What is a Kamarband?​

The kamarband, also known as a patka, is an unstitched piece of cloth that is typically tied around the waist, either over the upper or lower garment.​

The term kamarband is a compound of two words: ​

* kamar meaning waist, and

* band signifying something that is closed or tight.

What is a Kamarband?

In the Indian subcontinent, the terms kamarband and patka have been used interchangeably to describe a cloth waistband.

The word patka is believed to have been derived from Sanskrit words patta or pataka, which denotes a girdle, ribbon, or piece of cloth. ​

Thus, a patka or kamarband refers to an unstitched piece of cloth that is tied around the waist. ​

Earliest Examples- Bharhut ​

One of the earliest representations of the patka comes from the ancient site of Bharhut in Madhya Pradesh, dating back to the 2nd century BCE. ​

Here, both men and women are observed wearing waistbands which appear to be made of cloth. ​

Notably, a yaksha (nature spirit) is depicted wearing a narrow piece of cloth over a short dhoti, a type of lower garment, with a visible knot tied in the front. ​

Additionally, a female figure is seen wearing a dhoti, a type of lower garment, along with a jewelled waistband known as mekhala. Over the mekhala, she is depicted wearing a narrow band of cloth, known as patka, which is knotted in the centre.

Example from Sanchi

Similar instances of men and women wearing cloth waistbands can be observed in the ancient site of Sanchi in Madhya Pradesh.

For example, on the eastern gateway at Sanchi, a male figure is portrayed wearing a patka which is looped and tied.

The figure is seen holding one end of the patka, away from the body. ​

Examples from THE Karla caves

The Karla caves, situated in Maharashtra and dating back to the 1st century CE, offer fascinating examples of men wearing the patka.​

A male figure is depicted wearing a cloth waistband, wound around the waist, showcasing an instance of the use of the patka in the western part of the Indian subcontinent.​

The Kushana period

The sculptures dated to the Kushana period (1st-3rd century CE) offer examples of both men and women wearing waistbands.

For instance, the young maiden from Faizabad, dating to the 2nd century CE, is depicted wearing a mekhala, with a long, thick strip of cloth looped and tied to the side.

Additionally the figure of Sri Lakshmi, the Hindu Goddess, from Mathura, is portrayed wearing a mekhala, and a narrow strip of cloth, tied in an elegant knot.

Examples from Nagarjunakonda

Another set of sculptural evidence comes from the site of Nagarjunakonda (3rd-4th century CE), located in Andhra Pradesh.

In a panel, the male figure is depicted wearing a loincloth, along with a waistband, which is knotted gracefully.

Examples from the Gupta period

The various depictions on coins and sculptures dating back to the Gupta period (4th-6th century CE) offer additional examples of waistbands as a fashion element.

On the archer-type gold coin featuring Gupta ruler Chandragupta, he is portrayed wearing a well-fitted, half-sleeved coat with pointed ends and a patka which is tied on the side.

Examples from the Jain Miniature Paintings

The Jain miniature paintings depict two distinct types of waistbands, known as pattika and pichhauri. In the pattika, the ends hang in front between the legs, while the pichhauri is tied at the waist with its ends tucked into it.

For instance, in a painting from western India, dating back to the 11th century CE, two male figures are depicted wearing short dhotis (a type of lower garment) along with a waistband, possibly the pichhauri. The female figures, on the other hand, appear to be wearing pattikas with flowing ends.

The Mughal Period ​

During the 16th century, with the establishment of the Mughal empire, the patka or kamarband became an important part of the court attire, symbolizing power and opulence.

In miniature paintings, Mughal emperors and nobles are often portrayed wearing intricately designed kamarbands crafted from a variety of textiles.

Mentions in Accounts of Travellers

Francois Bernier (1656-1668 CE), a French traveller who visited the Mughal court, in his account mentions "girdles with golden flowers" which were woven in the imperial workshops.

Another visitor to the Mughal court, Rev. Edward Terry, mentions kamarbands worn during this period. ​

He says that "And they have girdles made of the same wreaths of cloth for the better sort, the interwoven, which come twice around the waist at least about them, made very trim with that kind of weaving, especially on both ends, which hang down direct before them."

Mention in the Ain-i-Akbari

The Ain-i-Akbari, a 16th-century Mughal chronicle, mentions that Emperor Akbar renamed certain items of clothing during his reign. One such attire was the kamarband, which was renamed as "katzeb."

* Kat is derived from the Sanskrit word kati, meaning waist, and

* zeb is a Persian word which means adorning.

Thus, the whole word meant 'that which adorns the waist.'

Examples in the Tutinama

The miniature paintings from Tutinama (Tales of a Parrot), dating back to the reign of Emperor Akbar (1556-1605 CE), depict men wearing waistbands or kamarbands.

The kamarbands were narrow in width and featured simple patterns, with narrow side borders. These waistbands were tied in a loop around the waist, with ends hanging in the front.

The Mughal Period

In the 17th century, as courtly culture developed, kamarbands became increasingly elaborate and ornate.

Two distinct styles of kamarbands gained popularity. The first style featured a broad, long waistband, while the second style consisted of a shorter waistband worn in conjunction with the longer one.

For instance, in this painting, Emperor Jahangir can be observed wearing a long green kamarband, with a shorter one layered over it.

The Mughal Period

During this period, kamarbands began to be decorated with various flowering patterns. Additionally, they incorporated two side-borders and panels on the ends.

For example, in the painting, Emperor Shah Jahan is depicted wearing a flower-patterned waistband, tied around the jama, a type of upper garment. A dagger also seems to be tucked in the waistband.

Kamarbands in the 18th-19th centuries

In the 18th and 19th centuries, kamarbands were crafted using various materials, including cotton, brocade, wool, silk, and decorated with various designs.

Ornamentation, when adopted, was confined to the ends, into which coloured threads of various kinds, and occasionally gold, were introduced.

Kamarbands in the 18th-19th centuries

For example, a Pahari painting from 1750 CE depicts a nobleman wearing a white upper garment, and a red-colored kamarband.

The kamarband features decorative borders on both sides, floral vertical stripes, and an end panel decorated with a floral scroll pattern.

Examples from Regional courts

In the 18th century, kamarbands continued to be worn by emperors and nobles in provincial courts like Awadh, Carnatic and courts of Rajasthan.

For example, in the painting, Shuja ud-Daula, the Nawab of Awadh, and his sons are depicted wearing kamarbands.

Examples from Regional courts

Another example is the painting of Azim-ud-Daula, the Nawab of Carnatic, who is portrayed wearing a kamarband with golden embroidery and highly decorated end panels.

Similarly, Maharana Sangram Singh of Mewar is depicted wearing a long golden kamarband while on horseback.​

The Colonial Period

The Company style paintings, dated to 18th and 19th centuries, depict men of various professions such as domestic servants, peons, messengers and irregular troops. They are seen wearing various kinds of kamarbands.

For instance, this 19th century painting of a messenger portrays him wearing a blue coloured kamarband, which is twisted and tied around the waist.

The Colonial Period

During the 18th and 19th centuries, the East India Company expanded their trade and exerted control over various regions of the Indian subcontinent. They maintained a sizable army consisting of British troops and Indian sepoys.

The Indian sepoys wore various uniforms, which were a combination of the traditional European military uniform and Indian clothing, such as elaborate turbans and kamarbands.

The painting of the Madras Army shows sepoys wearing different coloured kamarbands around their waists.

What is the cummerbUnd?

In the early 19th century, British officials in India began incorporating elements of Indian clothing, such as the kamarband, into their attire.

This garment eventually came to be known as cummerbund, which was the corrupted form of the word kamarband.

For instance, the British officers in the Indian army, are seen wearing kamarbands, over their uniforms.

What is the cummerbUnd?

The 19th century colonial records, mention the cummerbund as an item of men’s wear.

For example, the Textile Manufactures and the Costumes of the People of India by John Forbes Watson (1866), mentions “kummerband,” literally waistband or sash, as a loom-made article of male attire.

Further, the Handbook of English Costume of the Nineteenth Century (1893) describes the cummerbund as a black waistband and was noted for gaining popularity with morning dress in colored silks wrapped twice around the waist.

The cummerbund was often seen as a novel addition to eveningwear, providing an alternative to the traditional waistcoat. It was to be worn in warm places, with dinner jackets.

The cummerbund was also used to soften the transition from the shirt to the trousers.

In the 20th century, the cummerbund was adapted into its modern incarnation with pleats imitating the folds of the Indian kamarband.

Like the Indian kamarband, the British cummerbund is typically made from silk or other fine materials and is often plain or decorated with subtle patterns.

CONCLUSION

Today, the cummerbund continues to be an essential part of the uniform of the Indian Armed Forces. It adds an air of elegance and dignity to military ceremonies, parades, and official events.

The image shows officers of the Indian Navy wearing the black cummerbund, along with their shirts and trousers.

Additionally, another image shows a soldier of the Indian Army wearing the ceremonial dress, which includes the cummerbund.

CONCLUSION

The cummerbund remains relevant in formal and semi-formal wear. It has evolved in terms of design, with modern variations incorporating new fabrics, colors, and patterns.

The kamarband remains a popular accessory in both Indian and British fashion and continues to be worn at formal and semi-formal occasions, along with shirts, jackets and formal trousers.

CONCLUSION

In India, the kamarband continues to be worn during weddings, festivals, and other special occasions. It is worn by grooms on their wedding day and is often paired with traditional Indian attire.

The rich history of the kamarband reflects its ability to adapt, and remain a symbol of sophistication and style, making it a truly timeless accessory.