indian dresses essay

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Indian Traditional Dress — What do Indian Women and Men Wear

History of indian dress, saree – a symbol of india.

• Indian Traditional Dress for Women

Indian Modern Female Attire

• Indian Traditional Clothing for Men

Indian Wedding Dresses

Where to buy quality traditional indian clothing.

Despite globalization, India has managed to preserve its traditional dresses, a fundamental part of its culture. Even if there are dozens of traditional dresses worn both by women and men, there are some items that are widely recognized everywhere: everybody knows about the saree, dhot, and dastar .

The saree, worn by women, is a long dress that covers the right shoulder and leaves the midriff bare, while the dhoti is worn mostly by men, is a long piece of cloth wrapped around the legs and knotted to the waist. Last but not least, and maybe one of the most recognizable items of Indian attires, is the dastar, the turban mostly worn by Sikh.

Keep reading our article to learn more about India traditional dresses.

• The Indian textile industry is incredibly old, and some of its ancient techniques are still used today
• There are many different traditional clothes worn by men and women
• For women, the most famous traditional dress is undoubtedly the saree
• For men, instead, the national dress is dhoti
• Another characteristic Indian item, widely recognized all over the world, is the dastar, the turban worn by Sikhs

The history of Indian dress dates back to the 5th millennium BC, with the Indus Valley civilization that used to spin, weave and dye cotton . The cotton industry was extremely advanced, and some of the techniques used in the past still survive today.

During the Maurya and the Gupta period, people used to wear both stitched and non-stitched clothes, and the main item was the anariya made of white cotton and tied to the waist by a sash. With time, the new trade routes expanded the textile industry of the subcontinent. The Romans bought indigo for dyeing, and trades with China introduced silk textiles.

In ancient times – and still today – silk and cotton were woven into various designs peculiar to each different region. The Mughal greatly helped India to develop its textile techniques, and dyeing of clothes became a sort of art, and mordant dyeing, resist dyeing and Kalamkari techniques became predominant.

Textiles have always been an important part of Indian trading. India used to trade with China, Southeast Asia, the Roman Empire, the Arabs, and, during the 17th century, also Europe, in a lucrative exchange of spices and clothing. Printed calicos, chintz, muslins, and patterned silk invaded the English market, and, later on, became a source of pride for the nationalist movement.

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The saree (also sari or shari) is the most representative traditional clothing of the Indian subcontinent. It consists of a drape that can be from 4.5 meters to 8 meters long, and about 1 meter wide.

It is usually wrapped around the waist, with one end covering one shoulder and baring the midriff.

As you can read below, there are many different styles, but in most cases, the saree is worn along with a choli and a petticoat, called parkar.

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Origins of Saree

The origins of the saree date back to the Indus Valley Civilization, around 2000 BC . The word saree is an evolution of the world sattika, that in earliest Buddhist literature indicate women's attire.

Originally, it was a three-piece ensemble – a lower garment, a veil, and a chest-band – known as poshak. With time, these three pieces merged to form a single garment, the saree.

Some Indian state that the midriff should never be left exposed, an ancient Indian tradition affirms that the navel of the Supreme Being is the source of life and creativity, and this is why the sari leaves the midriff bare.

For wedding sarees, red is the most common color . Women wear various types of regional handloom sarees made of silk, ikkat, cotton, block-print and tie-dye textiles.

Styles of draping

A saree can be worn in more than 80 different ways . As said, the most common style sees the saree wrapped around the waist, with the loose end worn over the shoulder, and baring the midriff. Some styles require a particular length or form.

Sari drapes can be categorized in the following principal families:

• Nivi: the pleats are passed through the legs and tucked into the waist at the back. It is the style originally worn in Andhra Pradesh.
• Bengali style: there are no pleats. The saree is wrapped anti-clockwise around the waist, and then another time from the other direction. The loose end is a lot longer than the one found in the traditional style, and it can also cover the head. This style originated in the family of Rabindranath Tagore, the poet laureate of India.
• Gujarati : similar to nivi style, but with the loose end taken from the back and draped around the right shoulder.
• Nauvari : similar to the Maharashtrian male dhoti but with regional and societal variations. To wrap this style of saree, the cloth is held lengthwise and placed at the center of the back. Then the two ends are wrapped around the legs and afterward tied in the front. When wearing nauvari style, women often require an extra nine yards of cloth to cover the upper body and the shoulders.
• Assamese : also known as mekhela chador and consists of three main pieces, the top, skirt, and cloth that is draped around the other two.
• Manipuri : from the northeast is similar to the mekhela chador and is a three-piece garment known as a innaphi viel.
• Maharashtrian : the center of the saree is placed at the center back, the ends are brought forward and tied and, finally, the two ends are enfolded around the legs. This is the style used by Brahmin women.
• Kodagu : a style used only by the women from the Kodagu district of Karnataka. The pleats, instead of the front, are created in the back. The loose end is draped back to front on the right shoulder.
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Accessories

Sarees have one plain end, two long decorative borders, and a section (from one to three-foot) at the other end that elaborates the lengthwise decoration. This section is called pallu and, in the navi style of draping, it is draped over the shoulder.

In the past, silk or cotton was used to weave the saree. Rich people used to wear diaphanous sarees made of silk that could be passed through a ring. The poor, instead, used to wear cotton saree. However, all the sarees were handwoven.

The simplest sarees are decorated with stripes woven into the cloth, and the most inexpensive ones were decorated with block printing. More expensive sarees were ornated with elaborated floral ornaments or brocades created as a part of the fabric. Sometimes threads of different colors were woven to form an ornamented border.

Sarees could also be decorated after weaving, using colored silk thread or using gold and silver threads or precious stones.

Nowadays, most sarees are woven using mechanical looms and the fibers used are artificial (polyester, nylon, or rayon). The handwoven ones are of course way more expensive than the machine ones.

The market for handwoven sarees is not as prosperous as in the past, but this kind of sarees is still popular especially for weddings.

Indian traditional Dress for Women

There are many different kinds of clothing traditionally worn by Indian women, and all of them are associated with the local culture, religion, and the climate. Mumbai is nowadays the fashion capital of India, but in a lot of rural areas, women continue to wear traditional clothes.

Mekhela Sador

The traditional dress of Assamese people is worn by women of all ages. There are 3 main pieces:

• The bottom portion, draped from the waist downwards, is called mekhela. It is shaped like a wide cylinder that is folded into pleats (to the right) and tucked in.
• The third piece is called riha, which is covered by the sador. It is quite narrow, and women wear them during important ceremonial occasions.

Salwar Kameez

Salwar is a word used to indicate a lower garment, such as the one used for the Punjabi salwar and Dogri pajama.

The salwar kameez is traditionally worn by the women of Punjab and is also called Punjabi suit. The dress consists of a pair of trousers that narrows at the ankles (the salwar), paired with a tunic top (the kameez). Women usually also wear a veil to cover the head or the shoulders.

This dress is worn by almost every teenage girl and a huge number of actresses in Bollywood movies.

Churidaar is a variation of the salwar. It is loose around the knees and tight around the calf. It can be worn with any kind of upper garment or as a part of the anarkali suit (see below).

Anarkali suit

This Indian style consists of a long dress-like shirt with slim-fitting bottoms. It is mainly worn by women in North India, Pakistan, and the Middle East. Indian women often wear anarkali suits on occasions like traditional festivals, annual celebrations, and formal dinners. Such occasions are what keeps traditional customs and attire alive in India.

Anarkali suits can vary in length and some of them touch the floor. During weddings and events, many women like to wear a heavier embroidered anarkali suit. The tops of these suits can be sleeveless or have long sleeves.

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Lehenga Choli

This is the traditional dress of women in Rajasthan and Gujarat , and it is also worn during some folk dances. It is a combination of three pieces: a lehenga, a long skirt; a choli, which is a blouse shell garment; and an odhani, a shawl-like scarf.

While the saree has long been the most popular dress for Indian women, it began to absorb elements from western clothes starting in the late 1970s. Today, women are opting for the more comfortable and less conservative salwar kameez that is now worn in cities all over India.

Nowadays, women living in urban areas wear more casual western garments like suits, skirts, T-shirts, and jeans in their free time and have a choice between both traditional and western clothes at work. Fashion designers have blended elements of Indian traditional dress with conventional western wear creating a new twist of sarees, salwar kameez, lehengas (large skirts), and other styles.

Traditional Indian attire such as the kurti, a cotton shirt than normally extends to the mid-thigh, now has a more stylish range of embroidered patterns and designer styles. Wearing a kurti with a dupatta, or shawl, draped over the neck and pants forms a modern and popular fusion of Western and Indian styles.

Most star-rated luxury hotels require their female staff to wear saree uniforms. While the male staff usually wears a Western suite with a turban to show the intrinsic culture of the land.

Indian traditional clothing for men

There are many traditional clothes worn by Indian men, such as Achkan, Bandhgala, Lungi, Dhoti, and Sari jama. Recently, the government of India included pants and shirts among the traditional dress worn by Indian men.

Dhoti is the national dress of India. It is from four to six feet long and it made of cotton. It is the traditional attire mainly worn by men in villages, at it is held in place or by a style of wrapping or with a belt around the waist.

Men in India also wear long sarong known as mundu. Shirts are usually worn over the dhoti.

Panche (or Lungi)

A lungi (also called sarong) is another traditional Indian garment. A mundu is a lungi, but it is always white. It can be tucked in, up to the knee-length, or allowed to reach the ankles.

Usually, people tuck it in when they are working, and left open to show one's respect, for example in worship places.

Tungi is mainly a male clothing but is also worn by elderly women, mostly because of its good aeration. It is an item widespread in many different countries, such as Indonesia, Brunei, Malaysia, Myanmar, and Somalia.

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Anchkan/Sherwani

An anchkan is a long coat (or jacket) that usually has exposed buttons through the length of the jacket. It arrives just below the knees, and it sports a Nehru collar, that stands up.

The anchkan is paired with fitting pants called churidars, a kind of trousers that are loose around the hips and the thighs, but tight around the ankle.

It is the traditional dress worn by grooms, and usually, it is cream, light ivory or gold.

A bandhgala (also known as jodhpuri) is the formal evening suit worn by Indian men. It originated in the Jodhpur State and became extremely popular especially under the British Raj.

It has a coat and a trouser, and sometimes a vest. It is a way to put together the western cut with Indian hand-embroidery.

Usually, silk is used. The material is lined at the collar and at the buttons with embroidery. The material can be plain or jacquard, and normally the color of the trousers match that of the coat.

The jama is a long coat popularized during the Mughal period. There are many different kinds of jama, even if they are not as used as in the past. However, some men still wear the jama known as angarkha.

Pagri – The Indian turban

Pagri is the term used to indicate the turbans originated in the Indian subcontinent. There various types of turban, and wearing one is a way to indicate one's social, religious, and caste status.

One of the most famous types of turban is dastar, the headwear that symbolizes Sikhism. It is not a simple piece of clothing, it represents honor, self-respect, courage, spirituality, and piety. The turban is used to cover the long hair, and it is seen as an acceptance of the will of God.

Pheta is the turban worn in the Maharashtra region, especially during weddings. The color varies according to the occasion and, for example, saffron indicates honor, while white indicates peace.

In Rajasthan, men wear pagari, that varies in style, color and size and indicates the wearer's social class, caste, and region. In the desert, the turbans are large and loose; and the biggest turbans are worn by farmers and shepherds, who need to protect their head from the elements of nature.

In India, a traditional wedding has to follow a series of rituals and each has its significance in the marriage and celebrates the changes that are taking place. A wedding usually lasts for several days with different ceremonies each day.

Weddings often include a Tilak (the placing of a red mark worn on the forehead), Sangeet (and event with dancing, performances, and the playing of traditional music), Haldi (making turmeric paste and applying it to the skin of the bride), and Baraat (a wedding procession for the groom).

All these ceremonies are glittering events that showcase the range and variety of clothes worn by both men and women. On the wedding day, the bride and groom will dress up in their gorgeous outfits with gota patti embroidery that is made from gold or silver threads.

The Bride's Dress

Most brides wear a bejeweled bright red wedding saree. Wedding attire is often red as it is considered to be the most auspicious color. Some brides also choose not to wear a saree and instead wear an elaborately embroidered lehenga (heavy long skirt).

In West India, East India, and South India the saree is the more preferred bridal dress, while in North India the lehenga is more popular.

Henna patterns or mehendi are to be worn on the bride's body usually covering her palms, hands, legs, and feet. Putting henna on a bride is done as part of the wedding preparations. Henna is a form of body art that uses the plant lawsonia inermis to dye the skin dark brown and create beautiful patterns.

Awlata is a red dye that is applied with cotton to the hands and feet. Awlata is typically seen on fingertips and the end of the bride's toes.

A henna ceremony is held the night before the wedding, usually organized by the bride's family. This ceremony brings together all the female members. The core idea behind this practice is to make use of the herb's medicinal values to cool the nerve endings and relieve the bride's stress. It is also a way to wish the bride good health and prosperity.

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The Groom Wedding Attire

Grooms from South India usually wear traditional costumes called dhoti that come in plain or solid colors with embroidered borders. South Indians may also wear a cotton mundu, or draped cloth, on their lower half.

In North India, grooms wear a sherwani that features detailed embroidery or patterns. They may also choose to wear a jodhpuri suit consisting of a coat, trousers, and a vest.

If you are visiting Delhi and would like to shop for some good-quality ready-made garments, there are dozens of markets around the city worth looking into. Besides Connaught Place, almost every residential area boasts a clothing market ranging from an old established shops or bazaars to high-end boutiques and department stores.

Indian traditional textiles are available in most high-quality shops, particularly Central Cottage Industries Emporium on Janpath. This multilevel store is a wonderful place for Indian handicrafts from stoneware, woodcarvings, and bamboo products to paintings and textiles. This mall also has a selection of quality silk, cotton, traditionally dyed fabrics.

Anoki is a store in Khan Market that can be distinguished by its prints and sense of design. This shop provides a wide collection of tunics, skirts, salwar kameez, chudidars, patialas, dupattas, stoles, and tops. You can also find colorful bed linen and light cotton quilts here.

The Lodi Colony Market has several boutiques offering Indian designer wear including that from the stylish brand Abraham. The store Shyam Ahuja sells linen and textiles.

Mumbai is another shopping paradise in India. Large malls, department stores, and stylish boutiques all stock a variety of interesting goods. Boutiques like Aza and Ensemble , specialize in popular Indian designer labels including high-fashion Western brands and traditional Indian apparel.

Casual ready-made garments are available at Cotton World , a store dedicated to natural clothing by using natural fabrics such as cotton, linen, modal, tencel, and viscose. A variety of comfortable and quality rich clothes for women, men, and kids can be found at this store.

If you are looking for more traditional Indian textiles and weaves, Fantasia , Indian Textiles , and Fabindia offer a wide range of silk saris, home furnishings, and accessories.

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Traditional Dresses of Indian States: The Diversity in Indian Attire

• Indian Culture
• Indian Fashion
• Traditional Dresses of India

Table of contents

Andhra pradesh, arunachal pradesh, chhattisgarh, himachal pradesh, madhya pradesh, maharashtra, uttarakhand, uttar pradesh, west bengal, jammu and kashmir, the diversity in traditional dresses of indian states.

Western fashion has greatly influenced the clothing of India due to globalization, formalism, and ease of wear in a highly busy lifestyle. The people, however, have not discarded their traditions and culture. These come to the forefront especially during occasions, gatherings, ceremonies, and religious festivities. The traditional dresses of Indian states will always be adorned to celebrate cultural diversity.

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Each state of India has its heritage that is a source of its costumes and clothing. Today, we explore all the states of India and their rich style of traditional wear.

The women of Andhra Pradesh dress in handloom sarees. Most of these are made of silk, with a rich texture due to their intricate weaving. The younger women wear the two-piece conventional sarees called the Langa Voni. Andhra’s Kalamkari sarees have mythological motifs, and figures from epics etched on them. The men use the shirt called kurta as the upper garment, teamed with dhoti, lungi, or pajama.

A full-sleeved coat over a loose chemise is the conventional wear for women. The accessories of bamboo and silver earrings are very common. The men wear silk shirts and pin the edges around the shoulder area. Their customary green lungis have colored stripes of blue, yellow, or white. The Sherdukpen men’s wear is famous for the skull-caps called Gurdam, which are made from Yak hair.

The ‘Mekhela-Chador’ or ‘Riha-Mekhela’ is wonderful traditional clothing for Assamese women. Especially during occasions like weddings or festivities, women take pride to adorn themselves in this attire. This handloom product is woven from durable Muga silk. The men were dhoti and kurta or kameez, often draping the long cloth ‘chador’ from the Seleng region.

The traditional dress of men from Bihar is the dhoti-mirjai and kurta while women prefer sarees or Salwar-Kameez. The saree is worn in the conventional ‘Seedha Aanchal’ style and is often made of Tussar silk.

The local Kuchhora fashion of wearing knee-length sarees is preferred by the women of Chhattisgarh. It is known as Lugda and worn with a pullover called Polkha. Other than dhotis and headgears like cotton turbans, the men wear garments called Halbas and Murias. The fabrics that are used the most are linen, silk, and cotton, and are usually painted with molten wax.

The conventional attire for women in Goa is the Nav-Vari saree which comes nine-yard long. The expensive Pano Bhaju saree is studded with precious stones and gems. Men wear basic shirts and trousers, often teaming them up with caps.

The traditional Kedia dress is worn by both men and women in Gujarat during festive occasions and celebrations. Women also wear vibrant Chaniya Choli. This gorgeous dress is worn with a long skirt called ‘Ghagra’ as the lower garment and is embedded with little pieces of glass. In general, men wear dhoti and kurta.

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The colorful dresses of women from Haryana include ‘Damaan’, ‘Kurti’ and ‘Chunder’. The Damaan is an ankle-long skirt while the Kurti is a shirt-like blouse. The long and laced Chunder is used to cover the head and drape around the shoulders. The dhoti is the traditional wear for men. They also crown their attire with the headgear Pagri, mainly in the villages.

The men from Himachal Pradesh prefer kurtas and the lower garment called Churidaar. The women, on the other hand, deck themselves in ethnic Kurti, Salwar-Kameez, a long skirt called Ghagri, and the fringed headscarves called Rahide. Due to the climate, woolen clothing is indispensable for the people. The famous Pashmina shawls are unique to the region.

The Pathan and Panchi costumes of the tribes of Jharkhand are extremely popular. Sarees made from Tussar silk and Anjana silks are worn traditionally by women. The men were a single piece of cloth called the Bhagwan. The costumes called Santhal and Pahari of the Santhal Pagara tribes are believed to bring good luck to the wearer. In general, men wear dhoti and kurta.

Karnataka has a variety of costumes because of the diverse communities that reside in the state. The Ilkal sarees of Karnataka are popular throughout the country due to their unique method of weaving which makes use of the Tope Teni process of looping. Kanjeevaram silks are also popular. The men prefer to wear kurta and the lower-garment called lungi or panche.

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Kerala ’s most conventional traditional wear is called the mundu. It resembles a long skirt and is worn by both men and women. Women wear the Mundum Neriyathum, traditionally a two-piece costume in the style of a saree. Men wear a shirt or kurta as the upper garment and the Veshti, a type of sarong.

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Women of Madhya Pradesh wear Lehenga, a heavy, ornamented long skirt, and the blouse called Choli. They also drape a long, light cloth, called the Orni or Lugra, over the head and around the shoulders. The men don the Bandi jacket on top of kurta and dhoti.

The women commonly wear the traditional nine-yard long saree called the ‘Nauvari’, along with a ‘choli’ blouse. Nauvari has a unique pattern of draping which is a recognized costume of Maharashtra . The men wear a cotton kurta paired with the dhoti. Their cotton caps are called ‘pheta’ or ‘pagadi’. A sleeveless jacket called ‘bandi’ is often worn.

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The women of Manipur drape the Innaphi in the style of a shawl. Their hand-woven Phanek skirt is designed with horizontal lines. The women from the Meitai community stitch a cloth full of intricate designs called Kanap Phanek. Two other important cultural costumes of Manipur include ‘Lai-Phi’ and ‘Chin-Phi’. Men wear a simple white turban or ‘pagri’ on the head, and kurta and dhoti.

The dressing culture of the tribes of Meghalaya , mainly Khasi, Jaintia, and Garo, are unique in each of their fashion. The Jympien skirt of the women is made from cotton or endi. An apron or Kyrshah is suspended from the left shoulder and then extends down to the legs. The Jainem, mainly worn outdoors, is a modification of the typical Indian saree. Beaded jewelry is used to adorn along with this saree which is made from cotton or silk. The Tap Moh headgear is also worn. The men’s apparel includes the dhoti, shirt, and jacket along with a turban. They often wear a sleeveless coat and pair it up with the decorative Jymphong during festivals and occasions.

The Puan, an attire consisting of the blouse, leggings, and the dupatta for headgear, is the traditional dress of Mizo women. The two-piece clothing called Puanchei, consisting of a long skirt and a shirt, is worn on occasions and at weddings. Traditionally, these are brightly colored, with checkered designs. The women have gorgeous blouses and headdresses to wear during performing cultural dances. The men of Mizoram simply put on a long piece of shirt-like garment. During summers they wear turbans, while in winters, they don coats over their garments, usually of red and white colors.

Nagaland takes pride in its ancestral heritage and its warrior history. The design of the shawl that the people wear depicts the social status of the wearer. The attire of the men is topped with a red headgear decked with black and white feathers of the Hornbill and the canine teeth of a wild boar. The bangles, necklaces, and tattoos depict the history of war and the sacrifices that the people went through.

Women drape the Oriya saree with a five-yard cotton ikat cloth. These sarees have deep primary colors like blue and red along with special ikat patterns. The handlooms of Odisha produce distinctive and popular sarees like Bomkai and Sambalpuri. Men prefer to wear shirts and pants. During occasions or traditional festivities, they wear kurta, dhoti, and Gamucha.

Women love colorful and intricately embroidered Salwar Kameez and Patiala pants. The turban of the Sikh man is a symbol of honor. Along with kurta, the men wear light and baggy Tehmat pyjamas as the lower garment. Jooti is the conventional Punjabi footwear worn by both men and women.

Generally, the women of Rajasthan wear the long skirt called Ghagra along with the Kanchli blouse. The men, on the other hand, wear a kurta, Churidar, dhoti, Angarkha, and Paggar. Their turban-like headdress is called the Safa. All across the state, the conventional dressing style varies according to preferences.

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The women of the Bhutia tribe of Sikkim wear the traditional full-sleeved blouse called Hanju and a colorful, woolen cloth called Pangden. Often they top it with the Kushen jacket. The men wear waistcoats called Jyajya and the shirt called Yenthatse. Shambo is their traditional cap. The Lepcha women wear the Dumvam garment, along with the loose-fitted blouse called Tago. Nepali women have a blouse called Chaubandi that they wear with sarees. The men wear kurta-styled Daura and comfortable trousers called Sural.

Men in Tamil Nadu , drape the Angavastra around their shoulders and the cotton lungi around their waist. The women choose the perfect saree that fits the occasion. They are usually made of silk and have delicate designs and colors.

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The famous sarees woven in Telangana include the Pochampally saree and the Gadwal saree. Pochampally weave is commonly done in the tie-and-dye technique, also called the ikkat weave. The dhoti worn by men is also called the Pancha. The traditional Sherwani of Hyderabad was preferred by the nobles and the Nizam. Today, it is worn during festivals and occasions.

The Rignai of Tripura is a broad piece of cloth wrapped around the waist, and the Risa is a shorter upper garment. Both these clothes are traditionally worn by women, especially during occasions. The Rignai and Risa fabric are designed with deft artistry and beautiful patterns. The men usually wear the Rikutu Gamcha along with the shirt called Kubai. They like to accessorize with bead necklaces.

The men of Uttarakhand wear a kurta shirt as the upper garment along with a dhoti, pyjama, or lungi. The turban is important in completing the traditional attire. Most of the women prefer to wear the Ghagri skirt along with a colorful blouse called Choli. They cover their head with an additional long cloth called Orni, which they usually fix at the waist. The traditional bridal costume of Ghagra-Pichora is decked with gold and silver embroidery.

The women of Uttar Pradesh usually prefer saree or Salwar-Kameez while the men go for kurta, dhoti, or pyjama. The men also wear Pagri. During festivities, they wear the richly embroidered kurta called the Sherwani. Women wear the Lehenga and Choli along with Orni.

The white saree with broad, red borders is an iconic and favorite festive wear for Bengali women. The Salwar-Kameez is also popular alongside sarees. The men traditionally wear the Panjabi, which is a long shirt in the style of a kurta. Their lower garments include cotton pyjama, dhoti, and lungi.

The customary wear in the Union Territory, Jammu, and Kashmir, called Pheran, is a long gown that extends below the knees. The women’s Pheran is usually embroidered at the hems and collars with golden threads. Muslim women also wear kameez-suit and Burkha. The men wear turbans with Churidaar and Pyjama, or skull caps along with the Pheran or ‘Salwar’ suits.

Suggested Read –  Traditional Dresses of Kashmir – Reflecting the Grandeur of Paradise on Earth

The clothing of traditional India is rich in artistry and uniqueness. The citizens take pride in their ethnic wear, style, and ornamentations. The traditional dresses of Indian states, worn by the diverse set of people in the country reflect the depth of the rich history and culture of India.

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• What Are Examples of Traditional Indian Clothing?

Traditional dresses of India vary from one part of the country to another based on geography, climate, ethnicity, and culture. In the era of westernization and globalization, India has managed to preserve its culture through the garments worn. Traditional Indian clothes are especially a staple in celebrations such as weddings and festivals.

12. History Of Fashion In India

Garments worn in India have evolved over time. Influences from the Gupta period, establishment of Islam, and British colonization have been visible in Indian costumes throughout history. Fashion in India became a widespread phenomenon after independence, especially in the late the 1980s through to the 1990s. During this period, India was exposed to global fashion, and an economic boom fueled the growth of the industry. Emerging Indian designers merged both old and western elements and perfected the art of embroidery to make statement garments. The thriving Bollywood industry also contributed much to the boom of India’s fashion industry.

11. The Indian Saree

The Indian Saree is a traditional dress for Indian women. It is comprised of one piece of fabric which is five to nine yards long and two to four feet wide. The material is wrapped in a variety of ways depending on the occasion. The fabric is commonly wrapped around the waist while the other end is draped over the shoulder such that the midriff is left bare. The garment’s history is traced back to as early as the Indus Valley Civilization. Indian people preferred to wrap themselves with cotton fabrics due to the flexibility it allowed and the hot climate. The garment has evolved over time, and it is worn by an estimated 75% of Indian women every day.

10. Lehenga Choli

The cradle of the Lehenga Choli is in the regions of Gujarat, Rajasthan, and Kutch. The dress is a long, cut and flared skirt. The skirt is paired with the choli a blouse tightly fitted at the waist. The garment is made in various colors and shades and its design heavily borrows from the Mogul culture. The outfit is characterized by intricate and exquisite embroidery and it is most commonly worn in weddings and festivals. The lehenga choli is often accompanied with a chunri that is a long piece of bright and colorful cloth, often bordered with lace, that is wrapped around the head and trails down the back, similar to a veil worn in Chrisitan weddings.

9. Salwar Kameez And Churidar

The Salwar Kameez and Churidar ensemble started off as a comfortable and decent wear for Indian women in Punjab and Kashmir. It is today one of the most commonly worn female dress among the traditional dresses in India. The outfit consists of pajama-like trousers called salwar, which is made tight at the waist and ankles. A kameez, which is a long and loose-fitting dress, is worn over the salwar. A churidar may be worn in place of the salwar and fits more tightly at the waist, hips and ankles. Fashion designers, through the use of appealing designs, embroidery and textures have made this outfit incredibly popular in India.

8. Panche or Lungi

The Panche or Lungi is a long piece of fabric wrapped around the waist which is one of the most popular among the traditional dresses of India. The Lungi is mainly made from cotton and on occasion, it can be sewn to mimic a tube shape. The garment is worn by both men and women, mostly in informal occasions and it is very colorful and flowery. In the above picture, Punjabi bhangra dancers dance to the beats of Punjabi music wearing a lungi as the lower garment.

Dhoti garment is the traditional dress for Indian men. The dhoti is a long unstitched garment, mostly 5 yards in length. The clothing is tied at the waist and ankles, with a knot at the waist. The dhoti is mostly paired with the kurta, the combination which is known as dhoti kurta in eastern India. The dhoti is also paired with an angavastram in the south. The ensemble is regarded both as formal and informal wear and has evolved over time to become an elegant cultural symbol. The famous Indian freedom fighter, Mahatma Gandhi always wore a dhoti on all public occasions, popularizing this attire beyond the Indian borders.

6. Bandhgala

The Bandhgala is also referred to as Jodhpuri, and it is a traditional Indian suit worn by men. The suit is known as Jodhpur since it originated from the state of Jodhpur during the British occupation. The suit is a western style coat and trouser, but with Indian embroidery and design. Sometimes the ensemble incorporates a vest. The suit’s jacket is mostly characterized by embroidered buttons and a lining at the collar. Considered to be a fashionable option among the traditional dresses of India, the suit is worn both to formal and informal occasions, and it is widely portrayed in Bollywood films.

5. Angarkha

The Angarkha was an old Indian court outfit, famous for its flexibility and ease. The costume consists of an upper garment which overlaps and can either be tied on the right or left shoulder. The garment can either be extended or cut short and can be worn over tops or jackets. The clothing is characterized by a round-edged triangular opening on the front side and the inner panel, referred to as the parda, covers the chest area and is visible through the opening. The garment’s design, cut, and texture vary with region, and it is most popular in Rajasthan and Gujarat.

4. Achkan/Sherwani

Achkan is a traditional knee-length jacket worn in India. The garment was a medieval court wear for men, and it has evolved over time to become contemporary wear. The Achkan has a frontal opening and side openings, which were traditionally tied with strings. Achkan incorporates Indian embroidery, and it is mostly won with either churidar or dhoti. The garment is used for both formal and informal settings although it is commonly seen in weddings and other celebrations.

The Jama outer garment was popularized during the Mughal Empire. The garment’s shape mimics a tunic, and it has a tight bodice and a skirt which flares out from the waist. The Jama has long sleeves and the ties are fastened under the armpit. The garment’s ends are decorated differently from the rest of the fabric. Less popular among the traditional dresses in India, the Jama is mostly worn in Kutch region of Gujarat and Rajasthan where it has been modified over the years to different forms of garments.

2. Headgear

Headgear in India encompasses a broad range of pieces, from small to large to plain and ostentatious. The most famous headgear in India is the turban, which is made from cloth winding. The turban is worn by men and represents respect and honor. Different styles of the turban are worn in various regions such as Pheta turban in Maharashtra and Peshawari turban in Peshawar. The Nehru topi is also a favorite headgear to complete a traditional ensemble.

1. Dressing In Modern India

Globalization and westernization are influencing contemporary dressing in India. While Saree has long been the most popular dress for women in India, women are opting for the less-conservative salwar kameez and churidar. Other women have embraced western garments such as skirts and jeans. Men in India, especially the working class, reserve the traditional clothing for informal occasions and are more often than not in Western outfits such as suits, jeans, and t-shirts.

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• A Brief History Of Indias...

A Brief History Of India’s Traditional Saree

At more than 5,000 years of existence, the Indian saree is considered to be among the oldest form of garment in the world still in existence. The Vedas – among the oldest literature composed by mankind – mentions it, and records from the Indus Valley Civilization (3300–1300 B.C.E.) also indicate its usage at the time. Yet it being ancient has in no way impacted its popularity. Still ubiquitous – on ramps at leading fashion shows, in bollywood, on streets of rural and urban India, on hip college students and their conservative grandmothers – the saree is as entrenched in our culture as it ever was. The unstitched single piece of cloth evolved due to ancient Hindu belief that stitching cloth made it impure. And so the four-and-a-half to eight meters of cloth – draped around the lower body and then with a tactful pleating process folded across the upper body – came to be appropriate attire. The saree is considered to have been evolved from a three-piece-attire consisting of unstitched stretches of cloth draped as a lower garment, a chest band and a piece worn over ones shoulder or head. This predecessor of the saree is mentioned in ancient Sanksrit literature dating to the 6th century B.C.E. Even lehengas , ghagras and cholis are considered to have their roots in this attire.

With its ability to be warming in winter, and cooling in summer, its professional and aesthetically stylish appearance yet its utility (for example, it can be folded and tucked to be shorter), the saree developed to be the most suitable attire for South Asian women. This is precisely the reason it is donned by politicians and farm-workers alike.

While there exists a professional or classical style of draping a saree, there are more than 80 variations of it across the subcontinent. There’s the pleatless Bengali and Odia styles, the Kodagu style saree which is a back to front version of the classic style, the two-piece Malayali version, and so on. Variations also exist depending on the kind of fabric, as well as on methods of weaving that have been used. Hence there are the tie-dye Bandhani sarees, Chanderi cotton sarees and the numerous silk saree varieties including the Kanchipuram, Banarasi and Mysore sarees.

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• Dec-Jan 2021
• '21 Issue 01

• Screen + Sound + Stage
• Fashion & Beauty
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• Arts & Culture

India In Fashion: The Impact Of Indian Dress And Textiles On The Fashionable Imagination. Setting The Record Straight — And About Time Too!

The much talked-about exhibition was a fitting documentation of the country’s milestones that impacted the global imagination through two parallel, carefully curated narratives — the story of fashion and a visual referencing of India in its scenographies

1. The entrance to the exhibition featured multiple red arches. 2. The sindoor-red walls of the opening lobby were covered with a scanned brocade weave.

The recently-concluded India in Fashion: The Impact of Indian Dress and Textiles on the Fashionable Imagination, at Mumbai’s spanking new Nita Mukesh Ambani Cultural Centre (NMACC), was a powerful reminder of India’s influence on European fashion. Curated by fashion journalist and editor Hamish Bowles and blueprinted by Patrick Kinmonth, a designer of sets for opera, and Mumbai-based architect Rooshad Shroff, the displays sprawled across a spacious hall and spanned centuries of India’s sway over Western aesthetics. “Beginning in the 17th century and continuing to this day, India’s impact on Western fashion has been a complicated and layered history of admiration, appropriation, exploitation and celebration” writes Bowles in his opening essay to the accompanying book of the same name.

About the design of the space where India in Fashion was housed, Shroff says, “Patrick and I worked together to come up with different scenographies for each of the sections. A lot of them (the backdrops to the exhibits) draw reference from either the time period or a moment of architecture from that particular time period or even a replication of a particular moment in time, like the recreation of the pavilion of the Great Exhibition of 1851 that was held at Hyde Park in London during the time of Queen Victoria.”

And interestingly Deepthi Sasidharan, art historian, heritage consultant and founder-director of Eka Archiving Services, who conducted a walk-through with the Verve team, points out, “There are two parallel storylines. One, the story of fashion. And the other is, of course, his (Kinmonth’s) referencing of India.”

The exhibition was presented against a backdrop inspired by Indian motifs, stylised arches and an opening lobby styled predominantly in sindoor-red, with walls embellished with a scanned brocade weave of a royal hunt in a procession filled with all the classics of the Western imagination of princely India — tigers, deer, and riders. Some might have regretted the approach being through a somewhat anglophile lens. But whatever the slant might have been, we need not lose sight of the importance of an exhibition such as this: a fitting documentation of the principal milestones of Indian influence on fashion which, in a sense, set the record straight — and about time too.

1. Armadillo boots, famously seen in Lady Gaga’s Bad Romance music video, were part of the late Alexander McQueen’s final collection, Plato’s Atlantis. 2. A framed photograph of a blue-green elytra beetle, used in the Deccan beetle wing embroidery and said to be the inspiration for the late Alexander McQueen’s final collection, hung on the wall behind the Armadillo boots.

The 10 sections aimed at inserting India’s presence in global design through different lenses that ranged from inspiration to innovation. The primary section basically looked at various flashpoints of inspiration. “The influence of India’s culture of dress and its superb craft traditions has been exerted beyond its frontiers for more than a thousand years,” states the exhibition brochure. Yet the first garment you encountered seemed somewhat perplexing in that it seemed to be an outlier with no apparent connect to the country. Jellyfish, the outfit from the late Alexander McQueen’s final collection, Plato’s Atlantis, consists of dress, leggings and Armadillo boots (made famous by Lady Gaga) embroidered with iridescent enamel paillettes. A link to India is however established in the caption of a framed picture of a blue-green beetle on the wall behind. It points out the Deccan beetle wing embroidery, practised in India, as the scaly inspiration for the textile used by McQueen for his garment.

“Beetle wing embroidery was much sought-after in the 18th and 19th centuries. It spread across the world, especially England, where it was considered as the epitome of luxurious clothing. And McQueen was actually inspired by it,” asserts Sasidharan, silencing sceptics. However, being able to showcase such a rare object of fashion history here almost seemed like reason enough for its presence which highlighted the state-of-the-art preservation system that now allows us to see a garment in Mumbai instead of having to travel to museums around the world.

Court suits made using silk brocade, zardozi , glass beads and tinsel, circa 1830. On loan from the Royal Ontario Museum, Toronto.

Besides the McQueen ensemble, these first six rooms included two boys’ court suits from the 1830s made of brocade and embellished with zardozi embroidery, and a Federico Forquet dhoti-inspired jumpsuit of printed silk from 1967. Of interest were a silk lamé organza drape dress from the Autumn/Winter 1956 collection by Dior, paired with a distinctive Tarun Tahiliani draped creation in crinkle tulle from 2020. Both use sari drapes as an inspiration point, more than six decades apart.

Two dresses — by Christian Dior, 1956 (left) and Tarun Tahiliani, 2020 (right) — underline the versatility of the sari drape.

It was in this space that we discovered what Sasidharan conjectures is one of the oldest garments presented here — Captain John Foote’s jama (robe). “The jama has been such an inspiration and it was later taken on as a women’s silhouette as well,” the heritage consultant says. From 1750 and made of the finest muslin with block printing and embroidery, the garment has been presented together with a portrait of the man wearing it, thus throwing into focus that British men did embrace Indian textiles and, at times, the silhouettes as well. “This fact wasn’t publicised as much because it wasn’t much of a colonial narrative to put out there,” adds Sasidharan. “But the fact is that almost all British gentlemen who lived and worked here, had to adapt to the heat.”

1. A mannequin is dressed in Captain John Foote’s jama (robe), patka (a small shawl used as a sash around the waist) and shawl, as seen in the painting. 2. Captain John Foote’s ensemble, painted between 1761 and 1765 by Sir Joshua Reynolds in London.

Following a small section with a fleeting homage to Bollywood that seemed inevitable, two segments, “Gathered in a Mughal Garden” and “The Long Shadow of Muslin”, centred around the Coromandel coast’s chintz kalamkaris and Bengali muslins, respectively. These sections worked in tandem to bring to life the early colonial imagination of India. “The vast textile business contributed to making the Mughal Emperor…the richest monarch in the world.’ And presented a prize that the rapacious East India Company was keen to seize” Bowles writes. The exhibition brochure states that the popularity of the fabric in the 18th century led to a ban on its import from India “and that subsequent commercial exploitation of imitations sold back to India only provoked a greater passion for the originals”. Shroff expounds, “There is a lot of history intertwined with politics and the idea of how fabrics and garments were playing into a larger conversation and creating an impact on society.”

The chintz room, with water ripples printed on the carpet and a sound projection that enhanced the feeling of walking in a garden, featured multiple pieces loaned by The Art and People of India (TAPI) Collection as well as a quilted “banyan” coat worn by George IV when he was the Prince of Wales. “It’s quintessentially an Indian silhouette for an Indian man. But this was worn by British men,” Sasidharan enlightens. Eight garments including dresses with hooped skirts, circled a Rahul Mishra creation, where the embroidery has been inspired by chintz. An interesting fact is that the exhibition featured commissioned works by some designers, interpreting vintage styles in a modern context; this included the Tahiliani drape mentioned earlier as well as the Mishra conception.

Balloon sleeve details of a woollen dress with an embroidered chintz pattern, commissioned to Rahul Mishra. An embroidered chintz Palampore from the TAPI Collection can be seen behind.

“I love the whole cycle of different techniques that chintz as a fabric has gone through. From being painted and hand printed using natural dyes to being mass produced using mechanised printing. It was interesting to see the whole journey of chintz come alive; with the Palampore textiles from the TAPI Collection, to the European dresses to the recent commission of the embroidered chintz gown by Rahul Mishra,” says textile revivalist and curator Lavina Baldota.

The segment on Indian muslin, presented in a circular room under a giant parasol, underlined its popularity during the Regency period. The fabric, though associated with “humble usage” as related in the brochure, “made its way into the fashionable milieu in the early 19 th century. Sometimes embroidered, sometimes plain, it brought an Indian summer to the West”. Much of the Jane Austen classics we grew up reading had women strolling in gardens with cream-coloured parasols featuring this fabric. Four classic empire-line dresses were paired with an Abu Jani and Sandeep Khosla chikankari embroidered dress from 1993 and a Raw Mango mulmul sari from 2017.

The “Long Shadow of Muslin” section featured a cotton muslin sari by Raw Mango; here it is juxtaposed with an empire-line cotton muslin European gown from the early 19th century.

In “India’s Allure Meets Paris Couture”, in the next three sections, we encountered a remarkable array of garments from French couture houses Chanel, Christian Dior and Yves Saint Laurent — which revealed the essence of India. Chanel, the quintessential French label, came first with an impressive collection starring pieces from Gabrielle Chanel herself, a rare treat for fashion lovers in India. At Dior, what occupied pride of place was the iconic Lahore dress made by Christian Dior himself and a more structured dress in Marc Bohan’s characteristic rigid simplicity titled Koh-I-Noor followed by an embroidered waistcoat and trousers by Maria Grazia Chiuri, the house’s current creative director for women’s lines. Further, former creative directors, John Galliano and Gianfranco Ferré, were aptly represented.

1. An Yves Saint Laurent ensemble that explores Indian bejewelled motifs and the Nehru collar through a silk shantung evening suit, circa 1982. 2. Yves Saint Laurent’s 1982 Summer couture collection was inspired by the grand Mughal style; the set design of the section dedicated to him, was inspired by Indian stepwells.

But it was the last of the French trio, Saint Laurent, who had the most striking set. The room featured gridded walls in copper-hued metal that reached up to the ceiling of the exhibit hall, with the pieces displayed in alcoves on the walls. The design was inspired by the stepwells of India. “This was actually one of the most technically challenging spaces to create because every single rod was hand-soldered and welded together to form the space,” Shroff muses. “We wanted to create a very light, almost see-through feel so that you do not have the solidness of the stepwell yet you have its overall silhouette so that the clothes stand out.” At the centre of the room was a couture creation from 1982, where the late designer sought inspiration from European sketches of Mughal costumes, resulting in turbanned looks with bolero jackets and large skirts in silk faille and silk moiré.

Architectural details between two sections of the India in Fashion exhibition — “Yves Saint Laurent” and “Journey of the Sari”.

Ahead of the clothes room, a short corridor lined with tables with sketches by Saint Laurent himself, featured the designs displayed in the previous room. The dim corridor was illuminated by a bright light at the end where Isha Ambani Piramal’s Valentino wedding lehnga, a stunning piece in guipure lace with gold foil work that imitates the texture of zari embroidery, was displayed in the next section, titled “Valentino — Marriage of East and West”.

Time now to pay homage to that iconic garment, the sari, in a section all on its own. The sari, styled as a dress, by Mainbocher was sourced from the MET (Metropolitan Museum of Art), New York. Stylised drapes inspired by the sari could be seen in a Givenchy dress and two pieces by Cristóbal Balenciaga. A pallu (the loose end of a sari) thrown over the upper body at a 45-degree angle was the basis for much of Madame Grès’ works. A dress by Paul Poiret (featuring a skirt in sari fabric from 1922), a pleated sari-inspired dress by Elsa Schiaparelli from 1939 and an actual sari commissioned to Christian Dior in 1953 by an anonymous client, were on display.

1. The opening piece for the section, “Journey of the Sari”, was a sari dress in metallic jersey fabric material by Tarun Tahiliani. 2. Elsa Schiaparelli’s interpretation of the sari through a dress that dates back to 1939. It is said to be inspired by her encounter with Princess Sita Devi of Kapurthala on her visit to Paris in 1935.

The exhibition space then opened out into a large hall modelled after the Great Exhibition of 1851 which had showcased goods from across the world. The set design had been amazingly recreated from the original exhibition, right down to the flat lays, the standing exhibits, and, of course, the arched glass ceiling (the original building had been referred to as Shalimar). “In a typical museum, you are dictated by room sizes and the architecture,” says Shroff. “This particular case was different because we were working in a convention centre geared towards museum specifications…. We had 50,000 square feet to work with….” A variety of intricate Kashmiri weaves, experimental footwear by Christian Louboutin, revival crafts by Ritu Kumar and a dress by Charles Frederick Worth were showcased against an intricately hand-embroidered backdrop of a banyan tree, which took about 80 kaarigars (artisans) over a month to create.

1. A Rudi Gernreich dress, inspired by the hippie movement in the ’60s, utilised the Rajasthani bandhani tie-dye textile. 2. The “Hippie Trail” section was composed of a circular set of red mannequins, dressed by Western designers who have based their work on the imaginative freedom and mysticism that India symbolised. 3. Resembling the curved drape of the dhoti, this Madame Grès jumpsuit in silk taffeta — on loan from the Costume Institute at the MET — highlighted the designer’s modern interpretations of India. 4. The second section of the “Hippie Trail” featured six pieces from Manish Arora, John Galliano and Dries Van Noten. Here, a sari-dress (right) from Galliano’s 2002 Holi-inspired collection is placed next to a cape dress by Arora (left).

The two parts of the “Hippie Trail” transported us to the tumultuous era of the ’60s with Zandra Rhodes, Rudi Gernreich and Thea Porter pieces, all imagined in an idea of Rajasthan, the nomadic spiritual vision of India during that time. The setting of the second part was inspired by the Jantar Mantar observatory, with six garments perched above the ground in circular boxes. Two of Galliano’s wildest looks from the 2002 Holi-inspired collection were present, along with two silk ikat dresses by Dries Van Noten and a cape dress by Manish Malhotra. Shroff credits inspiration for the backdrop to a time when the West “fed up post-war, flocked to India and particularly to locations like Jantar Mantar in search of an alternate reality”.

Appropriately, India in Fashion  concluded with a showcase of current Indian designers. After all, “The end point of the exhibition is that Indian fashion has arrived, or at least that’s the messaging,” Sasidharan said. A tableau with Sabyasachi’s bridal wear, pieces by Abu Jani and Sandeep Khosla, Manish Malhotra, a display with Rahul Mishra’s space-inspired garments, represented the classics of mainstream Indian high fashion.

1. The opening showcase for the final section of the exhibition presented Sabyasachi Mukherjee’s white bridal wear. 2. The closing display of the exhibition featured three space-inspired ensembles with hand embroideries, by Rahul Mishra.

The exhibition enthralled with its sets and the delight of viewing garments never before been able to be seen in the country. For the first time, a gamut of institutions and archives from around the world loaned collections, ranging from the Royal Ontario Museum to the MET. “You break it down…there’s a cultural layer, there’s an economics layer — there’s accessories, costumes, there are world events that were happening…. I’m familiar with a lot of the milestones that were presented in this exhibition, and it is the convergence of over 250 years of history and politics and really a view of the world scape through fashion….” Sasidharan concludes.

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HISTORY OF CLOTHING IN COLONIAL INDIA

Dress in chintz, 1770-1790 CE, India Image source: Wikimedia Commons.

The history of clothing in Colonial India is marked by the intersection of industrialization, imperialism, and the struggle for freedom. This essay traces the changes and developments in clothing in the Indian subcontinent during the 18th, 19th, and 20th centuries.

In the 17th and 18th centuries , Indian textiles like cotton, cashmere, muslin, and chintz were exported to European countries. There was great demand for silk, ikat , cotton goods from Gujarat, fine muslin, and silk goods from eastern India. Indian cotton became popular in the European cloth market, as it was lightweight and could be used to make vibrant dresses. Chintz , a light-coloured cotton fabric made in India, also became increasingly popular in the English market. 

The 19th century saw a steep decline in textile exports from India. This decline was a direct outcome of British policies, which imposed import duties to shield textile factories in Manchester from competition with Indian goods. Simultaneously, finished products from Manchester inundated Indian markets. To suit colonial interests, India became only an exporter of raw materials and an importer of finished goods, which adversely affected the local handicraft industries. 

Muslim lady reclining in fine Bengali muslin, Dacca, Bengal Presidency, 1789 CE Image source: Wikimedia Commons.

Kashmiri Shawl, India, 18th century CE

Machine-made goods in Europe started replicating Indian designs at cheaper rates, which dealt a major blow to the Indian handicraft industry and the economy. A prominent example was the Kashmiri shawls which were replaced with shawls made in France.

To gain an in-depth understanding of Indian textiles and clothing, the British government documented the people, their culture, and their attire. These records gave insights into the various garments worn by the men and women and the purpose, style, and fabric used to make these garments. People most commonly wore unstitched garments that left the loom as ready-to-wear garments, like the  dhoti (loin cloth), the  lungi (loin cloth), and the  sari .

Shawl, Probably French Shawl, 1830 CE Image source: Wikimedia Commons.

Male Attire, Cotton Image source: The Textile Manufactures and the Costumes of the People of India by Watson, J. Forbes, 1866

The records also mention different types of stitched clothing worn by people. Men commonly wore the jama, an outer coat of made of muslin reaching the feet, which had a loose skirt gathered in close pleats at the waist. Other items of clothing for men included the kurta , which was a loose shirt worn under the gown; the  angrakha , which was a shirt tied on both or one side; and the  chapkan which was a long-skirted gown worn in domestic spaces by men. Men also wore short jackets made of calico or quilted material, and long calico coats. They completed their attire with a kamarband or waistband made of cloth, sometimes embellished at the ends with various coloured threads.

The women wore stitched upper garments like the close-fitted jacket with short sleeves (called a choli, ungia, or kanchuki ), and the  kurti , a tunic reaching to the waist. The lower garment included the  pyjama, a type of lower garment, worn by both men and women. It was tied at the waist with string, which were sometimes made of silk, net-work, or gold tassels. Women also wore tight-fitted trousers called turwar . In North India, most women wore petticoats or skirts.

Female Attire Cotton, Image source: The Textile Manufactures and the Costumes of the People of India by Watson, J. Forbes, 1866

Though the people continued to wear traditional costumes, the colonial rule brought European styles and dressing sensibilities to the Indian subcontinent, which were gradually adopted by the Indian princes, nobility, and intelligentsia. 

This change in the costume of royalty is seen in the photographs of the Delhi Durbar (held in 1877, 1903 and 1911). It was an event held for the coronation of the Emperor and Empress, where governors, ruling chiefs, princes, and other high officials were granted titles and medals. These titles started featuring in the official portraits of the princes. In the third Durbar, held in 1911, the Indian royalty adopted a fusion of western and traditional-style garments.

Sajjan Singh, Maharana of Udaipur Image source: The History of the Imperial Assemblage at Delhi, Held on the 1st January 1877 by Talboys Wheeler

Photographs from Imperial Albums of Delhi Durbars show the elaborate royal costumes made of satin and velvet, with gold and brocade work. These were worn by the princes along with European elements like the Star of India, mantle, and aiguillette (ornamental ropes in military uniforms).

In the first Delhi Durbar of 1877 , Sajjan Singh , the Maharana of Udaipur is seen wearing a heavily gold-embroidered angrakha , an upper garment tied on both sides, probably made of silk. He is also wearing a pyjama  with an embroidered hem.

The attire of Mir Osman Ali Khan, the Nizam of Hyderabad during the 1911 coronation ceremony included a knee-length coat or robe known as the  sherwani which opened at the front, and  churidar pyjamas . The nobility in Hyderabad during this period was known for wearing highly ornate garments including the jama , the sherwani and muslin tunics with slits on the side. Maharaja Sayajirao of Baroda , during the 1911 Delhi Durbar, contrary to other royalty, wore a simple white angrakha with white trousers and shoes. The power associated with British clothing attracted the Indian men and women of the upper classes to embrace the elements of the European style of clothing.

Maharaja Sir Sayajirao Gaekwar Bahadur of Baroda Image source: The Imperial Durbar Album of The Indian Princes, Chiefs, and Zamindars: Vol.I, by Purshotam Vishram Mawjee, 1911

Maharaja Raja Sir Bala Rama Varma Bahadur of Travancore Image source: The Imperial Durbar Album of The Indian Princes, Chiefs, and Zamindars: Vol.I, by Purshotam Vishram Mawjee, 1911

In the 1911 Delhi Durbar, the Maharaja of Travancore, Bala Rama Varma Bahadur wore a full-sleeved front open coat, with embroidery. It had a high stand-up collar and was probably made of velvet.  He is also seen wearing European-style pants, with a lining on the sides. This attire depicted the foreign influence in clothing styles, where features like stand-up collars were adopted. 

A similar adaptation of European style of clothing was observed in royal women. A photograph of Maharani Suniti Devi of Cooch Behar from 1902 shows her wearing a long European gown.

The Indian intelligentsia that was educated in English institutions and worked in covenanted civil services adopted the western-style straight trousers, tunics, and short jackets. However, it is observed that women in the Indian subcontinent did not completely adopt the western attire.  Rather, modifications were made to the traditional dresses in order to suit new notions of modernity and modesty. Those who had been oppressed for centuries by caste norms were also drawn to the western dress styles as a political statement and out of self-respect.

Suniti Devi, Maharani of Cooch Behar, 1902 Image source: Wikimedia Commons.

A Marwari, in Typical Pictures of Indian Natives: Being Reproductions from Specially Prepared Hand-coloured Photographs, by Coleman 1897 Image source: Wikimedia Commons.

Sometimes, people in order to retain their Indian identity, and at the same time project themselves as modern and educated, combined occidental clothes with oriental dresses. This fusion often involved wearing an English coat with a shirt, an Indian dhoti and a turban; a long kurta with an English coat; or the  sherwani with trousers.

Given the trading activities of the Parsi community of Bombay, increasing contact resulted in the adoption of western-style caps, coats, and trousers. The general attire of the Parsi men in the domestic space was usually a muslin shirt with a pair of loose white cotton trousers, and a cotton waistcoat with sleeves. For outdoors, it included a long loose coat of cotton or cloth. During special occasions like weddings or funerals, they wore a long double-breasted white cotton coat which reached the ankles and was gathered at the waist with a broad white sash.

A Parsee, in Typical Pictures of Indian Natives: Being Reproductions from Specially Prepared Hand-coloured Photographs, by Coleman 1897 Image source: Wikimedia Commons.

Study of Parsi Girl, by M.F. Pithawala, early 20th century CE

Over time, the sari became a popular dress for Indian women in the 20th century. The sari of the urban educated women gradually integrated the blouse and petticoat as essential components. Additionally, English inspired elements like pleats, fancy sleeves, elaborate necklines, and corsets began to influence blouse styles. 

In the 19th and 20th centuries, the gara embroidered sari  became popular among the Parsi women, who adopted the Indian style of sari with slight modifications in both the draping of the pallu (the loose end of a sari ) which was arranged in the front of the body, and the wearing of the pleats on the right. The most distinctive feature of this sari was the gara embroidery, which was a result of the interactions of the Parsi traders with China. This embroidery was adopted and locally produced by Parsi women and came to represent an amalgamation of Persian, Indian, and Chinese motifs and designs.

Parsee Ladies in Photographs of Western India. Volume I. Costumes and Characters, by William Johnson, 1855-1862 Image source: Wikimedia Commons.

Jnanadanandini Devi, Satyendranath Tagore, Kadambari Devi and Jyotirindranath Tagore, 1867 Image source: Wikimedia Commons.

The brahmika sari , popularised by Jnanadanandini Devi of the Brahmo Samaj was also inspired by the sari of the Parsi women. This sari was draped over the left shoulder and worn with a blouse. This style continues to be a part of the traditional attire of women to this day.

Clothing played a significant role in India’s freedom struggle in the 20th century. The blow to the Indian handicraft industry and the British monopoly of the textile trade influenced the Swadeshi Movement of Bengal in 1905. The call for swadeshi encouraged people to give up western textiles, and embrace Indian hand-spun and handwoven cotton, known as khadi . As an act of protest, people took to the streets to burn imported textiles, expressing their dissent. 

Boycott of foreign clothes from The Bombay Chronicle, July 30, 1921, India Image source: Wikimedia Commons.

Mahatma Gandhi spinning a charkha

In the 1920s, Mahatma Gandhi popularised khadi , a hand-spun and handwoven cotton cloth, as a symbol of the freedom struggle and the rejection of British rule. He associated the use of khadi with the message of self-rule or swaraj , encouraging people to give up British machine-made textiles and produce khadi for themselves with the help of the charkha . Gandhi started wearing clothes made of khadi in 1918. However, a historic moment occurred on September 22, 1921, when he chose to wear only a khadi dhoti (loin cloth) and a shawl. This symbolic act was an attempt to forge a connect with the masses and convey the message of India’s fight for independence from colonial rule.

As the freedom struggle gained momentum, more people adopted khadi in the form of saris, dhotis, kurtas, etc. Women leaders also started donning khadi saris . In April 1920, Sarladevi Chaudhurani became the first woman to adopt a khadi sari and blouse.

Sarala Devi Chaudhurani and her sister Hironmoyee, 1872–1945 Image source: Wikimedia Commons.

The first Cabinet of Independent India, at Government House, New Delhi, on 31 January 1950 Image source: Wikimedia Commons.

By the 1940s, many Congress leaders gave up their western three-piece suits and adopted kurtas, jackets, and churidars made of khadi . These styles continued to be worn by important political figures and became a part of India’s new identity. During the momentous ‘Declaration of the Republic of India’ in January 1950, Prime Minister Nehru and other Cabinet members wore simple sherwanis as a symbol of Modern India.

India's handcrafted textiles are interwoven in every facet of its identity. . The regional textiles of India serve as a testament to continuity in history, traditions, and techniques, with each region boating of its own distinct style of embroidery, patterns, motifs, and colours. These enduring traditions are visible in the rich textiles like the Baluchari sari of Bengal, Banarasi silk from Varanasi, Chikankari embroidery from Lucknow, shawls from Kashmir, Sambhalpuri fabric from Odisha, Patola from Gujarat, Himroo from Aurangabad and Hyderabad, Kalamkari from Masulipatnam, Muga silk from Assam, among others. Despite facing extensive competition and exploitation, these textiles continue to flourish today, contributing valiantly to the legacy of clothing in India. 

Clothes offer more than just protection from the environment, they serve as a means of expressing identity, power, royalty, and tradition. The history of clothing in the Indian subcontinent offers invaluable insights into understanding the clothes that are worn today. This complex history, shaped by centuries of interactions and cultural amalgamations, has rendered a timeless and enduring quality to clothing in India.

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Indian clothing’s: essay on clothing’s in india.

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Indian Clothing’s: Essay on Clothing’s in India!

The ancient origin of two of the most characteristic garments of modem India, the dhoti worn by men and the sari worn by women, is verifiable in sculptured reliefs as far back as the 2nd century BC. Both men and women are pictured wearing a long piece of cloth wrapped around the hips and drawn between the legs in such a fashion that it forms a series of folds down the front.

The upper bodies of both men and women were unclothed, though women wore a narrow cloth girdle around the waist. Men are pictured wearing large turbans, women with head scarves that fall to the hips. Women also wore a great amount of jewellery—bracelets, anklets, and girdles—but men’s ornaments consisted solely of bracelets.

No major change in costume appears to have been made until the 12th century, when the Muslims conquered northern and central India. In this part of the subcontinent, radical new dress styles were adopted to conform to Muslim practice, which required that the body be covered as completely as possible.

Women’s garments, dictated by the Muslim conquerors, consisted of wide-topped trousers snugly fitted around the calves of the legs, a long shirt like garment, and a short, fitted outer jacket. During the reign of Akbar, Rajput influence made changes in costumes worn even by the Muslim women.

This costume consisted of an open- front pleated skirt, or ghaghra , worn with a long apron like panel over the front opening, and a short-sleeved, breast-length blouse called a choli. The ghaghra and choli continue to be basic elements of women’s dress. The Sari was worn with one end draped around the hips, the other carried up over the shoulder or head.

Clothing in southern India was little affected by Muslim rule in the north. The dhoti continued to be worn by most Hindu men and the sari by women. Some additions to these traditional costumes have been adopted. Most Hindu women wear a short choli-style blouse under a sari or with a long skirt under a loose waist-length bodice.

We have seen that clothing has undergone changes depending on a wide variety of factors. In our country an extensive variety of clothing exists for reason geographical, historical, cultural and economic. Climatic conditions have determined exclusive clothing patterns in places like Kashmir or Kerala.

Clothing patterns have remained uninfluenced by Islamic traditions in the southern parts of the country which remained relatively free from invasions from across the border. Clothing in the north eastern regions remains true to its cultural traditions.

Wherever interactions with British rule were very close, people opted for Western style clothing. Clothing has also been influenced by people’s occupations. The fisher women tie their Saree very differently from how the aristocrat, well to do or the elite women do in parts of north India.

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• Indian Culture and Tradition Essay

Essay on Indian Culture and Tradition

As students grow older, it is important for them to improve their understanding and hold over the language. This can be done only through consistent reading and writing. Writing an essay is a task that involves cooperation and coordination of both the mind and body. Students must be able to think as well reproduce their thoughts effectively without any confusion. This is important when it comes to writing answers and other important documents as ones go to higher classes. The art of writing effectively and efficiently can be improved by students through writing essays. To help students in this domain, Vedantu provides students with numerous essays. Students can go through the same and learn the correct manner of writing the essay. 

Indian Culture and Tradition

India enjoys a wide variety of cultural and traditional presence amongst the 28 states. Indian origin religions Hinduism, Jainism and Buddhism are all based on dharma and karma. Even, India is a blessed holy place which is also a native place for most of the religions. Recently, Muslim and Christianity also practised working amongst the whole India population. The pledge also added the line, ‘India is my country, and I am proud of its rich and varied heritage.’  

Indians are great with cooking; their spices are special for medicinal purposes, so visitors are difficult to adjust to with such heavy spices. The cricketers touring Indian pitches are out due to such food. Frequently, it's been observed that the sportsperson arrived in India either with cooking skills or with a cook. Spices such as cumin, turmeric and cardamom have been used for a long period, to make the dishes more delicious and nutritional. Wheat, rice and pulses help to complete the meal. The majority of the population is a vegetarian one due to their religious aspects.

Talking about the language, India is blessed with a wide range of languages used. Each state has its own language. A major part of the state is unable to speak other languages than the native one. Gujrathi, Malayalam, Marathi, Tamil, Punjabi, Telugu and many more are the representative languages of the respective state. It's easy to recognize the person with the language he spoke. There are 15 regional languages but almost all of them Hindi is the national language of the country. Sanskrit is considered an ancient and respected language. And most of the legendary holy texts are found in Sanskrit only. Along with these, most of the people are aware of plenty of foreign languages. 

Indian clothing is adorable to most of the foreigners. Woman wearing a sari is the pride of a nation. These create a pleasant effect and she looks so beautiful that a majority of foreign country’s female want to be like her. The origin of the sari is from the temple dancers in ancient times. Sari allows them to maintain modesty and freedom of movement. On the other hand, men traditionally wear a dhoti and kurta. Actually, Dhoti is a type of cloth without any further attached work done on it. The great Mahatma Gandhi was very fond of it and in their dignity, most of the people used to wear the same. 

Apart from all the above facts, Indians are legends with arts and studious material. Shah-rukh Khan, Sachin Tendulkar, Dhirubhai Ambani, Amitabh Bachchan Rajnikant, Sundar Pichai are many more faces of India who are shining and representing India on a global scale. There are 20-30 grand festivals celebrated every year in which every festival pops up with history and respect to the respective religion. Even in terms of business, India is not behind. Agriculture is the best occupation of 70% of people in India. It’s our duty to protect the wonderful culture that we have. 

Indian culture is one of the oldest and most unique cultures known across the globe. It has various kinds of traditional values, religion, dance, festivals, music, and cloth, which varies from each state or town even. Indian art, cuisine, religion, Literature, Education, Heritage, Clothes etc has a huge impact on the whole world where everyone admires and follows it. It is known as the land of cultural diversity.  India thrives on a variety of languages, religions, and cultures due to the diverse race of people living in the country. It can be referred to as one of the world’s most culturally enriched countries. When one thinks of India, they picture colors, smiling faces of children running in the streets, bangle vendors, street food, music, religious festivals etc. 

Religion 

India is a land where different religious beliefs are followed. It is the land of many religions such as Hinduism, Islam, Christianity, Sikhism, Jainism and Buddhism.  Four Indian religions namely Hinduism, Sikhism, Jainism, and Buddhism were born in India while others are not of Indian origin but have people following those faiths. The people of India keep a solid belief in religion as they believe that following a faith adds meaning and purpose to their lives as it is the way of life. The religions here are not only confined to beliefs but also include ethics, rituals, ceremonies, life philosophies and many more.

Families 

Family plays a vital role in every Indian household. Indians are known to live together as a joint family with their grandparents, uncles and aunts, and the next generation of offspring as well. The house gets passed down from family to family throughout the generations. But with the new modern age, nuclear families are starting to become more common as children go out of town into cities for work or studies and get settled there, also everyone now prefers to have their own private life without any interference. But still, the concept of family get together and family gatherings are not lost as everyone does come together frequently. 

Indian Festivals

India is well known for its traditional festivals all over the world. As it is a secular country with diversity in religions, every month some festival celebration happens. These festivals can be religious, seasonal or are of national importance. Every festival is celebrated uniquely in different ways according to their ritual as each of them has its unique importance. National festivals such as Gandhi Jayanti, Independence Day and Republic Day are celebrated by the people of India across the entire nation. Religious festivals include Diwali, Dussehra, Eid-ul-Fitr, Eid-ul-Zuha, Christmas, Ganesh Chaturthi, etc. All the seasonal festivals such as Baisakhi, Onam, Pongal, Bihu etc are celebrated to mark the season of harvest during two harvesting seasons, Rabi and Kharif. 

Festivals bring love, bond, cross-cultural exchange and moments of happiness among people.

Indian cuisine is known for a variety of spicy dishes, curry, rice items, sweets etc. Each cuisine includes a wide range of dishes and cooking techniques as it varies from region to region. Each region of India cooks different types of dishes using different ingredients, also food varies from every festival and culture as well. Hindus eat mostly vegetarian food items such as pulao, vegetables, daal, rajma etc whereas people from Islamic cultural backgrounds eat meat, kebabs, haleem etc. In the southernmost part of India, you will find people use a lot of coconut oil for cooking purposes, they eat a lot of rice items such as Dosa, Idli, Appam etc with Coconut chutney, sambhar.

Indian Clothing is considered to be the epitome of modesty and every style is very different in each region and state. But the two pieces of clothing that represent Indian culture are dhoti for men and saree for women. Women adorn themselves with a lot of bangles and Payal that goes around their ankles. Even clothing styles varied from different religions to regions to cultures. Muslim women preferred to wear salwar kameez whereas Christian women preferred gowns. Men mostly stuck to dhoti, lungi, shalwar and kurta.In modern days, people have changed their sense of style, men and women now wear more modern western clothes. Indian clothes are still valued but are now in more trendy and fashionable styles. 

There is no single language that is spoken all over India; however , Hindi is one common language most Indians know and can speak or understand. Every region has a different language or dialect. As per the official language act, Hindi and English are the official languages in India. Other regions or state wise languages include- Gujarati, Marathi, Bangla, Malayalam, Tamil, Telugu, Kannada, Kashmiri, Punjabi etc. 

FAQs on Indian Culture and Tradition Essay

1. What are the Popular Spices in India?

Popular spices in India include - Haldi(Turmeric), Chakri Phool(Star Anise), Til (Sesame seeds/ Gingili seeds), Saunf(Fennel Seeds), Kesar(Saffron), Laal Mirch(Red chilli), Khas(Poppy seeds), Jayphal(Nutmeg), Kalonji(Nigella Seeds), Rai/Sarson(Mustard Seeds), Pudina(Mint), Javitri(Mace), Patthar ke Phool​(Kalpasi), Kala Namak/ Sanchal/ Sanchar powder(Black salt/ Himalayan rock salt/ Pink salt), Sonth(Dry ginger powder), Methi dana(Fenugreek seeds), Suva Bhaji/ Sua Saag(Dill)

Kadi Patta(Curry Leaves), Sukha dhania(Coriander seeds), Laung(Cloves), Dalchini(Cinnamon), Sabza(Chia seeds), Chironji(Charoli), Ajwain(Carom seeds, thymol or celery seeds), Elaichi(Cardamom), Kali Mirch(Black Pepper (or White Pepper), Tej Patta(Bay Leaf), Hing(Asafoetida), Anardana(Pomegranate seeds), Amchoor(Dry mango powder)

2. What is the Language Diversity Available in India?

The Indian constitution has 22 officially recognized languages. Apart from it, there are around 60 languages that are recognized as smother tongue with more than one million speakers. India also has around 28 minor languages spoken by over one hundred thousand and one million people. Apart from these, there are numerous dialects spoken by a various sect of people based on their region of origin. 

3. Who are Some of the Most Famous Indian Celebrities Popular Across the Globe? 

India has people excelling in all aspects of art and activities. Few prominent celebrities to garner global fame include - Sudha Murthy, Amitabh Bacchan, Virat Kohli, Saina Nehwal, Sania Mirza, Priyanka Chopra, MS Dhoni, Sachin Tendulkar, Mohanlal, A R Rehman, Mukesh Ambani, Ratan Tata, Narayana Murthy, Kiran Majumdar Shah, Narendra Modi, Amith Shah. all these people have received great accolades in their respective area of expertise globally and getting recognition to India on a global level. 

4. How to Improve Writing and Reading Skills for Producing Good Essays?

Writing an essay becomes a tedious task when the mind and hand do not coordinate. It is important for you to be able to harness your mental ability to think clearly and reproduce the same on paper for a good essay. Always remember the first few thoughts that you get as soon as you see an essay topic is your best and purest thoughts. Ensure to note them down. Later you can develop your essay around these points. Make sure your essay has an introduction, body and the final conclusion. This will make the reader understand the topic clearly along with your ability to convey the any information without any hesitation or mistake. 

5. How many religions are there in India? 

As of now, there are a total of 9 major religions in India with Hinduism being the majority. The remaining religion includes- Islam, Christianity, Buddhism, Sikhism, Jainism, Zoroastrianism, Judaism and the Baha'i Faith. 

6. Which is the oldest language in India? 

Indian classical oldest language is Sanskrit, it belongs to the Indo- Aryan branch of Indo- European languages. 

7. What are the few famous folk dances of India? 

Folk dances are the representation of a particular culture from where they are known to originate. Eight famous classical dances are- Bharatnatyam from Tamil Nadu, Kathakali from Kerala, Kathak from North, West and Central India, Mohiniyattam from Kerala, Kuchipudi from Andhra Pradesh, Odissi from Odisha, Manipuri from Manipur, Sattriya from Assam. 

8. How many languages are spoken in India? 

Other than Hindi and English there are 22 languages recognised by the constitution of India. However, more than 400 languages and dialects in India are still not known as they change after every town. Over the years, about 190 languages have become endangered due to very few surviving speakers. 

9. Describe the Indian Culture. 

Indian culture is very diverse and the people of India are very warm and welcoming. They have a strong sense of family and firmly believe in unity in diversity. In India, there's a saying saying 'Atithi Devo Bhava'  means 'the guest is equivalent to god'. So if one visits India, they will never feel unwanted.

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In Case We Forget That Modern Clothes Are Still A

In case we forget that modern clothes are still a feminist act, more from designers, r29 original series.

Essay on Traditional Dress

Students are often asked to write an essay on Traditional Dress in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Traditional Dress

Introduction.

Traditional dress refers to the clothing that represents a person’s cultural, social or historical background. It is a symbol of pride, identity, and heritage.

Importance of Traditional Dress

Traditional dress plays a crucial role in preserving culture. It helps in expressing unity, respect, and honor towards one’s own culture. It also provides a sense of belonging.

Variety in Traditional Dress

Every country has its unique traditional dress. For example, India has Sari, Japan has Kimono, Scotland has Kilt. These dresses reflect the diversity of world cultures.

Traditional dress is a beautiful way to celebrate and respect our cultural diversity. It’s important to preserve and promote traditional dresses for future generations.

Also check:

• 10 Lines on Traditional Dress

250 Words Essay on Traditional Dress

Traditional dress, a significant facet of any culture, serves as a mirror reflecting a society’s historical background, social structure, and religious beliefs. It is a symbol of identity, pride, and continuity that binds individuals to their community.

Historical Significance

Traditional attire is deeply rooted in history. Often, it is a visual manifestation of critical historical events. For instance, the Scottish kilt is a proud symbol of resistance against English domination. Similarly, the Japanese kimono, with its intricate patterns and colors, narrates a tale of societal hierarchy and aesthetics.

Cultural Identity and Social Structure

Traditional dress is a powerful communicator of cultural identity. Each unique pattern, color, and fabric tells a story about the people who wear it. For example, the bright colors and intricate beadwork of African tribal wear signify a vibrant and diverse continent. Additionally, traditional attire often reflects social structure. The Indian saree, for instance, varies in style, fabric, and draping method across regions and social classes.

Religion and Traditional Attire

Religion significantly influences traditional dress. The Islamic hijab or the Jewish yarmulke are more than just pieces of clothing; they are profound expressions of faith and devotion.

Traditional dress, therefore, is not merely a fashion statement. It is a living testament to a community’s past, a marker of cultural identity, and a symbol of religious belief. As we move towards a globalized world, the preservation of these traditional attires is crucial to maintaining cultural diversity and understanding our shared human history.

500 Words Essay on Traditional Dress

Traditional dress, often referred to as national or folk costume, holds a significant place in every culture. It signifies a connection to a nation’s history, heritage, and identity. These costumes, bearing the weight of centuries-old traditions, provide an insight into the societal norms, values, and beliefs of a particular group or country.

Historical Significance and Symbolism

Historically, traditional costumes were more than just clothing; they were a visual representation of a person’s social status, marital status, and even occupation. The materials used, the style of embroidery, the colors, and the accessories all told a story about the wearer. For instance, the intricate patterns on a Norwegian Bunad or the vibrant colors of an Indian Sari can convey information about the wearer’s region of origin.

Preservation of Cultural Identity

Traditional costumes play a crucial role in preserving cultural identity. They serve as a tangible connection to the past, helping to keep the spirit of a community alive. For instance, the Japanese Kimono, a symbol of elegance and tradition, is worn on special occasions to honor their cultural roots. Similarly, the Scottish Kilt, a symbol of pride and honor, is donned during ceremonial events.

Traditional Dress in the Modern World

In the face of globalization, the relevance of traditional costumes in everyday life has diminished. Many societies have adopted Western-style clothing for daily wear due to its practicality and convenience. However, traditional costumes continue to hold their importance during festivals, weddings, and other significant events. They are also used in the tourism industry to showcase a country’s unique culture and heritage.

The Influence on Fashion Industry

The fashion industry often draws inspiration from traditional costumes. Designers incorporate elements from various cultures into their creations, bringing a touch of tradition to contemporary fashion. For example, the Mexican rebozo has influenced the design of shawls and scarves worldwide, while the Russian babushka has inspired headwear trends.

In conclusion, traditional dress is a significant aspect of cultural heritage. It encapsulates a community’s history, values, and societal norms. Despite the influence of Western clothing, traditional costumes continue to hold their importance, serving as a symbol of cultural identity. They also influence contemporary fashion, proving that tradition and modernity can coexist harmoniously. As we move forward, it is essential to respect and preserve these pieces of our cultural heritage while also embracing the changes brought by modernity.

That’s it! I hope the essay helped you.

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Pop Culture Happy Hour

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Pop Culture

You know it when you see it: here are some movies that got sex scenes right.

Linda Holmes

It is a happy coincidence that our "What makes a good sex scene?" episode came out in the same week as Challengers, a film about a romance triangle in the tennis world starring Josh O'Connor, Zendaya and (not pictured) Mike Faist. Niko Tavernise/Metro-Goldwyn-Mayer Pictures hide caption

It is a happy coincidence that our "What makes a good sex scene?" episode came out in the same week as Challengers, a film about a romance triangle in the tennis world starring Josh O'Connor, Zendaya and (not pictured) Mike Faist.

What makes a good sex scene? It can be easier spot bad sex, but Aisha Harris, Christina Tucker, Ronald Young, Jr. and I tried to focus on the good this week on Pop Culture Happy Hour. You can listen to our full conversation here. (We didn't originally plan for this episode to run the same week as our episode about Challengers , which is out in theaters now, but it's a happy coincidence, since that film has gotten a lot of attention — probably too much, relative to its other merits — for the sex scenes involving its three leads. It's really very good .)

Movie Reviews

Watch a tense romantic triangle play out on the tennis court in 'challengers'.

It's often very obvious when a sex scene is bad, just like when a sex scene in a book is bad. It can get so uncomfortable to watch that you have to leave the room (and not in a way that feels true to the story). One of my personal tells for a bad sex scene is when all I can think about is how hard the actors are trying to persuade me that the characters are having a good time. For example, there has been much good discussion in recent years about Showgirls being a more interesting and competent project than it originally got credit for, but in that one pool scene (if you know it, you know it), all I can see is the effort.

Lauren Bacall And The 'Sex? What Sex?' Kind Of Movie Sex

It's not always as clear which scenes are good . That's partly because they serve so many different functions, all of which look different, and all of which can be effective. Furthermore, you don't want to confuse whether a sex scene is used well in a film with whether it's hot to you personally, despite the fact that there is overlap between those considerations.

In the 'Last Dance,' Magic Mike leaves his thong-and-dance routine behind

Here's what I mean: When Aisha talks about the sequence near the beginning of Magic Mike's Last Dance , it's not irrelevant that the scene is, to her (and to me), hot. But it also makes sense in the context of the film and the franchise, partly because of the way it sets up the power dynamic between Mike (Channing Tatum) and Max (Salma Hayek Pinault). Mike is older now, he knows more, and the way he approaches a lap dance is actually different than in earlier movies.

And not all good sex scenes are hot in the same ways. The one I mentioned in the episode, from the romantic drama Love & Basketball , is sexy, yes. But it's also a scene between young adults (the talented basketball players Monica and Quincy, played by Sanaa Lathan and Omar Epps), and as such, it incorporates a tentativeness that's not present in Magic Mike's Last Dance , to say the least. As Ronald pointed out during our discussion, that sex scene is quite different from one that takes place later in Monica and Quincy's relationship, when they're older and know each other better. That certainly feels true to real life, but it's not always reflected in Hollywood films, where I would tentatively estimate that 90% of on-screen sex is more idealized and thus less intimate than real-life sex, in part because it isn't allowed to change over the course of a relationship.

Movie Interviews

'like it or not, we live in oppenheimer's world,' says director christopher nolan.

Even further from the hotness of the lap dance scene is Ronald's pick: the imagination of Kitty Oppenheimer (Emily Blunt) running wild in Oppenheimer. While her husband (Cillian Murphy) is being interrogated, she pictures him having sex with his mistress, Jean Tatlock (Florence Pugh). It goes by quickly enough that it might seem like a Christopher Nolan flourish for flourish's sake, but it serves the purpose of letting you feel her pain over her husband's affair. Her relationship with Robert doesn't look especially romantic in the film, let alone sexually charged; she finds herself consumed by the idea that he was having hot sex with this other woman, and she locks eyes with her vision of a naked Tatlock and finds herself tormented. It's not really the intent of the scene to titillate the audience, just to give specificity to the shape of Kitty's preoccupation with the affair.

What makes a good sex scene?

Christina raised another really important point, which is that sex scenes also collide with viewers at very specific moments. Her example from Bound , and the scenes between Violet (Jennifer Tilly) and Corky (Gina Gershon), touches on (among other things) her own history. It's an underappreciated aspect of the sex-in-movies discourse: representation matters in these scenes as much as anywhere else. I always wish I saw more sex scenes in movies that featured a broader variety of body types; it's still really rare to see ones that feature anybody who is even average sized. This is one of the reasons I'm curious about the upcoming season of Bridgerton , which places its focus on the gorgeous and curvaceous Penelope (Nicola Coughlan).

Looking for 'nomance': Study finds teens want less sex in their TV and movies

Good sex scenes are like any other kind of good filmmaking, honestly: it comes down to execution with purpose and care, done relative to whatever the function of the scene might be.

Whether that's spiciness or conflict or relationship growth or (as in the case of Bound ) setting up a steamy neo-noir story that wouldn't be the same if it weren't hot as heck, form follows function, ideally.

This piece also appeared in NPR's Pop Culture Happy Hour newsletter. Sign up for the newsletter so you don't miss the next one, plus get weekly recommendations about what's making us happy.

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The Teen Trend of Sexual Choking

More from our inbox:, emergency abortions and the supreme court, our father, who led columbia, would be saddened today, hiring discrimination, trump’s own ‘fake news’.

To the Editor:

Re “ Why We Need to Talk About Teen Sex ,” by Peggy Orenstein (Opinion guest essay, April 14):

As a psychotherapist and psychoanalyst who has worked for decades with teens and college-age students, I’m disturbed but not surprised by the trend of choking during sex.

Choking is obviously very dangerous, and unfortunately, social media has made this once uncommon practice more mainstream.

Education is the key with both our youth and parents. Yes, sexual strangulation needs to be part of ongoing conversations about safe sex practices. There clearly needs to be more accountability about this behavior.

There is a line, a boundary, where rough sex, whether it’s consensual or not, crosses into danger, causing devastating long-term effects for participants.

Arden Greenspan Goldberg San Diego

While reading this essay, I was reminded of how feminist writers and activists waved warning flags about the pernicious effects of pornography on women back in the 1970s and ’80s. They published books and essays on the subject, marched in demonstrations and spoke out in the media. They were continually derided as prudes and censors.

Decades later, with violent porn pervasive online and a generation of young women subjected to the sadistic sexual violence normalized by porn, it turns out those prudes and censors were actually Cassandras.

I thank Peggy Orenstein and the researchers in this story for bringing new attention to the issue.

J. Jamakaya Milwaukee

I taught a course on human sexuality to college students during the AIDS epidemic. When I heard about sexual strangulation, I considered briefly: Should I link this practice to arousal and orgasm when speaking to these high-risk young people? I knew that many would then experiment. I chose not to mention it, but I taught them, through role play, how to verbally refuse inappropriate sexual invitations.

Today, I hope instructors in my position will discuss with their students sexual strangulation with a potential partner and help them practice responding to sexual pressure.

Pornography makes partners look willing. Evolution favored a strong sex drive. The planet doesn’t need it anymore.

Elizabeth Powell St. Louis The writer is the author of “Talking Back to Sexual Pressure.”

Re “ 5 Takeaways From the Supreme Court Arguments on Idaho’s Abortion Ban ” (nytimes.com, April 24):

Reading about the hearing at the Supreme Court, I was taken aback at the careful attention some justices paid to ensuring that physicians whose conscience precludes them from performing abortions are excused from violating their beliefs. But some doctors are being forced to violate their conscience by being prevented from performing an abortion on patients whose precarious condition might decline precipitously without such a procedure.

Being forced to refuse medically indicated aid, knowing that the dire consequences violate the Hippocratic oath to do no harm, is an affront to their consciences, which must be considered with the same attention.

Susan Swartz Philadelphia

Re “ On Emergency Abortion Access, Justices Seem Sharply Divided ” (nytimes.com, April 24):

You write that since the Dobbs decision overturning Roe v. Wade, uncertainty about the parameters for legal abortion in several states has led to complaints about doctors being forced to “think like lawyers.”

I am equally concerned that complex medical decisions are being made by nine lawyers being forced to think like doctors.

Jon D. Morrow New York The writer is an obstetrician-gynecologist.

Our father, Michael I. Sovern , played a leading role in resolving Columbia’s 1968 protests. He served as Columbia’s only Jewish president, from 1980 to 1993, and helped negotiate a peaceful end to weeks of anti-apartheid demonstrations.

We cannot know what our father, who died in 2020, would do if he were still president, but we have no doubt he would be deeply saddened by what is happening at the university that he loved and served for more than 60 years.

We believe that he would not want politicians and outsiders not affiliated with Columbia to exploit sincere student protest for their own gains, and, as in the 1980s, he would want protesters to ensure that they do not keep the university from providing the excellent education from which he and so many others benefited.

Finally, we know he would agree that anyone expressing opposition to the Israeli government or Hamas should not make Jewish or Palestinian students feel attacked or unsafe.

Jeff Sovern Elizabeth Sovern Doug Sovern Julie Sovern

Re “ Study Uses Fake Résumés to Measure Bias in Hiring ” (The Upshot, April 15):

The study on hiring discrimination in large U.S. companies, as reported in your story, highlights the importance of social capital in landing a job, especially for people of color.

The study found that even with equivalent qualifications, applicants with Black-sounding names were contacted by employers nearly 10 percent less often than those with white-sounding names.

In a world where such discriminatory hiring practices persist, the ability to build social capital — the relationships and networks that help open doors and advance someone in their career and life pursuits — is paramount.

Research shows that social capital — and in particular, cross-class relationships — is the greatest predictor of economic mobility. Educational institutions, from high schools to community colleges and trade schools, should prioritize helping students build social capital.

By teaching them how to build relationships, facilitating connections with industry professionals, creating mentorship programs that pair students with successful alumni, and, most important, teaching students how to make meaningful requests of those alumni, we can put more people on the path to successful careers.

Because opportunity should hinge on merit, not a name.

Nitzan Pelman Berkeley, Calif. The writer is C.E.O. of Climb Hire Labs, a national nonprofit teaching students and job seekers the art of building social capital.

Re “ Witness Recalls Burying Stories to Shield Trump ” (front page, April 24):

Finally, we have a rather compelling example of that “fake news” that Donald Trump has been ranting about for years.

He not only sought to bury damaging stories. It turns out that he and his fixer, Michael Cohen, working closely with David Pecker, the publisher of The National Enquirer, also concocted and released wholly untrue stories about his political opponents (for example, “Donald Trump Blasts Ted Cruz’s Dad for Photo With J.F.K. Assassin”). So says Mr. Pecker, under oath, in a Manhattan courtroom.

James P. Pehl Marlborough, Mass.