As the grip of British power strengthened, the imperative for governments to set aside the governed, dress abolished previous ecumenism. Even today it draws a line between what is and what is Western India.
Fashion has been a crucial element in the discussions before and after Indian independence in 1947 about the appearance of "authentic India".
The colonial era began in 1502 with the Portuguese, then the Dutch and finally the British.
The British Raj (rule) in India lasted from 1858 to 1947.
The textile producers "traditional" forms of clothing have struggled despite the moral support back samples of clothing that is "truly Indian".
Other producers, workers, independent tailors, embroiderers, weavers, dyers - did western and Indian clothing.
Ironically a new lifeline thrown to crafts India is now coming from a world of eclectic fashion that embodies much of what philosophy nationalist rejected in the period before and consequences of Independence.
The impact of colonialism ideologically and economically fabrics was huge, as well as its influence on the standard of clothing.
By the end of the nineteenth century, the most educated and affluent Indian men had adopted suits, ties and so forth for public activities: used western dress as "aspirational category"
Reverse swing toward rejecting the clothes and goods of the British took possession, with the rise of the independence movement.
Gandhi pushed forward the message of swadeshi occupy spinning hand and settle on a short dhoti and shawl simple as a form of Indian dress that captures the meanings of the national struggle.Nehru also opted for a compromise of kurta pajamas or chiuridar (a long shirt with baggy pants or tight) with a sherwani (tailored coat) that has retained all the components of a suit with only a silhouette and Indian khadi or homespun cloth for tissuesMost Indian women were attached to garments such as sari family (a single piece of cloth wrapped and draped around the body, with or without a blouse or choli)There were some variations on the basic layout of the shirt (kameez) and pants (salwar) or gharara (voluminous trousers) accompanied by a scarf (dupatta) and lehengasm, ghagharas (variety of long skirt) with odhnid (scarf as a material used to cover the head and the upper part of the body)The clothing of the woman has always had the net weight of moral and civil status report and, therefore, resist social change.In the 21st century the vast majority of Indian women in the city, town and country continue to wear clothes marked "typically Indian".The state acquired sari between anti-colonial dress as exemplary uncorrupted (Hindist) Indi and expressed the woman as guardian of the house, the heart and traditional values.But to find the most powerful source of new clothing styles and fabrics in modern India, we must turn to the film industry in Chennai (formerly Madras) and Mumbai (formerly Bombay) are the major powers Indian cinema.The leaders of the movement of Independence fired film in part because of its lightness and in part because of its close relationship with modernity tinged foreignThe star first wore extravagant saris mixed with evening dress, styles "Oriental", and almost suits for men.Decades after decades, the film has remained the most popular source of all that was new in dress - by Western styles assorted interpretations of those Indians Filmakers were not indifferent to the nationalist cause.In 1930, female characters were divided into saris, clothes virtuous women (heroin regulatory) and daring modern vampires in Western dressed. The heroes, however, were usually dressed in western style.After 1990, the Indian government has accepted consumer capitalism and the country began to replace the old ideas of patriotic self-control with those spending just as patriotic.

The biggest shock was a deluge of brand-label clothing, accessories and beauty products: Christian Dior, Hermes, Salvatore Ferragamo etc. entered film (product placement).
Film narratives began depicting the life of the rich and Westernized young Indians as a global citizen.

Heroes and villains converge in a good life that blends capitalism goods with regressive social conformity. It then began a new relationship of mutual reinforcement between film and fashion world is growing rapidly. The stars are taking their personal designers instead of tailoring for the entire movie.
In 1990, many designers like Anna Singh, Manish Malhotra, Rocky S and others supported the career of film and fashion parallel: now the actors are transformed into models.
In major cities and towns of India, new spaces for retail shot alongside the pillars of the world of Indian Clothing: sari shops and tailoring business. More and more stores are seen global brand-label in the metropolitan roads. But inevitably, the market is also home to a plethora of fakes.
Most designers take opportunity to create seasonal collections and ensemble film, so as to provide more elements for shopkeepers to reproduce and sell the middle class.
Playback of movie costumes is starting to look a business opportunity lost.
In the 2000s filmmakers bring the characters on the screen to set up shop for clothes "out there". The experience of urban consumption can be fruitfully invoked to craft realistic costumes.
In the twenty-first century, the most dynamic fashion designers are inspired by the innovations of fashion in Europe, America and Asia - as well as the same fabrics and handmade crafts celebrated by followers of Gandhian older model of politics and development. The designers use the same rhetoric professing their commitment to reviving crafts that have been the targets of rebirth every generation for over 100 years. A market for expensive original drawings inspired some stunning collaborations between designers and artisans. Real good art are personal patronage of the wealthy, the lines couture and ready to wear and expensive movie costumes away from what repeaters nationalists craft imagined.

Sabyasachi Mukherjee, for example, has built its reputation by giving allusions fashion to traditional units.
Most designers love to dedicate a portion of their work to interpretations of Indian custom.
Television is like a dictator most powerful of contemporary fashion, so PROGRAMMES shows the true face of fashion and people. As the middle and upper classes become more familiar with these materials, it remains to be seen whether and how the film can maintain its importance as the interpreter of fashion for Indian audiences. However, the craft sector was a way through which the enjoyment of clothing could be legitimately expressed. Central State and local governments play a key role in small-scale textile and embroidery, channeling goods emporiums aimed at tourists and buyers of the middle class.
NGOs in taking a social agenda of empowerment with the production of handicrafts whose appeal was based on their embodiment of the "traditional" .