Before the Anarkali, There Was the Pishwas

Before the Anarkali became a staple of modern South Asian fashion, there existed a silhouette that defined grace, movement, and royalty across the Mughal courts — the pishwas.

Flowing, voluminous, and deeply rooted in history, this garment has evolved across centuries under different names, each reflecting its time, region, and wearer. From the structured jama of the early Mughal era to the sweeping farshi peshwas of Nawabi courts, the pishwas has always been a symbol of quiet grandeur.

1. Jama (جامہ)

Era: Early Mughal Period (16th–18th century)

The story begins with the jama — a long, flared robe worn in Mughal courts by both men and women.

Characterised by its side fastening and wrap-over structure, the jama featured a fitted upper body and a gradually flaring skirt. It was tied at the side and often layered over churidars.

While commonly associated with menswear, variations of the jama were also worn by women, forming the structural foundation of what would later evolve into the pishwas.

2. Peshwaz — The Feminine Evolution

Era: Mughal Courts (17th–18th century)

Over time, the female adaptation of the jama came to be known as the peshwaz.

This version retained the fitted bodice and voluminous flare, but was reinterpreted in lighter, more delicate fabricssuch as muslin, silk, and fine cottons.

The peshwaz marked an important shift — from structured court attire to something more fluid, feminine, and expressive. It laid the groundwork for what we now recognise as the modern pishwas.

3. Angarkha (انگرکھا)

Era: Mughal & Rajput Courts

Running parallel to the evolution of the peshwaz was the angarkha — a cross-over robe tied at the side.

While often shorter in length, certain court angarkhas featured flared panels and layered construction, echoing elements of the pishwas silhouette.

The angarkha reflects how regional and cultural influences blended seamlessly, shaping the garments of the subcontinent. It stands as a reminder that fashion, even then, was never static — but constantly evolving.

4. Farshi Peshwaz — The Height of Royalty

Era: Late Mughal / Nawabi Period

Perhaps the most opulent version of the garment was the farshi peshwaz.

Derived from the word farsh (floor), this style featured an exaggerated flare and a sweeping trail that spread across the ground.

Worn by royal and noble women, the farshi peshwaz was less about practicality and more about presence, status, and spectacle. It embodied the grandeur of court life — where clothing was not just worn, but displayed.

5. Anarkali — A Modern Interpretation

Era: British Raj to Contemporary Fashion

The Anarkali, as we know it today, is a later interpretation of these historical silhouettes.

Popularised through cinema and named after the legendary Mughal courtesan, the Anarkali became a simplified, more accessible version of the pishwas.

While it retains the fitted bodice and flared skirt, it often lacks the same level of volume, layering, and structural drama seen in earlier garments.

6. Kalidaar Pishwas — Craft Meets Construction

Era: 19th–20th Century to Present

As tailoring techniques evolved, the kalidaar construction became central to the modern pishwas.

Made using multiple panels (kalis), this technique creates the signature flare and movement that defines the silhouette today.

The more panels, the greater the volume — transforming the garment into something that feels both architectural and fluid.

Conclusion: The Modern Maharani

Today, the pishwas continues to evolve — worn across weddings, Eid celebrations, and formal occasions by women around the world.

At Tabassum, this timeless silhouette is reimagined through chiffon fabrics, expansive flares, and effortless wearability, bringing the essence of Mughal grandeur into the modern wardrobe.

From the structured jama to the sweeping farshi peshwaz, the journey of this garment is one of transformation — but its essence remains unchanged:

a celebration of movement, femininity, and quiet power.