Fashion History

Prehistory
1.Sultani Period (1206-1572)
The period of the Sultanates in northern India is marked, once again, by much interest, both on the part of the
Indian writers, and of the newly arrived Muslims in matters concerning fabrics and dyes and costumes. But the
earlier difficulty of accurately interpreting this information persists, for even though long lists become available,
these remain confined to names for which we have no pictorial equivalents in the matter of costumes, and no
analytical descriptions in respect of fabrics and the like - in the paintings from the Sultanate period, an area in
which our knowledge has increased remarkably in the last quarter of a century or so, there is much that one
can observe, but to give precise names to costumes still remains difficult. One can at best try and find
relationships between terms for costumes or verbal descriptions, and the dresses that we see men and women
wearing in Sultanate period paintings, whether of the Indo-Persian style or those that we associate with
western India, principally Jaina paintings produced in Gujarat and Rajasthan. When one makes the effort,
however, interesting results sometimes emerge. Thus, in the paintings of the Laur Chanda in the Prince of
Wales Museum of Bombay, or the Aranyaka Parva of the Asiatic Society of Bombay, or the recently discovered
Devi Mabatntya in the Himachal Pradesh Museum at Simla, the long-sleeved kutia-like garments made of fine
cotton material, with fastenings at the right or the left, come remarkably close to the early description by
Alberuni of the kurtakas worn by Indians which have lappets with 'slashes' both on the right and the left sides.
But this kind of close correspondence is not always easy to establish in other articles.
It is in this very strain that we have other descriptions from this period, Firuz Shah T'Ughlaq and his courtiers
wearing different kinds of dresses. The Sultan himself is said to have worn a kulab costing a lac of tankas
which once belonged to his predecessor. In public audience, he is said to have worn a barani with
embroidered sleeves, but in private he wore a shirt. The officers are said to be wearing silken robes in public
and shirts in private life. Again the Amirs and the Maliks and other officers at the Sultanate courts are
described as wearing "gowns (tatailyat),jakalwat and Islamic qabas of Khawarizm tucked in the middle of the
body" and short turbans which did not exceed five or six forearms. Of other Amirs we learn that they were as
well dressed "as the soldiers except that they did not use belts and at times they let down a piece of cloth in
front of them after the manner of the sups. The judges and the learned men wore ample gowns (farajiyat) that
resembled jaradiyat (striped material from jand, Yemen) and an Arabic garment (durra) (a garment opening in
front and buttoned)

Ladies dress
Mens dress

Ladies undergarments

Mens dress

2.Mghal Period (1526-1858)

Short Description of the Mughal period:
The Mughal Empire was anempire in Asia which existed from 1526 to 1858.The Mughal rule over India
is called Empire because it stretched over large parts of the Subcontinent. When it was biggest it ruled
most of the Indian subcontinent, then known asHindustan, and parts of what is nowAfghanistan and
modern Pakistan, between 1526 and 1707.
Babur founded the Mughal Empire (and Mughal dynasty) in 1526 and ruled until 1530. He was followed
by Humayun (1530-1540) and (1555-1556),Akbar (1556-1605), Jahangir (1605-1627), Shah
Jahan (1627-1658),Aurangzeb (1658-1707) and several other minor rulers until Bahadur Shah Zafar
II(1837-1857). After the death of Aurangzeb, the Mughal Empire became weak. It continued until 185758. By that time, India came under theBritish Raj.
The Mughal dynasty was established by able Muslim rulers who came from the present day Uzbekistan.
The Mughal rule in India saw the country being united as one single unit and being administered under
one single powerful ruler. During the Mughal period, art and architecture flourished and many beautiful
monuments were constructed. The rulers were skillful warriors and admirers of art as well. The Mughals
left a permanent mark on the society, culture, art and architecture of India. Their monuments, artifacts
and literature show a period of great wealth and culture. Paintings in miniature style teach us about the
clothing and lifestyle of the people.

The concept of fashion and attire in Mughal women:

Self adornment became natural phenomena for women since from ancient time. They used various
methods for beautifying themselves. This is evident from various carving of khajuraho and paintings
like those of Ajanta. The Mughal women`s were not behind in the use of cosmetics to beautifying
themselves.(Mukharjee,2001) Jewellery being an important aspect of dressing was deeply
patronised by the women of the Mughal harem.According to Abul Fazl there are sixteen constituents
by which a woman is adorned. Bathing, anointing with oil, riding the hair, decking the crown of her
head with jewels, anointing with sandalwood unguent ,wearing various kind of dresses ,sectarial
marks of caste and often decked with pearls and golden ornaments ,tinting with lampblack like
collyrium ,wearing ear rings ,adorning with nose rings of pearls and gold, wearing ornaments round
the neck, decking with garlands of flowers or pearls, staining the hands, eating pan and finally the
artfulness. (Fazl ,1977)The jewels of the Mughal women also reflected their status of men .All the
Mughal princes had six to eight sets of jewels. The goldsmiths were continuously busy with making
of ornaments in the fort, the best and the most costly of their production were for the king`s person
the queens and princes. The princes usually wore necklace of jewels like scarves on both shoulders,
added to three strings of pearls on each side. They had three to five rows of pearls hanging from

their neck. Upon the middle of the head was a cluster of pearls which hung down as far as the
centre of the forehead, with valuable ornaments of costly stone formed into the shape of the sun or
moon or some star or at times imitating different flowers on the right side they had a little round
ornament in which a small ruby was inserted between two pearls.(smith H.clifford,2002)
The Fashion outfits of the Mughal Women:
The clothes worn by Muslim women during the Mughal rule were not much different to the mens.
They wore long, loose jama like ribs, which had full sleeves and opened at the front. Underneath, an
ankle length vest was worn and the ensemble was completed with a veil which covered the hair and
most of the face .During the cold season, qabas (coat) made of Kashmir shawl cloth was worn as
overcoats .Outside the harem they were usually clothed in the burqa ,which covered the body from
head to feet leaving only a slit around the eyes. The women staying inside the Mughal zenana were
usually clothed in the burqa, which covered the body from head to foot leaving only a slit around the
eyes. The women staying inside the Mughal zenana were independently wealthy and had ample
leisure time .Many of them conducted overseas trade. Nurjahan for example traded in indigo. She
wrote poetry, blended perfumes and designed clothes and fabrics, dresses in a style all of her own
that established the fashions for many years to come. She introduced the delicate art of white
embroidery. The renound chikankari. (Fig 1) now associated with Lucknow, to the Mughal court,
where it becomes the height of fashion. Mughal women were very much fond of perfume. Detailed
account of various kinds of scent and oil and their price is given by Abul fazl in Ain i-Akberi. There
were special perfume department by Akber known as khusbukhana. Jahangir writes in his memories
about a new kind of perfume prepared from rose patels by Nurjahans mother Asmat Banu Begam
who called it as itr-i-jahangir. Meena Bazaar an event institute established by Akbar for enjoyment of
the women of zenana and for himself. The intermingling within the harem culture and races from
different parts of the world creates a diversity of sartorial style. Every queen has a separate
apartment for herself . Each has a regular monthly allowance for her expenditure, jewels and
clothes. Paintings of royal women are rare only two paintings depict the royal women in a more
candid style. The first is a miniature painting of Birth of Jahangir,(Fig 2) comes from a page of
Jahangirnama. This painting is an unique record of fashions within the zenena.It gives a description
of women clothing during those time. It is not possible to match any given description to the specific
garment but a great variety of Hindu and Persian origin is in evidence. And a second painting depicts
the wife of Jahangir, Nurjahan on hunting.(Fig 3) As her hunting costume suggest, the women of the
court were often identically dressed to the men. Her ensemble is made up of a fine cotton jama,a
roughed pajama. A patka, a turban and embroidered shoes.

Mughal Men's Clothing:

The Jama: The Yaktahi Jama (an unlined Jama) originated in Persia and Central Asia, where it was worn
both short and long, over a pai-jama to form an outfit known as the "Bast Agag". In Persian, the word
"Jama" means garment, robe, gown or coat. The definition of the Mughal Jama is a side-fastening frockcoat with tight-fitting bodice, nipped-in waist and flared skirt, reaching the knees.
The Chogha: This is a very ancient garment which we have seen all throughout the Persian, Mongolian
and other areas. The word Chogha in Mughal times referred to a long sleeved coat, open down the front,
usually down to hip length or knee length.
By the medieval period, Choghas in India were made loose enough to be worn over Angharkas, Jamas and
other garments. Some were very ornate and embroidered.
The Patka: Around the waist of the Jama, a long piece of fine fabric was tied like a sash. This was the
Patka, from which a jeweled sword could be suspended. Patkas were hand-woven with complex designs, or
embroidered, or hand-painted or printed. Many made for royalty showed textile craftmanship at it's best.

Pagri or Turban
Although Abu Fasl describes a number of soft caps worn at Akbars court, the universal headwear for both
Muslims and Hindus was the turban.
The most important accessory for an Indian man was his turban, which proclaimed his status, religion,
caste and region of origin. To submit a turban to anybody was a sign of total subjugation and the removal
of a turban was the most humiliating punishment that could be inflicted on any man.

Dhoti and Paijama

In his diary, written no later than 1529, Emperor Babur remarked on the dress of the native Hindus:
Peasants and people of low standing go about naked. They tie on a thing called languta, a decency-clout
which hangs two spans below the navel. From the tie of this pendant decency clout, another clout is passed
between (the legs) and made fast behind. What Babur is describing is more commonly called a dhoti,
which is nothing more sophisticated than a length of fabric (usually cotton) tied around the nether portions
like a loincloth. People in India have worn these since antiquity, as seen in the Ajunta cave-paintings dating

from

the

1st

to

the

6th

centuries

C.E.

Another term for these trousers is paijama, from which comes our familiar word denoting sleep attire. The
word is a compound of two Persian words, pai meaning feet or legs, and jama meaning covering. Both
men and women wore paijamas, possibly in imitation of the warlike Rajput princes who preferred them to
the dhoti for the mobility they afforded. During the Akbari period, men wore trousers invariably with their
jamas (in this context, coats), and there is no artistic evidence to suggest that dhotis were ever worn in
combination with the coats. Therefore, while Rajpal may have worn a dhoti in the privacy of his home, in
public
he
wore
trousers.
Paintings of the period indicate that the paijamas were loose and flowing from the waist to the knee, where
they became snug down to the ankle. Often the fabric on the lower legs is wrinkled, suggesting that the
paijamas were longer than the leg itself and pushed up, just like the sleeves of the jama, in a display of
conspicuous consumption. At no time do the paijamas match the jama in colour, and solid colours appear
to have been the fashion during Akbars reign.

4) Early British period (1815-1825)

In 1815 with the Napoleonic

wars over, Britain began to
follow French fashion trends for
wearing a high waistline.
The waistline reached its peak
height in 1816-17 when the
line fell directly under the
breasts.
Almost as soon as the waist
had risen, 1818 fashion plates
began to show the waistline
dropping and tightening. It
continued to drop annually by
an inch, until by 1825 it was at
last in its normal position.
Skirt Styles, 1818, 1819, 1822

Left - Regency Gown - Iris blue dress 1818.

Centre - Regency Gown - Blue semi opaque sleeved dress 1819.
Right - Regency Dress - Sea green gown 1822.
All these wider skirt silhouettes show decorative interest, an ornamentation in
keeping with Gothic over embellishment. You are reading and original
Regency Dress Era 1800-1825 Fashion History article by Pauline Weston
Thomas at www.fashion-era.com Copyright 2001-9 .
Anglomania

Leroy the French designer

had to follow the whims of
his clients and drop the
dress waists and widen the
skirts. It seems that
French ladies soon
preferred the English style.
Anglomania began to
sweep France.
After 1820 as the neat
slim waist emerged,
corsets were worn again
by all women. The
narrower buckle belted
day waist or sash wrapped
evening waist was balanced by widening skirts which were often horsehair
padded and frilled to make them stand away from the legs.
By 1824-5 the wider skirts were balanced by a wider shoulder line with a leg
of lamb sleeve often known as a gigot sleeve as seen in the central pink
dress.
This had begun as a short sleeve which had been covered over by a
transparent or semi opaque sleeve as the pastel pink evening dress shows,
and eventually such sheer sleeves became a solid fabric.
The semi opaque sleeve was the forerunner of all manner of fancy sleeve
styles setting the scene for more romantic dress styles of the 1830s.
Above Right - Green dress 1825 showing how the waist is at last at its natural
position.
Earl Spencer and the Short Spencer Jacket 1795

The Spencer was a short top coat without tails worn by

men during the 1790s as an extra covering over the
tailed coat. It had long sleeves and was frequently
decorated with military frogging. Its originator is
thought to be Earl Spencer who singed the tails of his
coat when standing beside a fire. He then had the tails
trimmed off and started a fashion.

A female version was soon adopted by gentlewomen

who at the time were wearing the thin light muslin
dresses of the 1790s.
The Spencer was worn as a cardigan or shrug is worn
today. It was a short form of jacket to just above
waist level cut on identical lines to the dress.
Right - A Lady Wearing a Spencer to read. A Spencer
was perfect to keep chills away.
Left - A very cropped short high waisted Regency
Spencer of 1817.
Regency Spencers

The Spencer was worn both indoors and outdoors

and for eveningwear and was made of silk or a
wool material known as kerseymere. When it
was worn as an indoor evening Spencer it was
called a canezou. Spencers stayed in fashion for
about 20 years whilst the waistline remained
high.
This lemon Regency Spencer is from a fashion
plate of 1818.This Spencer also has Gothic and
military overtones with its decorative work. Areas
of Spencers back and
front were decorated
with braids and cording.
Italian quilting was popular as it created a raised
surface pattern.
When the waist slowly began its drop on dresses so
did the waist of the Spencer as in this illustration of
the cerise Spencer circa 1820.
Military Touches

As the fashion for military touches persisted, many

Pelisses and Spencers were covered in decorative
braids, tassels, frogging and cords, as a result their
wearers looked like members of the Hussars.
In time, a short jacket similar to a decorated
Spencer was called a Hussar jacket.
Near Left - Military influence on green Spencers of the Regency fashion era 1812.

You are reading and original Regency Dress Era 1800-1825 Fashion History
article by Pauline Weston Thomas at www.fashion-era.com Copyright 2001-9

The Redingote 1818

The Redingote was worn from 1818 onwards initially

indoors in cold weather, worn open whilst revealing the
dress beneath. Its name derives from the 18th century
version of a riding coat. It was used in place of a loose
cloak and as it developed a series of shoulder capes it
became very suitable for travel. As dresses widened so
the Redingote widened.
Redingotes were usually trimmed with fur and mostly
made of heavy dark cloth. See a timeline of
the redingote here.
Foot note:-

1800-1825 is it Late Georgian, Regency or

Both?
The period 1800-1837 is part of the Georgian era. George III, insane after
1811, lived on until 1820. His son the Prince Regent, George, already a
cause celebre acted as Regent for nine years of the King's madness and then
reigned himself from 1820-1830. Because of the influence of the Georgian
Prince Regent, this is known as The Regency Period, or the Regency fashion
era. Because of some overlap due to the acknowledged prominence of the
Prince in court consider the Regenc
Rise and Fall of the Waistline 1815-1825

In 1815 with the Napoleonic wars over, Britain began to follow French fashion
trends for wearing a high waistline.

The waistline reached its peak

height in 1816-17 when the
line fell directly under the
breasts.
Almost as soon as the waist
had risen, 1818 fashion plates
began to show the waistline
dropping and tightening. It
continued to drop annually by
an inch, until by 1825 it was at
last in its normal position.
Skirt Styles, 1818, 1819, 1822

Left - Regency Gown - Iris blue

dress 1818.
Centre - Regency Gown - Blue semi opaque sleeved dress 1819.
Right - Regency Dress - Sea green gown 1822.
All these wider skirt silhouettes show decorative
interest, an ornamentation in keeping with Gothic
embellishment. You are reading and original
Regency Dress Era 1800-1825 Fashion History
article by Pauline Weston Thomas at www.fashionera.com Copyright 2001-9 .

over

Anglomania

Leroy the French designer had to follow the whims

of his clients and drop the dress waists and widen
skirts. It seems that French ladies soon preferred the
style. Anglomania began to sweep France.

the
English

After 1820 as the neat slim waist emerged, corsets were

worn
again by all women. The narrower buckle belted day waist
or sash
wrapped evening waist was balanced by widening skirts which were often
horsehair padded and frilled to make them stand away from the legs.
By 1824-5 the wider skirts were balanced by a wider shoulder line with a leg
of lamb sleeve often known as a gigot sleeve as seen in the central pink
dress.
This had begun as a short sleeve which had been covered over by a
transparent or semi opaque sleeve as the pastel pink evening dress shows,
and eventually such sheer sleeves became a solid fabric.

The semi opaque sleeve was the forerunner of all manner of fancy sleeve
styles setting the scene for more romantic dress styles of the 1830s.
Above Right - Green dress 1825 showing how the waist is at last at its natural
position.
Earl Spencer and the Short Spencer Jacket 1795

The Spencer was a short top coat without tails worn by

men during the 1790s as an extra covering over the
tailed coat. It had long sleeves and was frequently
decorated with military frogging. Its originator is
thought to be Earl Spencer who singed the tails of his
coat when standing beside a fire. He
then had the tails trimmed off and
started a fashion.
A female version was soon adopted by
gentlewomen who at the time were
wearing the thin light muslin dresses of
the 1790s.
The Spencer was worn as a cardigan or
shrug is worn today. It was a short form of jacket to just
above waist level cut on identical lines to the dress.
Right - A Lady Wearing a Spencer to read. A Spencer was perfect to keep
chills away.
Left - A very cropped short high waisted Regency Spencer of 1817.
Regency Spencers

The Spencer was worn both indoors and outdoors

and for eveningwear and was made of silk or a
wool material known as kerseymere. When it
was worn as an indoor evening Spencer it was
called a canezou. Spencers stayed in fashion for
about 20 years whilst the waistline remained
high.
This lemon Regency Spencer is from a fashion
plate of 1818.This Spencer also has Gothic and
military overtones with its decorative work. Areas
of Spencers back and front were decorated with
braids and cording. Italian quilting was popular as
it created a raised surface pattern.

When the waist slowly began its drop on dresses so

did the waist of the Spencer as in this illustration of
the cerise Spencer circa 1820.
Military Touches

As the fashion for military touches persisted, many

Pelisses and Spencers were covered in decorative
braids, tassels, frogging and cords, as a result their
wearers looked like members of the Hussars.
In time, a short jacket similar to a decorated
Spencer was called a Hussar jacket.
Near Left - Military influence on green Spencers of
the Regency fashion era - 1812.
You are reading and original Regency Dress Era 1800-1825 Fashion History
article by Pauline Weston Thomas at www.fashion-era.com Copyright 2001-9

The Redingote 1818

The Redingote was worn from 1818 onwards initially

indoors in cold weather, worn open whilst revealing the
dress beneath. Its name derives from the 18th century
version of a riding coat. It was used in place of a loose
cloak and as it developed a series of shoulder capes it
became very suitable for travel. As dresses widened so
the Redingote widened.
Redingotes were usually trimmed with fur and mostly
made of heavy dark cloth. See a timeline of
the redingote here.
Foot note:-

1800-1825 is it Late Georgian, Regency or

Both?
The period 1800-1837 is part of the Georgian era. George III, insane after
1811, lived on until 1820. His son the Prince Regent, George, already a
cause celebre acted as Regent for nine years of the King's madness and then
reigned himself from 1820-1830. Because of the influence of the Georgian
Prince Regent, this is known as The Regency Period, or the Regency fashion
era. Because of some overlap due to the acknowledged prominence of the
Prince in court consider the Regenc

4) British Period (19th century) :

Lady's Day Dress 1906

This summer dress, though worn over a
'hygienic' straight-fronted corset, is far from plain.
It is made in soft pale material, trimmed with
much embroidery, lace and ribbon. Since 1904
there had been new emphasis on the shoulders,
and until 1908 sleeves were to be puffed out
almost square. The smoothly flowing skirt is
supported on petticoats almost as pretty as the
dress itself. Hats were always worn, perched on
the puffed-out coiffure. The parasol was a
popular accessory. She carries a leather
handbag, a fashion introduced at the beginning
of the 19th century and revived at the end.

Lady's Day Dress 1909

The line has changed in this summer dress. It is
straighter and short-waisted with a new severity
of outline. The most important accessory was the
hat, very large and much trimmed. The band of
trimming at the ankle of the narrow skirt suggests
a 'hobble' and makes it look difficult to walk,
which was rather an odd fashion for women who
were fighting for freedom and equal rights.

Photograph Above - Family group from around 1909. The gentleman (seated centre, below) wears a long frock
coat, the other gentleman wear either formal dress or lounge suits. The ladies all sport the large trimmed hats
of the period.

Day Clothes 1920

1920 saw the introduction of the shorter, low-waisted dress,
loosely cut and concealing, not defining, the figure. Flatchested women were about to become fashionable. Hats were
small, worn over neatly coiled hair. Evening dresses were
often low cut, supported only by shoulder straps and made in
exotic materials and colours. The man's lounge suit fits tightly
and still retains its long jacket. The trousers are straight but
shorter, generally with the turn-up, introduced about 1904. He
wears the new, soft felt hat and spats protecting his shoes,
introduced in the middle of the 19th century.

Day Clothes about 1927

This lady shows how plain the straight, loosely-fitting, lowwaisted dresses had become. They became shorter from
1920, and by 1925 legs clad in beige flesh-coloured stockings
were visible to the knee. Flat figures and short 'bobbed' hairstyles reflect the boyish styles of the time.
The man's suit is still high waisted with a rounded jacket.
Men's trousers were full, sometimes widening at the turn-up to
form 'Oxford bags'. Contrasting sports jackets were beginning
to be worn at this time.

Day Clothes 1938

In 1938 outfits had become square at the shoulder, with a
fairly tight, natural waist and full, flaring skirt. Styles were
varied and inspired by French designers like Elisa Schiaparelli
and Gabrielle 'Coco' Chanel, and by what the film stars wore.
Evening dresses were 'classical' in satins and sequins or
'romantic' with full skirts. Hats were still small and worn tilted
over the eye. Men's suits had become much broader and
more padded at the shoulder, with a long jacket and wide
straight trousers. Narrow 'pin'-striped materials were popular.
The soft felt hat generally replaced the bowler.

Clothes Rationing

The Second World War made the importation of cloth for clothing virtually
impossible and so clothes rationing was introduced on 1st June 1941. Rationing books were distributed to
every man, woman and child in Britain.

Clothing was rationed on a points system. Initially the allowance was for approximately one new outfit per year;
as the war progressed, the points were reduced to the point where the purchase of a coat constituted almost
an entire year's clothing allowance.
Inevitably styles and fashion were affected by the clothing shortages. Fewer colours were used by clothing
companies, allowing chemicals usually used for dyeing to be used for explosives and other much needed
resources for the war effort. Materials became scarce. Silk, nylon, elastic, and even metal used for buttons and
clasps were difficult to find.
The turban and the siren suit became very popular during the war. The turban began life as a simple safety
device to prevent the women who worked in factories from getting their hair caught in machinery. Siren suits,
an all-enveloping boiler suit type garment, was the original jumpsuit. With a zip up the front, people could wear
the suit over pyjamas making it ideal for a quick dash to the air raid shelter.
The end of clothes rationing finally came on 15th March 1949. Photograph Above: The turban

Photograph Above:
Kentwell Hall, WW2 Re-Creation.
Day Clothes 1941 (left)
The lady's suit was designed in 1941 when
materials were restricted because of war.
Modelled on the soldier's battledress, the jacket
is waist-length with flapped pockets. The line is
still pre-war with its square shoulders, natural
waist and flaring skirt. Hair was worn curled,
sometimes in a long, eye-covering style. For
comfort and warmth many wore 'slacks' and
headscarves.
The man's suit has a new longer waist and fits
more loosely. Sports jackets with contrasting
trousers gave variety and economised on the
'coupons' that were issued to everybody when
clothes were rationed.

"The New Look" 1947

In 1947 Christian Dior presented a fashion look
with a fitted jacket with a nipped-in waist and full
calf length skirt. It was a dramatic change from
the wartime austerity styles. After the rationing of
fabric during the Second World War, Dior's lavish
use of material was a bold and shocking stroke.
This style became known as the 'New Look'.

Day Clothes 1967 (left)

By 1966 Mary Quant was producing short mini
dresses and skirts that were set 6 or 7 inches
above the knee, making popular a style that had
not taken off when it made its earlier debut in
1964. The Quant style became known as the
Chelsea Look.
The girl (left) has a simple natural hairdo with
exotic makeup. She is very slim and wears a
short, mini-skirted semi-fitted tunic made of
linked colourful plastic disks, one of many new
materials. The cut is simple and variety of
texture, pattern and colour are all important.
Short hair, dark coats and trousers and plain
white shirts had been worn by men for a hundred
and fifty years. Now however men's hair is worn
longer, and there is a return to flamboyant
materials, bright stripes, velvet trimmings and
flower patterns on shirts. He blends a Georgian
style cravat, mid-Victorian tail coat and military
trimmings.

Heritage Textile
Muslin saree /Fabric:
Dhakai Muslin - unforgettable heritage

During the Mughal period a fine fabric called Muslin produced in our country was well known all
over the world specially in Europe for its unique features. This Muslin was worn by the queens and
rich women of that time. This fabric was so fine that 6 yards of a Muslin saree could pass through a
ring. Unfortunately this art was destroyed by the British during the British rule. The British rulers
killed the weavers so that the secret would be gone forever.

Jamdani is basically the transited form of the world famous Dhakai Muslin. According to their
variety, fineness, knittings etc. The traditional Dhakai Muslins were divided into some specific
groups. Among them AAB-E-ROUHAN, SHABNAM, SARBAND and JAMDANI MUSLIN were the
most famous. Over the years the first three have vanished from history. The production, marketing
and export of Jamdanive somehow maintained its continuity.
The history of Dhakai Muslin or Dhaka Jamdani is more ancient than the history of Dhaka town
itself. Dhaka has a history of only four hundred years from 1610 A.D. When Subadar Islam Khan
Chrishti of the then Subah Bangla transferred his capital city from Rajmahal to Dhaka. But the
history of the cotton clothes of the region holds a more ancient tradition. Although jamdani historys
lost in the mists of antiquity. Its known that trade in the fabric was established at least 2,000 years
ago. In Chanakyas Arthasastra one finds reference to the fine cottons of Vanga, historically the
central southern region of East Bengal and Chanakyas tome on economics was written in the 3rd
century B.C.

Jamdani saree:

Jamdani (Bengali: ) is one of the finest muslin textiles of Bengal, produced in Dhaka
District, Bangladesh for centuries.
The historic production of jamdani was patronized by imperial warrants of the Mughal emperors.
Under British colonialism, the Bengali jamdani and muslin industries rapidly declined due to colonial
import policies favoring industrially manufactured textiles. In more recent years, the production of
jamdani has witnessed a revival in Bangladesh.
The traditional art of weaving jamdani has been declared by UNESCO as a Intangible Cultural
Heritage of Humanity.[1][2][3]

Etymology
The word Jamdani is of Persian origin, deriving from 'Jam', meaning flower, and 'Dani', a vase or a
container. The earliest mention of jamdani and its development as an industry is found in Dacca.

History
The Jamdani weaving tradition is of Bengali origin. It is one of the most time and labor-intensive
forms of weaving hand loom weaving. In the first half of the nineteenth century, James Taylor
described the figured or flowered jamdani; in the late nineteenth century, T. N. Mukharji referred to
this fabric as jamdani muslin.

Bangladeshi bride in Jamdani sari

Weave
Whether figured or flowered, jamdani is a woven fabric in cotton, and it is undoubtedly one of the
varieties of the finest muslin. It has been spoken of as the most artistic textile of the Bangladeshi
weaver. Traditionally woven around Dhaka, Bangladesh, and created on the loom brocade, jamdani is
fabulously rich in motifs. Jamdani is a fine muslin cloth on which decorative motifs are woven on the
loom, typically in grey and white. Often a mixture of cotton and gold thread were/was used.

8' x 8' pit looms were generally used for producing figured Jamdani. Like other sarees, hank sizing is
largely followed for Jamdani from hank form yarn available in market.
The motion of layout of Jamdani fabrics are directly woven on loom by traditional master weavers
from their hereditary skill, experience and talent. Traditional Jamdani motive are of geometric in
concept, adopted from local flowers, birds, leaves, zig-zag lines, and so on by the weavers who

improved and evolved a directory of design of "Dacca Gharana" These designs have its nomenclature
Hazar-buti, Chand, Tara-buti, Dora-kata' Dabutar- khop, Rose-leaf etc.

Varieties of jamdani work

Jamdani Sari for sale in Sonargaon, Bangladesh

Though mostly used for saris, Jamdani is also used for scarves and handkerchiefs. Jamdani is
believed to be a fusion of the ancient cloth-making techniques of Bengal (perhaps 2,000 years old)
with the muslins produced by Bengali Muslims since the 14th century. Jamdani is the most expensive
product of Dhaka looms since it requires the most lengthy and dedicated work.
Jamdani patterns are mostly of geometric, plant, and floral designs and are said to originate in Persian
and Mughal fusion thousands of years ago. Due to the exquisite painstaking methodology required,
only aristocrats and royal families were able to afford such luxuries.

Changes with time

We do not know exactly when jamdani came to be adorned with floral patterns of the loom. It is,
however, certain that in the Mughal period, most likely during the reign of either Emperor Akbar
(15561605) or Emperor Jahangir (16051627), the figured or flowered muslin came to be known as
the jamdani. Forbes Watson in his most valuable work titled Textile Manufactures and Costumes of
the people of India holds that the figured muslins, because of their complicated designs, were always
considered the most expensive productions of the Dhaka looms.[4]

Decline and fall

From the middle of the 19th century, there was a gradual decline in the jamdani industry. A number of
factors contributed to this decline. The subsequent import of lower quality, but cheaper yarn from
Europe, started the decline. Most importantly, the decline of Mughal power in India, deprived the
producers of jamdani of their most influential patrons. Villages like Madhurapur and Jangalbari, (both
in the Kishoreganj district), once famous for the jamdani industry went into gradual oblivion.

Tangail Saree:
It was originated from Tangail, a district of present Bangladesh. Previously it was named as "Begum
Bahar" where silk warp and cotton weft were used. Later on, both cotton warp and weft were in
vogue. The weaver mainly of 'BASAK' community who migrated from Tangail district before
partition of our country & settled in 'Katwa' Dhatrigram, Tamaghata, Samudragarh, area in Burdwan

district.
At present, silk Tangail sarees have been revived. The technique of drawing and weaving of extra
weft for figured Tangail sarees is more or less identical to Jamdani sarees. Unlike Jamdani, two plain
picks instead of a single pick are inserted after each extra weft meant for figured design.
Now in Samudragarh, Dhatrigram area design on Tangail sarees are woven in boarder by using
Jacquard. The recent development is its decorative design. The main characteristics of these sarees in
the loom finishing. While weaving Tangail saree , a sort of finishing by putting starch is done in
addition to sizing on cotton yarn. Other feature of this saree i.e. paper finish appearance depends on
its surface texture.
In recent time handloom weavers have diversified the Tangail saree in to the following varieties:
* Tangail Naksapar with jacquard design.
* Tangail (silk x silk ) sarees.

Yarn Uses:
Tangail saris are usually made from cotton yarns of 80s to 120s count and in the olden days even up
to 200s. The borders are about 3 to 4 in width, for which artificial silk and gold and silver laces are
used. Saris with coloured wrap and coloured weft are not uncommon.

Butider Tangail:

Baluchar Sari (Bengali: ) is a type of sari, a garment worn by women across India
and Bangladesh. This particular type of sari originated in Bengal and is known for depictions of
mythological scenes on the pallu of the sari. It is mainly produced in Murshidabad and producing one
sari takes approximately one week or more.[1] [2] The Baluchari Sari has been granted the status of
Geographical indication in India.[3]

History
In the history of textile in Bengal, Baluchari came much after Maslin. Two hundred years ago
Baluchari was used to be practised in a small village called Baluchar in Murshidabad district, from

where it got the name Baluchari. In the eighteenth century, Murshidkuli Khan, Nawab of Bengal
patronized its rich weaving tradition and brought the craft of making this sari from Dhaka to the
Baluchar village in Murshidabad and encouraged the industry to flourish. After a flood in the Ganga
river and the subsequent submerging of the village, the industry moved to Bishnupur village in
Bankura district. The sari industry prospered in Bishnupur, Bankura during the reign of the Malla
dynasty.[4] But this flourishing trend later declined, specially during British rule, due to political and
financial reasons and it became a dying craft as most of the weavers were compelled to give up the
profession.
Later in the first half of twentieth century, Subho Thakur, a famous artist, felt the need of
recultivating the rich tradition of Baluchari craft. Though Bishnupur was always famous for its silk,
he invited Akshay Kumar Das, a master weaver of Bishnupur to his center to learn the technique of
jacquard weaving. Sri Das then went back to Bishnupur and worked hard to weave Baluchari on their
looms.
Once Bishnupur was the capital of Malla dynasty and different kinds of crafts flourished during their
period under the patronage of Malla kings. Temples made of terracotta bricks were one achievement
of these rulers. A major influence of these temples can be seen in Baluchari sarees. Mythological
stories taken from the walls of temples and woven on Baluchari sarees, is a common feature in
Bishnupur.[5]

Process of making the Baluchari

The production process of Baluchari can be divided into several parts:Cultivation of cocoons:- Since the discovery so many years ago that the fibre or filament composing
the cocoon of the silkworm can be constructed into a beautiful and durable fabric, silkworms have
been bred for the sole purpose of producing raw silk.
Processing of yarns:- To make the yarn soft, it is boiled in a solution of soda and soap and then dyed
in acid colour, according to the requirement of the saree. The yarn is stretched from both the sides in
opposite directions putting some force with both palms. This process is needed to make the yarn
crisper.
Motif making:- Making of the motifs for 'pallavs' and other part of Baluchari is in itself an intricate
process. The design is drawn on a graph paper, it is coloured and punching is done using cards. After
punching, these cards are sewed in order and fixed in the jacquard machine.
Weaving:- After jacquard loom has been introduced, weaving of a Baluchari saree takes five to six
days to get completed. Two weavers work on it on shifting basis.
Baluchari thus prepared becomes the sign of aristocracy, the attire of status. Maintenance of quality
of Baluchari saree is taken care of precisely. The quality is checked from the stage of dying of the
yarn to the packaging of the saree.[5]

Motifs
Baluchar saris often had depictions from scenes of Mahabharat and Ramayana. During the Mughal
and British eras, they had a square design in the pallu with a feather motif in them. It would take two
craftsmen to work for almost a week to produce one sari. The main material used is silk and the sari
is polished after weaving.[6]

Use
These saris were mostly worn by women from upper class and Zamindar households in Bengal
during festive occasions and weddings.

Organic Baluchari
With the changing time, the baluchari saree gets a make over & a touch of eco-friendliness in terms
of the used yarns & colours. Cotton Kapas is spun with fibres of banana plants and bamboo shoots
and the dyes are extracts of fruits, flowers, leaves, and vegetables such as pomegranate, jamun, neem
fruits and leaves, basil leaves, turmeric, marigold flowers, mangoes and others. The organic baluchari
cotton sarees were displayed in the sari fair organised by Rang Mahal, a forum of weavers from
Nadia district in West Bengal.[7][8]

Comilla Khadi:
Khadi, also known as "khaddar" has a long history in Bangladesh. In 6th century a local variation of
Khadi cloth was described by Huen Tsang of China and Marco Polo in 12th century AD describes a
fabrics, most probably khadi Muslin in the Bengal region to be as fine as the spiders web.[3]
Romans were great aficionados of Bengal khadi Muslin and imported vast amounts of fabrics. The
khadi weaves of Comilla during the Mughal period were renowned as valuable textiles with
distinctive characteristics.[4]
During the years of the Indian self-rule movement and later with the independence of Bangladesh the
spirit of khadi was driven with the winds of change. In 1921 Gandhi came to Chandina Upazila in
comilla to inspire the local weavers and consequently a branch of Nikhil Bharat Tantubai Samity
was established to self-seed and proliferate the sale of goods to other major cities in India. [5]
In greater Comilla region the weaving centers were particularly developed in Mainamati,
Muradnagar, Gauripur and Chandina.

Rajshahi Silk is the name given to the silk products produced in Rajshahi, Bangladesh. It is a famous
name in the domain of clothing, especially in saris.
Rajshahi silk is a delicate and soft fibre produced from the cocoons of silkworms and is covered with
a protein called Sericin. There are mainly three varieties of silks.

Mulberry Silk

Eri (or Endi) Silk and

Tassar Silk.

Among these varieties, Mulberry silk is the finest and is therefore the most valuable.
Saris and other products made out of Rajshahi silk are coveted by users in the country and in foreign
countries. Rajshahi silk is available as fabric in colors and patterns for designers. Silk fabric is
available in ranges for apparel and for other purposes.

Monipur Banarosi:
Monipur Banarasi saris are saris made in Varanasi, a city which is also called Benares or Banaras.
The saris are among the finest saris in India and are known for their gold and silver brocade or zari,
fine silk and opulent embroidery. The saris are made of finely woven silk and are decorated with
intricate design, and, because of these engravings, are relatively heavy.

Their special characteristics are Mughal inspired designs such as intricate intertwining floral and
foliate motifs, kalga and bel, a string of upright leaves called jhallar at the outer, edge of border is a
characteristic of these saris. Other features are gold work, compact weaving, figures with small
details, metallic visual effects, pallus, jal (a net like pattern), and mina work.
The saris are often part of an Indian bride's trousseau.
Depending upon the intricacy of designs and patterns, a sari can take from 15 days to a one month
and sometimes up to six months to complete. Banarasi saris are mostly worn by Indian women on
important occasions such as when attending a wedding and are expected to be complemented by the
woman's best jewelry.