Fashion Studies

Chapter 1 History of Fashion

1. Introduction
In the previous book on 'Fashion Studies' for Std XI, the meaning of fashion and other
aspects within its ambit has been discussed. In this book, we trace the history of clothing
down the ages and how it facilitates the understanding of contemporary fashion.
At the onset it is important to understand that though the words fashion, clothing,
apparel and costume are often used interchangeably, the terms are not identical in
meaning.
Fashion is more than just clothing; it reflects the wider spectrum of aesthetics, art and
design trends in contemporary society. This makes it a multi-faceted word engaging with
a range of surrounding influences. In simple terms, fashion is a social process by which
newly introduced styles or trends become popular in a certain time with acceptability by a
wider cross-section of consumers.
Clothing is a general term referring to actual objects related to the human body.
Apparel refers to garments made of fabric, knits, leather or other wearable materials.
Costume is derived from word 'custom' evolving from the environment and customs of
society. It refers to clothing for a specific use - be it for a ritual or performance, ethnic or
historical within a specific context of occasion and time.
To understand contemporary fashion within a context, it is essential to know its origin
and evolutionary process. The knowledge of fashion and costume history is important
since they are the inevitable outcome of the socio-cultural-political influences prevalent
in society at different points in time.
Clothes are what cover the human body, which in turn, depend on physical conditions like
climate, geographical area, available raw material, textiles etc. Clothes indicate social
significance like religious beliefs and aesthetics; exhibit individual status; proclaim
alliance with or create differentiation among a group. Items of clothing and accessories
would be included in the vocabulary of clothing.
There are several points of views regarding the origin and need for clothing. One school of
thought believes that man covered his body for protecting himself from the vagaries of
climate and nature. Psychologists and ethnologists refer to psychological reasons like the
fig leaf used by Adam and Eve as a symbol of modesty referred to in the Bible.
Anthropologists cite reasons associated with taboo as well as the desire for personal

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adornment to please both oneself and others. Psychologists propound the view that
human being like to modify their appearance - the use of body covering is one such type of
modification. Other ways for achieving this is through varying hairstyles, alteration of
shape and surface of the body through clothes, body adornment etc. Such changes are
done in order to make the self, more acceptable to others so that there is a commonality
and bonding with the others within the same social 'tribe'.

Primitive men covered their body with animal skin and fur which were shaped to parts of
the human body. Different sizes, shapes and textures of skins would have necessitated
varying approaches to their use and function when applied to cover or adorn the human
figure. Later they used tree bark fibre to protect themselves against extremities of
climate. However clothes are not merely utilitarian but have a deeper significance. The
co-relation between the belief of primitive men in magic and representation of successful
hunting through cave paintings dates back to the early Paleolithic period. Even today,
certain tribes that normally live naked also wear clothes on special occasions!

1.1.1. Sources of Information

In prehistoric times the lifestyle of humans changed according to changes in climate,

which also influenced costume. Remnants of their clothing have been found in valleys
and caves. Tools, costumes and accessories travelled along the trade routes which were
extended and defined in the Bronze and Iron Ages. It is assumed that fur, stones etc. may
have been bartered in different societies. The predominant use of animal skins would
have been necessitated by the need for warmth. The skins were scraped and the fur was
combed. The eyed-needle of bone or horn was used for assembly of pieces threaded by
long manes and tails of horses as well as split reindeer tendons. Few vestiges of clothing
from early ages remain, since cloth made of vegetable fibre like rushes (grass), linen etc.
are perishable. Archaeology uses the most scientific methods on surviving specimens of
prehistoric textiles to extract the fullest information about the materials and
manufacturing techniques.

Fig 1.1 Necklace, Bronze Age, Paris, Musee des Antiquities Nationales

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Fig 1.2 Roman sandals discovered in London. First century AD.

The London Museum. (Museum Photo)

1.1.2 Factors Affecting Clothing

Sociologists, anthropologists and psychologists have tried to explain the motivation for
wearing clothes. Fashion historian James Laver, has propounded three principles of
Seduction, Utility and Hierarchy which govern clothing. Other historians have
propounded 4 different explanations regarding the importance of the following factors:
i) Protection
ii) Rituals
iii) Identification
iv) Adornment

(i) Protection

Several scholars say that the need for clothing was born out of physical necessity. Men
required clothing in response to the need for protection and for shelter against extreme
variations of temperature, rain, dust, thorns, wild animals and insects. For activities like
warfare and hunting, extra protection was needed for the body. Eskimos wear closely
fitted garments in several layers to effectively trap and retain body warmth. They wear a
fur garment which is so suited for the freezing cold that European explorers of the Arctic
have adopted similar garments like fur-lined parkas. Pastoral people like Turkoman and
Kirghiz wear three or four bulky padded Caftan-like coats with sheepskin over-jackets
for protection against the bitter Central Asian winter.

Wearing several layers of clothing is also seen in areas of high temperature where it is

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important to prevent the body from becoming dehydrated under the blazing sun. The
Tuareg of the Sahara and the Bedou of Saudi Arabia wear long robes and loose trousers in
light, cool cotton for protection and air circulation. In parts of Saudi Arabia and Africa,
men protect themselves with a loose head-covering which can cover their heads, mouth
and nostrils for protection against dust and sand, revealing only the eyes.

It is important to understand that the indigenous clothing in different parts of the world
use locally available materials utilizing the craft skills of the people. Examples are
leather garments made by tribes, by cleaning of the leather either by scraping away
excess animal fat sticking to it and then softening it by rubbing animal fat, or even by
mastication (chewing). The Ainu of North Japan & Siberian Gilayak use fish skins to
make waterproof garments.

The natives who live in the cool temperate zones near on the North West coast of Canada,
wear short poncho-like rain capes of shredded cedar barks and conical wide brimmed
waterproof woven hats, for protection against heavy rainfall. Bark fibre is preferable
over animal skins in moist, tropical areas since it dries more easily.

(ii) Rituals

Primitive man believed that certain costumes could endow special attributes and would
protect him from evil. Certain parts of animals like claws, hooves and teeth worn as
accessories, were believed to enhance the wearer's strength and imbuehtion with the
characteristics of that creature. In Egypt, the lion's tail and claws being symbolic of
bravery, vigour and shrewdness were an important part of the Pharaoh's regalia.

Sometimes, the hunter felt that wearing hooves and horns may transmit enviable
qualities of that animal. Eventually through auspicious association, he adopted a certain
animal as his symbol and this became a family totem or crest through inheritance. This
was publicized by the use of their symbols on aprons, blankets or on totem poles.

From earliest times, articles of clothing were also worn to ward off the evil eye. They
believed that only magic could help. to combat malignant forces around. For women, the
greatest fear or curse was that of sterility. To counteract this, cowry shells which
resembled a woman's reproductive organs, were used in clothing and accessories. It is the
same belief that caused both positive and modern men to wear amulets, rings and other
adornments, which would act as good luck charms.

Certain costumes and ornaments also identify the wearer with gods, heroes and other
men. For primitive people, this identification was factual (for heroes) while in
contemporary times, it is more symbolic. Theatre, which has its origin in ancient times,

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ranges from simple play-acting by children at play, home or at school, to the more sacred
performances in Greco-Roman and Oriental / Asian plays. In theatre, costumes appear to
'disguise' the wearer's individuality and transform him into a different persona or even a
'God'.

Some costumes are associated with religious significance. A religious head or priest can
be recognized by specific clothes, which proclaim his religious role and authority.
Believers and followers of different religions have distinctive clothes and/or accessories
for reasons of respect, actual or symbolic identification with God and the need to express
those emotions in their mortal existence.

(iii) Adornment

Beautification of the self through decoration of clothes or of the body itself, has been the
pre-occupation of humans since ancient times.

_
Adornment though clothes

While the prime function of clothing is self-protection, indication of social status,

wealth, age and occupation, humans also pander to their self-vanity which enhance
their physical attributes. In primitive and tribal societies, people used easily
available indigenous and natural materials as diverse as followers, seeds, sea shells,
wood, precious stones, animal parts like teeth, bone, fur, feathers etc. selected on
the basis of colour, texture and shape. They also discovered methods of crafting the
materials like tanning of hides, weaving dyeing, and printing of fabrics for
decoration in clothing.

History has instances where the desire for adornment occasionally transcends
practical concerns like comfort and wearability. When ostentation and exaggeration
dominate other factors, the resultant look may become distinctive but impractical.
An example of this is the shoe called 'poulaine' worn in medieval times. Originating
in France, this shoe extended to such exaggerated lengths that it had to be held in
the hand while walking or else tied back to the ankle with a ribbon until laws were
passed restricting the length of the toe to 6" commoners, 12" for gentlemen and 24"
for nobility and royalty.
th
In 18 century England, an exaggerated mode of clothing was that of tight breeches
for men which made it difficult for them to even sit down.

The 19th century Victorian corset created the desirable tiny waist size. However the
constant constriction of the ribcage made even the simple act of breathing very
difficult.

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Fig 1.3. Long-toed Poulaines, Victoria and Albert museum, London Fig 1.4 Corset

In 18th century Europe, women's skirts expanded tremendously in width and

therefore had to be supported by layers of petticoats, which made mobility very
cumbersome. The panier, a lighter supporting frame made of graduated oblong-
shaped boned hoops stitched to an underskirt made the skirt so wide on either side
of the hips that doors and stairways had to be widened to enable the wearer to pass
through.

Fig 1.5: Panier understructure Fig 1.6: Understructure worn under

the voluminous court gown.
(Moreau Le Jeune: Les Adieux,
1777, Monument du Costume,
Paris, BibliothequeNationale)

_
Adornment of the body

The concept of beautification of the body has been a variable factor in different
societies and at different periods in history. This is done through 4 different
methods of Body Modification, Scarification, Tattooing and Body painting.

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2
Body modification has many examples of which one is the now-abolished
practice of Chinese foot binding. This ancient custom, considered as the
ultimate expression of feminine beauty and social status by a Chinese woman,
was to have a tiny 'lotus' foot by tying the foot tightly in a way which, in time,
would create a man-made artificial heel. Similarly the custom of wearing large
circular lip plates by the Kichepo women in Sudan is yet another example of
reshaping of the body. The women would consider themselves undressed
without their lip plates and would never be seen in public without them. The
Paduang tribe also known as Kayans, have a tradition of artificially elongating
the necks of girls and women with a series of brass rings.

Fig 1.7 Woman with brass neck rings Fig 1.8 Woman with lip plates

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Scarification is an indication of status and
tribal identification in some African cultures.
Elaborate incisions in a delicate pattern are
made in certain parts of a person's body. The
painful incisions must be endured without any
signs of physical distress or pain. Natural skin
irritants are rubbed into the skin which, on
healing, leave characteristic scars and raised
pattern-like marks on the face and body that
identify the individual as an adult member of
the tribe.
Fig 1.9 Scarification

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2
Body Tattooing involves a permanent change in body colour based on the
insertion of an indelible dye in the punctured skin. Tattooing was used by the
Thracians to indicate rank. In some African societies women's foreheads were
tattooed so that if captured by rivals, she could be sold back to her own tribe.
Tattoos on men serve the same purpose as war uniforms by making them
identifiable by their own tribe. The Maoris of New Zealand have elaborate
facial tattoos as marks of distinction and esteem. Some Indian tribes also
tattoo their body. In modern societies tattooing can be a form of personal
adornment or can indicate ones affinity/allegiance to a group. The Japanese
Yakuza have a tradition of tattooing which has symbolic meaning. In a western
society, tattooing is commonly seen among sailors, biker groups etc. Today
tattooing is fairly common among the youth across the world.

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Body Painting which includes face painting
has its roots in sacred ritual. Girls in some
Congolese tribes oil themselves all over and
dust on red powered camwood in order to look
more attractive. Noble ladies of some ancient
Chinese dynasties as well as Japanese 'geisha'
girls applied very heavy face make-up with
the powder of ground rice and white lead.
Application of rose petal rouge on cheeks and
centre of the lower lip, simulated a tiny-
pursued mouth, considered to be very
beautiful. The modern cosmetic industry
thrives and flourishes due to the interest of
women for 'painting' their faces.

(iv) Identification

Clothes are the most visible index of the status of a person identifying the class, caste and
profession.

1. Identification of social status

In most societies, people influence advertise their position and wealth through
outer trappings like the choice of clothes, colour and fabric consumption. Based on
the same line of reasoning, in some civilization complete nudity was considered a
lowly condition, bereft of status. Therefore slaves could be nude since they were
'non-persons'. In pre-Inca Peru, the Mochia stripped their prisoners of clothing and
therefore of rank and humanity.

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At different points of time in history, rulers have attempted to maintain the status
quo between themselves and commoners through restrictive sumptuary laws.
Medieval laws restricted the use of fabrics like velvet, laces and fur while some
colors like purple and gold were reserved exclusively for royalty and nobility. In
17th century England even the length and elaborate styles of clothes and
accessories were regulated.

2. Identification of Rank

Clothes also clearly indicate rank and power as in the case of uniforms of the armed
services also used to:
B
Intimidate or evoke obedience.
B
Encourage a sense of allegiance, loyalty and identity within the ranks
B
Emit clear signals indicating hierarchy through the design and number of
buttons, insignia and ribbons

3. Identification of Profession

In contemporary times professional and administrative costumes distinguish the

wearer and imbue him/her with personal or delegated authority. Examples of this
can be seen in the robes and wigs of a judge or in the uniform of army personnel or
policemen. On the other extreme end of the spectrum, are the clothes of convicts.

4. Identification of marital status

Dress and ornament are also indicating of the social and marital status of women.
Among the Yoruk Turkis nomads, a girl can border her silk head cloth with coins to
signal that she is ready for marriage. When betrothed she also wears a white scarf
along with the headdress. If a widow wishes to remarry, she braids her hair under
her black scarf. In parts of India, the vermillion or crimson Sindoor powder applied
in the parting of the hair and the Mangalsutra necklace are symbols of the married
status of women. In Western culture, a wedding band on the ring finger indicates
marital status.

5. Identification of individual status in a tribe

Costumes also help to identity to special individuals by imposing authority and

instilling a sense of fear and awe in others. For a tribal chieftain, certain
components of the costume single him out of the crowd by expressing his power and
special status. Similarly, a warrior's costume emphasizes his physical superiority. A
tribal shaman wears special clothes, mask and carries accessories which single him
out as a person 'apparently' endowed with supernatural power to cure or expel evil.

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Exercise – 1
Fill in the blanks
1. Much of our knowledge about prehistoric textiles used in surviving specimens comes
from __________.
2. The belief that parts of animals like claws, hooves and teeth would enhance the
wearer's strength and imbue the characteristics of that creature stems from the
__________ factor affecting clothing.
3. Clothes are the most visible index of the _________ of a person identifying the class,
caste and profession.
4. The four factors affecting clothing are protection, rituals, adornment and ___________.
5. Beautification of the self has been the pre-occupation of humans and is achieved
through clothes and body____________.
6. In 14th century Europe, the exaggerated length of men's shoes called _____________
was indicative of their socio-economic status.
7. ______________involves elaborate incisions in a delicate pattern on the skin which on
healing, leave characteristic scars and raised pattern-like marks.
8. Historically, rulers have attempted to maintain the status quo between themselves and
commoners through___________laws.
9. Uniforms of security personnel and robes of judge are indicators of ____________.
10. In parts of India, the coloured powder put in the hair parting called ___________ is a
visual indicator of married status of women.

Review questions

1. What are the views regarding the origin and need for clothing?

2. According to fashion historian James Laver, what are the three principles which
govern clothing?

3. Name the material used by primitive man to cover the body.

4. The need for clothing was borne out of physical necessity. Explain this statement in the
context of clothing or Eskimos and people in Saudi Arabia.

5. What is the difference between fashion and costume?

6. Name the factors affecting clothing?

7. What are the types of body adornment?

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8. History has examples where exaggerated styles of clothing or accessories sometimes
overpower comfort in clothing? Discuss this statement with reference to the poulaine.
9. How does body adornment visually indicate the status of a person in society?
10. What does the term 'scarification' refer to:
i) Body-incision in delicate pattern
ii) Permanent change in body colour
iii) Rubbing rice powder in a wound
11. In what ways are clothes the most visible index of the status of a person?

Activity – 1
Background: Clothes are the most visible index of the status of a person identifying the
individual, social or marital status, rank, identity, caste and profession.
This activity is intended to encourage students to focus on uniforms as visual indicators of
rank and profession.
1. Identify the professions where uniforms are mandatory.
2. Refer to books, magazines or internet for historical or contemporary personalities
whose photographs always show them in uniform.
3. Discuss the possible reasons for their style of dressing. Is there a commonality in their
profession?

1.2. Origin and Development of Costume

Today, clothes appear in a bewildering array of permutations and combinations ranging
from inners to outers, uppers to lowers, co-ordinates to co-wear ensembles. At different
points of time in history, costumes with different cuts, silhouettes, colours and fabrics in
various combinations, developed in different parts of the world. Some costumes were
integral to civilian life, while others were designed to meet the specific functional
requirements of the large scale of successive wars. It was only with time that elements of
one genre of clothing permeated into another.
Over several thousand years of history, all clothes can be broadly classified under 5
archetypes or categories.
BDraped Costume derived by the wrapping of skin or material length around the
body like the Egyptian schenti, Greek himation and the Tahitian pareo.

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BSlip-on costume made from one piece of skin or material length, with a hole for
the head to pass through. Examples of this would be the Roman paenula, the
Medieval huque and the South American poncho.
BClosed stitched costume where the fabric is worn around the body with
armholes for the sleeves to be attached. This category developed into the Greek
chiton, the Roman tunic, the Medieval chemise.
BOpen stitched costume, worn over layers of inner clothes. Examples of these are
the Asian caftan and the European overcoat.
BSheath costume fitted/moulded to the body contours. This category also extended
into trousers and breeches.

Draped Costumes
Draping is the simplest response to wearing clothes since it has the inherent flexibility of
swathing the wearer in an individual manner. Both in Western and Asian civilization,
draped clothes have preceded cut and sewn fitted garments.

1.2.1 Indian Costumes

By and large, ancient Indian garments were draped rather than stitched, giving each
ensemble a distinctive look. Draped apparel was worn both by men and women. Indian
ceremonies from birth, marriage to death involve the ritual use of newly woven textiles
draped around the body. The saris and dhotis worn today are similar to the off-the-loom
fabrics worn thousands of years ago.
The earliest references to textile production and draped garments in India, date between
2500 to 2000 BC in the Indus Valley civilization in the two cities of Mohenjo Daro and
Harappa. Our knowledge of early Indian costume is based on the study of sculpted
figures and engraved seals, where both men and women are depicted wearing unstitched
fabrics draped around the body. The statuette of the 'high priest' wears a patterned shawl
with a formal drape. Other statuettes and engravings are seen in short draped sarong-
like skirts, jewellery and elaborate hairstyles. Similar garments can also be seen in the
later Ajanta cave paintings where the figures are scantily dressed with a tight sarong
around the waist accentuating the curvaceous forms and a thin draped shawl or choli on
the upper body. The unstitched garment is no less sophisticated than the sewn garment.

While traditional Indian garments were unisex, the fabric and the manner of draping,
were indicative of the profession and social status of the wearer. These were primarily of
three categories:
BUttariya or upper garment

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BAntariya or lower garment
BKayabandh or sash

The Uttariya or upper garment was usually of cotton or silk with ornamented borders
and fringes. The way it was worn depended on the profession of the wearer. In court, the
uttariya could be draped on one or both shoulders, diagonally across the chest. It could
also be loosely draped across the back with the free ends hanging down both the lower
arms or wrapped around the wrist. For practical purposes, the working classes wrapped
the coarse cotton uttariya around the head for protection against the sun or wrapped it
snugly around the waist, leaving the arms bare. Women wore it as a head covering,
hanging straight down the back or secured with a headband. This could also be held in
place by wearing tight fitted caps under or over it.
The Antariya of white cotton, linen or muslin was the main garment for both sexes.
Occasionally it could be embroidered in gold and embellished with precious stones. The
antariya worn by women was initially of opaque fabric and later of transparent material.
A small piece was fixed to the sash in front, passed through the legs and tucked at the
centre back. It could also be worn as skirt wrapped around the hips.
A sash called Kayabandh was fastened at the waist, knotted at the front. The manner or
tying and decorating the sash could be either simple or elaborate.

Men wore unstitched pieces of fabric draped on the hips and passed between the legs like
a loincloth called Kachcha. While commoners and peasants wore a shorter version, the
length of this garment varied from waist to the calf orankles for the higher classes.

The Ushnisha was a turban for men. Along with the hair, it was twisted into a top knot
and the rest was wound around the head.

It should be noted that trade and invasions have always resulted in cross-cultural
influences in clothing. For example in the Kushan period, due to trade with Greece,
antariyas developed stiff, pointed fluting associated with the Greek Chiton. Kushan
costume for women showed the change and evolution of draped garments similar to
Greco-Roman costume. For example the Greek 'palla' which was the draped overgarment
was worn over a long gown with ruched (gathered) sleeves, pinned on the left shoulder.

Unchanging in its essence, is the traditional six to nine yard sari, where the manner of
draping is indicative of the geographical location in India where the wearer resides.
There are several traditional sari drapes in India. The draped unstitched garment has a
wide border on one end called palla with the rest of garment with narrow or wide borders
either woven or sewn to the fabric. Variations in the drape are sometimes simple like
wearing the palla over the left shoulder hanging down the back or worn in the traditional

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Gujarati or Marwari style with the palla brought over the right should shoulder to fan
out in front. At times the fabric is pleated in the legs and tucked at the back the waist. The
free end of the palla is sometimes used to cover the head like a veil.

1.2.2 Ancient Near East

Between 3500 - 3000 BC, a great civilization arose in Mesopotamia, now in present day
Iraq. Some of the different cultures of the Sumerians, Babylonians and Assyrians who
inhabited Mesopotamia, all showed a strong commonality in their draped clothes.

i) Sumerian Costume
The most basic form for both men and women was the simple ankle-length, wrap-
around skirt. The sculpture of a priest shows him in a long kaunakes skirt tied at
the waist, while the excess waistband forms an animal-like tail hanging loosely at
the back.

Fig 1.11 Ebikil, superintendent of the Ishtar temple at Mari, Paris, Louvre

ii) Babylonian costume

The earlier, thicker, tufted kaunakes skirt was
transformed into a draped look worn by both
sexes. Those of high rank wore elaborately
draped large woven shawls edged with fringes
and tassels while lower ranks wore simple linen
skirts. A typical style was of the shawl draped
under the armpits across the body with the
excess fabric covering the left arm and thrown
over the left shoulder leaving the right shoulder
and arm bare. The style almost prefigures the
Fig 1.12.Elamite woman in draped Babylonian
Greek Himation or Roman Toga two thousand garment secured with a pin on to the
years later. left shoulder, reminiscent of the Indian sari.

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iii) Assyrian costume

The Assyrians wore either rectangular or semi-circular draped shawls with the
short-sleeve tunic. Another small square or rectangular shawl was worn like an
apron at the back, while the semi-circular shawl was draped around the torso. The
amount of fringe edging also indicated rank.

Fig 1.13. Drawing of Assyrian king wearing draped

tasseled shawls over a belted tunic

1.2.3 Egyptian Costume

A characteristic of Egyptian costume was that it covered the

lower body, leaving parts of the upper body bare. Egyptian
clothing was mainly draped and pleated. The basic garment for
men was the schenti which was a single strip of linen wrapped
around the hips, worn by all classes, except for the fact that the
Pharaoh's schenti was much finer and often pleated. Similar to
the Indian drape, the common way of wearing it was diagonally
across the hips with one end tucked in at the waist and the
other hanging free in front. Male royalty also draped a large
transparent material around the body knotted at the waist
creating elaborate folds at the hips called the haik. Women
wore the sheath-like tunic called kalasaires.

Religious costume was an important part of Egyptian clothing.

When the shawl was not draped but merely placed flat on the Fig 1.14. Seti I and the Goddess
shoulder, it became a ritual garment which covered the arms Hathor, painted relief 19th
dynasty, Paris, Louvre
but left the hands bare.

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The Pharaoh wears the Schentiunder the draped transparent material around the body
creating elaborate folds at the shoulders and hips of the royal 'haik'. The Queen wears the
Kalasaires

1.2.4 Greek Costume

Ancient Greek and Roman costumes were draped in a traditional manner. Draped styles
of dress were characterized by the arrangement of large pieces of rectangular, oval or
crescent-shaped fabric which were folded, pleated, pinned or belted around the body in
different ways. This style of dressing utilized the entire fabric ensuring there was no
waste. In spite of influences from other countries, Greek costumes did not undergo any
major transformation.

Classical Greek costumes were based on two principles:

BThe first was that a unisex rectangular piece of cloth woven in varying sizes was the
basis of all draped styles, be it a tunic or a cloak.

BThe second was that this cloth was always draped around the body according to
certain norms, but not cut or shaped. There were vast possibilities of drapes that
could arise out of this rectangular fabric, as seen in the examples of architectural
draping at different temples.

Greek costume for men

The basic costume was the Chiton, a rectangle of cloth usually wool. It formed a tunic
fastened on the left shoulder leaving the right arm free or on both shoulders. This could
be worn with one or two belts at the waist. Without a belt this tunic hung loosely and
served as a night garment. When lengthened, it became a ceremonial or festive costume.
It could also be draped around the body like the Indian shawl.

Another male garment was the enveloping cloak called Himation made of a single large
(6' x 9') piece of cloth, swathed around the body without fixed fastenings. This cloak was
versatile in its draped style:
BIt could be worn alone, baring the right arm, shoulder and upper chest.
BIt could also wrap the wearer up to the chin covering the arms and the head.
BIt could be used as a blanket at night.

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Fig 1.15. Statue of Demosthenes in draped Fig 1.16. Statue of Dancing

Himation, Copenhagen, girl in Doric Peplos, Naples,
Ny Carlberg Glyptothek (Museum photo) Museo Nationale

Greek costume for women

All Greek women wore the Peplos which was essentially a rectangular shawl with a
fibula or brooch/ decorative pin on the shoulder and was usually open on one side. This
open peplos was usually not belted at the waist. Greek women also wore the closed peplos
by seaming the two free edges of the fabric together.

1.2.5 Roman Costume

Roman costume was more class-based than that of the Greeks and reflected the society's
formal distinctions between its own citizens and outsiders, within a highly organized
system of rules. The civilian costumes of the Romans were broadly classified into two
categories:
B
Those which were slipped over the head
B
Those which were wound around the body.

The wrapped garment was a Roman cloak called toga. Originally it was an outer garment
for both sexes which also served as a blanket at night. The draped cloak was made of a
large piece of cloth cut as a segment of a circle. Gradually the toga became extremely wide
and complicated especially when used as a ceremonial garment. The elite indicated social
status through various interesting ways of slanting or crossed drapery to which bands of
specific colours were added for distinction.

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Women wore a tunic with the draped palla which was the equivalent to the male toga. It
was a large square or rectangular piece of cloth folded lengthwise and held on each
shoulder with the fibula. It could partly cover the head and partly mask the face.

Fig 1.17. Roman men wore draped Toga with the band Fig 1.18.Women wore the draped Palla
along the edge of the fabric

Exercise – 2: Match the Columns

1 Fastening/pin to hold the ends of the Greek peplos together Antariya

2 Egyptians unisex garment Chiton
3 Only free Romans permitted to wear this garment which Schenti
could be draped in various ways to indicate social status
4 Sumerians skirt with an excess tail-like waistband Kaunakes
5 Roman counterpart of the Greek Palla Himation
6 Detail which indicated rank among Assyrians and Babylonians Fibula
7 Upper garment worn by ancient Indians Fringe
8 Garment worn by Egyptian men across all social strata Toga
9 The Greeks wore this versatile garment like a tunic which Kalasaires
could be belted, lengthened or draped like a cloak or shawl.
10 Indian draped lower garment Uttariya

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Review questions
1. State the 5 broad archetypes of clothing?
2. Give two examples of draped and slip-on costumes.
3. What were the broad categories of Indian garments?
4. What was the difference in the way the basic Egyptian garment was worn by the King
and commoners?
5. How did the Roman men indicate status through clothing?
6. Explain the term Uttariya. Briefly explain the manner of draping among the different
classes of society.
7. Elaborate on the following terms:
i) Kaunakes
ii) Schenti

Activity – 2

Background: Both in Western and Asian civilization, draped apparel have preceded cut and
sewn fitted garments giving each ensemble a distinctive look worn both by men and women.
The manner of draping the traditional six to nine yard sari is indicative of the geographical
location in India where the wear resides. There are several traditional sari drapes in India.
This activity is intended to provide students with hands-on practice of recreating drapes of
ancient Indian garments. Student shall work in parts to perform this activity.
1. Refer to books, magazines or internet and collect pictures of different sari drapes.
2. Are there commonalities and differences in the drape according to the geographical
region? Are the saris of the same length? Has the manner of draping the sari changed
or remained unchanged over the year?
3. Select any one ancient draped garment from the chapter (sari antariya, uttariya)
4. Refer to books from the Bibliography to find out more about the way the garment was
draped.
5. Demonstrate the draping process step-by-step in class

1.3. War Costumes And Uniforms

The history of mankind has been synonymous with warfare, which necessitated the use
of clothing and accessories specifically for war. War costumes evolved naturally from the
geographical location and the terrain. The use of locally-available indigenous material
and the specific techniques of warfare, necessitated the shape, construction and colour of
the battle-gear/armour/uniforms that visually distinguished each battalion or army. The
crucial requirement of armour was to protect the wearer.

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With a change in the techniques of warfare, armours were replaced with uniforms.
Uniforms are composed of a specified set of clothing choices with detailed specifications
on their combination. This has enabled the following:
CInstantaneous identification of one regiment from another and one's own army
from that of the enemy.
CCreated a means to instill loyalty and a sense of common purpose among soldiers.
Uniforms are worn by not only by the armed forces but also by members of a specific
group (e.g. schoolchildren, scouts, cheerleaders), profession (e.g. soldiers, nurses, chefs)
indicative of hierarchy (e.g. jawaan, Lieutenant, Major, General). Uniforms exert a
strong influence on civilian modes of dressing. Their appearance, details as well as
construction have often inspired designer collections.
An overview of war costumes and uniforms with examples is given below:

1.3.1 Armour
The armour is central to all forms of traditional battle uniforms and is mentioned in
historical references of different countries. Several museums across the world have a
section on protective battle gear and weapons. The appearance of armour symbolizes
strength, power and impregnability. Since the warrior's chest was the target of impact for
the enemy's weapons, the armour was constructed in way to reduce the vulnerability of
the wearer. Armour for the soldier and his mount (horse, elephant) was enhanced in
tandem with improvement in weapons and tactics. It was most important that it had to
offer protection yet be light and flexible enabling maximum freedom while fighting,
twisting, running, riding etc. The type of armour varied between Western and Asian
countries.

(i) Techniques of Armour Construction

In several civilizations over the ages across the world, metallic armour was traditionally
used. Irrespective of the differences in design and type of construction, the armour was
not a single piece but included separate pieces for protection of different parts of the head
and body.
A broad classification of the different ways of constructing armour is as follows:
a) Scale armour where small scale-like overlapping metal pieces were fixed to the
foundation garment of leather or fabric. The plates had small holes so that they
could be laced to the foundation with wires without any gaps. The problem of this
armour was its inflexibility and stiffness since the plates could not move.
b) Lamellar armour consisting of many small narrow overlapping pieces (Lamellae)
joined to each other with laces made of metal or rawhide.

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c) Mail armour where iron or steel rings form a mesh-like interlocking curtain. It
has been the most widely used by Romans, Persians and Indians. While it protects
the wearer from sword blows, it is extremely heavy and cumbersome.
d) Plate armour used a riveting technique to loosely link large metal plates and by
leather on the inside that allows articulated sliding movement and also offers very
good protection from sharp spears and other instruments.
e) Mail and plate armour combine the best of both types. Large metal plates are
loosely linked by mail that offers protection and flexibility with additional
advantage of being light.
f) Leather and fabric armour of varying thicknesses were the oldest forms made of
multi-layers of leather or fabric quilted together. They also reduced the chaffing of
skin. These were usually worn by ordinary soldiers. However the protection in war
was relatively ineffective as compared to the armour made partly or completely in
metal.
g) Brigandine armour was made of small metal plates riveted to a rigid inner lining
of the garment at vulnerable points.

(ii) Armour Accessories

Generally body armour was worn with other items like helmets, legwear and gauntlets.

_Helmets
The purpose of the helmet was to protect the most vulnerable parts of the warrior
namely the head and face. According to rank, it was designed to intimidate the
opponent by its impressive structure, height and splendour. The components were:
2
Helmet (covering the crown of the skull) including the spike, plume holder
2
Faceguard including the cheek guard, nose guard - either fixed or movable
2
Neck piece including the neck flange at the nape
2
Mail curtain or Aventail
The faceguard necessitated that the wearer should be able to breathe, see and speak
clearly.

_Leg Armour
Military footwear needed to be both protective and visually distinctive. The
medieval knights wore metalsabaton (shoes) and greaves (shin armour).

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Fig 1.19 Gladiator helmet decorated Fig 1.20 Shin greaves

with Gorgon masks. From
Herculaneum, Paris, Louvre

1.3.2 Ancient War Costumes

(i) The earliest examples of clothing worn by warriors are found in Sumerian culture. The
soldiers wore a long fringed skirtover which a wide band of nailed leather
re-enforced with metal studs for protecting the back and chest was thrown over the left
shoulder and hanging down the back. They also wore rawhide caps and copper helmets
sometimes fitted with chin straps and padded with wool and leather.

Fig 1.21 Mosaic inlay from Mari, Paris, Louvre

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(ii) Like the civilian population, the Egyptian soldiers wore the white schenti while troops
of tributary nations could wear coloured or striped versions. It was layered with a leather
apron and a belt of coloured cloth or leather. The head was protected by a padded wig or a
war-cap of thick cloth. Officers wore a Kalasaires with torso armour of leather or linen.
The light armour was suitable for the climate but not very effective in terms of
protection.

(iii) Greek soldiers wore a short draped woolen cloak called chlamys (Fig 1.22) made of a
strong, tightly-woven yarn fastened on the shoulder or back to cover both shoulders.
During warfare it could be wound around the left arm to deflect blows. The Greek cavalry
wore a leather jerkin strengthened with bronze disks, shoulder pieces and leather
leggings. The infantry wore the chest armour called cuirasse (Fig 1.23) made of sewn or
riveted metal scales re-enforced on the shoulders and chestover the padded tunic. The
helmet with a round crown, nose and cheek guards was made of shaped metal plates.

Fig 1.22 Cup, Paris, Louvre Fig 1.23 Funerary stele,

Athens, National Museum

(iv) The Roman legionary and infantrymen wore the padded inner tunic with reinforced
chest under the coat of mail under the cuirasse to protect the wearer from burning hot or
icy cold metal. It consisted of overlapping plates of metal riveted to leather straps which
covered the chest, shoulders and waist.

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The cuirasse of the Emperor or those of higher rank was made of embossed metal plates
depicting battle scenes with leather tabs trimmed with metal over the shoulders and
abdomen.

Roman accessories consisted of a broad belt of leather to which a leather apron could be
attached. They also wore sturdy boots with thick soles and several crisscrossing leather
thongs with shin greaves. The helmet originally of bronze and later of iron, had a smooth
crown with a plume of feathers, neck flange, cheek guards and a fixed visor with a slit for
the eyes. The gloves/gauntlets were lined with cloth or leather.

Fig 1.24 Emperor Trajan, 2nd century, Paris, Louvre.

(v) In the Medieval times a warrior wore a quilted doublet under the coat of mail. During
tournaments, the knight wore a civilian tunic, over which he wore a leather jerkin with a
slit at the back to facilitate mounting and dismounting of horses. For the purpose of
identification and decoration, he wore a sleeveless or short-sleeved surcoat and carried a
shield with visually distinctive emblems with mythical creatures (e.g. dragon or unicorn)
or majestic creatures (e.g. lion or eagle).

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Fig 1.25 Medieval knight in armour

1.3.3 ORIENTAL AND INDIAN WAR COSTUMES

(i) Japanese war costume

The Samurai armour indicates the prestigious status of the

warrior class of the feudal Japan. Early Samurai armour and
helmets developed in complexity over the centuries. To
facilitate free and rapid movement of the sword and for
protection against the opponent, Japanese armour consisted
of several lacquered metal plates, laced tightly with coloured
silk, helmets, breast plate, belts, wraps, detachable shoulder
plates, arm plates, thigh plates to create a variety of styles
until the whole body was protected.

(ii) Indian war costume

Fig 1.26 Japanese armour
In India, evidence of armour of different materials from
early periods is found.

BIn the Vedic period (1500 BC) the covered his shoulders with a varman made of
metal wires along with a layered headgear. The left arm was protected by a leather
strap from the string of the bow.

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BIn the Kushan period the soldiers wore a mauli (turban) made of a twisted roll of
cloth, long-sleeved tunics with the antariya worn either in the kachcha style with
the fluted end tucked in at the centre front or in a lehenga style. The skirt segment
of the armour was made of rectangular scales with the hem reinforced with cording
or some other form of edging. The chain or scale armour of geometric shapes was
fastened with strings like Japanese armour.

BThe military uniform of the Gupta kings consisted of a shorter antariya with a
kayabandh that was wound tightly around the waist. A protective chest piece with
criss-crossing bands held with a buckle, gave way to the sleeved, knee-length tunic
called kanchuka. Extra protection was provided by the metal breastplate called
urastrana which was a single plate from neck to waist.

BThe Rajput kings also wore a 'coat of mail' made of metal links which allowed
flexibility in movement. Though it was strong enough to resist sword blows, in
order to deflect or minimize a blow, it was worn with metal breastplates.

The chilta hazaar masha, (coat of a thousand nails) was strengthened with studs on
fabric reinforced with plate armour, elaborately studded with small gilt-headed
rivets.

BThe Mughal amour called zirah bakhtar was a chain

mail shirt worn over a quilted inner garment. It had
full sleeves with a skirt divided at the fork till the
calves. Over this armour, an Angrakha or long fabric
coat was worn. The kavach was a waistcoat of armour
where the back plate and front were hinged at the
shoulder and pinned on the sides. The armour was
gilded in gold and the insides were padded for comfort.
The trouser legs were also partly covered in mail. On
the feet were heavy leather jootis further reinforced by
studs or metal plates.

BThe Indo-Persian char-aina meaning four mirrors,

included a coat of mail over which four plates were
attached. The chest and back plates were larger while
the side pieces were narrower, smaller and shaped to fit
under the armpits. They were attached to each other by
leather laces and hung from the shoulder with straps
Fig 1.27 Chilta Hazaar Masha
usually worn over a mail shirt or directly attached to
the mail. There were delicate engravings on the plates.

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Armour Accessories
B
Arm armour
The arm guards or Bajubandh were worn for protecting the arm, usually with a
glove/ gauntlet. Today the word refers to an item of jewellery worn on the upper
arm.

B
Helmets
Helmets had decorative elements like dome-shaped fittings, a plume holder,
movable nasal guard and/or a camail (chain mail)to protect the neck at the back and
sides. Today helmets are a mandatory requirement for road safety of motorcycle
and car drivers.

1.3.4 Uniforms During World Wars

Significant differences emerged in the war uniforms before World War I and those after
it.

BAt the outbreak of World War I armies wore utilitarian, neutral-coloured outfits.

BThe English aviators of the Royal Flying Corps wore fleece-lined leather flying
coats with long boots and gauntlets under which was a double-breasted tunic with
concealed buttons to keep warm in open cockpits. Goggles, masks and helmets
protected the face and eyes.

BThe characteristic grey uniform adopted by the Germans was teamed with a steel
helmet. During World War II the German army consisted of both the army and the
special security combat division called Waffen SS. While the traditional features
and insignia like the gold collar patches were retained, Hitler brought in a new
National symbol of an eagle clutching an oak leaf encircling the 'swastika'. Piped
edges of red, white and carmine distinguished the uniforms of different divisions of
the army. The SS unit had its own unique rank and unit markings.

(i) Influence of War Uniforms on Civilian Clothing

Uniforms exert a strong influence on civilian modes of dressing. The World War uniforms
have influenced 20th century clothing in different ways:

BItems of clothing: Examples include peaked caps, leather 'bomber' jackets, high
leather boots, brass-buttoned double-breasted overcoats, jodhpur trousers etc. The
precision of cuts and silhouettes have been modified in men's formal tailored
clothes. Since the World Wars, the incorporation of uniforms into civilian clothing

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has created practical clothes for formal occasions like tailored clothing (jackets,
suits), security personnel uniforms, semi-formal (safari suits) leisure wear etc. The
Sailor suit consisting of a short blouse with a large V-shaped collar at the front and
low square flap at the back and dark-coloured necktie, is often seen in children's
clothing and also nautical-theme collections.

BDetails of insignia: This includes symbols like stars, stripes, braids, national
emblems etc. These may be stitched/ appliquéd, embroidered, braided in fabric or
metal and attached to the collar, epaulet, sleeve or shirt front.

BColour: From the late 19th century a dust-coloured lightweight cotton drill fabric
called khaki was used by the Indian army during the British Raj. The word Khakhi
is related to the military be it in terms of colour (olive green, brown), fabric (hard-
wearing cotton), details (collars, shoulder epaulettes, outside pockets) or garment
(colonial or jungle- oriented). Originating from the word 'khakh' (meaning dust/
earth/ ashes), the colour was derived from a variety of substances used for dyeing
like tea leaves, ground coffee beans or inks creating shades of brown, grey and off-
white. Khakhi-coloured uniforms reduced visibility of the soldiers and downplayed
dirt marks more effectively. Today it is a colour synonymous with uniforms of law-
enforcement services in India like the police.

BPrints: Today different kinds of camouflage prints (also referred to as 'disruptive

patterns') are used by the military across the world. Specific patterns in varying
colour combinations (like brown, beige, green, blue, grey) blend in the dense
vegetation, mountainous regions or deserts. These are designed so as to conceal the
soldier's presence thus making him inconspicuous as a target. Today camouflage
prints in clothing and accessories (boots, headwear etc) are a part of the uniform of
both army and para-military forces in several countries.

Fig 1.28 Camouflage prints

Even in recent times their surface design, design details as well as construction
techniques continue to inspire designer collections.

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Fig 1.29 Ritu Beri 2010

Exercise – 3 : Fill in the blanks

1. The Gupta soldiers wore the metal-plated _____________ to protect the chest.
2. The Rajput armour studded with nails was called ______________.
3. The Mughals wore a waistcoat of armour with hinged front and back plates
called______ .
4. The Mughal amour called _________ was a chain mail shirt worn over a quilted inner
garment.
5. Generally body armour was worn with three other items namely helmets, leg guards
and _________.
6. The arm armourcalled ______________ was a part of the Indian armour ensemble but
has now become a jewelry item.
7. ______________ as a word indicates both a colour and a garment.
8. The Greeks and Romans wore chest armour called ________________.
9. __________________ prints are designed to blend in the surrounding terrain.
10. Protection of the torso from bruising caused by wearing armour, necessitated ______
technique, which led to the development of jackets.

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Review Questions
1. What is khaki?
2. Why do military uniforms have camouflage prints?
3. Explain the term Armour? Discuss the different types of armour construction.

Activity – 3
Background: Period movies can be a source of costume history of different
civilizations and ages. Award-winning movies like Ben Hur, Cleopatra, Gladiator,
Troy, Mughal e Azam, Mangal Pandey, Jodha Akbar, Gandhi and others provide
interesting visual references to civilian and war clothing.
This activity will enable students to relate textual information in this chapter with
actual costumes in selected movies.
1. The teacher may select any movie which has won awards for Best Costume for
viewing or discussion in class.
2. The movie may be viewed or discussed in class.
3. Costumes/uniforms/ armour and accessories in the movie may be correlated to
the textual information in this chapter.
4. Do the costumes in the movie enhance the understanding of the civilization?

1.4 Industrial Revolution

Prior to industrialization of fabric production in the 18th and 19th centuries, the
fabric cost was high which prohibited most people from possessing too many
clothes. Most people had to spin their own yarns, weave and knit their own fabrics
and then sew their own clothes in their spare time. Lower classes wore homespun
clothes since fabrics in fine weaves were unaffordable for them.
In the mid-18th century, a general change swept Western civilization. The middle
class grew stronger and began to actively participate in trade and industry. Every
facet of life was affected including textiles and costume.
In England the Industrial Revolution rapidly transformed the country. Several
new inventions followed by patents, considerably developed the industrial
spinning and weaving centres. While these speeded up the process of textile

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production, they also led to riots and laws were passed to stop their
implementation due to the fear that increased mechanization could create
widespread unemployment, thereby adversely affecting the lives of common
people.
The opening of new markets in Spanish colonies, abundant imports of Indian
cotton and extension of French silk mills also contributed to the change. The
British textile industry primarily produced broadcloth. Manchester transformed
itself from a market town to the centre of the cotton industry while Norwich
produced wool and Coventry silk. The fall in prices, as a result of mechanization,
opened up the world market for England.
Cotton revolutionized European clothing with the production of exclusive fabrics
such as lawn and batiste. The vogue for cotton garments as well as accessories in
lawn, muslin and gauze grew steadily. An unexpected effect of the use of cotton
was the slave trade. Cotton cloth was transported to Africa where it was bartered
for natives, who were then taken to the new American states. Subsequently, the
ships returned with raw cotton.

1.4.1 Mechanical Inventions During Industrial Revolution

At the beginning of the 18th century, most of the
work related to the textile spinning and weaving
woolen industry was carried out in people's homes.
A chain of inventions changed the situation
completely. This caused unrest among people who
feared that machines which could do the work of
several men would result in unemployment.
Though sporadic attempts were made to break
machines, the process of mechanization continued.
With the increased demand for cotton goods there
was greater need for cleaning of cotton, which was
normally an approximate amount of 1 pound in a
day. Eli Whitney invented and patented an
automatic Ginning machine which was a simple yet
Fig 1.31 18th century knitting
effective way of separating cottonseed from short machine
staple cotton fibre.

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In 1804 refinement and complexity in woven textile patterns came in the form of
the Jacquard loom named after the designer Joseph Jacquard. This loom
invented a way of automatically controlling the warp and weft threads on a silk
loom by 'recording' patterns of holes on a string of cards. This relatively simple
method evolved and was modified later into computer punch cards.

The invention of the sewing machine by was revolutionary. Itinspired the first
domestic sewing machine by Issac Singer in 1851. In the 19th century, the
sewing machine brought the principle of assembly-line, which led eventually to
mass production, standardization of sizes and ready-to-wear clothing, sold in
departmental stores.

Increasingly, active scientific research made a lot of progress in colours and dyes.
Sir Isaac Newton had earlier isolated the principal colours of the spectrum -
red, yellow and blue of which the other tones were only mixtures. Johan Tobias
Mayer explained the principles of colour mixing, obtaining several new shades.
The new possibilities of colour provided textile manufacturers with numerous
colour combinations. In 1856 Sir William Perkin invented the first synthetic
dye.

1.4.2 Effect of Industrial Revolution on India

India was ceded to Britain by the Treaty of Paris in 1898. India's economy at this
juncture as in ancient times depended largely on its textiles. Indian cotton and
other specialized textiles were unmatched quality and were therefore used to
trade in spices. During colonial rule, the traditional royal and temple patronage
declined, as the British government changed India's role as the largest exporter of
textiles in the world, to the biggest importer of English-made cloth. The country
was systematically plagiarized as the Indian domestic market was swamped by
cheap copies of Indian textiles, industrially produced in Lancashire. Stringent
taxes were imposed on weavers who specialized in hand-made fabrics. As a result
of this, weavers of textile weaving centres like Surat and Murshidabad faced
tremendous hardship, to the extent that some textile weaving techniques became
extinct.

British women's clothing profited from the progress made in the nation's mills
whose raw material was provided by the East Indian colonies. Cotton was the
most sought after for its superior quality, afford ability and durability. Beautiful

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Indian prints called chintz (derived from the Indian cheent meaning 'spray of
raindrops'), delicate muslins and calico fabrics were very popular in England.
France too exhibited great interest in printed, painted or dyed calicoes called
Indiennes. Shawls from Kashmir in complex designs and labour-intensive weaves
called kani were regarded as luxuries in Europe. Inspired by the exotic garments
of the West Indies and the exquisite clothes of the nawabs of India and Ceylon,
British clothes were fashioned by overseas colonies. It is significant that words
which are part of the modern global textile vocabulary like chintz, muslin, calico,
shawl, khakhi, kamarbandh, jodhpurs, pyjama etc. are of Indian origin.

Exercise 4a: Match the following

Designed loom which could create complex weaves and Eli Whitney
developed later into computerized punch-cards
Invented the first synthetic dye Isaac Singer
Invented the first domestic sewing machine Johan Tobias
Mayer
Obtained several colour shades which provided textile Joseph
manufacturers with numerous colour combinations Jacquard
Invented and patented an automatic Ginning machine for Sir William
cotton Perkin

Exercise 4b: Fill in the blanks

1. Indian peasants were forced to cultivate and dye cotton in indigo within an
oppressive system called ---------------.
2. ________ was a popular Indian print with small flowers used in European
clothing.
3. Cotton revolutionized European clothing and accessories with the production of
exclusive fabrics like -----------, ------------ and -------------.
4. Malmal is the Indian name for ----------- fabric.
5. Stringent taxes imposed on weavers who specialized in hand-made fabrics
resulted in some textile weaving techniques becoming __________.

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1.5 Effect of World Wars on Fashion
Though war and fashion seem unrelated, the influence of war actually affects
lifestyle and, by extension, the outward appearance of people. The World Wars
and the period between them brought about a socio-economic change with long-
lasting consequences.

1.5.1. World War I (1914-1918)

During the war, the absence of men forced women to take on new roles and
responsibilities. Traditional roles of governess and typist changed. Replacing
social events in favour of nursing, women wore working uniforms of blouses,
overalls or trousers with caps in ammunition factories. The serious mood of the
nation and mourning for the dead, reduced people's interest in elegant dressing.
From the economic point of view, decreased domestic production and currency
restriction strengthened the trend. Several couturiers closed their business.

Elaborate fashion in terms of material,

trims and ornamentation prevalent in the
pre-war period gave way to new
developments in clothing. Dark-coloured
clothes were widespread.

The new role of women in society was

affected by currency devaluation. Their
role in society increased, replacing
decorative styles with simplicity. The
need for increased mobility and less
fussiness led to skirts rising from above
the ankle to the mid-calf. This also led to
the adoption of silk stockings as a symbol
of luxury and low-cut shoes instead of
high boots. When the jobs became more
regimented, the clothes became more
uniform-like with a tailored look. The cut
of men's costumes also remained constant
Fig 1.32 Womens clothing during World War
with reduced details since they now led a
more active life.

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1.5.2 Between The Wars (1991-1939)

The upheavals caused by the war created a gap between previously prevalent
traditions and new developments in society. Women's emancipation was
strengthened by finally getting suffrage (right to vote) in 1920.

In the 'Roaring Twenties' decade, fashion saw the birth of casual wear for men and
women. Swimming, travel and Jazz dancing changed the previous relatively
sedentary lifestyle to an active one which toned the body, necessitating the shift
from formal wear to sporty styles. Holidays now included travel to faraway places,
there by making the right time to create
separates like trousers, suits and wrap skirts.
Sports like tennis ushered in white knit sports
e n s e m b l e s n a m e d ' Te n n i s W h i t e s ' .
Simultaneously there was also informality in
men's clothing, emphasizing relaxation and
youthfulness. Wool suits with softly tailored
collars and slim silhouettes with padded
shoulders became popular. As in the case of
women, the widespread practice of sports saw
the first 'Lacoste' brand shirt in 1933.

Paul Poiret a couturier (designer of couture

fashion), became a trendsetter when he
refrained from designing tight corset dresses
for women. Women's clothes were no longer
Fig 1.33 Flapper girl in 1920s
restrictive in terms of length or ease; long
dresses with trains, corsets and hourglass silhouettes were replaced by knee-
length dresses with simple bodices and lowered waistlines. This style called the
Flapper Look created by designer Jean Patou in 1925 had a slender, rectangular
silhouette with delicate embroidery and accessorized with a long string of pearls.

The euphoria of the 1920s characterized by progress, abruptly changed with the
Wall Street crash of 1929. As the stock market began to slide downward there was
a corresponding lengthening of skirt lengths. As this economic disaster spread to
Europe causing unemployment and inflation, expensive couture clothing became
practically non-existent. Most women had no choice but to use their sewing

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machines to make clothing that balanced style with afford ability. Even cotton
was used for evening dresses. Cheaper mass-produced clothing and ready to use
patterns for making designer wear duplicates, became popular in the 1930s.
Tailored suits for women became a necessity.

At this juncture USA imposed a 90% tax on imported clothes. Dress materials and
paper patterns being duty-free led to the development of reproductions based on
simplified prototypes made in different styles and copied in affordable materials.
American designers developed coordinated outfits which gave people the freedom
to mix and match and thereby put together their own looks.

The period between the wars was dominated by 3 women designers: Gabrielle
'Coco' Chanel, Madeline Vionnet and Elsa Schiaparelli.
B
Vionnet produced exquisite dresses cut on 'bias' grain (45 degree grain)
which curved and clung to the body. She is acknowledged as the creator of
the 'cowl neck' and 'halter neck'.
B
Chanel's designs for the new woman were born out of her immense practical
sense. She designed the blazer, boxy suits with chains, created her symbolic
intertwined 'Cs' logo and popularized affordable costume jewellery.
B
Schiaparelli had an artistic approach to design using unpredictable
whimsical motifs like lobsters, skulls, keys as well as humorous accessories
and trims. Influenced by the Surrealism movement at the time, her clothes
often made playful use of optical illusion which made her a designer imitated
for many successive decades by others.

Fig 1.34 Design by Madeline Vionnet Fig 1.35 Coco Chanel Fig 1.36 Design by Elsa Schiaparelli

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1.5.3 World War II (1939-1945)
The war once again affected the clothing industry as it did all
other facets of life. For a while it seemed to severally restrict
couture, the capital of which was Paris. Germany seriously
planned to transfer French couture to Berlin and Vienna,
neither of which had a tradition of fashion. In order to allow
Parisian couture to retain its autonomy, designers launched a
strong counter-offensive.

With the Parisian fashion world in a state of hibernation,

World War II gave an opportunity for American designers to
flourish and for designers from other countries came to
America to start their business. American designer Claire
McCardell designed comfortable separates (separate items of
clothing) thus introducing the very popular category of
sportswear.

Meanwhile most people recycled old garments and used

clothing coupons. Regulations governing the clothing
industry were introduced. No more than four meters of cloth
could be used for a coat and one meter for a blouse.
Specification for width of waist belts, shoes with thick wooden
wedge-shaped heels, shoulder bags to carry supplies for Fig 1.37 The 'Victory suit'
wartime emergencies were clearly stated. Skirts were during World War II
designed with side slits to make it easier to ride a bicycle.

Meanwhile in England a committee of designers was constituted to design a limited

number of practical and attractive clothing for mass production. These designs called
Utility Clothing were required to be within the parameters of textile restrictions
enforced since 1941. The famous women's uniform called the Victory Suit is attributed to
this committee.

The extravagant, 'New Look' with its short, full skirt and short jacket introduced by
French designer Christian Dior in 1947, established Paris once again as the fashion
power base. The end of war also marked the end of austerities. After the liberation, the
new post-War period saw the gradual revival of the clothing industry and rebirth of
elegance. International linkages were strengthened. The clear need for both practical
daytime dresses as well as luxurious evening gowns was balanced. The concept and
establishment of exclusive stores called boutiques, made designer creations more
accessible to the general public.

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Fig 1.38 Christian Dior's 'New Look' in 1947

Exercise 5a: Fill in the blanks:

1. The French name of high fashion is ______________.

2. The French name of ready to wear is _______________.
3. White knit ensembles worn for sports like tennis were called ____________.
4. The restrictions called ________________________ in clothing were enforced on the
general public during World War II
5. The women's uniform during World War II was called _______________.
6. _____________ designs gave women the freedom to mix and match their clothes.

Exercise 5b: Match the following:

1 Practical elegant clothing Christian Dior

2 Avoided designing corset dresses Jean Patou
3 Use of bias grain on fabric Elsa Schiaparelli
4 Whimsical motifs on clothes Madeline Vionnet
5 Creator of the 1920s Flapper Look Paul Poiret
6 New Look Coco Chanel

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Review questions
1. List 4 inventions which brought improvement to the textile industry during the
Industrial Revolution.
2. Name the women designers who dominated the period between the two World Wars.
3. List three regulations governing the clothing industry.
4. Explain 'Utility Clothing' during World War II?

Activity – 5
Background: There were some designers who made significant contribution to fashion
during or between the two World Wars. Their design innovations had a widespread effect on
the way clothing was perceived by society.

This activity will enable students to understand the creative role and significant
achievements of fashion designers in the early 20th century
1. Select any one designer from the period during or between the World Wars
2. Find pictures of his/her designs from reference books or from the internet.
3. Paste the pictures in an exercise book relating them to the textual information in this
chapter
4. Does the label still exist? If so, who is the Head Designer of the label now?

1.6 Evolution of Modern Indian Fashion

Traditional Indian clothes have had a distinct identity not only within the country but
also globally. Moreover, Indian costumes have a unique characteristic of being indicative
of a particular geographical region. The history of 20th century Indian fashion is
contextual and co-related to the socio-economic-political environment within the
country as well as changing fashion trends abroad. It should be noted that Indian
heritage and tradition has been so deep-rooted that new influences could bring about
only a limited amount of change, without any radical metamorphosis in culture.
1900 to 1910
At the turn of the century, the socio-political scenario was that of the British Raj firmly
entrenched in India. On one hand the influence of Western fashion in menswear was seen
in baggy trousers, buttoned shirts, jackets, hats, walking sticks worn by some Indians in
the workplace. However dhotis and pajamas with kurtas and turbans continued to be the
staple items of clothing for most people, indicative of regional or national identity.

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Women wore a high collared three-quarter sleeved blouse with the sari pinned on the left
shoulder with a brooch. The wives of those working for the colonial government were the
first to step out and mingle with the British. The ladies of Brahmo Samaj of Bengal were
the earliest to adapt to Western styles. While the tradition of wearing saris with regional
draping variations continued to be firmly entrenched, women began to experiment with
the sari blouse. The stitched sari blouse echoed the latest styles of English blouses with
cuffs, laces and pleats with the sari palla pinned at the shoulder. The long ruffled skirts
worn by the English inspired the stitched petticoats worn with saris decorated with
pretty borders and dainty laces. Heavier embroidery embellished with pure silver and
the resham combined Mughal inspiration with Western influence.
1920s
In the West, the decade called 'Roaring Twenties' characterized by the 'Flapper' style
enhanced the slender columnar silhouette. In India the trend was echoed with changes
in the sari blouse where the semi-fitted rectangular shape continued in the long-sleeved
blouses with raised sedate necklines.
1930s

This trend continued into the 30s where the sari palla was draped either seedha (back to
front) or ulta (front to back). The Western style of padded shoulders translated into
puffed sleeved blouses. This era saw the advent of movies which transformed film stars
into icons whose every nuance of style was faithfully emulated by the masses. With the
first talkies, elegant chiffon saris became fashionable popularized by the upper echelon
of society and film stars. The first fashion show was held in Pune in 1930 when Catherine
Courtney of 'Pompadour Gowns' presented western clothes on European models.
1940s

Austerity measures along with a renewed zeal in patriotism marked this decade.
Mahatma Gandhi's call for complete independence in the 1940s had the objective of
uniting the entire country and manifested itself by the burning of all foreign
materials/clothes. It was a significant gesture that 'khadi'- traditional, rough, homespun
which was woven on the 'charkha' was not just a fabric but also a symbol of the Indian
spirit of the times-of self-reliance, nationalism and resistance to British rule. Khadi
kurtas, pajamas and dhotis were worn along with the simple folded Gandhi topi. This
look submerged differences in religion, creed and caste into one collective identity of
being Indian. Kamaladevi Chattopadhyay epitomized Indian elegance in her hand
women saris. Generally, women wore saris with conservative waist-length semi-fitted
blouses with high neck or band collar and half-length, half three-quarter length or full
length sleeves.

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Post-independence and 1950s

Post 1947, the limitations of the Indian style statement was expanded by India's first
Prime Minister, Pandit Jawaharlal Nehru. He consistently exhibited an inimitable style
with his well-stitched churidar-kurtas, Gandhi topi and a 'bandhgala' band-collar jacket
with a red rose pinned on the lapel. The 'Nehru jacket' as it was known, gave a new
direction to menswear fashion in India.

The post-Independence era brought about a buoyant mood which continued in the 1950s,
where the sari blouse showed distinct signs of innovation in pattern. The length of the
blouse became shorter. The 'cup' could now be cut as a separate piece with darts and
seams. Embellishment though embroidery, mirror work, beads and sequins made blouses
more decorative.

Indian women now had the dual responsibility of balancing the household and work
outside the home. Optimizing time, she found the 'salwar-kameez' very convenient.
Originating from Punjab, this ensemble was adopted as a natural choice irrespective of
local and provincial influences. It was initially worn with a short jacket or 'bundi' and a
'dupatta'.

1960s

This decade was the beginning of street wear bubbling up to high fashion, the ethnic look
to hit the runway as well as for hippies to run free. In the West, the mini skirt/dress, shot
up above the knees often teamed with knee-high boots. Correspondingly the 'salwar-
kameez' lengths grew shorter. 'Tights' worn with skin-fitting knit tops and pullovers was
an integral part of the look. Hindi films held up a true mirror of fashion in society of the
time. Heroines wore extremely tight kameezes with churidars which were replaced by
nylon stretch pants and 'dupattas' of sheer materials like chiffon, net or nylon.

With sari blouses the craze for curvaceous toned midriffs continued. The back neckline
plunged or could be knotted in a bow on a sleeveless blouse worn with sari with rather
short 'palla' seemingly carelessly thrown over the shoulder. Worn below the navel, saris
were draped versions of low waisted 'hipster' skirts and pants. Another variation was the
mini-sari draped above the knee which was perhaps too risqué to become a widespread
style statement. Hindi films gave the first stitched sari, figure-hugging with pleats and
'palla' in place which just needed to be zipped up. This zip-on sari became a party-wear
favourite because of the convenience of wearing it. Sensuous fabrics like chiffon, crepe
and georgette were conducive to this sari drape. Bouffant hair with occasional hints of a
fringe, heavy lidded eyes and pale lips completed the look.

This decade was synonymous with trousers called 'Bell-bottoms' with varying degrees of

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flare, a style that continued into the next decade. Loose, straight-leg trousers named
'Parallels' pre-dating modern wide-legged Pallazo pants were also fashionable. Indian
kameezes were also teamed with these pants.

The kurta/kameez was also teamed with the lungi a wrap-around skirt either as a
rectangle or as a large cylinder that could be draped on any body size. This was essentially
a sarong-like wrap which was seen not only in the Orient but was also a traditional
draped with regional variations seen in Saurashtra in the West, Kerala in the South and
Punjab in the North.

Lucknow shararas and ghararas worn with kameezes and dupattas became part of the
formal dress code. Another ensemble that became popular was the Rajasthani, ghagra-
choliensemble adopted by socialites at weddings and other traditional ceremonies. The
long or short ghagra skirt was worn with stylized cholis and kurtis.

With Femina acquiring the franchise to several international beauty pageants like Miss
Universe, Miss World and Miss Asia in 1965, beauty competitions and fashion shows
were held in Delhi, Bangalore, Calcutta and Madras.

1970s
This was a time when the clash of lifestyles and aesthetic values resulted from the
widespread use of new materials and techniques. Plastics replaced natural materials,
factory produced goods replaced handcrafted ones and nylon replaced hand-woven silks
and cottons. Yet against all odds, a strong revivalist movement revitalized the legacy of
textile crafts largely through the efforts of visionaries like Kamaladevi
Chattopadhyay and Pupul Jayakar who set up several institutes and organizations
to energize the textile industry and to encourage the continuance of traditional
handicrafted skills of artisans. The cottage industry found a strong Government
supported infrastructure. Revival through recognition of national cultural roots came
from fabrics, clothes and accessories designers. Ritu Kumar was one of the earliest
pioneers of fashion with extensive research into block prints and innovative application
of the technique of zardozi embroidery.

Radical options in draping the sari in the Coorgi style, leaving the shoulders bare, the
butterfly style and the lungi style were seen. Backless embroidered blouses teamed with
cotton saris. Both the churidar-kurta and the salwar-kameez were equally popular with
the paunchaor stiffened hemline of the latter becoming extremely wide with the
occasionally hazard of getting stuck in the 'platform' heels. Dupattas were either in a
contrasting colour or else of the same print and colour as the 'suit' itself.

1980s
Globally, 'power dressing' with padded shoulders, a tightly belted waist and a hip length

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peplum was the characteristic silhouette. Indians responded with kameezesand tops with
shoulder pads and leg o' mutton or puffed sleeves tapering to be wrist both of which
usually visually widened the shoulder width. The waist was belted, tucked or sashed.
Below were 'dhoti' pants, cowled pants, harem pants, or 'Patiala salwar’

The revivalist movement continued its momentum with independent as well as

government sponsored research projects and exhibitions both in India and abroad by
stalwarts like Martand Singh, to showcase and promote India's varied textile tradition
and crafts. Talented designers like Asha Sarabhai, Archana Shah, David Abraham
and Rakesh Thakore ('Abraham and Thakore') from National Institute of Design who
created labels with a distinctive globally relevant look based on their deep knowledge of
textiles. Satya Paul, Hemant Trivedi, James Ferriera, Pallavi Jaikishan, Abu
Jani and Sandeep Khosla ('Abu Sandeep'), Monapali, late Rohit Khosla, Tarun
Tahiliani, Suneet Varma, Ravi Bajaj, Rohit Bal, Rina Dhaka were among the
designers who commanded an impressive following of admirers.

1990s
This decade saw a multitude of influences, an eclectic mix with the return of chic,
glamour and high-fashion. With rapid strides in communication, fashion shows in any
part of the globe could be transmitted instantaneously by satellite. In India, TV channels
like 'FTV' and 'Trends' along with programmes like 'MTV House of Style, 'CNN Style with
Elsa Klensch' brought the latest fashion to living rooms. On one hand, therefore, for the
urban consumer, was the awareness and acceptability of western clothes, to look 'cool' as
dictated by style icons on MTV and be among the elite who wore Gucci and carried Louis
Vuitton bags. On the other hand, was the need for ethnic clothing for semi-formal and
traditional occasions like weddings and festivals. These high-priced 'haute couture' (high
fashion) garments were expensive not only for their 'designer' label but also for the high
level of skills of the embroiderer and the quality of materials used. In the context of the
masses, grew a parallel prêt-a-porter (ready to wear) industry catering to the middle class
by its volume in sales and affordability in prices. This decade saw the beginning of
branding and the emergence of departmental stores and large single brand stores. To
entice more customers to patronize the label/brand, there was widespread advertising
from press releases, catalogues, magazines, hoardings to video ads. Fashion shows
became a very effective mode for publicity both for designers and brand promotions.
Designers like Raghavendra Rathore, Wendell Rodericks, Anamika Khannna,
Aki Narula, Rohit Gandhi and Rahul Khanna, Meera and Muzzafar Ali also
established their labels with distinct signature styles.
To tap the purchasing power of the Indian consumer, designers like Zandra Rhodes
(UK), Pierre Cardin (France), Ichiro Kimijima and Kansai Yamamoto (Japan)

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held promotional shows in India. Some brands like Pierre Cardin and Ted Lapidus
launched their labels in India but could not sustain long term success.
The establishment of the Fashion Design Council of India (FDCI) in 1998 provided
designers an organized forum for discussion and decision-making pertaining to the
business. The annual Lakme India Fashion Week (LIFW) which started in 2000,
provided several designers with the opportunity to showcase their creations to a wider
audience, including national and international buyers. Today LIFW is considered to be a
forum showcasing fashion associated with cine stars. In Delhi, FDCI organizes bi-annual
Fashion Weeks for ready-to-wear, Couture Week and Mens Fashion Week. Bridal Asia
showcases the exclusive creations in wedding trousseau wear.
With the establishment of the National Institute of Fashion Technology in 1986, a new
wave of designers began to create designs which put India firmly on the global map.
Ritu Beri, JJ Valaya, Ashish Soni, Narendra Kumar Ahmad, Ashima Singh
('Ashima-Leena'), Ranna, Sonam Dubal, Sunita Shankar, Rajesh Pratap Singh,
Manish Arora, Namrata Joshipura, Puja Nayyar, Sabyasachi Mukherjee,
Shantanu Goenka, Gaurav Gupta, Nida Mahmood, Pankaj and Nidhi, Shalini
and Paras ('Geisha Designs') and others are synonymous with contemporary Indian
fashion. Each designer label has distinctive design aesthetics and a style recognizable by
the fashion fraternity. Each label is associated primarily with either Indian or western
styles, women or men's clothing, elaborate surface embellishment or pattern-making
oriented, minimalist or flamboyant etc.

Ashish Soni Ritu Beri J J Valaya

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Ranna Rajesh Pratap Singh Sabyasachi Mukherjee

Namrata Joshipura Rabbani and Rakha Gaurav Gupta

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Sanskar by Sonam Dubal Nida Mahmood Joy Mitra

Geisha Designs by Shalini and Paras Tanvi Kedia Shantanu Goenka

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Designers strike a balance between creativity and commercial viability with keen
business acumen. Some designers like Amit Aggarwal, Rimzim Dadu, Alpana-
Neeraj, Tanvi Kedia, Kallol Datta, Himanshu and Smita (CELLDSGN 11.11)
experiment with modern technology to innovate structures through materials and
techniques. Shivan-Narresh have created their niche in swimwear and resortwear.
Aneeth Arora ('Pero'), Rahul Mishra have created its signature styles through the
re-interpretation of handcrafting traditions with sustainable business practices.
Samant Chauhan works exclusively with fabrics from Bhagalpur, Nitin Bal
Chauhan works with artisans in Chamba, Uma Prajapati ('Upasana Design Studio')
involves community participation in Tamilnadu with an abiding commitment to
sustainable fashion practices.

Payal Pratap Singh Alpana Neeraj Amit Agarwal

The waves of liberalization and lowering of international trade barriers are sweeping the world.
Opening up of the Indian market has heightened the awareness that design has to play a more
significant role than ever before. Other countries are looking at India as a market leader because
of its large population and potential customer base with purchasing power. With the entry of
several international brands of apparel, accessories, jewellery, furniture and other lifestyle
products, the Indian fashion market scenario is competitive, challenging and exciting. The rise
of the luxury market is indicative of the increasing numbers of billionaires in India. The co-
existence of foreign labels with domestic corporate brands, mass-produced labels with

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handcrafted one-of-a-kind ensembles implies that there is a requirement for designers, textile
and clothing technologists and merchandisers with talent, in-depth understanding of the
industry, skills and a professional attitude related to the fashion business.

Aneeth Arora for 'Pero' Shivan Narresh

Indian Designers on the Global Runway

New York Fashion Week: Ashish Soni in 2005, Sabyasachi Mukherjee in 2007, 2008
Paris Fashion Week: Rajesh Pratap Singh in 2008, Anamika Khanna in 2007, Manish
Arora debuted in 2007
Milan Fashion Week: Sabyasachi Mukherjee in 2004, Rocky S in 2005, Tarun Tahiliani in
2004
London Fashion Week: Manish Arora in 2005

Exercise – 6
Fill in the blanks
1. Wills India Fashion Week (WIFW) in Delhi is organized by _________________________.
2. Lakme Fashion Week is organized in the city of ___________________________________.
3. An event which showcases wedding wear is ______________________________________.
4. Wedding wear is also called ____________________________________________________.

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Review questions
1. What was the role of Kamaladevi Chattopadhyay in terms of textile and crafts revival?

Activity

Background: Contemporary Indian fashion showcases and promotes India's varied textile
traditions and crafts with distinctive design aesthetics recognizable by the fashion fraternity
through FDCI or LIFW. Each label is associated with Indian or western styles, women or
men's clothing, elaborate surface embellishment or pattern-making oriented, minimalist or
flamboyant etc.
This activity will enable students to know more about Indian designers.
1. Create a Power Point Presentation on any Indian designer:
The PPT should include the name(s) of the designer/label, date of establishment, location,
stores where the label is available, participation in shows/fashion weeks, significant
achievements, awards ( if any), and unique characteristics.
Show the growth of the label through visuals tracing its history since inception to the latest
collection.

7. Films and Fashion

India is the producer of the largest number of feature films in the world with centres for
film-making such as Mumbai, Kolkata, Chennai and Hyderabad. However it is
Bollywood (originating from the original name of Bombay) in Mumbai which, in
particular, produces hundreds of films annually, inspires dreams among many. In India,
Hindi films have a tremendous reach into the homes and hearts of millions.

The star status of movie actors makes them celebrities. This is the reason for the
effectiveness of product endorsements by stars. Advertising practitioners rely on a
celebrity face to stand out among innumerable advertisements and expect the likeability
of the star to transfer to the product. Their performances create an illusion of
interpersonal relationships with viewers. Even though the relationship is imaginary,
people identify with them. Social behaviour and consumer purchasing is after influenced
by media personalities because they are perceived as reliable advisors and role models.

Costumes in movies are very influential in creating distinctive styles and looks which
stimulate fashion trends across the nation. The screen image of Amitabh Bachchan in
formal sherwanis in Mohabatein, Aamir Khan in stylish formals in Ghajini, Salman

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Khan in khakis and aviator shades in Dabangg, Shahrukh Khan in chic casualwear in
Kal Ho Na Ho, Rekha in flowing Anarkali-like kurtas in Umrao Jaan, Bhagyashri in
hand painted kurta-churidar in Maine Pyar Kiya, Madhuri Dixit in a purple sari in Hum
Apke Hain Kaun, Kareena Kapoor in short kurtis and T-shirts with salwars in Jab We Met
and others have influenced many other commercial designers and manufacturers to
capitalize on the 'style wave'.

Costume designers are those who design and accessorize the clothes worn by actors
onscreen. Bhanu Athaiya who has designed for several movies including Lagaan,
conducted prior in-depth research to establish historical authenticity before finalizing
the costumes for Sir Richard Attenborough's Gandhi. She won the Academy award for
Best Costume Design for this movie in 1983. Shama Zaidi designed costumes for
several award winning films including the Satyajit Ray's National award winning
Shatranj Ke Khiladi. However in many period films based on historical events and
characters, the costumes may or may not be credible in their interpretation; sometimes
the lavish production, elaborate sets and a glossy look may merely require
correspondingly glamorous costumes.

Some more examples of designers/ costume designers and a few of their most
recognizable movies are:

BAki Narula Bunty aur Babli, Don

BAmeira Punwani Guru

BArjun Bhasin Dil Chahta Hai, Lakshya, The Namesake, The life of Pi

BDolly Ahluwalia Omkara, Bhaag Milkha Bhaag, Water, Bandit Queen(National

award for Best Costume)

BLeena Daru Tezaab

BLovleen Bains Rang De Basanti

BNiharika Khan Band Baaja Baaraat, Rock On, Delhi Belly, The Dirty Picture
(National award for Best Costume)

BNeeta Lulla Jodha Akbar, Devdas (President award)

BPriyanjali Lahiri Tare Zameen Par

BSabyasachi Mukherjee Black (National award for Best Costume)

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Today designers for movie stars, both on-screen and off-screen have a celebrity status of
their own. Moreover, film-making has become more organized as an industry with the
entry of professional fashion designers as costume designers designing for stars both on-
screen and off it. The relationship between designer and actor was best exemplified by
designer Givenchy with actress Audrey Hepburn as his inspiration or 'muse' in the 1950s.
In Hindi films there are similar examples such as Manish Malhotra who designs and
styles Karishma and Kareena Kapoor, Sabyasachi Mukherjee for Rani Mukherjee and
Vidya Balan, Neeta Lulla for Aishwarya Rai and so on. Designers like
Rocky S, Vikram Phadnis, Surily Goel, Anna Singh, Arjun Bhasin also design
for movies. Anaita Shroff Adjania, fashion editor for Vogue India has designed
the costumes and styled the look in Dhoom, Dhoom 2 and Love Aaj Kal. Muzaffar Ali
director of Umrao Jaan is also a fashion designer. The two movies Fashion and Heroine
directed by Madhur Bhandarkar showed a range of glamorous clothes on-screen
which are associated with fashion and costume designers.

Both movies and television are significant in creating and showcasing new styles that
have become iconic, spreading like wildfire, capturing the imagination of the masses.
These on-screen costumes have started trends resulting in mass buying of similar styles
at affordable price points. The actors, the screen characters and the clothes they wear in
commercially successful movies and serials, become influential factors in the clothing
and lifestyle choices for the masses and create market demand for the same styles.

Exercise – 7
Name the costume designer of the following movies

1 Black
2 Gandhi
3 Life of Pi
4 Taare Zameeen Par
5 Umrao Jaan
6 Devdas

Activity 7

The costumes worn by screen characters in successful movies and television serials, are
influential in creating market demand for similar styles at affordable price points.

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This activity encourages students to understand the impact of reel-life movies and costumes
on real-life markets and trends.
1. Identify a movie which has won award(s) for best costume.
2. Analyze the costumes of the lead characters in terms of elements and principles of design
3. Refer to magazines and newspapers to find out the extent to which the styles have
trickled across different consumer segments.

References:
'Concept to Consumer' by Gini Stephens Frings. Prentice Hall
'Fashion Design- the complete guide' by John Hopkins. Ava Publishing
'Street style: From Sidewalk to Catwalk' by Ted Polhemus. Thames and Hudson

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Glossary
Angarkha Long fabric coat originally worn by the Mughals over the chain mail which passed
into society as civilian clothing

Antariya Draped lower garment for both sexes in India

Camouflage print Print used in clothing and accessories in specific patterns and colour
combinations used by the army and other security forces.

Chilta Hazaar Masha Coat strengthened with studs/nails on fabric reinforced with plate
armour worn by the Rajputs

Chintz Small print derived from Indian word cheent

Chiton Draped rectangle of fabric which could be belted to form a tunic or draped like a shawl
fastened on one or both shoulders worn by Greek men.

Fibula Decorative pin or brooch used to secure ends of the garment at the shoulder by Greeks
and Romans

Haik Large transparent material around the body knotted at the waist creating elaborate folds
at the hips worn by Egyptian male royalty

Haute Couture French term for exclusive, one-of-a-kind 'high fashion'

Himation Large fabric worn by Greek men swathed around the body without fixed fastenings
with or without inner garment

Jootis Traditional footwear in India

Kachcha Unstitched piece of fabric draped arround the hips or draped loincloth for men, passed
between the legs with the end tucked at the centre front waist worn in India.

Kalasaires Egyptian unisex sheath-like tunic

Kaunakes Ankle-length, wrap-around skirt tied at the waist with the excess waistband
hanging loosely at the back worn by the Sumerians.

Kavach Indian waistcoat of armour for the torso

Kayabandh Indian sash fastened at the waist knotted at the front in simple or elaborate ways.

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Khaki Dust-coloured lightweight cotton drill fabric used by the Indian army during the British
Raj. In contemporary vocabulary, it can refer to the colour, fabric, details or garment.

Mauli Turban made of a twisted roll of cloth worn by the Kushans

Palla Draped garment worn by Roman women as the equivalent to the male toga.

Peplos Shawl worn by Greek women fastened at the shoulder either as Open peplosor Closed
peplos

Schenti Linen fabric wrapped around the hips worn by all classes in Egypt

Toga Worn only by free Roman citizens, it was initially worn outdoors and later became a
ceremonial garment.

Ushnisa Turban twisted with the hair into a top knot and wound around the head for men worn
in ancient India.

Uttariya Traditional Indian unisex upper garment, versatile both as formal and casual clothing
whose drape indicated the profession of the wearer.

Photograph Courtesy
Sunil Sethi, President - Fashion Design Council of India

*
Alpana and Neeraj *
J J Valaya *
Payal Pratap Singh
*
Aneeth Arora *
Joy Mitra *
Rajesh Pratap Singh
*
Arun Kumar *
Manish Arora *
Ranna
*
Ashima and Leena *
Manish Tripathi *
Ritu Beri
*
Ashish Soni *
Namrata Joshipura *
Sabyasachi Mukherjee
*
Atsu Sekhose *
Nida Mahmood *
Shalini Jaikaria and Paras Bairoliya
*
Gaurav Gupta *
Pankaj and Nidhi *
Shivan and Narresh
*
Himanshu Dogra *
Puja Nayyar *
Varun Bahl

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