Silhouettes of Indian Style (II)

With the shimmer, glitz, and flash similar to that of Charleston dresses, the cocktail sari began to appear on the silver screen around the late 1920s, popularised through icons such as Seeta Devi, Devika Rani, Patience Cooper, and Zubeida.

While cinematic themes of the time revolved round social reforms, sacrifices, and liberation, the fashion encapsulated an amalgamation of Indian and Western style. The cocktail saris were made from lace, satin, cotton, and silk and were worn artfully loose - concealing,  yet revealing, at the same time.

Mary Ann Evans, or more popularly known through her stage name, Fearless Nadia, was intrepid in defying gender stereotypes through both the roles she took on and the power suits she adorned for those roles. Her action oriented roles called for clothing that would support her movements and stunts - straight-cut pants, shirts, and waistcoats as seen in her box-office hit Hunterwali (1935). 

Fearless Nadia’s venture into what was originally considered to be “a man’s attire,” gave way for several women to adopt these and alter these garments to supplement their non-traditional roles. In Aan (1952), for example, Nadira wears a waist-defining shoulder-padded blazer, breaches, boots and a cravat, with short, curly hair. 

Notions of freedom, liberation, self-expression and identity showcased themselves through the playsuit - tied-up tops, cropped tops, t-shirts, or sleeveless blouses paired with fitted, high-waisted, shin-length pants. 

Popularised on screen through Nargis’ iconic role in Shree 420 (1955), the playsuit inspired women to deviate from their conventionally “feminine” wardrobe and to embrace non-traditional styles and garments.

The versatility of the sari is a product of a range of traditions, conventions, beliefs and customs that arise across the Indian subcontinent. Whether it is colour, design, fabric, or drape, the sari has seen numerous iterations since its inception in the post-Mughal era. 

While the sari has supplemented a number of different narratives, amongst its most popular would be the saris in complementing nationalistic sentiments during India’s freedom struggle. In the 1940s and 1950s, hand-spun khadi - a symbol of the swadeshi movement - became the go-to material for saris.

While the churidar kameez finds its origins in Pakistan and North India, the tight-fitting churidar kameez was  made popular in the 60s by actor Sadhana. Working alongside costume designer Bhanu Athaiya, Sadhana conceptualised the body-hugging churidar suit, with shorter, tighter kurtas for her role in Yash Chopra’s film Waqt (1965).

Sadhana paired this variation of the churidar-kameez with mojiris and her eponymous haircut, a look that eventually established itself as a hallmark in Bollywood fashion in the 1960s. 

The 1980s marked the active participation of women in the Indian fashion industry, and the adoption of a multicultural attitude by the film industry. Shimmer, glitter, and glam defined the 1980s Disco era of Bollywood - the turn of the decade into that of bling, ornamentation,  shoulder pads, and metallic fitted dresses was marked by Zeenat Aman in Qurbani (1980).

Zeenat Aman’s gold, metallic dress brought about a deluge of similarly glamorous outfits such as that of Parveen Babi in Shaan (1980), Rekha in Jaanbaaz (1986) and Sridevi in Mr India (1987). 

While the straight-cut skirt does not have the tight, sensual fit of a mermaid-cut skirt, or the voluminous, structured cut of a traditional Indian lehenga, it loosely contours to the waist and legs providing ample freedom for movement. 

The straight-line skirt -  a silhouette that borrows the A-line flare from Western fashion - first appeared on Begum Para in the 1940s, however,  Urmila Matondkar’s monochrome red top and skirt in Rangeela (1995) is considered to be one of the most sought after straight-cut skirt styles in Bollywood. Made from a cotton blend, Urmila’s red skirt conceals a slit that flows down the length of her legs, surreptitiously concealing and revealing her legs with every moment.

First introduced to the Indian wardrobe during the Mughal rule, the sharara made brief reappearances in during the 18th and 19th centuries, and finally found its [permanent] place on the silver screen in the 1940s and 1950s. A billowy pant, the sharara falls with an open and unrestrained flair from the waist. Made from materials such as silk, chiffon, velvet and cotton blends, the sharara also tells stories of cultural and artisanal specificities through beadwork and traditional embroidery methods and patterns.

 Often paired with kurtas of changing lengths (as per the decision of stylists and designers), the sharara is seen on actors such as Juhi Chawla, Deepika Padukone, and Kareena Kapoor.

Sheer, low-waist saris paired with baroque, bralette-like blouses - are finding favour with leading ladies for song sequences and item numbers. After the 1920's, exposure to global fashion during the economic liberalisation of India resulted in a blend of traditional styles with contemporary elements creating this risqué, sensual silhouette that successfully captures a liberal sense of sexuality.

With the growth of the Indian film industry in the late 80s and 90s, fashion designers and stylists from leading fashion houses gained designated responsibilities in dressing actors.