A young woman in European male costume (I quite like this).
Rather just a look at 2 early 20th century paintings recreating the era.
From dawn until late into the night I worked. By day I copied the parts of the wall that were well lit, and by night I shifted on to those corners that always remained dark; thus I economised both in petrol and eyesight. Mukul Chandra Dey, My Pilgrimages to Ajanta and Bagh.
Around 1918-1919, Mukul Dey made a trip to the Ajanta and Bagh caves to recreate the frescoes there. Dey’s circumstances were modest and the trip wasfunded by commissioned portraits. The work was eventually published in book form in 1925. “Dancing Girls” is possibly part of this or at least inspired by Dey’s trip given the costumes and hairstyles. No bodices in this particulars painting.
More on the artist at this dedicated site. And a 1979 article. Dey’s book seems a rather engaging read and I might order the book given I can only find truncated bits online.
It is not often that you come across early 20th century Indian women painters but I can’t find much information on the artist. This seems to be from a 1950s series of paintings on the life of the Buddha and probably has to do with the episode of Amrapali serving food to the Buddha. Both she and her attendant wear an antariya, uttariya and cholaka (though the attendant has less finery and of course is a bit darker!).
In her trilogy, Pratham Pratisruti, Subarnalata, and Bakul Katha, Ashapurna Devi traces the progression of the feminist movement from colonial to post- colonial India. Anita Ghosh in Feminism In Indian Writings In English, edited by Amar Nath Prasad.
Covers of Ashapurna Devi’s books (click to see larger version). The books to the right and left are Pratham Pratisruti, (available in English translation,torrent of the 1971 movie) the book in the middle is Bakul Katha (Bakul’s Story). From right to left there is an evolution in the blouse, from the heavily Victorian influenced version with a brooch on a little girl (a look complete with ribbons for the hair) to the retention of the frill in the blouse to the pared down completely Indian version familiar from the 1950s on.
Of the books themselves, chronologically Pratham Pratisruti is the earlier book, a kind of awakening of feminist conciousness whilst Bakul Katha is a critique of a detached kind of feminism in post colonial India (rough summing up).
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They are never the most popular but my favourite posts either are historical or have to do with literature. I haven’t read much of Ashapurna Devi at all thanks to the few translations but I felt drawn to her when composing this post. The trilogy made me reflect on my own family, from a grandmother married at 15 and unhappy throughout her life at her curtailed education and us, the moderns who take it for granted. As it should be.
As always the tumblr posts have raced ahead of wordpress:
1. The half-saree aka pavadai-davani of South India.
2. Mekhela-Chador (I love these and they look splendid on my friend, Mosushumi Kandali.
3. Balika Badhu or the Girl Bride.
4. Nose rings – a post Cannes 2013 post. I am not a fan of nose hoops, I prefer the studs. But when you post on fashion, you have to spread the love:)
For upper class fashions of the late 1940s you can go no further than Andaz (1949) in which Nargis, Raj Kapoor, Dilip Kumar and Cuckoo play giddily modern Bright Young Things.
The centrepiece of the film is Nargis and the actress looks perfect in both Western and Indian clothes. There are a number of 1940s influences from the sweetheart and keyhole necklines of the sari blouse (coordinated largely with synthetic saris, possibly nylons, lace edged materials and the like) to collared blouses to wide trousers to knitted jumpers and much much more. The jewellery is minimal and Nargis as always wears her hair short. And don’t forget the cute dog. And two leading men:) Though Nargis is the lead, Cuckoo (who plays the bestie) has similar outfits.
Reviews of the film here, here and here including an entertaining take by a 15 year old.
Early 19th century attire for young Bengali gentlemen – (X), (X)
When spring came, tender-limbed Radha wandered
Like a flowering creeper in the forest wilderness,
Seeking Krishna in his many haunts.
The god of love increased her ordeal,
Tormenting her with fevered thoughts,
And her friend sang to heighten the mood. (from the Gita Govinda).
Vintage Indian Clothing 
