The representation of the Sociocultural Landscape of India through Bollywood cinema costumes from the early 20th to the 21st century
DOI:
https://doi.org/10.5195/cinej.2026.894Keywords:
Hindi cinema, Bollywood, Film costume, Narrative culture, Popular media, Stereotypes, Masquerade, PasticheAbstract
This research compiles a year-by-year trajectory of Bollywood film history, delving into characterizations, fashion as an engaging spectacle, the fantastical world through dress, and the power of stardom to launch aspirational worlds through costumes to the general public. Data analyzed through visual analysis, archival studies, audience reaction analysis, comparisons between Bollywood and regional movies, and Intertextual studies lead us to the framework of this research, analyzed along a historical-political, social stratification, gender-sexuality, and modernity-versus-tradition axis. The research finally identifies six historical costume regimes from 1913 to the present, with the dominant ideological formations of each era defined as: Colonial ambivalence, Nation-building idealism, Feudal romanticism, Liberalization and NRI imagery, Niche identity and hyperreal spectacle leading to an identity crisis, naturalized through Bollywood costumes.
References
Afaqs!, bureau news. (2023). Starbucks, boAt, Flipkart, Vistara… Netflix’s “The Archies” is on a brand collab spree. Afaqs.Com. https://www.afaqs.com/news/mktg/starbucks-boat-flipkart-vistara-netflixs-the-archies-is-on-a-brand-collab-spree
Anketa, K., Muniandy, R., Kandasamy, SS., Muthusamy, P., Rajagopal, T., Rahman, A., Long Campus, S., & Sungai Long, B. (2020). The Influence of Hindi Cinema on Fashion and Society in India and Vice Versa. International Journal of Innovation, Creativity and Change, 13(12), 295–309.
Anu, M. (2014). The 1940s Salwar Kameez | Vintage Indian Clothing. Vintageindianclothing.Com. https://vintageindianclothing.com/2014/01/29/the-1940s-salwar-kameez/
Ashis, N. (1999). The Secret Politics of Our Desires: Innocence, Culpability and Indian Popular Cinema. Zed Books.
Assomull, Sujata., & Ram, Aparna. (2019). 100 Iconic Bollywood Costumes. Roli Books.
Ayushi, G. (2021). Analyzing Portrayal of women in Bollywood Cinema: 11:12. https://www.hilarispublisher.com/open-access/analyzing-portrayal-of-women-in-bollywood-cinema.pdf
Banerjee, S. (2023). Reading Bhadralok Cultural Memory, Kitsch, and Culture Industry In Ritwik Ghatak’s Films. CINEJ Cinema Journal, 11(2), 21–49. https://doi.org/10.5195/cinej.2023.422
Banerjee, M. (2008). The Sari. Berg. https://archive.org/details/sari0000bane_p8w9
Barnouw, E. & Krishnaswamy, S. (1980). Indian film (2nd ed.). Oxford University Press.
Bhabha K, H. (2004). The Location of Culture (2nd ed.). Routledge.
Bhanu, A. R. (2010). The Art of Costume Design – Bhanu Athiya By Bhanu Rajopadhye Athaiya. Harper Collins India.
Bhattacharya, M. R. (2020). Unruly Cinema. In Unruly Cinema. University of Illinois Press.
Bhawana, S. (1999). Salaam Bollywood: The Pain and the Passion. Spantech & Lancer.
Booth, G.D. (2022). Disco, Dancing, Globalization and Class in 1980s Hindi Cinema. In: Pitrolo, F., Zubak, M. (eds) Global Dance Cultures in the 1970s and 1980s. Palgrave Macmillan. https://doi.org/10.1007/978-3-030-91995-5_6
Brand, S. (2025). Redefining Indian Fashion: Meet the Designers Shaping the Industry. Mid-Day.
Brian, E. (2018). Pather Panchali (1955) | The Definitives | Deep Focus Review. Deepfocusreview.Com. https://www.deepfocusreview.com/definitives/pather-panchali
Britannica Encyclopaedia. (2003). Encyclopaedia of Hindi Cinema. Encyclopaedia Britannica.
Celia, L. (2004). Brands: The Logos of the Global Economy. Routledge.
Chatterjee, A. K. (2022). Dilwale Dulhania Le Jayenge and the Consumerist Utopia. History of Retailing and Consumption, 8(2), 130–150. https://doi.org/10.1080/2373518X.2022.2129194
Ciecko, A. (2001). Superhit hunk heroes for sale: Globalization and Bollywood’s gender politics. Asian Journal of Communication, 11(2), 121–143. https://doi.org/10.1080/01292980109364807
Deepa, G. (2001). Villains and Vamps. In Bollywood: popular Indian cinema (pp. 252–297). Dakini.
Devasundaram, A. I. (2018). Indian Cinema Beyond Bollywood: The New Independent Cinema Revolution. Routledge.
Dr. Vikrant Kishore . (2011). Amitabh Bachchan: From ‘angry Young Man’ to ‘flirtatious Old Man’. International Journal of Communication Development, 1(2), 03-09. https://doi.org/10.65301/ijcd.2011.1.2.120
Dwyer Jackson Madeline, R. (2000). All you want is money, all you need is love : sexuality and romance in modern India. Cassell.
Dwyer, Rachel. (2006). Filming the gods: religion and Indian cinema. Routledge.
Dwyer Rachel, P. D. (2002). Cinema India: The Visual Culture of Hindi film (1st ed.). Rutgers University Press.
Dwyer, Rachel., & Pinto, Jerry. (2011). Beyond the boundaries of Bollywood: the many forms of Hindi cinema. Oxford University Press.
Foster, R. J. (2005). Commodity futures: Labour, love and value. Anthropology Today, 21: 8-12. https://doi.org/10.1111/j.0268-540X.2005.00366.x
Gary, G., & Miguel, K. (1993). Commodity Chains and Global Capitalism. Praeger.
Gledhill, C. and Williams, L. (2000). Reinventing film studies. Oxford University Press.
Gokulsing, K. M., & Dissanayake, W. (2004). Indian Popular Cinema: A Narrative of Cultural Change. Trentham.
Gopal, Sangita., & Moorti, Sujata. (2008). Global Bollywood: travels of Hindi song and dance. University of Minnesota Press.
Gopalan, Lalitha. (2002). Cinema of interruptions: action genres in contemporary Indian cinema. BFI.
Gramsci, A. (1971). Selections from the Prison Notebooks of Antonio Gramsci. International Publishers.
Inaya, K. (2025). Bollywood Costume Designs That Created Magic On Screen. First Look.
Ipsita, K. (2023). Off The Rack: The Archies Costume Designer Poornamrita Singh On The Movie, Her Journey and More. Elle, 1–2. https://elle.in/poornamrita-singh-archies
Jackie, S. (1994). Star Gazing: Hollywood Cinema and Female Spectatorship. Routledge.
Jain, Jasbir., & Rai, Sudha. (2015). Films and feminism: essays in Indian cinema. Rawat Publications.
Jigna, D. (2004). Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. Routledge.
Joshi, Priya. (2015). Bollywood’s India: a public fantasy. Columbia University Press.
Joshi, S.A. (2013). Transnational Subject/Transnational Audience: The NRI Trope and Diasporic Aesthetic in Diasporic Romance Films. In: Pillai, G. (eds) The Political Economy of South Asian Diaspora. Palgrave Macmillan. https://doi.org/10.1057/9781137285973_9
Jyotika, V. (1962). The cinematic imagination: Indian popular films as social history. Rutgers University Press.
Kaarsholm, Preben., & Biśvāsa, M. (2006). City flicks: Indian cinema and the urban experience. Seagull Books.
Kabir, N. Munni. (2001). Bollywood: the Indian cinema story (1st ed.). Macmillan Pub Ltd.
Kapil, K. (2024). Bollywood Costumes and Their Impact on the Fashion Industry. Fashion & Law Journal. https://fashionlawjournal.com/bollywood-costumes-and-their-impact-on-fashion-industry/
Kasbekar Asha. (2002). Hidden pleasures: Negotiating the myth of the female ideal in popular Hindi cinema. In R. Dwyer & C. Pinney (Eds.), Pleasure and the nation: the history, politics and consumption of popular culture in India (pp. 286–308). Oxford University Press.
Kripalani, C. (2006). Trendsetting and product placement in Bollywood film: Consumerism through consumption. New Cinemas: Journal of Contemporary Film, 4(3), 197-215. https://doi.org/10.1386/ncin.4.3.197_1
Lal, Vinay. (2010). Deewaar: the footpath, the city and the angry young man. Harper Collins Publishers.
Lash, S., & Lury, C. (2007). The Mediation of Things. Polity.
Liechty, Mark. (2002). Suitably modern: making middle-class culture in a new consumer society. Princeton University Press.
Madhava, P. (1998). Ideology of the Hindi Film: A Historical Construction. Oxford University Press.
Mathur, N. (2010). Shopping Malls, Credit Cards and Global Brands: Consumer Culture and Lifestyle of India’s New Middle Class: Consumer Culture and Lifestyle of India’s New Middle Class. South Asia Research, 30(3), 211-231. https://doi.org/10.1177/026272801003000301
Mazumdar, R. (2007). Bombay cinema: an archive of the city. University of Minnesota Press.
Mazzarella, W. (2003). Shoveling Smoke. In Shoveling Smoke: Advertising and Globalization in Contemporary India. Duke University Press.
Mokashi-Punekar, R. (2011). Global Bollywood: Travels of Hindi Song and Dance. South Asian Diaspora, 3(2), 231–233. https://doi.org/10.1080/19438192.2011.579460
Mulvey, L. (1975). Visual and other pleasures. Indiana University Press.
Natarajan, T., Balasubramaniam, S. A., Stephen, G., & Inbaraj, J. D. (2018). Brand placements: prevalence and characteristics in Bollywood movies, 1995-2015. Journal of Media Business Studies, 15(1), 57–88. https://doi.org/10.1080/16522354.2018.1460051
Nayar, S.J. (1997), The Values of Fantasy: Indian Popular Cinema through Western Scripts. The Journal of Popular Culture, 31(1): 73-90. https://doi.org/10.1111/j.0022-3840.1997.3101_73.x
Nelson DW, Moore MM, Swanson KK (2019), "Fashion and social networking: a motivations framework". Journal of Fashion Marketing and Management: An International Journal, Vol. 23 No. 4 pp. 608–627, doi: https://doi.org/10.1108/JFMM-03-2018-0037
Patricia, U. (1990). Feminine Identity and National Ethos in Indian Calendar Art. Economic and Political Weekly, WS41–WS48. https://www.epw.in/journal/1990/17/review-womens-studies-review-issues-specials/feminine-identity-and-national-ethos
Paulicelli, Eugenia., & Clark, Hazel. (2009). The fabric of cultures: fashion, identity, and globalization. Routledge.
Punathambekar, Aswin. (2016). From Bombay to Bollywood: the making of a global media industry. New York University Press.
Rachel, T. (2009). Dressing the nation: Indian cinema costume and the making of a national fashion, 1947–1957. In E. Paulicelli & H. Clark (Eds.), The Fabric of Cultures: Fashion, Identity, and Globalization (pp. 44–56). Routledge.
Raghavendra, M. K. (2014). The politics of Hindi cinema in the new millennium: Bollywood and the Anglophone Indian nation. Oxford University Press.
Rajinder, D. (2014). Bollywood Travels: Culture, Diaspora and Border Crossings in Popular Hindi Cinema. Routledge.
Roland, B. (1983). The fashion system. Hill and Wang.
S. Sumita, C. (1994). National Identity in Indian Popular Cinema, 1947-1987. University of Texas Press.
Sail, S. G. (2023). Post Liberalisation Critical Analysis of Women-Centric Films in Hindi Cinema. IOSR Journal of Humanities and Social Science, 28(2), 55–120.
Sanjukhta, S. (2023). ‘The Archies’: Why the Gang Has to Win | The Voice Of Fashion. Thevoiceoffashion.Com. https://www.thevoiceoffashion.com/intersections/film-x-fashion/the-archies-why-the-gang-has-to-win--5756
Schaefer, D. J., & Karan, K. (2012). Bollywood and globalization: The global power of popular Hindi cinema. In Bollywood and Globalization: The Global Power of Popular Hindi Cinema. Routledge. https://doi.org/10.4324/9780203085141
Sen Amartya. (2005). The Argumentative Indian. Penguin Books Ltd.
Singh, J., & Gupta, K. (2014). Bollywood and Fashion Trends in India: A Longitudinal Study. International Journal of Scientific Research and Management (IJSRM), 2(1), 491–495. http://ijsrm.in/v2-i1/3 ijsrm.pdf
Soutik, B. (2022). Alam Ara: Search for the lost film that gave birth to Bollywood. Bbc.Com. https://www.bbc.com/news/world-asia-india-61404876
Spivak, G. C. (1988). Can the Subaltern Speak. In Cary Nelson and Lawrence Grossberg (Ed.), Marxism and the Interpretation of Culture (pp. 271–313). Macmillan.
S.Plate, B. (2003). Representing Religion in World Cinema (S. B. Plate, Ed.). Palgrave Macmillan.
Sujata, A. (2023). How Bollywood’s imaginative, fantastical fashion has evolved over the years. Harpers Bazaar. https://www.harpersbazaar.in/culture/story/unraveling-the-legend-of-imaginative-fantastical-fashion-which-bollywood-has-mastered-over-the-years-698907-2023-10-23
Tarlo, Emma. (1996). Clothing matters: dress and identity in India (2nd ed.). University of Chicago Press.
Tejaswini, G. (2013). Bollywood: A Guidebook to Popular Hindi Cinema (2nd ed.). Routledge.
Tennent, E. (2018). The fashioned body: Fashion, dress & modern social theory Joanne Entwistle. Feminism & Psychology, 28(2), 292-296. https://doi.org/10.1177/0959353516682662
TOI, D. L. (2025). Impact of colonialism to cinematic influence: Celebrating Indian fashion through the ages - Times of India. Times of India, 1–2. https://timesofindia.indiatimes.com/life-style/fashion/buzz/impact-of-colonialism-to-cinematic-influence-celebrating-indian-fashion-through-the-ages/articleshow/123307889.cms
Uberoi, P. (2002). Imagining the family: An ethnography of viewing Hum aapke hain koun! In R. Dwyer ;C. Pinney (Ed.), Pleasure and the nation : the history, politics and consumption of public culture in India (pp. 309–351). Oxford University Press.
Wilkinson‐Weber, C. M. (2005). Tailoring expectations: How film costumes become the audience’s clothes. South Asian Popular Culture, 3(2), 135–159. https://doi.org/10.1080/14746680500234520
Wilkinson-Weber, C. M. (2014). Fashioning Bollywood. In Fashioning Bollywood. Bloomsbury.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2026 Neetu Singh

This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms:
- The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.
- Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
- The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons Attribution 4.0 International License or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
- Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
- The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post online a prepublication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.
- Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.
- The Author represents and warrants that:
- the Work is the Author’s original work;
- the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
- the Work is not pending review or under consideration by another publisher;
- the Work has not previously been published;
- the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
- the Work contains no libel, invasion of privacy, or other unlawful matter.
- The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.
Revised 7/16/2018. Revision Description: Removed outdated link.
