by the wearer by
similar to that of the male Maharashtrian dhoti. The center of adjusting the pallu, depending on the social setting in which
the sari (held lengthwise) is placed at the center back, the ends the sari is being worn. The long end of the pallu hanging from
are brought forward and tied securely, then the two ends are the back of the shoulder is often intricately decorated. The
wrapped around the legs. When worn as a sari, an extra-long pallau may either be left hanging freely, tucked in at the waist,
used to cover the head, or just used to cover the neck, by
cloth is used and the ends are then passed up over the
draping it across the right shoulder as well. Some nivi styles
shoulders and the upper body. They are primarily worn by are worn with the pallu draped from the back towards the
Brahmin women of Maharashtra, Karnataka, Andhra Pradesh front, coming from the back over the right shoulder with one
and Goa. corner of the pallu tucked by the left hip, covering the
• Dravidian – sari drapes worn in Tamil Nadu; many torso/waist. The Nivi sari was popularised through the
feature a pinkosu, or pleated rosette, at the waist. paintings of Raja Ravi Varma. In one of his painting the
Indian subcontinent was shown as a mother wearing a flowing
• Madisaara style – this drape is typical of Iyengar/Iyer
nivi sari.
Brahmin ladies from Karnataka, Tamil Nadu, and Kerala
97IRACST – International Journal of Commerce, Business and Management (IJCBM), ISSN: 2319–2828
Vol. 1, No3, December 2012
The individual’s saree consumption process is seen to
Modern Style of Draping be a “complex construct” (Allere, 1997 p.61). Holt (1995)
Due to migration to different Western countries like simplifies the matter and divided consumption into two
South Africa etc., many Indian women began to wear the different views, “economic and symbolic”. Firstly, in relation
normal sari below the waistline exposing the navel which is to economics, Holts (1995, p.1) suggests, “products provide
known as Low-rise sari or low hip sari. Also due to particular benefits”. Secondly, in relation to symbolic he stated
liberalization and changing global markets, saris are that products are “conceived as vessels of meaning that signify
reemerging as an erotic wrap which can expose as much as it similarly across all consumers”. Further, Alleres (1997, p.53)
conceals. As a result, saris began to be designed in many explains that through the consumption process as resulting in
innovative ways and different materials. Transparent & semi- purchasing products depends on three factors: culture, income,
transparent saris made of sheer fabrics like chiffon etc., is one and the exposure to information.
such example. Culture affects human behaviour in many ways
(Craig & Douglas, 2006). However the impact of culture and
Pre-stitched or automatic Saris how to determine culture is difficult to understand because of
Pre-stitched sarees is an automatic saree makes saree its bond to all facets of human existence. According to
wearing a one step easy process. These sarees are draped in Usunier and Lee (2005) culture has evolved as social,
such a easy way, just like putting on a skirt. Its a skirt with political, economical, and technology has reshaped the cultural
stitched saree pleats at the centre worn over a petticoat without landscape. Since there has been a considerable change and
the fuss or row of tucking, pleating, and adjusting the pallav increase in technology, expanding networks, and mass
length as they are already set in the centre to make you feel communication, it has caused an alteration in cultural
more comfortable and easy in wearing it . Pre-stitched sari is boundaries (Hermans and Kempen, 1998), and linkages
more often famous in younger age group. They look gorgeous between cultural individuals. Additionally, as individual
with fendi bags and saree. Its a new fashion statement for members of cultural groupings migrate from one country to
youngsters! Petticoat is worn separately and it is not stitched another it causes an even more obscure vision of cultural
with saree. This easy to wear, pre-stitched saree can be worn boundaries. This is because when individuals migrate and
by anybody without the bother of actually draping it. bond with others they bring their values, behaviour, and
These saris are tied in different ways such as petticoat interest with them, which are interchanged. It is also
being tied at about 4-6 inches below the navel and just above considered that a large extent in consumers purchasing is
the pubic area, or where the blouse is small which ends just dependent on their income. Dubois & Duquesne (1993) note
below the Breasts and the pallu is thin thereby exposing the that income is seen as a factor that constraints individuals in
some part of the blouse and almost the entire midriff. These pleasing their consumption needs. Additionally, one of the
were made popular by the celebrities of Bollywood industry reasons that many people is constraint to purchase luxury
and other popular regional film industries like Tamil cinema goods are because luxury goods are produced to initially target
and Telugu cinema. These are mainly worn by the rich and upper class clienteles.
educated upper class women who consider navel exposure as a
fashion. But wearing the sari below the navel doesn't always During the early years, luxury products were
refer to exposing the navel. Sometimes the navel is covered considered a privilege to possess. As explained by Nueno and
with the pallu in a low-rise sari also. In some Corporates in Quelch (1998) the word “luxury” was applied to products that
India, saris are required to be worn in an elegant manner were rare and scarce which were only presented to minor
avoiding navel exposure. individuals. However, since time has changed and the Saree
market has grown considerably, saree has been more
Literature Review: affordable for middle class consumers. Individuals are
India has a rich cultural heritage of handloom influenced according to the important events and moments that
industry and world famous workmanship of hand-woven occur in their lifetime (Meredith and Schewe, 1994; Ryder,
textiles. The processing and manufacturing of textiles was the 1965). These moments and events may include war, economy,
second largest occupation of India after agriculture. superstars, icons and technology that influence individual’s
Fascinating motifs and super design of the fabric assigned perceptions and values. Additionally, the significant influence
special importance to the sector. India has the largest that individuals will recall occurs between their adolescent and
handlooms industry in the world. The handloom sector, with a early adulthood years that they will never forget for the rest of
long tradition of excellence in craftsmanship, not only plays an their lives (Schuman & Scott, 1989). From the perspective of
important role in preserving the country's heritage and culture, marketers, in targeting individual’s desires is a part of a
it also makes a major contribution to the economy. About 65 valuable technique (Noble & Schewe, 2003).
lakh persons are engaged in weaving and associated activities. Individuals influence from moments and events,
There are 32,88,556 household looms, and 1,97,752 non- should be taken into consideration in developing personal care
household looms as per Textile: Resurgence published by products. consumers in Asia and India in particular have
Ministry of Textiles (2009-10) become wealthier, accepting Western style culture as a part of
a growth in economics (Debnam & Svinos, 2006). Affecting a
98IRACST – International Journal of Commerce, Business and Management (IJCBM), ISSN: 2319–2828
Vol. 1, No3, December 2012
vast amount of previous research, individual’s preferences Recognising this challenge, the Chennai – based
play a key role in purchasing luxury goods as well as culture. RMKV is innovating, making denim saris, reversible ones and
Individual’s preferences may be based on desire and non- saris with pockets in them. “The biggest challenge today is
desires, which are based on experience in purchasing luxury retaining the younger generation’s interest and bringing them
items from their satisfaction, or non-desire such as bias into the sari-wearing culture.” The innovative saris are priced
towards brand products (Anurit et al., 1999). Different age at the higher end, but serve to create a brand image for the
groups may view luxury items differently. Mature age groups company attracts customers. This helps attracting customers in
may view luxury products differently in comparison with a big way. The biggest difference in marketing for the
today’s teenagers, due to the effect of technology that the different sexes is that men do not mind going to a party and
previous generation did not have (Hauck & Stanforth, 2007). seeing others wearing the same shirt as they are wearing, but a
woman wants exclusivity in her purchases.
High time to redefine marketing strategies for sarees in Nevertheless, companies are trying to create a brand
Indian Territory for saris, like the pioneer group with Hakoba, offering a wide
With the well – known tagline of “A woman expresses range of Indian and Western women’s-wear in traditional
herself in many ways, Vimal is one of them,” the Reliance work such as chikankari and kantha, saris contribute to 33 per
group’s Vimal shown on the sari scene. “The Reliance group cent of Hakoba’s revenues. Nevertheless, there is a market for
company, once a leading player in the branded sari market, is branded saris among older women in the smaller cities and
re-launching itself as a complete family brand by next year towns of the country.
and saris will be a part of its portfolio for Indian wear.” RmKV is a very old and popular store for silk sarees in
Garden Vareli invested heavily in marketing its saris during Chennai. There are few other good silk saree stores in Chennai
the mid- ‘90s when it became synonymous with the most like Nalli, Kumaran Silks, The Chennai Silks etc. They all
popular Indian fashion wear brand. But today, even as it have very good collection on silk sarees and other sarees.
comes up with innovative designs once in a while, its focus is When come to shopping online on that stores, RmKV, Nalli
on backward integration. The Chennai Silks have online stores, whereas online store
of Kumaran Silks is under construction since years. RmKV
The sari market is stagnant; focus is shifting from saris to and The Chennai Silks also have chudiar and dress materials
salwar kameezes, and companies which used to specialize in for women, apparels for men and kids, whereas Nalli online
saris are creating more of dress materials. Like her, for many store has only collection of sarees. RmKV do not have only
in India, especially in the younger generation, sari has become silk sarees there, they have Traditional Silks, Embroidered
an outfit to be worn on special occasions and not on a daily Silks, 9-yard Silks, Theme Silks, Embroidered Fancy, Printed
basis, largely a cosmetic garment today.” Silks, Mysore Silks, Arangaetram Collection, Natural
Silks, Casual Sarees, Tasar, Georgette, Raw Silk, Cot-Silk etc.
Top 20 Saree brands in India Similarly The Chennai Silks have different collections other
1. Satya Paul than silk sarees. Whereas Nalli online store have Bridal
2. Kalyan Group collection, New collections, Casual collections and Nalli Next
3. Kuthampully Saree collections.
4. Divya Parameshwaran
5. Sirumugai Generation Y & Netigens could be Hot button to make
6. Karishma Kotak Saree acceptable:
7. RmKV Horovitz, (2002) describes that generation Y (born
8. Dharmavaram, Anantapur between 1977-1994) are individuals that have a free spending
9. Sari spirit and consist of 71 million 8 to 25 year olds. Although
10. Mandira Bedi there are a mass amount of generation Y consumers, the
11. Rajampet wealthiest group of people is between the ages of 19 to 25 year
12. Sonepuri Sari olds who are either employed in full time jobs or part time
13. Tamil Nadu work. Those who are either part time or at full time work are
14. Nouva Monika Wahlgren college students (Martin & Turley, 2004). Students often take
15. Kanchivaram up part time work to find extra funding for their excessive
16. Rajahmundry spending. Usually students who work full time are employed
17. Arvind Mills during the university holidays or breaks. Additionally, these
18. Bellary young consumers tend to be familiar with credit cards and
19. Economy of Tamil Nadu technology (Weiss, 2003). This is consistent with a study
20. Sabyasachi Mukherjee conducted by Kara et al., (1994) stated that there has been a
constant rise of accessibility of credit cards to target young
Innovation can be order of the day: adult market since 1980’s. Likewise, retailers have created
their own store card offering interest-free period. Moreover,
99IRACST – International Journal of Commerce, Business and Management (IJCBM), ISSN: 2319–2828
Vol. 1, No3, December 2012
the government in some countries attracts indebtedness, such Leibenstein (1950, p.188) classified demand of goods
as in the UK, through the availability of student loans. The and services consumption in relevant to motivation into two
accessibility of credit card is known as a contributory element main aspects: functional and non- functional. Functional
in the trading-up and overspending constructs (Bakewell & demand is “demand for a commodity which is due to the
Mitchell, 2003). However, the mass of influences that affect qualities inherent in the commodity itself”. On the contrary,
the generation Y consumers is the media. The media could demand of goods consumption that comes from other factors,
include a wide range of technology. which is not the product quality, is defined non-functional
demand. Additionally, Leibenstein (1950) suggests that
Marketers are the major people who contribute to the external effects on values are the most important non-
matter of influencing consumer behaviour through the functional demand. This can be further explained by two
knowledge of fashion. The reason is that teenagers are situations. Firstly, the product has increased or decreased due
concerned about fashion value more than any other age groups to the quantity of consumers purchasing the same products,
(Koester and May, 1985). The media, which include the and secondly the product has a higher value.
internet, mobile phones, and satellite television are some
technology that generation Y consumers value (Meredith and Conclusion:
Schewe, 2002). The valuation of technology such as television All said and done, offering exclusivity and a rational
has affected viewers in relation to materialism among price is something of a pipedream to saree marketers. Till
adolescents, and the duration of viewing television then, women who desire saris must adjust to the idea of clones
programmes consists of seven hours a day (Nielsen, 1995). or making a drastic shift from saris to salwar kameezes or
Individuals are affected by television, and the possibility is western wear. Marketer must enhance Competitive Advantage
that the more viewers consume television it is more likely that through Ingredient Branding and Brand Ecosystem strategy
they will reflect their perceptions in “reality” as they have seen using its high quality cotton to differentiate its cotton and
in television world. textile products in the marketplace, and also to improve its
Additionally, O’Guinn and Shrum (1997); Wells and competitive position in India and there by rejuvenate the
Anderson (1996) stated that what is televised in association to branded sarees among Indian population.
characters and materials represent the more affluent well-
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16. Bakewell, C. & Mitchell, W.V. (2003), “Generation Y International Relations in K L University initiated many global
female consumer decision- making styles”, International
alliances, has got 17 years of experience, Published Three
Journal of Retail & Distribution Management, Vol. 31
No. 2, pp. 95-106. books, Guided 4 M. Phil. Scholars, published 32 papers,
17. Berry, C.J. (1994), The Idea of Luxury: A Conceptual Organised 92 work-shops independently across India as
and Historical Investigation, resource person for Corporates, Non-profit organisations, Soft
18. New York: Cambridge University Press. ware Industry, NABARD, Voluntary organisations, National
19. Alleres, D. (1997), Luxery Product strategies marketing, Banks and APSRTC.
Economica, Paris (2 eds.). 2. Sk Shahnaz working as Assistant Professor, in Management
20. Holt, D. B. (1995), “How consumers consme: A
Department of Eswar Engineering College, Narasaraopet. Has
typology of consumption practices”, Journal of
Consumer Research, Vol. 22 (June), pp. 1-16. 9 years of experience.
21. Leibenstein, H. (1950), “Bandwagon, Snob, and Veblen 3. Pattela Aruna, Assistant Professor in Sarada College,
Effects in the Theory of Consumers’ Demand”, The Vijayawada. Has 4 years of experience.
Quarterly Journal of Economics, Vol. 64, No. 2. (May),
pp. 183-207.
22. Meredith, G. & Schewe, C.D. (1994), “The power of
cohorts”, American Demographics, Vol. 16 No. 12, pp.
22-28.
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