From Saris to Souvenirs: The Erasure and Exploitation of South Asian Fashion
- Aastha Makkar
- May 27
- 4 min read
Updated: May 28
From the forced modesty of the sari to the Western hijacking of dupattas, colonialism never left South Asian fashion - it just changed shape.
While the history of South Asian fashion is a beautiful one of identity, opulence, and complexity, it's also a history interrupted - and at times restricted - by the effects of colonisation.
Today, these colonial aftershocks are evident in both the internalised norms within South Asian fashion and the external erasure, exploitation and appropriation of its elements across a global fashion industry.
Pre-colonial elegance: the sari was never meant to be modest
Although many South Asians today believe that ideas of modesty and decorum are home-grown, they are in fact imports of British-occupied India (Gupta, 2014). Prior to British rule of India in 1858, saris were often worn without a petticoat, bare-breasted and in an unstitched drape (Gupta, 2014; Knable, 2024).
With traditional drapes differing in various styles and across various states, the iconic garment wasn't just clothing - it was a way to express one's identity, status and cultural pride (Agnihotri, 2023).
Misaligning with Victorian society's idea of respectability at the time, the popular Bengali zanana style - draped over a bare chest - devolved into a symbol of lacking propriety or belonging to a lower caste, leading to cultural divide (Border & Fall, 2025).
During this time, Jnanadanandini Devi, wife of Satyendranath Tagore (first man to join the Indian Civil Service), was repeatedly turned away from social clubs for draping her sari over her bare chest (Gupta, 2014).
Frustrated and unaccepting of these limitations, Jnanadanandini was forced to introduce the 'blouse' and 'petticoat' as additions to the sari, entangling the traditional roots of the garment with British innovations forever (Gupta, 2014).
Shirts also came to be worn under the sari as part of high fashion, with these rather British designs eventually being considered traditional garments (Gupta, 2014).
Although saris continue to reflect traditional symbolism for South Asians globally, how much tradition truly remains under the shadow of colonial influence?
The Sherwani: A Colonial Hybrid Disguised as Tradition
The sherwani, now worn at weddings and seen as quintessentially "traditional", is also a product of colonial fusion. Its origins trace back to the Mughal era, when men wore achkans and angarkhas - robes with Persian and Central Asian roots. During British rule, local elites were encouraged to adapt their attire to resemble the European military dress, AKA the frock coat overcoat. The sherwani, with its straight cuts and structured silhouette, was born out of that influence (Gupta, 2016). The irony? Today, the same garment is marketed globally as authentic, while its backstory is conveniently forgotten.
One step forward, two steps back...
The colonisation of South Asian fashion didn’t end with the empire - it continues through the global fashion industry's casual theft of South Asian aesthetics. Cultural elements that were once suppressed are now consumed, rebranded, and sold - usually without credit or context.
It's. Called. A. Dupatta!!
Not a “Scandinavian scarf,” not a “minimalist wrap,” and definitely not “chic neckwear for transitional weather.” South Asian women have been draping these since forever - on heads, shoulders, elbows, handbags, babies - you name it.
When South Asians wear it, it's labelled “outdated” or “oppressive.” Yet the minute a model named Ingrid pairs it with sunglasses and a latte? Suddenly it's giving high fashion. C'mon.
Thailas as 'Indian Souvenir Bags'..?
You mean the plastic rice sack Indian aunties uses for groceries? And get for free? That one? Brands call them “Indian Souvenir Bags”. Cute. These humble, hardworking bags didn’t ask for a glow-up - they were fine carrying onions and ambition. It's not just lazy rebranding - it’s the fashion equivalent of calling butter chicken “spicy orange soup.”
Jhumkas Aren’t Boho - They’re Sacred
Jhumkas - once sacred temple earrings used to adorn temple statues of goddesses - are now living their second life on Etsy as “boho festival earrings”. Apparently, centuries of cultural heritage can be wiped clean with a Pinterest board and a dream.
Tradition isn't the problem, erasure is
Fashion has always been political. What we wear reflects power structures, resistance, and identity. When British rule dictated how South Asians dressed, they weren't just controlling appearance - they were controlling culture, autonomy, and pride. Today, as South Asians unlearn internalised racism and colonial modesty norms, we’re also fighting the ongoing commodification of our culture.
Colonialism may have ended on paper, but its legacy lives on - in boardrooms, museums, textbooks, and yes, our wardrobes. South Asian fashion doesn’t need saving. It needs decolonising.
Sources:
Agnihotri, A. (2023). From Maharashtrian to Nivi drape: 6 stunning traditional saree draping styles from states of India. Hindustan Times. Retrieved from https://www.hindustantimes.com/lifestyle/fashion/from-maharashtrian-to-nivi-drape-6-stunning-traditional-saree-draping-styles-from-states-of-india-101673942820065.html
Border & Fall. (2025). Before You Drape. The Sari Series. Retrieved from https://thesariseries.com/before-you-drape/
Gupta, T. (2014). Dressing the Indian Woman Through History. BBC News. Retrieved from https://www.bbc.com/news/magazine-30330693
Gupta, T. (2016). The Birth of the Sherwani: An Influence of the British Raj. Research Gate. Retrieved from https://www.researchgate.net/publication/308902032_The_Birth_of_the_Sherwani_An_Influence_of_the_British_Raj
Knable, C. (2924). India's Independence. National Geographic. Retrieved from https://education.nationalgeographic.org/resource/indias-independence/
National Army Museum. (n.d.). Armies of the East India Company. Retrieved from https://www.nam.ac.uk/explore/armies-east-india-company
Sabyasachi. (n.d.) Menswear. Sabysachi Mukherjee. Retrieved from https://sabyasachi.com/pages/weddings-menswear
Syeda, A. (2022). How Jnanadanandini Devi taught Bengali working women to wear the Sari. The Daily Star. Retrieved from https://www.thedailystar.net/entertainment/theatre-arts/news/how-jnanadanandini-devi-taught-bengali-working-women-wear-the-sari-3063766
Omar, P. (2025). Is the 'Scandinavian Scarf' just the Indian 'dupatta' in disguise? The latest fashion appropriation after Bandhani and Pashmina. The Economic Times. https://economictimes.indiatimes.com/magazines/panache/is-the-scandinavian-scarf-just-the-indian-dupatta-in-disguise-the-latest-fashion-appropriation-after-bandhani-and-pashmina/articleshow/120896135.cms?from=mdr
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