Introduction to Punjabi Fashion
The Indian singer Diljit Dosanjh’s Met Gala debut last month has left a lasting impression on global fashion. The 41-year-old singer, who is the only Punjabi musician to have appeared in Coachella, walked the red carpet dressed like a Maharaja in the early 20th century. His opulent ivory and gold ensemble, created by designer Prabal Gurung, included a feathered turban that has been trending in India for weeks.
Dosanjh’s Style
He also wore a beautiful diamond chain, inspired by a Cartier piece worn by a former king of the north Indian state of Punjab. A Panthère de Cartier watch, a sword occupied with a lion head, and a deafed sword completed the ensemble, which embroidered a map of Dosanjh’s home state on the back of the KAPS together with letters from Gurmukhi, the screenplay for the Punjabi language. Dosanjh is not a stranger to such style, having carved out a niche in fashion as a hip-hop singer who merges traditional Punjabi styles with western influences.
Influence on Traditional Punjabi Clothing
Often seen in anti-fit trousers, chunky sneakers, and stacks of necklaces, which he pairs with his colorful turbans, Dosanjh has taken his unique form of self-expression to the imagination of millions, leading to interesting new renovations in traditional Punjabi clothing. The changes can be felt everywhere, from 16-minute high-intensity Bhangra competitions in California to Keller Bhangra nights in Berlin, where harvesting tips and deconstructed pants are enjoyed.
Punjabi Music and Fashion
Punjabi music itself, high in volume and energy, with lyrics filled with the names of cities and global luxury brands, has become a subculture. It is not only Dosanjh – several other Punjabi musicians have also influenced the region’s style. Not too long ago, the Punjabi-Canadian singer Jazzy B’s rings, often the size of a biscuit, along with his oversized Kanda supporter and silver-blond hair tints, were trendy.
Global Influence
Recently, the yellow-tinted glasses worn by singers, the baggy hoodies worn by Yo Yo Honey Singh, and the Louis Vuitton bomber and Chanel watches worn by AP Dhillon have been very popular among Punjabi youth. But while their influence was significant, it was limited to a region. Dosanjh and some others like him, however, managed to take it to a global level, where their style spoke to the Sikh diaspora and a wider audience.
Roots in Western Pop Culture
Culture experts say that this reinvention has its roots in western pop culture, both in music and fashion, since most artists live and perform in the west. "Punjabi men are inventive. The region was at the top of the merger, it believes in hybridity. This is particularly the case with Punjabi-Diaspora – even if they live in ghettos, they are the exhibitions [of their lives]," says art historian, author, and museum curator Alka Pande.
Evolution of Punjabi Style
Over the years, as the Punjabi-Diaspora community grew, a new generation of musicians began to mix modern hip-hop sounds with elements of traditional Punjabi aesthetics. Their clear style lexicon – gold chains, artificial pelza jackets, oversized accessories, braids, and beards – has become a subject of media articles, books, and doctoral students in South Asian culture.
Impact on Punjab
The coin immediately fell back to Punjab, which absorbed the logo fashion like a sponge as luxury brands emerged in the 2000s. For Punjabis – most of whom are an agricultural community – it was an uprising that symbolized how success and prosperity should look. "It symbolized the movement of Punjabi identity from a farmer to a global consumer," says celebrated singer Rabbi Shergill.
Androgynous Style
Oddly enough, the style game of Punjabi musicians – by Hip-Hop, R&B, Bhangra Pop, Fusion, Punjabi Rap, Reggae, or film music – also remained rooted and androgynous, instead of being male. A pop star can wear Balenciaga or Indian designer Manish Malhotra’s opulent creations. Everywhere from Ludhiana City to London, they dance with Beyonce in Dubai’s Burj Khalifa, on a luxury car, or in a British villa – but they always wear their Punjabi identity on their sleeves.
Conclusion
Dosanjh clearly underlined this with his Maharaja view of the Met Gala. "It is like the popularity of his androgynous style to be able to pass," says Pande. The composite effects of this trend on aspiring artists are not too independent in Punjab today. For example, local Bhangra appearances are no longer limited to traditional "DHOTI-KURTA-KOTI" costume sets with Juttis (ethnic shoes). The performance clothing now includes sneakers, typographic T-shirts, deconstructed sub-body, and even denims.
