At first glance, many observations can be made from the clothing one wears. The fit, the style, and the color all contribute to what identity one presents to the world. In “Clothes” by Chitra Banerjee Divakaruni, different garments represent the different cultures Sumita inhabits. Her saris, colorful and flowing, hold deep significance in her homeland and are worn during monumental and ceremonial moments. On the other hand, the tight and mundane American clothes demonstrate a more casual and intimate feeling. Despite the turbulent changes in her life, Sumita finds a way to navigate her rapidly changing identity through the clothes she wears. The sari, while being aesthetically pleasing, holds heavy significance in Indian culture. The Sari
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Despite Sumita’s physical presence in America, her in-laws highly restricting her interactions with the outside world leads to a romanticized idea of her new home. When thinking of America, all Sumita knows is Somesh’s late-night, pillow talk anecdotes. Somesh’s accounts paint pictures of materialism, capitalism and the “American Dream.” Sumita, before even arriving at her new home, dreams about a changed womanhood where she can do things like “kiss in front of everyone, not caring, like Americans” (Divakaruni 3). This idealistic concept of her American identity continues to grow as Somesh starts to provide physical examples of American life through buying her clothes. Sumita begins to find a merged identity with these new garments, where aspects of both cultures collide. Just as she placed emphasis on the meaning of the colors in her saris, Sumita ascribes meaning to the shade of sunrise-orange, now a color of “joy” and her “new American life” (Divakaruni 4). However, sight isn’t the only sense Sumita associates with her saris, scent connects to her identity as well. During her flight to American, all Sumita needed to quell her anxiety was the memories of the sandalwood’s “calm fragrance” and her “mother’s hands” (Divakaruni 3). The fragrance of sandalwood represents comfort and home to Sumita, so when the lace nightie smells of sandalwood as well, it is clear Sumita has now found “home” in her American garments as well. Although the fabric is not as lush or silky, Sumita’s new clothes still offer her that “solid comforting weight” (Divakaruni
Despite Sumita’s physical presence in America, her in-laws highly restricting her interactions with the outside world leads to a romanticized idea of her new home. When thinking of America, all Sumita knows is Somesh’s late-night, pillow talk anecdotes. Somesh’s accounts paint pictures of materialism, capitalism and the “American Dream.” Sumita, before even arriving at her new home, dreams about a changed womanhood where she can do things like “kiss in front of everyone, not caring, like Americans” (Divakaruni 3). This idealistic concept of her American identity continues to grow as Somesh starts to provide physical examples of American life through buying her clothes. Sumita begins to find a merged identity with these new garments, where aspects of both cultures collide. Just as she placed emphasis on the meaning of the colors in her saris, Sumita ascribes meaning to the shade of sunrise-orange, now a color of “joy” and her “new American life” (Divakaruni 4). However, sight isn’t the only sense Sumita associates with her saris, scent connects to her identity as well. During her flight to American, all Sumita needed to quell her anxiety was the memories of the sandalwood’s “calm fragrance” and her “mother’s hands” (Divakaruni 3). The fragrance of sandalwood represents comfort and home to Sumita, so when the lace nightie smells of sandalwood as well, it is clear Sumita has now found “home” in her American garments as well. Although the fabric is not as lush or silky, Sumita’s new clothes still offer her that “solid comforting weight” (Divakaruni