Fashion, in its cyclical nature, often revisits the annals of history, and nowhere is this more evident than in Indian fashion. With roots as deep as human civilization itself, Ancient Indian Fashion is a vibrant amalgamation of regional, cultural, and historical influences. Just as fashion trends globally tend to resurface every decade or two with contemporary adaptations, the essence of ancient Indian styles continues to inspire and shape modern aesthetics. In today’s world, where fashion is deeply ingrained in our lives, almost as vital as sustenance, it’s not merely about clothing; it’s about embracing the ever-evolving trends that capture our imagination and find a place in our wardrobes. But what were the forces that shaped ancient Indian fashion? How does it compare to contemporary styles? And what is the historical narrative of fashion in India? Understanding the origins of what we wear is crucial to appreciating its significance.
Fashion in India began to take discernible forms as far back as ancient times. Evidence from the Indus Valley Civilization, also known as the Harappa civilization, suggests the use of woven cotton fabrics. Flax was cultivated for its fibers, and silkworms were reared for silk production. Figurines unearthed from excavations reveal priest-kings adorned in robes draped over their shoulders and men wearing turbans. Women’s attire included knee-length skirts, complemented by jewelry such as bangles, earrings, and beaded necklaces. Interestingly, even men wore jewelry, as indicated by these ancient figurines. A significant artifact from this era, showcasing early Dhokra art, which remains popular today, is the iconic Dancing Girl of Mohenjo-Daro.
During the Vedic Era, comfort and climate dictated clothing choices. A single piece of cloth draped around the body and over the shoulder, secured with a belt, was considered ideal for the hot weather. The lower garment, known as Paridhana or Vasana, was a cloth wrapped around the waist and fastened with a string or belt called Rasana or Mekhala. Uttaiya, a shawl-like garment, was worn over the shoulder, while Pravara, a cloak, provided warmth during colder months. This style of dressing was common to both men and women, differing only in the draping style and size of the garments. As stitching techniques emerged during this period, the saree became a readily adopted garment for women. Later, blouses or cholis were introduced to cover the upper body, and the ghagra choli and dupatta also evolved during the Vedic period. Sculptures from this time depict lower body cloths pleated in the front and secured by long girdles, sometimes extending to the cloth’s edge, potentially foreshadowing the modern saree. Vedic men are also known to have worn dhotis, draped around the waist with pleats. Notably, men typically did not wear upper garments during the Vedic era.
In the Post-Vedic Era, as various dynasties like the Mauryas, Sungas, Guptas, and Kushans rose to power, a wider variety of fabrics came into use, including wool, silk, cotton, jute, linen, and muslin. During the Maurya and Sunga dynasties, women adopted different styles of wearing the Antariya, a short strip of cloth. Langoti, another garment, was fastened to the Kayabandh at the center and passed between the legs, tucked in at the back. Antariya styles were diverse, initially opaque but gradually becoming more transparent over time, crafted from linen, white cotton, muslin, and sometimes adorned with precious stones and gold embroidery. Men draped Antariya around their hips and between their legs, extending from the waist to the calves or ankles.
Headgears and head wraps became distinctive elements of women’s fashion across many dynasties. Both men and women commonly wore jewelry and head wraps. Women’s jewelry included layered necklaces, earrings, armlets, and baju-band, among others. Weaving techniques were well-developed, and furs along with various types of wool, tassar, eri silk, and muga silk were utilized. Fine, embroidered muslin cloth, known as Shabnam, in transparent gold and purple hues, was also popular. Textile dyeing was a well-established craft by this period. The era of dynasties paved the way for the age of royalty, which profoundly influenced fashion, even to this day, due to the exquisite craftsmanship of the time.
The era of kings and royalty evokes images of opulent palaces, refined arts, music, lavish cuisine, and, of course, extraordinary clothing and fashion. India’s rich history of dynasties and rulers, including the Mughals, Marathas, Scindia dynasty, and Rajputana rulers, each contributed unique qualities and influences to ancient Indian fashion. Many royal families have preserved their heritage, maintaining their traditional styles and customs to this day. Their legacy of exquisite craftsmanship and textile finesse is a cornerstone of India’s rich and memorable fashion history. Contemporary Indian designers frequently draw inspiration from the royal attire of different regions or delve into historical archives to rediscover and reinterpret ancient Indian fashion.
The Wadiyar dynasty, which ruled the Kingdom of Mysore from 1399 to 1950, established a distinctive court dress called the Durbaar dress. This attire was mandatory for anyone attending the king at Durbaar, designed to visually represent social hierarchy and status. Men’s traditional Durbaar dress consisted of a black, knee-length coat with white churidaar pants. Turbans were styled with a golden lace known as Mysore Peta. Another royal attire for men was a dhoti, often embellished with delicate gold zari embroidery at the border. Women wore luxurious pure silk sarees adorned with gold and silk thread embroidery. The Wadiyar style continues to influence men’s fashion, particularly in wedding wear, with churidaar pants and long kurtas embodying a sophisticated Indian aesthetic. Embroidered silk sarees remain a significant fashion influence, beloved by women throughout India.
The royal rulers of Udaipur, belonging to the Mewar dynasty, reside in the city of lakes, Udaipur, home to numerous royal families and a rich heritage. Rajasthani royal paintings vividly depict the grandeur of Udaipur’s Maharanas. A key symbol of their royalty is the parasol or chattri, known as Kirnia. Over time, the Maharanas of Udaipur’s style adopted European influences, with bandh galas and Western-style jewelry becoming common. Traditional attire for former Maharanas included a turban or pagdi with a long, embellished sarpech tail, long, flowing achkans with churidar pants, a sash, and a kamar bandh (waist belt). A sheathed sword was another crucial element of their majestic dress, symbolizing power and patriotism. The Maharanas had a deep appreciation for fine jewels, possessing exquisite heritage collections designed by French jewelers. Even royal transport, such as elephants and horses, were adorned with gemstone-embellished clothing.
The Nizam of Hyderabad, also known as Nizam-ul-Mulk of Hyderabad, was the monarch of Hyderabad State. The first Nizam ruled on behalf of the Mughal emperors. Their powerful reign over Hyderabad lasted until September 17, 1948, when Hyderabad joined the Indian Union. The Nizams were patrons of fine arts, culture, and literature. Nizam jewelry is globally renowned and unique, proudly displayed by the Nizams. Fine jewelry featuring pearls and precious gemstones is a signature of Nizam design. The Nizams wore sherwanis with turbans embellished with sarpeches. Nizam jewelry has significantly influenced Indian ethnic jewelry, particularly wedding jewelry adorned with precious gemstones and pearls.
The tale of the Maharani of Kapurthala is a remarkable story of a Spanish woman who became an Indian queen, celebrated for her exquisite taste in Indian clothing and style, making her an iconic figure among Indian queens. Her wedding lehenga, documented in her personal diary, was pink with intricate silver and gold embroidery, enhanced by opulent jewelry. Her sarees and jewelry reflected her luxurious lifestyle and refined taste. Sarees in deep, rich colors like pinks, maroons, and reds, embellished with brocade or gold zari, were hallmarks of her opulent style. She often draped sarees over her head in a pallu style, embodying the image of a Maharani. She also wore elegant long pure silk gowns with off-shoulder designs, blending Victorian style with Indian elements. Her jewelry collection included exceptional pieces with emeralds, rubies, and diamonds. She wore heavy necklaces, earrings, and bracelets, perfectly embodying royalty. Her jewelry collection was auctioned in London in 2007.
The Holkars, from the Hindu Maratha Holkar dynasty, ruled as Maratha kings and later as Maharajas of Indore in Central India. The Holkar kingdom eventually became a princely state under British protectorate. Founded by Malhar Rao, a Maratha chief under Peshwa Baji Rao, the Holkar dynasty is globally recognized for its collection of exquisite jewels. It is estimated that the Maharaja’s jewelry collection was worth $40 million between 1930 and 1940. Renowned French jewelers like Chaumet and Van Cleef designed jewelry for Maharaja Yashwant Rao. Richard Sivaji Rao Holkar and his American wife Sally revived the beautiful Maheshwari sarees. Holkar kings traditionally wore angas, turbans or pagdis, sheathed swords, and fine jewelry. Holkar queens typically wore rich Maheshwari sarees with jewelry in their daily lives.
The Gaekwads of Baroda began their rule when Pilaji Rao Gaekwad, a Maratha general, seized the city from the Mughals in 1721. The Gaekwad dynasty, a Hindu Maratha clan, was led by the Maharaja Gaekwad of Baroda. Under British rule, Baroda became one of the wealthiest states, thriving on cotton, rice, sugar, and wheat trade. Post-independence, Baroda became part of Maharashtra. The Gaekwads were known for their adherence to customs and culture. Laxmi Vilas Palace, Baroda’s most opulent palace, was built for the newly married Maharaja and Maharani. The Gaekwads had a penchant for grandeur, from decorated elephants and horses to finely embellished carriages. They wore long, fine silk robes, exquisite turbans, fine jewels, and jewel-encrusted swords, symbols of bravery. The Gaekwads particularly favored pearls, evident in paintings depicting Maharajas wearing heavy pearl and gemstone strings. As a figure of deity to his subjects, the Maharaja wore opulent clothing and fine jewels. Maharaja Gaekwad typically wore neatly tied, small turbans made from fabrics woven in Western India, often in purple or gold on white or yellow backgrounds. Robes embellished with sequins and silk piping were also common. Angrakha, another traditional robe, was worn by men. During the British Raj, the Maharaja also adopted Western attire and mannerisms.
The Scindias, or Shindes, of Gwalior, another prominent Hindu Maratha clan, ruled the state of Gwalior. Founded by Ranoji Scindia, the dynasty has a trademark head dress worn exclusively by royal family members on special occasions. In the 16th and 17th centuries, men wore a traditional Anga, a brocade and silk kurta resembling a coat, along with a sheathed sword and a pagdi, completing the royal look for formal events and festivities. Women wore fine silk sarees in the traditional Marathi style, complemented by finely crafted jewelry. The Maharaja of Gwalior is distinguished by a boat-shaped pagdi called Shindeshahi Pagdi, setting the royals apart.
The Pratapgarh, or Partapgarh, region of Rajasthan is known for the royal family founded by Rawat Suraj Mal. The region is renowned for handicrafts, and the Pratapgarh royals are known for their exquisite dressing, crafted from the finest woven silk and cotton. The Maharawat of Partapgarh was a patron of Thewa jewelry, an art form involving intricate gold designs carved on colored glass, still popular today. He favored rich woven silk and cotton fabrics. The Maharawat wore turbans adorned with precious stones like rubies, diamonds, and pearls, enhanced with a peacock feather. His royal robes were made from fine gold zari. Due to foreign influence, the dressing style of Partapgarh’s royal men evolved, transitioning from dhoti and turban to trousers and linen shirts for comfort and modern adaptation.
Bundi, a region in Rajasthan, addresses its Maharaja or King as Maharao. Now a tourist destination, Bundi is known for its architectural legacy from the Maharao. Ardent supporters of arts and architecture, their palaces and forts showed Mughal influences. Raja Rao Raghubir of Bundi lived opulently, depicted in paintings showcasing his grandeur. Dressed in fine silk robes, bejeweled turbans, diamond necklaces, and wielding a sheathed sword, his persona epitomized royalty. British influence led Maharaos to adopt informal or Indo-Western attire, marking a significant lifestyle shift.
The royal family of Travancore is known for its modesty. The Maharajas of Travancore lived simple lives, prioritizing public welfare and minimizing personal expenditure from state resources. Their simple dressing reflected this ethos. Queens wore Mundu sarees, similar to Kerala’s Kasavu sarees, in cream or white with gold detailing.
Mughal fashion has indelibly shaped Indian craftsmanship. Their artistry and workmanship are unparalleled, evident in both clothing and architecture, reflecting a taste for magnificence. Attire made from luxurious silk, velvet, brocade, and muslin, with elaborate designs and embroideries, characterized Mughal fashion. Men wore exquisitely designed short and long robes or coats, including long-sleeved choghas, pagris, patkas or sashes, and pajama-style pants. Turbans were often adorned with jewels like diamonds, pearls, and rubies.
Women, influenced by the Purdah system, wore traditional Persian and Khurasani dresses. In Humayun and Babar’s courts, noblewomen wore loose, wide pants with loose upper garments fastened at a V-neckline. With the arrival of Rajput princesses into the Mughal kingdom, Hindu clothing influences emerged. Clothing was often changed multiple times daily and worn only once, then given away. Garments were made from thin, almost transparent cloth with gold lace. Turbans of gold cloth and feathers covered the head. Kashmiri shawls were popular in cold weather. Bejeweled, patterned shoes with curly, pointed tips were also worn by women.
Both men and women wore opulent jewelry with precious stones, showcasing Mughal craftsmanship, as documented in paintings. Women wore eight complete jewelry sets, including jeweled turbans, earrings, pearl necklaces, armlets, bangles & bracelets, rings, thumb rings, pearl strings or metal anklets, and head ornaments shaped like suns, moons, stars, or flowers. Ear ornaments included Jhumkas, Kanphool, Bali, Mor-Bhanwar, and Pipal Patra.
Costly silk, wool, and cotton were extensively used in clothing, along with light and warm wools like pashmina, tush, and tus. Silk fabrics were richly embroidered with silver and gold threads. Shawls were crafted so finely they could pass through a ring.
Emperor Akbar, the third Mughal Emperor (1556-1605), was a strong personality and a patron of culture and arts, promoting Hindu-Muslim unity. He favored comfortable clothing and shawls, especially the double-sided Dorukha shawl. Despite his simple philosophies, his style included gemstone-embellished small turbans, long kurtas layered with jackets—inspirations for modern Sherwani designs. He also wore fine jewelry, including pearl strings, emerald waistbands, and heavy rings, enhancing his royal persona. His clothing was intricately embroidered with Kundan and zari work, reflecting his opulent lifestyle.
Maharani Jodha’s regal and opulent dressing style is vividly portrayed in the Bollywood movie “Jodha Akbar.” A Rajput princess marrying Mughal Emperor Akbar, her style was far from ordinary. Clothed in richly embroidered Rajasthani woven fabrics, she embodied queenly elegance. Fabrics with zardozi, kundan, and stone work crafted her royal attire, including lehenga cholis of brocade, silks, and cottons in vibrant colors. Her head was often covered with a dupatta or pallu. Her jewelry, crafted from polki, kundan, and jadau work, was exceptionally striking. Heavy necklaces, earrings, hand harnesses, math borlas, waistbands, and armlets adorned her. Jodha’s style has profoundly influenced contemporary Indian bridal fashion, with brides often drawing inspiration from her jewelry and lehengas for royal wedding looks.
Mahatma Gandhi’s Charkha initiated a fashion revolution, a historical and pivotal moment that transformed India’s fashion landscape. Khadi, born as a symbol of patriotism during the Swadeshi movement to reject foreign materials, is now a proud emblem of Indian textiles. Used in Khadi sarees, suits, kurta pajamas, and more, the homespun fabric from rural spinning charkhas provides employment and remains integral to ethnic Indian fashion.
The Parda system, practiced for centuries in both Hindu and Muslim communities in India, is a socio-religious custom of gender segregation, primarily isolating women. This practice restricts women’s personal freedoms and choices, though it is also seen by some as a form of respect and modesty. In Hindu communities, it is known as Purdah or Ghunghat, and in Muslim communities, as Burqa, Naqab, or Hijab. Married Hindu women especially observe purdah or veil in the presence of elder men or outsiders, using the saree pallu to cover their faces.
In Muslim cultures globally, the practice remains prevalent and religiously significant. Women often wear a black burqa, a full-body robe with a mesh eye covering, believed to protect women’s honor. Hijab, another form of veil, typically covers the head and chest in the presence of adult males or outsiders.
While diminishing with modernization, the Hindu practice of purdah persists in rural India.
Indian fashion history, evolving over millennia, has left a global imprint. Today, Indian fashion is a significant global force, rich with historical depth. Handloom textiles, sarees, party dresses, designer dresses, and elaborate embroideries showcase India’s diverse fashion landscape. Regional variations in weaving, embroidery, and clothing styles enhance the vibrancy of Indian textiles. Indian designers have been pivotal in shaping the global fashion industry. The Indian fashion industry continues to evolve, increasingly emphasizing sustainability and eco-friendly practices. Fashion’s evolution in India reflects a blend of ancient traditions and modern influences. Although global fashion trends continuously shape our choices, India’s vibrant and diverse fashion spectrum remains timeless and evergreen.
