A sharara flares in one continuous line from the knee down, cut from a single sweep of cloth. A gharara is fitted to the knee and then joined at a horizontal seam called the gota, below which a separate gathered piece of fabric bursts out — that visible seam is the quickest way to tell them apart. The gharara is the older Awadhi garment and is traditionally heavier and more ceremonial; the sharara is easier to walk, sit and dance in.

A sharara set is the wide-legged sharara trousers sold together with a matching kurta, and traditionally a dupatta cut and coloured to go with them. The kurta length sets the mood: a short kurta shows off the flare and reads younger, while a floor-skimming kurta turns the same trousers into something quieter and more formal. Always check the individual product page to see exactly which pieces that set includes.

It depends on whether you want movement or structure. Georgette and chiffon are light and fluid, so the flare swings and settles — the safest choice for summer and for long evening functions. Crepe drapes with more weight and less bounce. Silk and art silk give the flare structure and a low sheen that photographs well. Organza and net stand away from the body and read sculptural but need a lining, and velvet is warm enough that it belongs only at winter weddings. Cotton breathes and does not cling in humidity, which suits daytime wear.