India’s vast cultural mosaic is vividly reflected in the traditional attire of its people. Men’s ethnic fashion across India varies dramatically from one state to another, shaped by each region’s history, climate, and cultural ethos.

From the bling and regal splendor of North Indian sherwanis to the minimalistic dhoti ensembles of the South, and from the textile-rich East to the colorful tribal weaves of the Northeast, every region has developed distinct sartorial identities.

These garments are not mere clothing; they are storytellers of heritage and social identity. Traditional men’s outfits like the kurta, dhoti, sherwani, angrakha, veshti, lungi, jama, and accessories such as turbans (pagri), stoles, and mojari footwear have evolved over centuries, influenced by local textiles, embroidery, weaving and dyeing techniques, as well as religious and social customs.

This article provides a comprehensive analysis of how different Indian states and regions have influenced men’s ethnic fashion. It covers the historical evolution of menswear in India and examines both ceremonial/festive attire and everyday traditional wear in a pan-Indian perspective.

We will explore how regional textiles (like Banarasi brocades, Kanchipuram silks, ikat, khadi, etc.), distinctive embroidery and printing styles (such as Phulkari, Chikankari, Kantha, Bandhani), unique tailoring practices, and craftsmanship have contributed to each region’s distinct men’s fashion identity.

The discussion is organized region-wise (North, South, East, West, Central, and Northeast India), with state-wise details, followed by an overview of contemporary trends and revival movements. Tables are included to compare regional styles for quick reference.

Historical Evolution of Men’s Ethnic Fashion in India

Ancient and Medieval Era:

The roots of Indian menswear trace back to unstitched garments of antiquity. In ancient times (e.g. the Vedic period), men commonly wore simple draped cloth such as loincloths (kaupinam or langot) and wrapped dhotis, owing to the warm climate and ease of movement.

The dhoti (also called dhotar in Marathi, chadra in Punjabi, dhotiyu in Gujarati, pancha in Telugu, veshti in Tamil, etc.) is a long rectangular cloth wrapped around the waist and legs; it was a pan-Indian garment and remains a foundation of traditional menswear. Over this, upper bodies often remained bare or were covered with a simple shawl in ancient times.

Sewing was not indigenous to early India, the concept of stitched garments like tunics or trousers arrived via Central Asian influence. By the later ancient period and early medieval era, tailored garments had been adopted: the Kushan and Gupta periods saw the use of stitched tunics and trousers among royalty and warriors, likely influenced by Scythian (Central Asian) styles.

Medieval to Mughal Period:

In the medieval period, especially under the Delhi Sultanate and Mughal Empire (13th–18th centuries), Indian men’s fashion saw a synthesis of Persian, Central Asian, and indigenous styles. The Mughal era introduced or popularized garments such as the jama (a long flowing coat tied to the side) and the achkan / sherwani (close-fitting long coat) which became staples of North Indian and courtly attire.

The jama was often made of luxurious fabrics and featured a flared skirt; it remained popular through the Mughal period. The angarkha (from Sanskrit angaraksaka, meaning “body protector”) also emerged as a court outfit, a wrap-around upper garment that could be tied at one shoulder.

While the basic cut of the angrakha remained similar across regions, its length and styling varied regionally, showing local adaptations. Mughal influence also brought rich textiles and adornments: heavy brocades, silks, velvets, and fine muslins became prevalent for nobility, with intricate zardozi (gold embroidery) and dabka work decorating royal outfits.

The turban (pagri) evolved as a symbol of honor across many regions during this time, Mughals and Rajput kings wore elaborate turbans, and their styles trickled down to gentry. Rajput kings, for example, developed the safa style of turban, and the colors and draping of a turban could signify one’s caste, region, or valor.

Colonial Era and Independence Movement:

The British colonial period (18th–20th centuries) brought Western attire into India, but traditional menswear remained a marker of cultural identity, especially for ceremonies. By the late 19th century, a fusion garment emerged: the bandhgala suit (Jodhpuri suit), essentially a Western-style suit with a high-collar Nehru jacket silhouette.

Originating in the princely state of Jodhpur, the bandhgala was popularized during the British Raj as a formal evening outfit for Indian royalty, and it quickly became a preferred formal/semi-formal attire across Rajasthan and eventually all of India. Another hybrid was the Nehru jacket (a sleeveless or half-sleeve vest with Mandarin collar, derived from the traditional bandi or mirzai vest), which became popular as a dignified layer over kurta or shirts.

During the freedom struggle, khadi (hand-spun cotton) was promoted by Mahatma Gandhi as a political statement, a rejection of British textiles in favor of indigenous fabric. Khadi kurtas and dhotis became symbols of self-reliance; nationalist leaders encouraged khadi production to empower rural artisans and boycott foreign goods.

The Gandhi cap, a simple white cap made of khadi, was popularized in this era and adopted by politicians and common people in many states (from Gujarat and Maharashtra to Uttar Pradesh and West Bengal) as a symbol of nationalist sentiment. Thus, the early 20th century saw a revival of traditional attire as political expression.

Post-Independence to Contemporary Era:

After 1947, Western clothing (trousers, shirts, suits) grew in daily usage across India, especially in urban settings, but traditional menswear persisted strongly for cultural occasions. In fact, the Government of India has even officially accepted certain Western garments (trousers, shirts) as part of “traditional Indian dress” given their ubiquity.

Nonetheless, men across India continue to don ethnic attire for festivals, weddings, and official ceremonies, often specific to their region’s heritage. Over time, there has been cross-pollination: for instance, the North Indian sherwani has been embraced by grooms countrywide, and the South Indian silk dhoti (pattu veshti) is worn beyond its home region in pan-Indian ceremonial contexts.

Indian fashion designers in recent decades have further globalized and modernized ethnic menswear, blending traditional silhouettes with contemporary tailoring. Yet, despite changing fashions, one can still find, on any given day in India, a fascinating medley of men’s ethnic attire, a Tamil farmer in a simple veshti and angavastram, a Rajasthani elder in vibrant turban and dhoti, a Sikh gentleman in kurta-pajama and dastar (turban), or a Bengali priest in pristine white dhoti, each reflecting an unbroken chain of tradition.

The following sections provide a region-wise and state-wise breakdown of men’s ethnic fashion, covering the distinctive garments, fabrics, and ornamentation of each area, and how these traditional styles continue to thrive and influence contemporary menswear.

Regional Styles of Men’s Ethnic Fashion in India

To appreciate the breadth of Indian menswear, we examine it by region: North, West, Central, East, Northeast, and South India. Each section highlights the key traditional garments, typical fabrics/weaves, embroidery or craft techniques, and accessories of the region’s states, for both everyday wear and special occasions. We also note cultural or religious influences unique to each area.

North India

The North Indian states have been a historical melting pot of Hindu, Islamic, and Sikh influences, which is evident in their men’s fashion. North Indian menswear tends to be more opulent in ceremonial attire, rich textiles, layers, and ornamentation are common, yet everyday traditional wear remains simple and functional (often a kurta with dhoti or pajama).

Jammu & Kashmir:

In India’s northernmost region, with its cold climate, men’s attire developed for warmth. The traditional outfit is the pheran, a loose woolen cloak (for men, sometimes called a Kafthan in descriptions) worn by both Muslims and Pandit Hindus in Kashmir.

The male pheran/kafthan is a long loose kurta-like tunic reaching the knees, with wide sleeves (narrowing toward the wrist) and rounded lower edges. Underneath, men wear loose trousers (similar to a salwar) that are pleated at the waist and tight at the ankles, ideal for retaining heat.

A distinctive Kashmiri accessory is the kangri (a personal fire-pot) carried under the pheran for warmth in winter. Men usually wear a cap (topi) made of wool or fine cotton on the head, instead of turbans. Traditional footwear was often a soft leather shoe or sandal.

Kashmiri men also sometimes drape a shawl, and the region’s famous Kashmir shawls (made of pashmina or shahtoosh wool) were prized globally, historically worn by Mughal and Sikh royals and later exported to Europe as luxury items. These shawls feature the paisley motif (known as buta), and their workmanship is a testament to Kashmiri craftsmen.

Culturally, Kashmir’s clothing shows Central Asian and Persian influence due to Islamic rule, but the pheran’s loose form is also practical for Hindu pundits; thus it became a unifying traditional garment. Today, while urban Kashmiri men may wear modern jackets, the pheran remains common in winter and during festivals.

Traditional embroidery arts like Kashida (Kashmiri embroidery) adorn shawls and pherans for special occasions. The state’s men’s fashion identity is thus defined by layered woolen garments, earthy colors, and intricate wool embroidery, blending necessity and art.

Himachal Pradesh:

A mountainous state, Himachali menswear is also tailored for cool weather. Men traditionally wear the chola, a long tunic resembling a gown, typically made of thick wool. The chola for men (as with women) historically reached the ankles and had loose sleeves; more recently, cotton versions and a somewhat shorter length (calf-length) are used, often paired with a tight-fitting lower garment (such as churidar pants).

In some parts of Himachal, especially among the Gaddi community, men’s and women’s garments are similar, a reminder of the dress’s unisex, utilitarian origin. Unique to Himachal men is the Himachali cap (topi), an oval, flat-topped cap, often woven in wool with a colorful band, famously worn in Kullu, Manali, etc. Gaddi men decorate their caps with beadwork, silver brooches or even feathers for festivities.

Men may also drape woolen shawls (the region is known for vibrant Kullu shawls with geometric patterns). In certain areas, influences from Jammu or Punjab are seen: for instance, in Chamba district, men at times wore the pheran and loose salwar similar to Kashmir’s style.

Overall, Himachali men’s ethnic wear emphasizes warmth and simplicity, accented by the iconic cap and occasional tribal jewelry. Today, one often sees Himachali men in kurta-churidar with their distinctive caps during ceremonies, preserving a sense of regional pride.

Punjab & Haryana:

Punjab, the land of five rivers, has a robust and vibrant clothing culture, strongly influenced by agrarian life and Sikh traditions. The quintessential Punjabi rural attire for men is a long kurta (tunic) paired with a tehmat or chaadra, which is a type of wrapped lower garment akin to a dhoti but worn in a unique style.

The kurta in Punjab is knee-length and loose-fitting. The lower garment (tehmat) is a square or rectangular piece of fabric wrapped around the waist, usually ending just above the ankles after draping and tucking pleats at the waist.

This style leaves layered pleats visible in front and provides freedom of movement, suitable for farming work. Another common lower garment, especially in the 20th century, is the salwar, baggy trousers that are wide and pleated at the top and taper to the ankle.

The salwar is typically paired with a kurta as well (the kurta-salwar being a comfortable everyday combination in Punjab). Sikh culture has greatly shaped Punjabi men’s fashion: observant Sikh men do not cut their hair and must wear a turban (Pagri/Dastar) as part of their faith.

The Sikh turban is a long, narrow cloth expertly folded and tied in a specific way, with a distinctive raised front (many Sikh men today favor the “Patiala shahi” turban style). The finished turban can be removed like a cap and re-used, but tying it each day is an art.

Turban colors and styles can indicate personal taste or even community sub-sect (e.g. Nihang Sikhs wear high turbans often adorned). Men of other communities in Punjab and neighboring Haryana also wear turbans or pagdi, though these may be tied differently and are often worn on special occasions rather than daily.

For instance, in Haryana, different communities (Jats, Rajputs, Ahirs, etc.) have their own turban-tying styles. Punjabi men’s festive attire is famously extravagant: grooms wear heavily embroidered sherwanis or achkans with turbans accessorized by a kalgi (jeweled brooch with plume) and strings of pearls.

Phulkari embroidery, a Punjab hallmark, is usually seen on women’s dupattas, but sometimes men use phulkari-decorated shawls or pagh (turban) for weddings. Punjabi juttis (ornate leather shoes with upturned toes) are popular footwear in North India.

Haryana’s men’s attire closely mirrors Punjabi styles in the north of the state, whereas in southern Haryana, one finds more use of the dhoti with kurta, and a blanket or cotton chadar thrown over the shoulder especially in winter. The color palette in Punjab/Haryana ranges from pristine white (for daily wear kurta-dhoti/salwar) to bright, bold colors for turbans and jackets in festivities.

Cultural note: In Punjabi Sikh weddings, the groom often carries a ceremonial sword (kirpan) and wears ornate jewelry like a haar (necklace), underscoring the martial and regal heritage of the community.

Overall, Punjab has contributed iconic elements to Indian menswear: the Punjabi kurta (with side slits), the salwar, the phulkari work, and the concept of the regal turbaned groom now seen across India.

Uttar Pradesh (UP) & Uttarakhand:

Uttar Pradesh, being a historically rich Gangetic state, exhibits a blend of Hindu and Mughal sartorial traditions. The common traditional attire for men in UP is the kurta and dhoti or kurta and pajama. In the eastern and rural parts of UP (and the adjoining Bihar), the dhoti is especially prevalent for daily wear, often a fine cotton dhoti, usually white or cream, wrapped with pleats in front (called koncha in local term) and a back tuck.

An interesting aspect in parts of UP and Bihar is that men sometimes leave a portion of the dhoti end hanging untucked, which they hold in hand; this style was traditionally a mark of gentility or scholarly status.

Lucknow in UP, once the Nawabi capital, is famed for its delicate Chikankari embroidery, even today, Lucknowi chikan kurtas (fine muslin tunics hand-embroidered with white thread floral patterns) are prized for their elegance, often worn by grooms or during festivals.

For formal occasions, North Indian men (including in UP) adopted the sherwani, a long coat-like garment of Persian origin. In fact, an achkan-style sherwani (a fitted sherwani with a standing collar) is very popular for weddings in UP, often richly decorated with zardozi and paired with churidar pants (tightly fitting leggings that gather at the ankles).

Men also wear the Nehru jacket (sleeveless mandarin-collar vest) over kurta-pajamas for formal events, the fabric for these is often brocade or Banarasi silk, since Varanasi (Banaras) in UP produces some of India’s finest brocades. Varanasi’s famous Banarasi silk with gold zari motifs is not only for sarees but is also used to tailor men’s sherwanis and waistcoats, lending a regal touch to groom’s attire.

Religious influence is notable: Hindu priests in UP wear dhotis (often a ochre/saffron or white) and angavastram (a cloth draped over shoulders). Muslims in UP often wear the pathani suit (loosely, a long kurta and salwar with a vest) especially in the west UP areas, and skullcaps (topi) for prayer.

Uttarakhand, which was carved out of UP, has its own Pahari influences: Garhwali and Kumaoni men traditionally wear a langot or short dhoti and a long shirt, or kurta with dhoti. As noted in one source, Garhwali men may wear a lungi or dhoti with a kurta, adding woolen sweaters or jackets in cold weather.

Older men in Uttarakhand often don turbans, while younger men wear caps (a practice possibly influenced by neighboring Himachal’s caps or by the Gandhi cap). During weddings in Uttarakhand, it is customary for the groom to wear a bright yellow kurta with a dhoti, yellow being auspicious in Hindu rituals.

Men may also wear gold jewelry like a chain or ring, and interestingly, Kumaoni men have been noted to wear neck and hand jewelry as part of tradition. In summary, Uttar Pradesh has contributed the refined Lucknowi kurta and Banarasi fabrics to Indian menswear, while the hill culture of Uttarakhand emphasizes simple dhoti-kurta with seasonal layers, retaining a raw simplicity of the mountains.

Delhi (Union Territory):

Although not a state, the capital city Delhi deserves mention as a fashion melting pot of North India. Historically the seat of Mughal emperors and later the British capital, Delhi’s sartorial scene is diverse.

There isn’t a single “Delhi traditional menswear” since Delhiites have roots all over India. However, being North Indian, Delhi’s men commonly wear kurta pajama for men or kurta-dhoti for festivities. Because of the city’s cosmopolitan nature, ethnic clothing from all parts of the country is seen here.

One might see a Punjabi sherwani wedding, a South Indian veshti ceremony, or an Eastern-style dhoti in different communities. Thus, Delhi acts as a microcosm where regional styles converge and blend.

Rajasthan:

Rajasthan’s men’s ethnic fashion is among the most vibrant and well-known in India. The arid desert climate and the royal Rajput heritage have together produced attire that is both practical and visually striking. The basic outfit for Rajasthani men is the angrakha (or kurta) and dhoti. The angrakha is a traditional long-sleeved upper garment that overlaps in front and ties at the side; in Rajasthan it was often of waist to mid-thigh length.

Common folks might wear a shorter cotton angrakha (often white or pastel) for daily use. The dhoti is the preferred lower garment; Rajasthani dhotis are typically tied with a distinctive style, sometimes with a mojari-style (V-shaped) front drape and often ending above the ankle for easy movement in sand.

On their feet, men wear the famous jutti/mojaris, pointed leather slippers, sometimes with upturned toes (a style popularized by royalty). In fact, members of erstwhile royal families often wore pointed mojari shoes without heels, which became a fashion statement. But perhaps the greatest hallmark of Rajasthani men’s fashion is the turban (pagari or safa).

Every Rajasthani man traditionally wears a turban, and its size, style, and color carry social meanings. Turbans in Rajasthan are large and loosely wound in the hotter western regions (to insulate from heat). A pagri or safa can be several meters long; for example, in Mewar region it’s called paggar, in Marwar region safa.

The color of the turban might indicate occasions or sentiments, saffron for valor, white for mourning, etc., and exchanging turbans was a sign of cementing friendship. Rajasthani pagris are often tie-dyed in multiple hues (using the local bandhani tie-dye technique), yielding vibrant patterns of dots and waves, an immediately recognizable look.

Rural men sometimes wear minimal clothing in peak summer, just a loincloth and turban, but for any social gathering, the kurta/angrakha, dhoti, and colorful turban are de rigueur. In addition, Rajasthan’s communities (Rajput, Mali, Brahmin, etc.) each have nuances: e.g., the Rajput nobility historically wore the bandhgala (Jodhpuri suit) for formal occasions, a legacy of Jodhpur’s princely state where the high-collar suit was invented and then adopted across India.

Even today, Rajasthan’s contribution to formal menswear, the bandhgala jacket, is a staple for Indian politicians and grooms, offering a blend of Indian style and Western tailoring. Rajasthani craftsmanship also gave us gota patti work (metallic ribbon embroidery) and mirror work that often decorated men’s kamarbands (waist sashes) or turbans in festival attire.

During weddings or festivals like Diwali and Holi, Rajasthani men don their finest: an angrakha or sherwani in silk or brocade, a churidar, a richly embroidered turban (sometimes with a sarpech or turban ornament), and carry adornments like a sword (a Rajput groom often carries a sword as symbol of honor).

The palette of Rajasthan is full of bright hues, to compensate for the dull desert, locals say. Thus, Rajasthan’s men’s ethnic fashion identity is that of bold colors, layered textiles, and regal accessories, a style that has captured imaginations well beyond its borders.

(Table 1, later in the report, provides a comparison of key North Indian menswear elements across states.)

West India

Western India includes Gujarat, Maharashtra, Goa, and often Rajasthan (which we have discussed under the North for cultural context). This region’s menswear ranges from the festive, mirror-bedecked attire of Gujarat’s folk dancers to the sturdy cotton dhotis of Maharashtrian farmers. Common themes in West Indian men’s clothing are use of cotton due to a hot climate, vibrant dyeing (bandhani, block prints), and influence of both warrior and trading communities.

Gujarat:

Gujarati men’s traditional clothing is as colorful as the state’s culture. A typical village attire is a short kurta (sometimes called kediyu or angrakhu in Kathiawar) paired with a dhoti or chorno (cotton pants). The kediyu is a flared, frock-like kurta with pleats and reaches just above the waist or hips.

It is often seen in the folk dress (as worn by Garba dancers): a rich, mirror-worked kediyu jacket paired with a tight dhoti or churidars and a colorful pagri (turban). Indeed, mirror-work and embroidery (like abhla bharat mirror embroidery and chain stitch from Kutch) adorn many traditional Gujarati garments for men during festivities.

Everyday wear for many Gujarati men was a plain white dhoti and kurta (Gujarat was a stronghold of the khadi movement led by Gandhi, so simple khadi cotton outfits are an iconic image of Gujarati freedom fighters).

For headgear, men in rural Gujarat and Saurashtra wear turbans; each region had its style, like the pheto. These turbans are often brightly dyed or tie-dyed (using bandhani technique which Gujarat is famous for alongside Rajasthan).

Bandhani turbans with dots of white, yellow, red on a background of crimson or green are very popular. Gujarat’s Kutch region also has communities where men wear the abaya-like angarkha (long angrakha), and in some Muslim communities, men wear a skullcap and a long shirt (similar to pathani suits).

One unique garment from Kutch is the Kedia, essentially the same as the kediyu, a short flared jacket, worn during Navratri festival by men performing Garba dance. Gujarat’s long history as a trading hub (port of Surat, etc.) meant exposure to various textiles; the state is renowned for its handloom weaving (e.g., Patola double-ikat silks of Patan) and block printing (Ajrakh prints from Sindh/Kutch).

While Patola sarees are for women, Patola silk fabric is sometimes used for men’s scarves or ritual dhotis. Contemporary influence: Modern Gujarati grooms may choose a sherwani, but often with a local touch like bandhani safa (turban) and Kutchi embroidery on their stole or jacket.

The everyday dhoti-kurta is less seen in cities now, replaced by shirts and trousers, but elders and rural folk still uphold it. Gujarat’s contribution to Indian menswear is significant in terms of textile crafts (bandhani tie-dye, rich handlooms) and the concept of vibrant folk attire for men, making it one of the most colorful male dress traditions in India.

Maharashtra:

Maharashtrian men’s traditional attire is comparatively austere in color but distinctive in draping and accessories. The basic garments are the dhoti (known locally as dhotar) and a long shirt or kurta (often called sadara in Marathi).

The Maharashtrian way of wearing the dhoti is the Kashta or Dhotar style, also referred to as “panchangavadi” dhoti, where the dhoti is wrapped and then tucked at the back, forming a “V” shape in front and a tail-like tuck at the back.

This style (called pancha kaccha) creates a trouser-like bifurcation of the dhoti and is particularly associated with Brahmin men of Maharashtra. It allows easy movement and was practical for agrarian or household tasks.

Over the dhoti, a tight-fitting short-sleeved angrakha or coat was sometimes worn in olden days, but the more common upper garment now is a simple shirt (earlier, a side-opening cotton shirt was common). A hallmark accessory is the pheta, the Marathi turban. Wearing a pheta was once mandatory for men, especially in rural areas. There are variations like the Puneri Pagadi (a prestigious style from Pune, flat and flared) and Kolhapuri pheta.

The turban cloth often has a border or is tied in a layered fashion; today pheta are mostly seen in ceremonies (weddings, religious events), and elders might still don them daily in villages. Footwear from Maharashtra made its mark nationally: Kolhapuri chappals, the handcrafted leather sandals from Kolhapur, are a classic example of functional footwear that became a fashion statement.

They are worn by men across India now as part of ethnic ensembles. Maharashtra’s men historically didn’t use much jewelry, but Maratha nobles did wear ornaments like bajuband (armbands), chains, or ear studs.

In terms of color, everyday Maharashtrian attire favored white and earthy tones, but festive wear could include kurtas or jackets in brighter hues like kesari (saffron) or dhoti borders of gold.

An interesting community attire is that of the Koli fishermen: Koli men wear a small loincloth or short dhoti (often just knee-length) with a distinct drape, one description notes they wrap a short fabric around the waist such that the front forms a V-shape to the knees while the back is only thigh-length.

They pair this with a tight sleeveless vest or banian. This minimal dress is suited to their work at sea and is usually in dark colors or checks. Maharashtrian culture also has the Sherwani for wedding use now, but traditionally a groom would wear a dhoti-kurta with a shela (silk shawl) and topi. During festivals like Ganesh Chaturthi, many men opt for the traditional kurta and dhotar.

Maharashtra’s fabrics include Paithani silk (famous for women’s sarees) and Himroo shawls (in Aurangabad), but for men a notable contribution is the Khadi movement, Gandhi’s cultivation of khadi cloth was centered in Maharashtra’s Wardha ashram, making the state synonymous with handspun cotton politics.

In summary, Maharashtra’s men’s ethnic fashion is characterized by the draped dhoti (kashta style), the pheta turban for special occasions, and a preference for subdued, elegant styles with the occasional splash of royal Maratha insignia (like saffron flags or emblematic turbans).

Goa:

Goa’s traditional menswear is an interesting blend of Indian and Portuguese influences, due to colonial history. Among Goan Hindus, the attire was similar to neighboring Maharashtra, dhoti (called dhotrum) and kurta, or a wrapped sarong-like cloth (pan'ko). However, the Portuguese influence introduced Western clothing much earlier here. Goan Catholic men in the 19th–20th centuries commonly wore European-style shirts, trousers, and often formal suits.

Even today, at a Goan Christian wedding, the groom typically wears a Western suit or tuxedo, and the bride a white gown. Meanwhile, in Goan Hindu weddings, the groom might wear a sherwani or kurta with dhoti, sometimes along with a red or saffron pagdi (a practice re-adopted post-1961 as Goans reconnected with Indian traditions).

Traditional fishermen community in Goa (similar to Kolis) wore short dhotis and banyans. One unique traditional piece was the Kunbi palloo for women (sari drape) and men often wore a cap or a hat (hat culture came via the Portuguese, the wide-brimmed hat for planters).

In sum, Goa doesn’t have a singular distinct men’s ethnic attire due to its mixed heritage, it oscillates between dhoti-kurta for the native population and Euro-Western suits for the westernized segment. In contemporary times, many Goan grooms choose Indo-western outfits or a mix (e.g., a sherwani for the religious ritual and a suit for the reception).

(Table 2, later in the report, will summarize differences in North vs West vs other regions in key attire elements.)

Central India (Madhya Pradesh & Chhattisgarh)

The central Indian states of Madhya Pradesh (MP) and Chhattisgarh sit at the convergence of North and South Indian cultural influences, while also having large tribal populations with their own dress traditions. Men’s ethnic fashion here is thus a mix of plain style (dhoti-kurta similar to North) and tribal dress elements (minimalist or distinctive regional pieces).

Madhya Pradesh:

Traditional attire for Madhya Pradesh’s men is simple and practical. A common outfit is a white cotton dhoti paired with a short-sleeved, collarless shirt called saluka. The saluka is basically a plain cotton kurta or shirt without a stand-up collar (somewhat like a loose Bandi).

Over the shirt, men often wore a vest or jacket, historically a mirzai (a kind of quilted jacket) or a bandi (waistcoat). This layering is suitable for the region’s climate which can be hot in the day and cooler at night.

On the head, brightly colored safa turbans are traditional, especially among rural men and farmers. These safas in Malwa or Bundelkhand regions often use bandhani tie-dye or block prints, adding a pop of color to an all-white outfit. The influence of Rajasthan/Gujarat is seen in the use of bandhej (bandhani) cloth in turbans and even in angavastrams.

For instance, MP is known for bandhani textiles (the art perhaps spread from Gujarat/Rajasthan to parts of MP long ago). Madhya Pradesh is also famous for Maheshwari and Chanderi handloom fabrics, though mostly used for women’s sarees, these fine cotton-silk blends could be used for men’s angavastrams or kurtas as well.

Tribal groups in MP, such as the Bhil or Gond, traditionally had very minimal attire for men, often just a loincloth and ornaments, but over time many adopted the dhoti and angocha (shoulder cloth). In cities like Bhopal (which had a Nawabi Muslim heritage), one might have seen men in the past wearing Sherwani with a fez or turban, as Bhopal was a princely state with Islamic influence.

Today, MP’s men at cultural events might sport the Alfi turban (a style from the region) and a jubba (long kurta). Overall, MP’s contribution is a continuation of the pan-North Indian dhoti-kurta tradition, with local flavors like the mirzai jacket and safa.

A source describes the attire succinctly: “Men wear a white cotton dhoti with collarless short-sleeved shirts (saluka), a jacket (mirzai or bandi), and brightly-coloured turbans (safa)”, which captures the essence of Madhya Pradesh’s men’s fashion.

Chhattisgarh:

This state, carved out of MP, has a high tribal population, and their clothing reflects both tribal simplicity and the influence of neighboring Odisha and Maharashtra. Traditionally, many tribal men in Chhattisgarh wear a dhoti (locally often just a short one, sometimes called kachhora style) and little else, aside from perhaps a sleeveless jacket.

Indeed, a common sight was men in a simple cotton dhoti and a bandi (vest), which is practical for the hot, humid climate. They also use headgear like a cotton turban or gamchha mainly to protect from the sun while working.

For example, the Bison-horn Maria tribes might wear a headdress made of horn and feathers during dances, but day-to-day they keep to minimal garments. In more modern traditional settings, Chhattisgarhi men wear kurta with dhoti or pajama. The region’s textiles are vibrant: Batik tie-and-dye is practiced here, and men might wear batik-printed angavastrams or shawls during festivals.

Chhattisgarh is also adjacent to Odisha, so ikat weaves (known as bandha in Odisha) influence local costumes. Some popular fabrics among men include Tussar silk (wild silk) which is produced in Chhattisgarh; men might wear a tussar silk shawl or dhoti for ceremonies. In recent times, the state government popularized an attire called Chhattisgarhi sodhia for men, essentially a kurta and dhoti of handloom fabric, to showcase their handloom heritage.

As noted in one description, “tribal men wear sleeveless jackets over dhotis made from cotton, jute or linen”, underscoring the natural material and functional design. In summary, Chhattisgarh’s men’s ethnic wear is modest and utilitarian, with an earthy aesthetic, complemented by bright dyes and tribal accessories (like bead necklaces or tattoo markings) for cultural occasions.

East India (Bihar, Jharkhand, Odisha, West Bengal)

Eastern India’s men’s fashion is marked by a preference for dhoti ensembles and rich textile traditions like silk and cotton weaving. The climate ranges from humid coastal (Odisha, Bengal) to dry inland (Bihar), but generally it’s warm, so the fabrics are typically lightweight cotton or silk, and the cuts are forgiving. Culturally, the East has seen Hindu, Buddhist, and colonial influences which all left their mark.

Bihar (and Jharkhand):

Bihari men traditionally favor the dhoti–kurta. A saying goes that in Bihar a well-tied dhoti is a matter of pride. The dhoti (often just called dhoti or dhoti mirjai) is usually of cotton, worn ankle-length for formal occasions or shorter for daily work.

For special events or by the gentry, the dhoti might be starched and paired with a long kurta and possibly a mirjai, which in local usage can mean a traditional vest or jacket. In fact, one source notes “during special occasions men in Bihar wear churidar pajamas and Dhoti Mirjai, also known as Kurta and Dhoti”.

This implies mirjai is synonymous with a kurta in that context, but historically a mirjai is a short coat, likely here it just underscores the full set of dhoti with upper garment. Everyday dhotis are simple cotton, while “fancy” ones with silk borders or finer fabric are for weddings/festivals.

Bihar’s culture didn’t emphasize turbans as much as in the west, though Brahmins and village elders sometimes tie a gamchha (thin cotton towel) or a plain white pagri on the head. Instead of turbans, the typical headgear for a Bihari farmer might be a simple white cap or just using the end of a cotton cloth.

In the Mithila region, men wore a Mithila painting-printed shawl or angavastram on occasion. Jharkhand, which was part of Bihar, has many tribal communities (Santhal, Munda, etc.).

Tribal men here traditionally wear one-piece cloth wraps called bhagwan or loincloths around the waist. The Santhal men might wear a short dhoti (called Panchi) and a cloth on top (called Parhan if upper garment, but often they didn’t use an upper garment historically).

Over time, many have adopted the kurta as well. An interesting note: the “Santhals and Paharis” have their distinct costume varieties, likely referencing different draping of the same basic pieces. In urban Jharkhand, the style is basically the same as Bihar, dhoti/kurta or kurta-pajama. A unique textile from this region is Tussar silk (Bhagalpur in Bihar and parts of Jharkhand are known for tussar silk weaving).

Tussar silk kurtas or jackets are sometimes sported by politicians from this region as a statement of local craft. Summarily, Bihar’s hallmark is the plain white dhoti-kurta as a symbol of simplicity and intellectual persona (think of many Indian leaders from Bihar in dhoti-kurta), whereas Jharkhand highlights a more tribal minimalist aesthetic with localized names for garments, though mainstream styles are similar to Bihar.

Odisha (Orissa):

Odisha’s traditional menswear centers on the dhoti, locally pronounced dhuti or dhooti. The draping style has some unique terminologies: front pleats are called Koncha and back pleats Malkoncha (Kancha).

Traditionally, an Oriya man’s dhoti would be worn long, often with generous pleats in front and back. For ease during work or walking, those pleats could be shortened by tucking more fabric (similar to other regions). The pleats themselves are referred to as Phera or Oria in Odia language.

It was noted that in old times men did not wear undergarments with dhoti, but nowadays most do, especially in urban areas. With the dhoti, men wear a kurta (sometimes called juba in Oriya) or an untucked shirt. Odisha has a rich textile heritage: ikat weaving (locally called bandha).

In fact, Odisha’s ikat is world-renowned (Sambalpuri ikat fabrics). Men in western Odisha proudly wear the Sambalpuri patta, a shorter version of dhoti or a waistcloth made of Sambalpuri ikat, often during festivals. The word “patta” or “patta-joda” in Odisha refers to outfit sets; Patta is also used to mean silk (as in Pattasari), but in context, patta appears to mean a shorter dhoti wrap.

Odia grooms traditionally wear a dhoti & kurta, frequently made of Tussar silk or Sambalpuri silk, with designs; and they often drape a utaariya (uttariya, a shawl) over one shoulder. A special headgear called “joda” (a type of crown/turban, sometimes a marigold garland crown or a cloth turban) is worn by the groom.

Everyday wear for an Oriya man might be a ganji (vest) and dhoti at home, or a lungi (lungi is common for casual wear across eastern India). Odisha’s coastal culture sees men often in all-white or all-cream attire for religious occasions, symbolizing purity, a carryover from the Jagannath cult (priests in Puri wear white cotton dhotis).

As for craftsmanship, Odisha is known for Bomkai and Berhampuri textiles too; Bomkai silk, with its embroidery-like extra-weft work, could be fashioned into priestly dhotis or festive kurtas. The strong temple culture means during Rath Yatra or Durga Puja, you will see many men in traditional attire.

In short, Odisha’s contribution lies in its ikat (bandha) textiles used in menswear and its distinctive dhoti drape vocabulary. The archetypal image is of an Odia gentleman in a white dhoti (with colored border), white kurta, and possibly a shawl, exemplifying simplicity yet enriched by the state’s famous woven borders and fine cottons.

West Bengal:

Bengali men’s traditional dress is epitomized by the dhuti-panjabi. Dhuti is the Bengali word for dhoti, and Panjabi refers to a long kurta (ironically named Panjabi, showing cultural exchange). In Bengal, especially among upper castes, the dhoti became an art form, typically woven from fine muslin or cotton, often stark white or off-white in color, occasionally with a thin colored border.

The dhoti is wrapped and usually tucked in front (Bengali style often has the pleats and a fan-like drape in front) and sometimes a back tuck as well. One feature described is that some cloth may be left hanging after tucking, and holding that drape in hand (rather than tucking it fully) was a sign of prestige.

This image is often seen with Bengali babus (gentlemen) of yore, holding one end of their dhoti or draped shawl in one hand. Unlike many other regions, historically Bengali men did not commonly wear turbans (except royalty or certain Muslim communities). Instead, a shawl or uttariya over the shoulder was common.

Also, for formal occasions or to combat mild winter, Bengali men wore the jawahar coat (Nehru jacket) or the full-sleeved chapkan (a type of long coat) during the British era. For headgear, the only notable traditional one is the Topor, a conical headpiece made of white shola pith, worn by Bengali Hindu grooms during the wedding ceremony. It’s more of a ceremonial item than everyday fashion.

In daily life, many Bengalis just used an umbrella to shield from the sun, rather than a cap or turban. Culturally, Bengal was famed for its Muslin textiles (Dhakai muslin, though Dhaka is now in Bangladesh). Men’s dhotis in the 19th century were sometimes made of such sheer muslin that anecdotes say they could pass through a signet ring.

Another local craft is Kantha embroidery, typically done on quilts or women’s sarees, but some men’s shawls or handkerchiefs might feature kantha stitching. In rural Bengal and among the working class, the lungi (a sewn tube of cloth worn like a casual wrap) is extremely popular for men at home or doing labor. But a lungi is considered too casual for formal settings; instead a dhoti or pajama is preferred when stepping out.

During festivals like Durga Puja, Bengali men often wear silk dhotis (many called garhwal or Benarasi dhotis with broad borders) and punjabi kurtas, sometimes the kurtas are made of Assam muga silk or tussar. In modern fashion, Kolkata’s men have embraced dhuti-panjabi as a cultural statement; designers produce ready-to-wear dhotis (with Velcro!) and kurta in new fabrics.

Summarily, Bengal’s iconic men’s attire is the elegant white dhoti and kurta, symbolizing a cultured, intellectual ethos (think of Rabindranath Tagore’s style). It contributes the concept of fine cotton menswear, the topor headpiece in weddings, and a general understated sophistication in men’s ethnic fashion.

(Table 3 will compare key aspects of East Indian vs other regions’ attire.)

Northeast India

The Northeast, comprising the “Seven Sisters” (Assam, Meghalaya, Tripura, Mizoram, Manipur, Nagaland, Arunachal Pradesh) and Sikkim, is culturally distinct from the rest of India, with many ethnic tribes, each having unique dress.

Men’s traditional clothing in these states is often characterized by wrap-around lower garments, shawls, and local weaves with geometric patterns. Unlike the rest of India, stitched garments like kurta or dhoti were not historically common in many NE tribes; instead, they wore body cloths, jackets, and elaborate headgear made from natural materials. Here we highlight each state’s general attire:

Assam:

Assamese men traditionally wear the dhoti and kurta, similar to Bengal, but with local flavor. A key item in Assam is the Gamosa (Gamusa), a handwoven rectangular cotton towel, usually white with red borders and motifs, which is a symbol of Assamese culture. Men often drape the gamosa over their shoulder or tie it around the head (as a headband) especially during the Bihu festival.

On formal occasions, an Assamese man will be seen in a white or cream dhoti, a silk kurta, and an Anga vastra (shawl) which might be the decorative gamosa cloth. The state is renowned for silk, particularly Muga silk (a golden-hued wild silk) and Eri silk.

Elite or ceremonial attire for men often incorporates these, e.g., a Muga silk shawl or kurta. Interestingly, Manyavar’s overview claims the Assamese mekhela chador is worn by men and women, but that is likely a confusion, in reality, Mekhela Chador is the women’s two-piece sari of Assam.

Men do not wear mekhela chador; instead, they wear a Seleng chadar, which is a shawl draped on the upper body. In Assamese tradition, men’s two-piece attire could be described as dhoti and seleng (shawl).

During Assamese weddings, the groom often dons a “Kurta-dhoti” set made of silk, and may have a jaapi (traditional conical hat) as a prop in ceremonies, and definitely the gamosa is present (often the bride’s father presents a gamosa to the groom as a welcome).

For everyday wear, many Assamese men use a checked lungi at home, and a cotton shirt. But culturally, the image of Bihu dancers, men in dhoti, bright silk or cotton Cheleng (waist cloth), an open jacket, and head tied with gamosa, stands out.

Another tribal attire in Assam is from communities like Bodos: Bodo men wear the Gamsha (like a gamosa cloth) around the waist and a shirt. In summary, Assam’s men’s ethnic fashion is anchored in the dhoti-kurta and gamosa tradition, enriched by the state’s silk textiles and distinct accessories like the jaapi and bihuwan (gamosa).

Meghalaya:

Meghalaya has three main tribes, Khasi, Garo, Jaintia, each with their own dress. Generally, Khasi men traditionally wore a Jymphong, which is a sleeveless coat, typically open in front and tied with thongs or buttons. They pair this with an unstitched dhoti-like lower wrap that goes around the waist and reaches the knees.

In the past, Khasi men might not wear a turban daily, but for ceremonial occasions they wear a turban or a decorative headgear (sometimes a plumed hat or turban, especially for dances like Nongkrem). Jaintia men’s attire is similar: a long cloth draped as a lower garment and a jacket, plus a turban. Garo men traditionally wore even less, a small loincloth called kachu and sometimes a wrap on the upper body.

Nowadays, Garo men might wear a sleeveless jacket and a wraparound called dakmanda on certain occasions (though dakmanda is more a women’s wrap skirt). Each tribe has signature textiles: for Khasis and Jaintias, Eri silk shawls (called endi shawls) are common. The men also wear bead necklaces and ornaments that signify their clan or status.

An example: in Khasi weddings, the groom may wear a silk jymphong and a turban. One source notes: “Khasi men wear a sleeveless coat called Jymphong over an unstitched dhoti-like cloth, Garo men wear a loincloth, Jaintia men wear a long cloth draped over their waist with a jacket and turban”. That encapsulates the variety. Modern Meghalaya men, however, often simply wear a kurta or Western suit for formal events, but traditional dress is revived during cultural festivals.

Manipur:

Manipuri traditional male attire is elegant and simple. It usually consists of a white dhoti, often with a broad colorful border, paired with a coordinated turban (pagri) and a jacket or coat on top. Specifically, Meitei men (the majority in Manipur valley) wear a dhoti (called pheijom) about 4-5 meters long, wrapped and knotted at the waist.

The pheijom is often draped so that one end hangs in front like a pleated fan. For the upper body, a jacket or banian is worn; historically it was a short waistcoat or an officer-style jacket during the kingdom era. A white pagri (turban) known as khudei is important, especially in ceremonies.

In weddings or the famed Manipuri Vaisnava festivals, men wear kulcha (turban with a knot) and sometimes a cloth around the waist called pheijom, plus a shawl on the shoulders. Tribes in the hills of Manipur (Nagas, Kukis, etc.) have their own dress: generally, a wraparound cloth, often colorful, and shawls with specific patterns (like the Tangkhul naga shawl).

But the question focuses state-wise, so the state’s primary imagery is the Meitei dress. Manipur also has a martial dance costume for men, thang-ta dancers wear a bright turban and a jacket with a dhoti. As one source succinctly puts: “The traditional dress for men is Dhoti and Jacket... A white turban (pagri) is used as headgear”.

That remains true in religious rites and cultural programs. Manipuri silk (Moira silk) is famous, so often grooms wear a silk dhoti. They also use innaphi (a kind of shawl) but that term is more for women. Summing up, Manipuri men’s ethnic attire revolves around a crisp dhoti, a tailored jacket, and a turban, reflecting a blend of martial and spiritual traditions.

Tripura:

Tripura’s indigenous population (Tripuri tribes like Debbarma, Reang, etc.) has distinct two-piece attire. Men wear a garment called rikutu or rignu, which is like a short towel or loincloth around the waist, and a kubai, which is a cotton shirt. The rikutu gamcha is often handwoven, with stripes or patterns, and it is knotted around the waist covering from waist to mid-thigh.

The upper garment kubai is traditionally a simple handwoven cloth worn like a sleeveless shirt or a draped piece. There is mention of risa and rignai, however those are generally women’s terms (rignai is the skirt for women, risa a chest cloth).

For men, rikutu is the equivalent of rignai (lower wrap). Men also sometimes drape a larger cloth on the upper body in cold or for ritual, similar to a shawl. Tripuri men love bead necklaces, especially during dances, and may wear traditional turbans or headbands.

In modern times, many Tripuri men wear dhoti-kurta for formal events, but the traditional kubai-rikutu is worn during festivals like Garia Puja or dance competitions. As noted, these dresses are “now mostly worn in rural areas and among the working class”, indicating that urban populations have shifted to pan-Indian or Western attire.

The Tripura government often encourages people to wear traditional clothes on State Day etc., to keep it alive. In summary, Tripura’s traditional menswear is a minimal two-piece ensemble: a short wrapping lower cloth and a short shirt, often with intricate woven patterns and paired with bead accessories.

Mizoram:

Mizo men’s attire is both functional and decorative, reflecting their highland living. Traditionally, a Mizo man wore a puanzar (wrap cloth) around the waist, and another blanket or wrap on top in the cold.

Nowadays, the formal traditional attire described is: a short white coat called Kawrpial, worn with a wraparound lower garment (like a thick cotton cloth or long lungi). They also might wear a turban or headgear, often a piece of cloth tied around the head or traditional hat in ceremonies. Mizoram’s most famous textile is the Puan, a thick, handwoven fabric with black, white, red patterns.

While the puan is usually the women’s skirt, men’s shawls or loincloths often come in similar patterns. In festivals like Chapchar Kut, men wear vibrant costumes: typically a red or black and white striped wrap (puan) as a dhoti or kilt, with a matching jacket, and decorative headgear.

According to one description, “Mizo men wear a short white coat (Kawrpial), paired with a puan or a dhoti-like lower garment, often complemented with a turban or headgear”. This highlights the coat and wrap combination. Ornaments for men may include traditional baskets or weapons (as props, e.g., a dao machete in dances). The color scheme in Mizoram is often bold stripes and checks (red, black, green, etc.) symbolizing various clans.

In daily life, most Mizo men today wear western clothing, but during cultural events, the traditional outfit is a symbol of pride. Mizoram’s contribution to men’s ethnic fashion is in its distinctive woven patterns and the idea of a coordinated wrap and jacket set that is unique to their hills.

Arunachal Pradesh:

Arunachal has many tribes (Adi, Apatani, Nyishi, etc.), so there’s diversity. Generally, traditional men’s clothing includes a sleeveless shirt or waistcoat, sometimes with full-sleeve jackets in colder parts, and a piece of cloth worn as a lower garment somewhat like a short lungi or skirt. For example, Nyishi tribe men wear a sleeveless tunic and a cane helmet with a hornbill feather.

A source mentions: “Men wear a shirt and a trouser called the ‘Gale’ and ‘Bakhi’” for Arunachal, possibly referring to local terms in certain tribes (though it might be mixing with Nagaland’s terms; gale and bakhi sound like Naga or Mishmi terms).

Another mentions Mushaiks, waistcoat, etc., which suggests layered garments. In many Arunachali tribes, men wear a sort of wraparound skirt (like a lungi) and an upper body cloth. Headgear is elaborate: e.g., Gurdam is a skull-cap filled with yak hair used by some tribes.

Men also carry a dao (sword) and wear bead jewelry.

At weddings or festivals, some tribes have an elaborate costume: e.g., Monpa men wear a dark knee-length coat, while Adi men wear cane helmets and sleeveless jackets. Given the complexity, one can generalize that geometric woven patterns (angular designs, zig-zags) are hallmarks of Arunachali textiles, and men’s attire is often a combination of a jacket and a multi-purpose cloth (skirt or wrap).

Also, in some ceremonies men wear certain items to denote status, the source says at weddings men might wear “Kamko-Top (men’s bangles) and carry a sword called Bauhche”, highlighting that accessories (bangles, weapons) are part of male attire in social rituals. Summarily, Arunachal’s men’s ethnic wear is tribal and layered, with jackets, wraps, and culturally significant accessories (hats, bangles, swords).

Nagaland:

Nagaland’s tribes (Angami, Ao, Sema, etc.) are famous for their warrior traditions and vibrant shawls. Traditionally, Naga men wore a handwoven wraparound kilt (a short skirt-like wrap) often along with a loincloth, and the upper body either bare or draped with a shawl.

The shawl is the most significant garment, each tribe has distinct shawl designs with specific meaning (for example, the Angami lohe shawl is red and black with thick stripes; the Ao’s tsungkotepsu shawl has intricate figures symbolizing merit).

A description from sources: “Kilt and wrapper is the traditional material for men... Kilt loops down till the knees”. Also, “Angami men wear a sleeveless red and black shawl called lohe, with a kilt-like wrap neikhro, plus beaded necklaces and hornbill feather headgear”.

This captures the core pieces: shawl, wraparound, headgear, beads. The headgear of Naga warriors, conical or cylindrical caps decorated with wild boar tusks, hornbill feathers, and dyed goat hair, is iconic. Many of those are now only seen in cultural festivals (like Hornbill Festival).

The Ao tribe men wear a similar wrap (sutam or sutpu) and a prestigious shawl like tsungkotepsu, which is black with embroidered figures (human, animals) in deep colors signifying the wearer’s accomplishments.

Today, a Naga elder at formal events might wear a Western-style shirt and trousers but will proudly drape the tribe’s shawl over it as identity. Naga men also commonly wear lots of bead jewellery (multi-strand necklaces of red and blue beads) and sometimes brass or shell armbands.

In essence, Nagaland’s traditional menswear is about the shawl and wrap, where the patterns on the shawl convey identity, and elaborate natural accessories complement the look. It stands apart in that it is less about tailored clothing and more about draped and tied pieces that double as a statement of status and tribal pride.

Sikkim:

Though geographically not contiguous with the Seven Sisters, Sikkim’s cultural attire is often grouped with the Northeast. Sikkim has mainly Bhutia, Lepcha, and Nepali ethnic groups. Bhutia men wear the Bakhu (or Kho), a long sleeve cloak-like dress that is tied at the neck on one side and at the waist with a belt. It resembles the Tibetan chuba. Men wear it typically knee-length or a bit longer, over trousers, and secure it with a silk sash.

They pair it with a special boot, embroidered leather boots (also of Tibetan origin) that both men and women wear. Lepcha men have a different outfit: Thokro-Dum, which includes a white shirt, white pajama-style trousers, an embroidered cap called Shambo, and a multicolored cloth called Dumpra that goes over the shoulder and is tied around the waist.

The Dumpra has stripes of many colors, representing Lepcha aesthetics. In practice, many Sikkimese men nowadays just wear modern clothes or Nepali Daura Suruwal (Nepali suit) for formal events (since a majority in Sikkim are Nepali ethnicity).

But as per traditional breakdown: Bhutia = Bakhu outfit, Lepcha = Thokro-Dum outfit, and Nepali = Daura Suruwal (double-breasted long shirt with trousers and waistcoat). The Sikkim men’s footwear, those high boots, are quite notable visually. The use of silk is common in Sikkimese costumes (given the colder climate, they prefer silk and wool).

Embroidery on Lepcha caps or Bhutia belts are examples of fine work. So, Sikkim’s men’s ethnic fashion ranges from the Tibetan-influenced cloaks of Bhutias to the unique cap-and-cloth ensemble of Lepchas.

In conclusion for the Northeast, while each state and tribe has its nuances, what unites them is a reliance on handwoven textiles, a preference for draped or wrapped garments over full-tailored ones, and strong use of accessories (beads, feathers, weapons) as part of male attire.

These styles are markedly different from the kurta-dhoti norm of mainland India, yet they have started influencing mainstream fashion in subtle ways (e.g., Naga shawl patterns appearing in contemporary jackets or the use of Northeast weaves in Indo-western outfits by designers).

Below is a comparative table highlighting key traditional menswear elements across regions (North, West, South, East, Northeast):

Region	Common Attire (Lower & Upper)	Signature Textiles / Techniques	Typical Accessories
North India (e.g., Punjab, UP, Rajasthan)	Dhoti or churidar pajama with long kurta; also salwar-kurta in Punjab. Sherwani/achkan for weddings. Rajasthani angrakha & dhoti for daily wear.	Rich silk brocades (Banarasi); Chikankari embroidery (Lucknow); Phulkari (Punjab); Bandhani tie-dye (Rajasthan); Woolen weaves like Kashmiri shawls.	Turbans in many styles (Sikh dastar, Rajasthani pagri, Maharashtrian pheta); Mojari/Jutti shoes; Shawls in winter; Kamarband (waist sash); Sword/kirpan for ceremonies.
West India (Gujarat, Maharashtra)	Dhoti (dhotar) with short kurta or angarakha. In Gujarat, there are also kediyu (flared jackets). Maharashtrian kurta and dhoti in panchakachha style. Bandhgalas (Jodhpuri suits) for formal occasions.	Bandhej (tie-dye) prints; Mirror work and embroidery (Kutch); Khadi cotton (linked to Gandhi); Paithani and Himroo silks (more common for women, sometimes used for men’s stoles).	Colorful turbans (e.g., Bandhani safas); Ornamental kamarpatta belts; Kolhapuri leather sandals; Pearl jewelry (Maratha royals); Ethnic earrings and beads in folk dances.
South India (Tamil Nadu, Kerala, etc.)	Veshti/Mundu (white dhoti with gold border) with shirt or angavastram. Silk dhoti (pattu veshti) and shirt for ceremonies. Lungi for daily use. Kurta or jibba with dhoti in some regions.	Kanchipuram silk (Tamil Nadu); Kasavu cotton (Kerala); Handloom cottons like Madras checks; Kalamkari prints (Andhra/Telangana); Ikat from Pochampally (Telangana).	Minimal headgear (e.g., Mysore Peta for royals); Sandalwood paste or religious forehead marks; Shawl/angavastram over shoulder; Gold jewelry and garlands for grooms; Simple leather sandals or barefoot.
East India (Bengal, Odisha, Bihar)	Dhoti (dhuti/dhooti) with long kurta (Panjabi). White or off-white for formal wear. Odisha style dhoti with pleats (koncha). In Jharkhand, tribal men may wear a lower wrap (bhagwan) and minimal upper garment.	Fine cottons and muslims (e.g., Dhakai); Kantha embroidery on quilts/shawls; Odisha’s ikat (Sambalpuri); Tussar silk from Bihar/Jharkhand; Baluchari brocades with narrative motifs.	Headgear is rare except for the topor (Bengali groom's hat). Cotton gamchha towels (Bihar/Odisha). Gamosa in Assam. Simple slippers or leather sandals. Sacred thread (janeyu) worn by Brahmin men under clothing.
Northeast India (Assam, Seven Sisters, Sikkim)	Dhoti and kurta in plains of Assam. Elsewhere: wrap skirts, loincloths, or coats. Examples: Naga tribes wear wrap kilts and shawls; Manipuri men wear white dhoti and jackets with turban; Lepchas of Sikkim wear Thokro-Dum (shirt, trousers, and multicolored sash).	Handwoven tribal weaves with bold patterns and colors (e.g., Naga shawls, puan from Mizoram, Arunachal striped cloths); Assam’s Muga silk; Eri silk; Historically, bark-fiber textiles (Nagaland).	Distinctive headgear (e.g., feathered Naga hats, Arunachali yak-hair caps, Manipuri turbans); Bead necklaces, ivory/brass ornaments, large ear plugs; Utility accessories like daos (tribal swords); Sandals, moccasins, or barefoot.

Table: Comparative overview of men's traditional fashion across Indian regions. Note the common thread of the dhoti (or similar wrap) in many regions, with local names and drapes, and the prominence of textile arts (weaving, dyeing, embroidery) giving each region its signature look. en.wikipedia.org

South India

Southern Indian states (Tamil Nadu, Kerala, Karnataka, Andhra Pradesh, Telangana) share some broad similarities in men’s traditional attire, notably the widespread use of the dhoti (called veshti, mundu, panche, etc.) and a general preference for minimalist, unembellished daily wear. However, each state has its subtle distinctions in draping, textile preferences, and ceremonial dress.

Tamil Nadu:

The classic Tamil men’s attire is the veshti (Tamil word for dhoti) and sattai (shirt) or angavastram (upper cloth). The veshti is usually made of cotton, around 8 cubits (6-8 yards) in length, often plain white or cream with a thin colored border. Tamil veshtis can be worn in two main ways: the full length, hanging to the ankles, or the “Ottu veshti” style where it’s folded in half (like a lungi) for ease when working.

Traditionally, many Tamil men did not wear a stitched upper garment in informal settings, they would drape a scarf called angavastram over the shoulders and torso instead. For formal or public settings, a tailored white shirt or a cotton kurta (sometimes called jubba) is worn with the veshti.

Tamil Brahmins, in particular, have a distinct way of wearing the veshti for rituals: the Pancha-kachcham style, which involves draping the dhoti in a manner that it has five folds and is secured at the back (similar to Maharashtrian style), usually done during weddings or pujas. Tamil Nadu is also known for its silks: the Kanchipuram silk is famous for sarees, but also used to make men’s ceremonial silk veshtis with wide golden borders (known as pattu veshti).

At Tamil weddings, the groom (especially if Brahmin) might wear a Pattu veshti with a matching silk angavastram and a simple white kurta, along with traditional gold jewelry like a long chain and sometimes a headpiece (Tamil grooms may don a head scarf or a floral garland rather than a turban).

Another Tamil specialty is the Madras checks pattern, historically, Tamil handloom weavers made brightly colored checked cotton fabrics that were exported as “Madras cloth”; men’s lungis often come in these checkered patterns.

In everyday life, the lungi (colored, stitched tube) is common at home for comfort, while the veshti (unstitched white) is for outside/formal use. Tamil men usually go bareheaded (no turban tradition except for kings in history who wore the Thalaippagai turban).

Footwear traditionally was leather sandals or often none, as many temple-goers keep feet bare. Thus, Tamil Nadu’s contribution is the image of the dhoti-clad man with a crisp white shirt or bare torso with angavastram, symbolizing simplicity and respectability.

Also, Tamil culture normalized not wearing a sewn upper garment (for certain castes in old days, as sewing was considered impure for sacred tasks), which is why even today priests perform rituals bare-chested with just a sacred thread and angavastram.

Kerala:

Kerala’s men’s ethnic wear is distinctive for its understated, stark elegance. The staple garment is the mundu, a garment similar to a dhoti but often worn as a single piece (like a lungi, open and then tucked).

Typically, mundu refers to a white/off-white cloth, often with Kasavu (golden zari) border for festive occasions. Keralite men wear the mundu in two ways: “single mundu” (one-piece wrap, usually half the full length, reaching the knees) which can be hitched up for work, or “double mundu” (a full-length wrap to ankles, which can be folded in half if needed).

With the mundu, men wear a shirt (nowadays often a formal shirt) or a white kurta. In more traditional milieu, an upper cloth (neriyathu for women, name varies for men) can be draped. But essentially, a collared shirt has become a de facto traditional look when paired with mundu (e.g., at Malayali weddings, many male guests wear white mundu and a crisp shirt).

Kerala Hindus, Muslims, and Christians all share the mundu as common attire, though for Muslim men a colorful checked mundu (similar to a sarong) and a prayer cap is common daily, while Hindu men at temples strictly wear plain or kasavu mundu and no shirt while inside sanctum.

Footwear is often minimal; many go barefoot or wear simple sandals. Headgear is not commonly used daily in Kerala, except the historical Mysore-style turban (peta) that erstwhile Kerala kings (e.g. Travancore royals) adopted on ceremonial occasions.

One notable practice: many Kerala men do not cover the upper body while wearing mundu at religious ceremonies (as a sign of respect). Kerala’s textile contributions include the Kasavu border itself, a hallmark from the handloom village of Balaramapuram. Also, Kerala produces “Kalithattu” or colored checked mundus.

Culturally, Kerala’s men’s attire has remained very anchored to tradition, you still see widespread use of mundu daily. During the Onam festival, men often wear the traditional dress to take part in festivities and dances. The simplicity of Kerala’s menswear, a reflection of egalitarian values, stands out.

It’s been said in Kerala a millionaire and a laborer might both choose the same white mundu and sandalwood paste on their forehead in a temple queue, and you couldn’t tell their status by clothing. That egalitarian aesthetic is Kerala’s style.

Karnataka:

In Karnataka, traditional men’s attire is similar to Tamil Nadu’s in silhouette, a dhoti (called panche or dhotra) and a shirt/angavastram. However, Karnataka has some unique facets. The dhoti here, especially among older men and in formal use, is often worn in the “Kachche” style (similar to Madras Brahmin or Maharashtrian style, with back tuck). In casual use, a simpler wrap is used.

Kodagu (Coorg) region has a distinct costume: Coorg men traditionally wear a knee-length wraparound coat with sleeves ending near the elbow (called Kupya), secured by a red gold-embroidered sash at the waist, and a turban called Mande Tupp which is flat on top and flowing at the back.

Coorg men even today wear this during their weddings or festivals, they also carry an ornamental knife (peechekathi) tucked into their sash. This dress is very specific to that community and resembles a sort of militaristic outfit.

Elsewhere in Karnataka, the Mysore Peta (a turban cap) was the mark of royalty and scholars, it’s basically a silk turban, smaller and stiff, often presented as an honor (University convocation in Karnataka sometimes awards Mysore Peta to distinguished guests).

The state is known as the “Silk Hub of India” and indeed Karnataka produces Mysore Silk, fine silk used for both sarees and men’s clothing (like the famous Mysore silk shawls or turbans).

Men’s festive attire in Karnataka might include a silk Angi (another term for kurta) and silk panche. In the north Karnataka and old Hyderabad-Karnataka region, due to erstwhile Hyderabad Nizam’s influence, some men wore sherwanis or the Turkish cap in the past, but that’s largely faded. Embroidery-wise, Karnataka has Kasuti embroidery (though mainly on women’s blouses), not typically on men’s clothes.

For everyday, rural Kannadiga men often wear a checked lungi (ilkal checks) or a simple white dhoti and a cotton shirt. They also carry a towel on their shoulder. Jewelry: Men here, especially in villages, sometimes wear earrings (small hoops), a tradition in some communities.

Summing up, Karnataka’s identity in men’s ethnic fashion is tied to silk-bordered dhotis, the occasional Mysore turban, and the unique Coorg costume as a highlight of regional diversity.

Andhra Pradesh:

(Considering Andhra prior to the 2014 Telangana split, as they share cultural elements.) The typical Andhra man’s dress was the dhoti (called pancha) and jubba (long shirt). In coastal Andhra, one saw a lot of white pancha with thin colored borders and a light shirt.

In Rayalaseema (southwest AP), men also wore colored lungis casually. Andhra Pradesh is famous for handloom cottons and ikats (Pochampally, mentioned in Telangana section), which men also wear as shirts or angavastrams.

A notable style from the past is the Hyderabadi Sherwani, during the Nizam era, noblemen in the Telengana region (including Hyderabad city which is now Telangana’s capital) wore a distinctive sherwani, often with a riqat cap (fez or ornate Turkish cap). As one source notes, “the Nizams and nobles of Hyderabad preferred Hyderabadi Sherwanis”.

This legacy means that even today, formal ethnic wear in Hyderabad often means a Sherwani (the city has tailors specializing in traditional sherwanis). Across Andhra, for weddings, grooms might wear either a sherwani or the traditional dhoti-kurta depending on the community.

Andhra had a rich tradition of dhoti weaving, e.g., the Gadwal region produced silk bordered cotton dhotis, and Mangalgiri cotton (from near Vijayawada) is popular for crisp dhotis and kurtas.

Andhra men might also wear the uttareeyam (a thin shawl) especially Brahmins during rituals. Post-split, the coastal Andhra and Rayalaseema continue these traditions, whereas Telangana region has a few distinctions.

Telangana:

Telangana shares Andhra’s basics (dhoti/kurta), but with a distinct Deccan flair due to its history. The pancha (dhoti) is common here too, often just called dhoti. Telangana’s textile heritage is rich: Pochampally Ikat from Nalgonda is notable, men wear Pochampally woven silk telia rumal (a type of large kerchief) around the neck or as a waist-band sometimes.

Gadwal region produces beautiful sico (silk-cotton) fabrics for dhotis/kurtas. One source explicitly says: “Pacha, the traditional Dhoti is the common costume for male” (likely pancha with spelling variation).

Telangana also revives the Kurta-Dhoti for special occasions, but historically and even today, Hyderabad city’s influence means men often wear Kurta-pajama or Sherwani for events. In fact, it’s noted that “Presently, during wedding ceremonies grooms mostly wear Sherwani” in Telangana.

The Hyderabadi sherwani, typically in sleek dark colors and paired with a turban or Rumi Topi (fez cap), remains a cultural marker for the region’s Muslim gentry. In rural Telangana, men sometimes wear a small piece of cloth called kanduva (a kind of towel/scarf) around the neck.

There is also the influence of Maharashtra on northern Telangana (border areas) so one might see Marathi style dhotis there. In summary, Telangana men’s traditional fashion is a blend of South Indian dhoti culture with Hyderabadi royal style, everyday pancha-kurta and special-event sherwanis co-exist.

In South India overall, an underlying theme is tradition meets simplicity: most men’s garments are not heavily embroidered or ornamented (except maybe royal sherwanis or festive silk borders). The emphasis is on the quality of fabric (like pure silks, crisp cottons) and a dignified drape.

The cultural and religious influences are strong, e.g., temple dress codes require dhoti, certain colors denote ritual purity (white/yellow). Unlike North, turbans are not a widespread requirement except in pockets. This gives South Indian men’s ethnic fashion a somewhat minimalist yet distinguished identity.

Contemporary Trends and Revival of Regional Menswear

Despite the onslaught of global fashion, India’s men’s ethnic wear has not only survived but is experiencing a revival and reinvention in the contemporary era. Designers, cultural icons, and popular media have all played a role in keeping traditional menswear relevant for younger generations, often by blending it with modern aesthetics. Below, we outline key trends and revival movements:

Fusion of Traditional and Modern: Modern Indian menswear often involves mixing classic silhouettes with contemporary tailoring. For example, the Indo-Western sherwani (a sherwani with asymmetrical cuts or worn like a long blazer) has become a fashionable choice for grooms, combining Indian embroidery on Western suit-like structures.

Designers create bandhgala suits using innovative fabrics (like jute silk or printed brocades), and style them with slim-fit trousers, appealing to the modern man who wants tradition with a twist. The Nehru jacket has become a versatile piece, it’s now paired not just with kurtas but even over t-shirts or shirts for a smart-casual look, demonstrating how a traditional vest can adapt to contemporary wardrobes.

Young men increasingly wear kurta with jeans, or drape dupattas (stoles) on western suits to add an ethnic touch. This fluid mixing indicates that traditional elements (like the kurta, turban, jutti shoes) are no longer confined to their original sets, they appear in new contexts, thereby increasing their appeal and longevity.

Wedding Fashion Boom: Indian weddings today are a showcase of regional menswear styles, often with a designer’s signature. It’s now common to see a Punjabi groom in a richly embroidered sherwani with a Rajasthani bandhani safa, or a South Indian groom who normally would wear a veshti adopting a North Indian style sherwani for the reception, and vice versa.

High-profile weddings (even Bollywood celebrity weddings) have highlighted traditional menswear: grooms don elaborate achkan-sherwanis with heritage crafts (zardozi, gota, handloom silks), bringing these styles into the limelight.

North Indian grooms continue to favor the imperial Mughal-inspired look, e.g. ivory sherwani, churidar, turban with kalgi and a mala (necklace of pearls), as a nod to tradition and royalty. South Indian grooms often have two looks: one in silk dhoti for the ritual ceremony, and another in an Indo-western or sherwani for reception, thereby embracing both regional tradition and pan-Indian fashion.

Themes like “Rajwada (royal)” or “Vintage” are popular, which directly draw from regional royal costumes (like a Jodhpuri theme featuring bandhgala suits, or a Nawabi theme with Hyderabadi sherwanis).

The wedding industry has thus become a platform for revival: many families deliberately choose to highlight their regional attire on one of the functions (for instance, a Bengali family might have all male relatives in dhoti-kurta for a certain ceremony). This conscious showcasing helps keep those regional styles alive.

Designer Revival and Craft Preservation

In recent decades, several top Indian designers have championed the revival of traditional crafts in menswear. Sabyasachi Mukherjee, for example, has drawn on regional embroidery (Kantha from Bengal, zardozi from Lucknow) and luxurious textiles to create menswear collections that feel historic yet modern.

He is “known for infusing traditional artistry with a contemporary flair”, celebrating hand embroidery, rich fabrics, and reinterpreting classic sherwanis and bandhgalas with global touches.

His groom outfits often feature vintage Benarasi brocades or Jamawar shawl fabrics turned into jackets, bringing back techniques that were at risk of fading. Raghavendra Rathore, hailing from a royal family of Jodhpur, has made the bandhgala his signature, modernizing it for everyday and formal use.

He is credited with “revolutionising Indian menswear with his signature bandhgalas” and blending “traditional nuance with contemporary elegance”. Rathore’s designs use Jodhpuri cuts, fabrics like tussar and velvet, and minimalist embellishment to appeal to urban professionals who want a touch of heritage. This has effectively revived the popularity of the Jodhpuri suit as a must-have item for Indian men.

Tarun Tahiliani incorporates Indian drapery in structured forms, his sherwanis might have an attached cowl drape, or he’ll use chikankari work on a modern silhouette, thus pushing innovation while honoring craft. Such efforts by designers provide livelihoods to traditional weavers and embroiderers, thereby sustaining those arts.

Global Influence and Adoption

As the Indian diaspora grows and global events (like Bollywood film premieres, or international weddings) feature Indian attire, elements of men’s ethnic fashion have gained international curiosity.

The bandhgala jacket, with its sleek upright collar, is sometimes called the “Nehru Jacket” abroad and has been worn by figures like the Beatles in the 1960s and by other celebrities, making it a global fashion item.

Even Western designers have at times incorporated Indian elements: the 1960s-70s saw psychedelic paisley prints inspired by the Kashmir shawl motif become a huge trend in men’s ties and shirts in the West. Today, one sees international menswear borrowing ideas like draped pants (resembling dhotis), collarless shirts (bandhgalas), etc.

Meanwhile, in India, there’s a trend of “formal traditional”, politicians and diplomats wear their home state’s attire on global stages (e.g., India’s Prime Minister wearing Assamese gamosa with kurta, or a Tamil politician in veshti at a government event), asserting cultural pride and thereby subtly encouraging younger people to value it.

Media and Celebrity Impact

Popular movies and television have reintroduced vintage menswear styles. Period dramas set in historical times (for example, Bollywood films depicting royal courts or freedom fighters) display detailed recreations of sherwanis, angrakhas, turbans, etc., sparking interest among viewers.

Celebrities appear in public events donning fusion ethnic looks, e.g., actor Ranveer Singh has worn everything from flamboyant angrakha-style jackets to skirts inspired by lungis, challenging norms and showing how versatile male ethnic pieces can be. This has helped break the notion that ethnic wear is stodgy or only for elders; it’s now seen as cool and individualistic if styled well.

Regional Pride and Cultural Festivals

There’s also a grassroots revival where states themselves promote traditional attire. Many Indian states now have an official or unofficial “traditional dress day” for government employees or in schools. For instance, on certain anniversaries, employees in Tamil Nadu might be encouraged to come in veshti-shirt, or in Maharashtra on Shivaji Jayanti some wear saffron turbans.

North-East festivals (like the Hornbill festival in Nagaland) have become internationally known events where men proudly showcase warrior costumes, thus preserving them. Youth from these regions participate and then adapt elements into their daily style (e.g., wearing Naga beads with a t-shirt, or pairing a Mizo patterned shawl as a scarf).

Handloom and Khadi Revival

In line with sustainable fashion trends, handloom cloth is making a comeback. Government initiatives like the National Handloom Day (Aug 7) campaign and designers working with weaver clusters mean more men are buying handloom kurtas, khadi Nehru jackets, and such.

Khadi stores have revamped their designs to appeal to youth, offering khadi denim or khadi shirts that blend tradition with trend. This resurgence ties back to the freedom movement heritage, giving today’s menswear an element of patriotic chic.

Comfort and Identity in Everyday Wear

Lastly, many Indian men are returning to traditional garments for comfort in home and community settings. The dhoti/lungi, for example, remains unparalleled in comfort for India’s climate.

Even urban men, who might not wear dhoti outside, will wear a lungi at home. There’s been a small but growing acceptance of wearing simple kurtas in offices on Fridays or around festivals, akin to a cultural dress-down day, which keeps these items in rotation.

And thanks to the variety of regional designs, wearing something traditionally rooted can also be a statement of personal identity (e.g., a Punjabi man in Mumbai choosing a phulkari-lined jacket as a nod to his heritage, or a south Indian in Delhi wearing a Kasavu border mundu to an event).

In conclusion, the statewise diversity of Indian men’s ethnic fashion, from the Kashmiri pheran to the Tamil veshti to the Naga shawl, continues to inspire and shape India’s contemporary menswear. Revival movements, whether by designers or cultural enthusiasts, have ensured that these regional styles are not static museum pieces but evolving fashions that influence modern wedding couture, daily wear, and even international fashion.

As one fashion commentary notes, “Indian menswear is witnessing a revival, where traditional silhouettes blend seamlessly with contemporary styles… preserving rich heritage while adding unique modern twists”. The result is a thriving tapestry of menswear that is deeply rooted yet dynamically growing, much like India itself.

Each Indian state’s contribution to men’s fashion, be it a garment, a textile, or a style of draping, remains an integral thread in the national fabric, continually celebrated in festivals, embraced in high fashion, and lived in everyday life.

Sources: The analysis above draws on cultural histories and contemporary observations. Key references include academic and descriptive articles on Indian state costumes articles.wifd.in, insights from fashion experts and designers on traditional menswear trends

nawabparker.com manyavar.com desiblitz.com, and Wikipedia entries summarizing garment origins en.wikipedia.org. These sources provide evidence of how regional textiles, techniques, and attire have shaped men’s ethnic fashion across India and how they continue to evolve today.

Introduction