The Dupatta Was Never Just a Scarf: Tracing the Journey of the Dupatta

The dupatta, a long, unstitched piece of cloth with a scarf-like fabric, originating from South Asian history, is a versatile cloth transforming into a cultural identity. What today is being branded as a Scandinavian scarf, without attributing it to its original roots, is actually a dupatta, which remains a distinctive and resilient element of South Asian attire. Dupatta, originating from Sanskrit, “du” meaning two, or double, and “patta” meaning a piece of cloth.

Illustration by The Geostrata

The problem arises when its origin and name gets white-washed for economic benefits for the fast fashion brands, that becomes the sole reason why the origin of the dupatta gets highlighted, attributing to exactly where it originated. 

EARLY ORIGINS AND SYMBOLISM

Primarily worn as a symbol of modesty, origins of the dupatta can be traced back to the Indian subcontinent, evolving from the Indus Valley Civilisation; figurines from the Indus Valley Civilisation show women draped in a loose shawl or veil, arguably an early version of the dupatta.

In Vedic texts, a dupatta has been given different names as well, like ‘uttariya’, ‘avagunthana’, or mukha-pata which refers to a veil to cover the face. 

Similarly, during the Mauryan and Gupta periods, art, figurines, scriptures have been shown where women are wearing intricately designed dupattas, often as a layered attire.

DUPATTA DURING THE MUGHAL ERA & ROYAL PATRONAGE

During the Mughal era in India, the dupatta started merging with Persian aesthetics and Indian textiles to produce a garment rich in symbolism and Indian craftsmanship. Fabrics such as fine muslins from Bengal, silks from Varanasi in Uttar Pradesh, and chiffons from the Deccan came into popularity, patronised by royal courts, becoming a symbol of royalty, often adorned with embellished zardosi, gota patti, and hand-embroidered designs and motifs. 

Chikankari embroidery flourished from Avadh, Phulkari embroidery mixed with Mughal elements took birth in Punjab, royal Bandhani and Leheriya were adapted in Rajasthan and Gujarat, and the introduction of fine wool, jamawar, pashmina dupattas in Kashmir, paired with sozni and aari embroidery, was symbolic of Persian influence and the region’s rich textile heritage. 

An emergence of regional textile craftsmanship and identity can be analysed in the Mughal period, which continues to influence art and craftsmanship in contemporary times; thus the dupatta became a symbol of Indian craftsmanship and a medium of cultural expression. 

DUPATTAS IN COLONIAL INDIA AND POST INDEPENDENCE IDENTITIES

Colonial India saw shifts in Indian clothing patterns due to the growing influence of Western elements like tailoring, Victorian ideals of modesty, and textile mills. Despite such influences, the dupatta retained its cultural significance in India, especially as an everyday attire in Indian households.

Moreover, the dupatta became a symbol of resistance to Colonial elements. Women started to wear handspun or Khadi dupattas during the Swadeshi and Non-Cooperation movements in India.

Regional identities were being reflected more vividly in the colonial era. Furthermore, dupattas underwent transformations inspired by European styles and motifs, too. Although this isn’t the first time Indian craftsmanship and textiles have been sidelined, during the 18th and 19th centuries, Indian textiles such as calico, chintz, and muslin were so popularised in Europe and later they disrupted the local industries there. Ultimately, the result led to a complete ban on Indian imports.

This laid the groundwork for what Western fast fashion industries do today, referencing the Scandinavian scarf trend, which, at first glance, looks like a mere copy of a dupatta, has deep undertones in racial discrimination and cultural appropriation.

THE ECONOMICS OF A DRAPE

Dupatta is not only a piece of garment, but also the livelihood of numerous Indian craftsmen and artisan communities across India. In West Bengal, Punjab, Gujarat, and Rajasthan, thousands of artisans are involved in weaving, dyeing, printing, and embroidery of dupattas, a process that is highly skill-driven and passed on through generations. However, the rise of industrialisation and fast fashion companies has put a huge economic strain on these artisans and threatened traditional economies. 

Although economic revival has been attempted via brands like FabIndia, Raw Mango, who understand the gap between global markets and these traditional craftsmen and aim to bridge this gap via their platforms, highlighting how traditional crafts are so crucial in Indian culture.

IRONIES OF CULTURAL APPROPRIATION

In May 2024, TikTok videos of European models wearing scarves wrapped over one shoulder, draped elegantly across the body, in a style which is unmistakable similar to the Indian dupatta. 

This attracted a lot of social media backlash from the South Asian community worldwide, citing cultural appropriation, and the caption “very European, very classy” drew immediate attention. 

This is not just about styling choices, it is more about erasure and irony, where dupattas were long dismissed as being “too ethnic” and overly traditional and now being brought back as Scandinavian scarves without any acknowledgement of their origins. That is why it is important to recognise these claims made by fast fashion brands, who only aim to gain profit by making the product more trendy and elite.

The dupatta is more than just a garment; it is an archive and legacy of Indian culture, history, and rich craftsmanship. As global cycles rotate with their different interpretations of the dupatta, it isn't a call for gatekeeping but cultural recognition.

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BY NANDITA LATA CENTRE FOR HISTORY AND CULTURE

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