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mohifashion · 22 days

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Best Indian Clothing Stores in Virginia

Are you seeking Indian attire that seamlessly blends tradition with contemporary flair? Look no further! We've compiled a selection of the finest Indian clothing boutiques scattered throughout the Virginia, United States, each celebrated for its distinctive offerings and impeccable standards. Let's embark on a journey into the realm of Indian fashion as we explore these ten boutiques distinguished by their superb craftsmanship, diverse collections, and deep cultural roots. Virginia has witnessed a significant rise in the demand for Indian attire, leading to the emergence of numerous esteemed Indian clothing establishments. These boutiques cater not only to the Indian diaspora like bridesmaid lehenga, wedding guest dresses, engagement lehengas but also attract fashion enthusiasts eager to embrace the vibrant hues and intricate patterns of Indian couture. Let's explore the top stores where you can find the perfect attire for any occasion.

Mohar Indian Clothing Boutique:

Website: https://www.moharbyec.com/

Address: 3065 Centreville Rd Unit C, Herndon, VA 20171, United States

Mohar Indian Clothing Boutique is a South Asian dresses and jewelry store located in Herndon, Virginia. MOHAR means the royal seal. At MOHAR Boutique they take pride in creating elegant handcrafted outfits to represent the royal seal for fashion. They carry a wide variety of bridesmaid lehenga, wedding guest dresses, lehenga for engagement, Indian sarees, lehenga for bride, lehenga saree, lehenga choli for women, blouses, gowns, daily wear kurtis, salwar, palazzos, and a selection of men's kurtas. They have special clothing for your little kids! Their bespoke Indian outfits can be customized in all sizes, colors, and styles. They carry readymade bridal outfits for that super special day and also custom make clothing to make your clothing more exquisite and memorable. Bridesmaids, groomsmen, and all other coordinated outfits can be made both in-store and online.

Meenal's Indian Fashions:

Website: https://www.meenalsindianfashions.com/

Address: 2462 Leyland Ridge Rd, Herndon, VA 20171, United States

Meenal's Indian Fashions boutique has been located in Herndon, VA since 2002 serving Virginia, United States. They offer a stunning array of traditional and contemporary Indian clothing, jewelry, and accessories. From vibrant Indian sarees to elegant lehenga for engagement, lehenga for reception, Ghagra choli for women, bridesmaid lehenga, wedding guest dresses, salwar kameez sets, and intricate women's gold jewelry, customers can expect to find a wide variety of options to suit different tastes and occasions. The boutique might also provide personalized styling services to help customers find the perfect outfit for weddings, festivals, or other special events. With its rich cultural offerings and commitment to quality and customer satisfaction, Meenal's Indian Fashions likely stands as a beloved destination for those seeking authentic Indian attire in the Herndon area. In addition to serving local customers at their retail location, they promptly fulfill the online orders. Store is Open Saturday and Sundays 1-5 PM (Walk-ins) and Mon-Fri 2-6 PM (by Appointment).

Parul’s Fashion:

Website: https://www.facebook.com/ParulsFashion/

Address: 43984 Kings Arms Square, Ashburn, VA 20147, United States

Parul’s Fashions has been located in Ashburn, VA since 2002 serving Virginia, United States. Tailored to your individual needs, the boutique offers attentive, one-on-one customer service. They have diverse collection spans from formal to casual attire suitable for all ages like wedding guest dresses, bridesmaid lehengas, bridal lehengas, engagement lehengas, lehenga for women . Specializing in Indian bridal wear, party attire, and a range of casual and semi-formal outfits for all occasions, including weddings, parties, we also feature an extensive array of accessories. Additionally, they provide custom-made and fitted garments tailored to your preferences.

Mohi Fashion:

Website : https://www.mohifashion.com/

Mohi is a curated multi-designer online marketplace offering bridal lehengas, Indian sarees, designer wear, lehenga for engagement, lehenga for reception, Ghagra choli for women and men's groom wear. They source their products from Surat, Jaipur, Kolkata, Tamil Nadu, Chandni Chowk, Lucknow, Assam and so on, providing a focus on reflecting the diversity of South Asian fashion. Mohi Fashion provides a 10% discount on all MRPs year-round and exclusive offers, along with video consultations for brides and customizable outfits in all sizes.

Mohini:

Website: https://www.mohini.us/

Address: 43179 Ashley Green Dr, Ashburn, VA 20148, United States

Mohini is a premium bridal boutique which is located at Ashburn, United States in the year 2013. At Mohini, we embody the enduring charm of fashion, a craft we have honed as a leading bridal boutique. They proudly offer an extensive selection of over 4,000 designs from a multitude of designers. Our establishment has an enchanting assortment of Bridal Lehengas & Party Wear Lehenga, lehenga for wedding, lehenga for engagement, lehenga for reception, bridesmaid lehenga, wedding guest dresses, Indian Sarees, Designer Blouse, Indowestern Dress, and Menswear. The complete range awaits discovery through an in-store visit or virtual tour. "Senorita," Mohini's luxury designer brand, catering to weddings.

Distinguished for their comprehensive services and commitment to providing a boutique-like shopping experience, they pride themselves on offering reasonable prices, exquisite selections, and outstanding customer care.

Paaie:

Website: https://www.paaie.com/

Address: 25819 Mandeville Dr, Chantilly, VA 20152, United States

Paaie is a leading store located in Chantilly, Virginia, United Stated by Anjali Gupta in 2019. They carry men's clothing, kids clothing, religious products, gift items, wedding favors, bridal jewelry, women's gold jewelry for every occasion, suits, Indian sarees and other dresses like wedding guest dresses, bridesmaid lehenga, engagement lehengas, chaniya choli, wedding lehengas, bridal lehengas for women. They are working with manufacturers across the globe to provide the customers with the best designs and quality.

Ruby's Collection:

Website: https://www.facebook.com/Rubyscollectionstore/

Address: 8032 Leesburg Pike, Vienna, VA 22182, United States

Ruby’s Collection is a premier store located in Vienna in Virginia, United States founded by Ruby Singh. They are premier retailers in the Indo-Pak region, offering a wide range of casual, formal, and wedding attire for men, women like lehenga designs for women, bridesmaid lehenga, wedding guest dresses, lehenga for engagement, lehenga for reception and children. Their services include professional stitching and alterations for a personalized fit. If you adore Indian traditional attire but seek affordable options, they have got you covered.

At Ruby's Collection, they curate a boutique selection of exquisite Indian garments for both genders. Their focus is on providing top-notch quality while keeping prices reasonable. From attire to stage decorations, costume jewelry, rentals, and accessories, we cater to all your Indian fashion needs. They are specialized in Indian Clothing Alterations | Indo-Pak Costume Jewelry | Pakistani Clothing.

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fabritual12 · 2 years

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indiantexture · 3 years

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madhuryacollection-blog · 5 years

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Mustard Cotton Jamdani Saree | Madhurya Beautiful is what you will look when you dress up yourself in this eye catching mustard mangalgiri silk saree.

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sciencespies · 4 years

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Help This Scholar Reverse the Erasure of Native Contributions in the Creation of These 20th-Century Murals

https://sciencespies.com/history/help-this-scholar-reverse-the-erasure-of-native-contributions-in-the-creation-of-these-20th-century-murals/

Help This Scholar Reverse the Erasure of Native Contributions in the Creation of These 20th-Century Murals

Smithsonian Voices Smithsonian Institution Office of Fellowships and Internships

Reversing the Erasure of Native Contributions to Muralism

October 9th, 2020, 9:00AM / BY

Davida Fernandez-Barkan

Eduard Buk Ulreich, Advance Guard of the West (mural study, New Rockford, North Dakota Post Office), ca. 1939-1940, tempera on fiberboard, Smithsonian American Art Museum, Transfer from the U.S. Department of the Interior, National Park Service, 1965.18.33

Being an art historian is a little like being a detective. It sometimes takes me to unlikely places—including, recently, a basement outside St. Louis, where the relatives of an artist I was researching for my dissertation generously allowed me to review documents from his life. The artist, Eduard “Buk” Ulreich, had designed a number of publicly funded murals throughout his career; studies for many of them can be found in the collection of the Smithsonian American Art Museum and Renwick Gallery (SAAM). My interest in Ulreich was related to two 88-foot wooden panels inspired by Native American symbols that he conceived for the United States Pavilion at the 1937 World’s Fair in Paris.[1] One document in particular has occupied my thoughts in the months since my visit: a newspaper clipping showing two men shaking hands. The men stand in front of what appears to be Ulreich’s mural Indians Watching Stagecoach in the Distance (1937), which he painted for the post office in Columbia, MO. The man on the left is named in the caption as the 1937 U.S. pavilion’s “chief designer,” Paul Lester Wiener, while the one on the right, appearing in a feathered headdress, is identified simply as, “a Navajo Indian who gave his advice on the vast murals depicting Indian life and thought which are being painted by Buck [sic.] Ulreich for the outside of the skyscraper tower.”[2] My goal, ultimately, is to identify this man. Yet even without declaring this man’s identity, the photograph highlights an oft-overlooked aspect of twentieth-century American art: the essential contributions of Native Americans to the mural movement that overtook the United States in the years between World War I and World War II.

Paul Lester Wiener and an unidentified advisor for the U.S. Pavilion murals, Private archive of Eduard “Buk” Ulreich, St. Louis, MO. (Hans Knopf, Pix, Inc.)

Ulreich was one of the many U.S. artists who received funds to install murals in public buildings in the United States during the 1930s and early 1940s through programs such as the Public Works of Art Project, the Treasury Section of Fine Arts, and the Works Progress Administration. He styled himself as a “Cowboy-Painter,” a claim that lay in part in his avowed knowledge of Native American cultures.[3] The artist was vocal about time he had spent around Native Americans, including as an actual cowboy on a ranch on an Apache reservation in Arizona. He posited that it was this type of exposure that resulted in his selection to paint the exposition murals.[4] Yet as the newspaper clipping indicates, Ulreich required the input of at least one Native advisor to accurately convey the mural’s symbols. A different clipping in Ulreich’s family’s archive identifies a number of the symbols that appear, stacked on top of one another, in the pavilion’s murals. These include a “Kachina”[5] figure popular in Pueblo cultures, a Crow thunderbird, and an adaptation of a deity used in Navajo[6] sand painting.[7] This same clipping indicates that, although Ulreich designed the murals, a “member of the Navajo tribe” actually painted them. This individual, like the man in the photograph, is unnamed in the clippings. Neither appears to be mentioned at all in fair-sponsored publications and they are absent altogether from what limited secondary literature exists about the U.S. pavilion at the 1937 exposition.

The U.S. Pavilion at the 1937 World’s Fair in Paris, pylon murals designed by Eduard “Buk” Ulreich, from Photographies en couleurs: exposition internationale des arts et des techniques appliqués à la vie moderne: album official (Paris: Photolith, 1937)

The 1937 fair was not the first world’s fair to feature murals indebted to Native American labor and knowledge. The 1933 Century of Progress exposition in Chicago had included a series of murals executed by a group of artists associated with the Santa Fe Indian School. Changing perceptions of Native culture, reflected in the work of both Native and non-Native artists alike, were in fact a hallmark of the mural movement in the United States. In addition, one of the movement’s most revolutionary aspects was an increased access to the role of “artist.” Not only men of European descent, but also many women, Native Americans, and other people of color became muralists. Still, artists from these marginalized groups did not receive the same treatment as their white male counterparts. Like the Native participants in the 1937 exposition, the artists who developed the Century of Progress murals are anonymous in fair literature. One administrative document refers to them simply as the “Santa Fe Indians,” while it refers to white artists such as George Biddle and John Norton by name.[8] Thanks to the work of art historians such as Jennifer McLerran, we know the identities of many of the mural artists involved with the Santa Fe Indian School. Several of these are represented in SAAM’s collection, including Julian “Pocano” Martinez, Tse Ye Mu (known alternately as Romando Vigil), Awa Tsireh (known alternately as Alfonso Roybal), Oqwa Pi (known alternately as Abel Sanchez), and Ma Pe Wi (known alternately as Velino Shije Herrera), whose murals can also be found in the Department of the Interior building in Washington, D.C.[9]

To identify the Native individuals who helped create the panels at the 1937 fair would ensure that they are given credit, if belated, for their work. Beyond this, it would be a means of celebrating Native contributions to the mural movement. Native participation in the painting of such monumental, public works of art during this period is little known and seldom discussed, a problem that is compounded when we do not know the names of the individuals who took part. The erasure of nonwhite groups from public life is particularly dangerous, as it has a pernicious history in this country. From attacks on Black communities to anti-immigrant rhetoric, the claim that only white Americans “create,” while others sponge off their productivity, has been one of the most insidious myths shoring up the ideology of white supremacy over the last several centuries.[10]

Searching for the identity of the man in the 1937 photograph is a small way of combatting this myth. It is a way of ensuring that white artists do not receive the only credit for their collaborations with communities of color. I am therefore hoping that anyone who might have information about the man in the photograph or other Native participants in the 1937 exposition will get in touch! With such interventions, perhaps art history can help to make the inclusiveness promised by muralism a reality.

[1] Carlyle Burrows, “A New Project in Modern Decoration: The Stage Coach and the Pony Express,” New York Herald Tribune, August 1, 1937, F6.

[2] Art historian Emily Burns notes that the man’s dress appears to be a composite of clothing from a number of different Native nations. The headdress, for example, is typical of Plains rather than southwestern cultures. It thus constitutes a kind of Native American “intern-nationalism” against the backdrop of the International Exposition. Emily Burns, email message to the author, September 30, 2020.

[3] “With Latin Quarter Folk,” Folder “1926,” Private Archive of Eduard “Buk” Ulreich, St. Louis, MO.

[4] Eduard “Buk” Ulreich, “Eduard Buk Ulreich: A Brief History,” n.d., Folder “Buk Autobiography,” Private Archive of Eduard “Buk” Ulreich, St. Louis, MO; “Story of the Indian Ornament for the American Exposition Building at Paris, France,” n.d., Folder “1937,” Private Archive of Eduard “Buk” Ulreich, St. Louis, MO.

[5] The term “katsina” (plural “katsinam”) is preferred.

[6] Members often prefer the name “Diné” to Navajo.

[7] Francis Smith, “Brilliant Murals Portray Lore of U.S. Indains at Exposition,” Paris Herald, July 27, 1937, Private Archive of Eduard “Buk” Ulreich, St. Louis, MO.

[8] “Interior Painting & Murals,” n.d., Series 15, Box 7, Folder 15-74, Century of Progress World’s Fair, 1933-1934 (University of Illinois at Chicago).

[9] See Jennifer McLerran, A New Deal for Native Art: Indian Arts and Federal Policy, 1933-1943 (Tucson: University of Arizona Press, 2012), 164.

Davida Fernandez-Barkan is a Ph.D. candidate in History of Art and Architecture at Harvard University and was a Smithsonian Institution Predoctoral Fellow at the Smithsonian American Art Museum during the 2019–20 academic year. She holds an A.B. and M.A. in History of Art and Architecture from Harvard and an M.A. in Curating the Art Museum from The Courtauld Institute of Art. She has worked or interned in curatorial departments at the Harvard Art Museums, the Centre Georges Pompidou, the Institute of Contemporary Art/Boston, the National Gallery of Art, Tate Britain, and the Hirshhorn Museum and Sculpture Garden. Her work appeared in the most recent issue of the journal Public Art Dialogue. Her dissertation is titled, “Mural Diplomacy: Mexico, the United States, and France at the 1937 International Exposition in Paris.” She is currently a Center for Advanced Study in the Visual Arts (CASVA) David E. Finley Fellow (2020–23).