Introduction​

The gharara is a traditional Indian garment which is part of the wardrobe of many Indian women. ​

During the 18th and 19th centuries CE, the region of Awadh was renowned for its artistic heritage and royal splendour. This period, known as the era of Nawabs, inspired many ideas in fashion, costume and culture, many of which have survived even today. ​

One such garment of that era is the gharara, which has transcended the boundaries of time, maintaining its relevance and allure in present-day Indian fashion. ​

What is a gharara?

The gharara is a voluminous, wide-legged lower garment that is divided in the middle. It is held up by a folded band on the top known as the nefa through which the drawstrings known as izarband are passed.

Traditionally, ghararas are crafted from 6 to 12 metres of fabric. They are paired with a knee-length kurti, a loose upper garment with sleeves and a dupatta or scarf. ​

What is a gharara?​

The gharara is divided in three parts: ​

* The loose upper-most part of the garment called kunda or paat.

* The middle-part slightly above the knee known as banat or rumaali, which joins the upper kunda to the lower gote. It is often concealed with lace and embroidery.

* The lower-part known as the gote is pleated and often embellished with zari and zardozi.

Costume of the women of Awadh​

During the 18th century, in Awadh, the costume of women included upper garments such as the kurti (a shirt-like garment with side slits) or the peshwaz (a long-sleeved, front-open, loose robe with a bodice and a skirt). These upper garments were often paired with various styles of broad pyjamas, which were loose bifurcated lower garments tied at the waist. Additionally, women wore a dupatta, a long unstitched scarf. ​

The different styles of pyjama included sidha or straight pyjamas, churidar pyjamas that gathered in pleats at the ankles, farshi pyjamas which had a long trail, and kalidar pyjamas, which featured multiple panels (kalis).​

The farshi pyjama​

A possible precursor of the gharara was the farshi pyjama.

The farshi pyjama was a lower garment, which featured a long trail on the floor (farsh). It was made of 12 metres of cloth, as opposed to the kalidar pyjama which was made of 9 metres and reached the ankles.

This garment was usually worn by the begums of Awadh, along with a kurti. The volume of the outfit was such that they often needed assistance to carry it while walking.​

The Origin of the gharara

The gharara originated during the era of the Nawabs, dating from 1722-1856 CE. This period played a pivotal role in shaping Awadh's culture and fashion, with some of its elements still exerting influence on culture today.​

It is believed that during the reign of Nawab Nasiruddin Haider, who ruled from 1827-1837 CE, ghararas gained popularity as part of women's attire in Awadh. The Nawab, who was interested in the style of the gowns of British ladies, introduced the gharara to the women of his court.​ ​

Textual mention of the gharara

Mrs. Meer Hassan Ali, the 19th century author and chronicler of life in Awadh, described the costume of the women of the zenana (quarters reserved for women).
She says:

“The most fashionable females of Lucknow, wear trousers which are so full below the knee that they almost cover the feet...a very broad silver riband binds the top of the pyjammah; this being double has a izarband (a silk-net cord) run through, by which this part of the dress is confined at the waist. The ends of the izarband are finished with rich tassels of gold and silver curiously and expressly made for this purpose, which extend below the knees; for full dress these tassels are rendered magnificent with pearls and jewels.”

During the 19th century, the courtesans played a significant role in the socio-cultural life of Awadh. They had a profound influence on the fashion of the period.

The courtesans dressed themselves in finery, wearing elaborate peshwaz and ghararas, accompanied by translucent odhanis or dupattas.

This prompted the begums of Awadh to bring changes to their clothing and make it more alluring. They began wearing more elaborate ghararas, with richer surface embellishment and diaphanous odhanis.

The gharara soon became an important part of the ceremonial attire of muslim women of that time.

These ghararas were made with heavy brocades such as kimkhwab with zardozi or tukri (chattapatti) work along with metallic laces.

Variations of the gharara-
The farshi gharara​

As the gharara evolved, a variation emerged that combined elements of both the farshi pyjama and the gharara, known as the farshi gharara. This style gained popularity among the elite.

The farshi gharara was crafted from over 12 meters of fabric, allowing it to cascade gracefully on the floor, a feature that inspired its name. Due to its voluminous nature, wearers often gathered and tucked the excess fabric into the waistband of the garment.

The sharara​

Another style of lower garment that emerged in the region was the sharara. The sharara gained popularity in Awadh due to the high cost of the fabric and the stitching required for a gharara.

In contrast to the gharara, shararas were not divided into parts and had a loose fit around the legs. This garment, essentially a bifurcated flared skirt, was commonly paired with a long kurti and a dupatta. Shararas were often embellished with beads, pearls, and intricate gota work.

Ghararas in the Mughal Court

The gharara soon became associated with ceremonial dressing in the Mughal court at Delhi. Zeenat Mahal, the wife of the last Mughal Emperor Bahadur Shah Zafar II (1837-1858 CE) began wearing this garment as part of her festive attire.

The museum at the Red Fort in Delhi displays a gharara worn by Zeenat Mahal. The gharara was once stolen from the museum along with the pyjamas of Bahadur Shah Zafar II. It was subsequently retrieved upon investigation.​

The gharara of the Colonial period

During the 19th century, with the increasing influence of the British in the Indian subcontinent, new trends in costume emerged.

This led to a variation in the gharara. Unlike the traditional gharara, which featured pleats at the knee, this modified version incorporated pleats much below the knee resembling the English petticoats. This variation of the gharara gained widespread popularity among the women of the period.

The gharara as wedding attire

In the 1880s, brides from Awadh and the surrounding regions began incorporating the gharara into their wedding attire.

During the 1890s and after, the garment also gained favour among the royal families of Rampur and Mahmudabad, and became a sought-after fashion choice in society.

The Gharara as an heirloom

In the 1900s, many brides could be seen wearing either the farshi gharara or the farshi pyjama which was then passed down through generations, making it an heirloom garment.

In the photograph, Begum Sajida Sultan of Pataudi, the wife of Iftikhar Ali Khan Pataudi, the eighth Nawab of Pataudi, is seen wearing a farshi gharara. This particular garment was handed down to her daughter-in-law and later to her granddaughter-in-law for their wedding ceremonies, making it a timeless piece.

The gharara as the choice of
modern-day brides

Today, ghararas continue to be an important part of the traditional Indian attire of many brides.

Brides, from across India, often choose heavily embellished ghararas in vibrant colours, adorned with intricate zardozi work, for their wedding celebrations.

Gharara as part of ceremonial attire

Ghararas are also a popular choice of traditional Indian wear among women for weddings and other festivities.

These elegant ensembles are donned by women in various styles on different festivals and formal events as part of their ceremonial attire.

The gharara in cinema​

In the 1960s and after, the gharara was popularised by many actresses in Indian cinema. A copy of the poster of the film ‘Mere Mehboob’ (1963), features actress Sadhana Shivdasani in a gharara. Further, actress Bindu Desai can be seen wearing a green gharara in a still from the movie ‘Hum Aapke Hain Kaun’ (1994).​

In recent times, costume designers have integrated the traditional gharara as part of the costume of many actors.

Ghararas as a fashion and design inspiration

The gharara, has experienced a resurgence in popularity through innovative design variations, contemporary embellishment techniques, and the use of new fabrics.

Over time, it has adapted to evolving fashion trends and continues to be a popular choice among fashion designers, costume designers, actors, and women across South-East Asia.

The modern-day gharara

Traditionally, ghararas were designed for special occasions, and were crafted from heavy silks, featuring intricate embroidery and embellishment. Over time, they have evolved to become lighter and more suitable for casual wear.

Today, the lower garment often incorporates one of the earliest and most distinctive textile traditions of Awadh-chikankari.

In this image, a lady from Lucknow is seen wearing a cotton gharara with chikankari embroidery as part of her daily attire.​

The modern-day gharara

In Lucknow, the birthplace of the gharara, women can be seen wearing ghararas made of plain fabric with no design or embellishment as part of their everyday costume.

The gharara has adapted to the new styles and preferences of consumers while retaining its traditional look. With different variations and contemporary design elements such as different types of embroidery, silhouettes, fabrics, colours and prints, the gharara has remained a part of the wardrobe of many women.