Raw Silk.

The slub in raw silk — the irregular thickening in individual threads that creates surface variation — should be distributed fairly evenly across the cloth and should be of moderate size. Very large slubs can look accidental rather than characterful; an absence of slub means the fabric is more processed than true raw silk. A good raw silk for ethnic wear has slubs visible on close inspection that add depth and texture without creating conspicuous irregularities.

The hand of raw silk should be slightly firm — it should have body and hold its shape when draped, rather than falling as loosely as a soft processed silk. This firmness is what makes raw silk well-suited to structured garments like bandhgalas and Nehru jackets that need to hold their form. For flowing kurtas where drape is more important than structure, a fine raw silk or a lightly processed raw silk is a better choice than a very crisp, stiff variety.

Raw silk occupies the semi-formal to formal space in Indian ethnic dress. It is more appropriate than cotton for any occasion where festive dressing is expected, and less overtly ceremonial than Banarasi brocade or heavily embellished silk. A raw silk bandhgala in ivory or cream is appropriate for a wedding as a guest, for Diwali, for professional formal occasions, and for diplomatic or government events where Indian formal dress is expected.

The natural range of raw silk colours — warm creams, honey tones, natural ivory — work particularly well in Chennai's warm light. These natural tones have a warmth that bright whites or cool blues lack in direct sunlight, and they complement South Indian complexions in a way that is more flattering than the stark whites and cooler tones associated with North Indian formal dress.