The timeless patterns and motifs of Bangladeshi fashion

Maha was eager to wear her maternal grandmother's almost 60-year-old Benarasi on her wedding day. But she was heartbroken to see that some of the spots on that pink Benarasi with silver zari work all over it were in a tattered condition. 

Although she ended up draping her own magenta shari on her big day, she still used her grandmother's shari to cover her head, as a form of blessing from the elderly member of her family. 

Thanks to such sentiments attached to it, fashion has always been about more than just looks and aesthetics in our subcontinent. 

A living heritage and tribute is reflected in the patterns and motifs of everything from the simple lungi of everyday wear to the elaborate Jamdani shari that costs up to lakhs. The simple pieces of clothing serve as cultural identifiers that link us to the memory and identity of our roots. 

Model: Suhi Alam

Jamdani

Bangladesh's most renowned pattern, undoubtedly, will be none other than the jamdani. It has its roots in Dhaka's looms and is recognised as an intangible cultural heritage of Bangladesh by Unesco. Its geometric butidar sprinkling, lotuses, vines, and paisleys are not just decorative elements for us; they stand for continuity, fertility and prosperity. 

The cycle of life, passing from one generation to the next, has long been symbolised by the paisley pattern, which we know as the kalka. 

Jamdani's strength lies in the subtlety and precision of weaving details. Unlike fabrics designed to dazzle your eyes, its motifs are delicate, woven with mathematical precision and endless patience.

Nakshi Kantha

If Jamdani is the poetry of this land, then Nakshi Kantha is the prose, full of narrative detail. Traditionally made from layers of old sharis of our mothers, these quilts carry embroidered motifs of daily life: birds on trees, fish swimming in rivers, boats crossing water.

Nakshi Kanthas were originally sewn by the housewives of Bengal in their leisure time and sold to earn that extra pocket money.

Today, kantha motifs appear not only in quilts but in jackets, scarves and every modern accessory you can think of. Each stitch continues to carry a sense of intimacy, and not just some random fast fashion. 

Manipuri pattern 

Bangladesh has a different kind of tribal wonder, and that is Manipuri weaving in Sylhet and the northeast, which is woven by Manipuri people on backstrap looms, and is characterised by geometric patterns such as diamonds, stripes and checks. They are actually remarkably rhythmic with their colours, which are usually vibrant blends of red, black and white.

Manipuri designs are sketched intricately by calculation and structures, in contrast to the freehand wonders like stitching of kantha or the flowing florals of jamdani, but somehow they never feel stiff when you drape them.  

Instead, they carry a soothing elegance that has been moulded by the patience and self-control of the artisans. Wearing a Manipuri garment is like wrapping oneself in the symmetry and balance of the world, serving as a reminder that order can be just as beautiful as flowers and simple patterns. 

Gamcha pattern

A Gamcha print top turns a classic fabric into a fashion statement.

Some motifs and patterns belong to everyday life, stitched into garments like the gamcha, a traditional coarse cotton towel. Its checks and stripes may not seem glamorous at first glance, yet they are iconic in their own way. Bangali fathers often describe the lungi as "comfort stitched into cloth" whenever anyone attempts to convince them out of their home clothes to trousers. 

The artistry of the gamcha print lies in its honesty and simplicity. Its grids and lines remind us that beauty need not always be elaborate and striking. The adaptability and comfort of these patterns and motifs, along with fashion, are what sustain these themes. 

Designers today are playing with canvases between contemporary fashion and tradition. Blazers have jamdani kalkis; denim is stitched with kantha stitches; and folk motifs are now reimagined in vivid colour schemes, even in digital prints, to make varieties of things. 

Photo: Bangal

Among those reinterpreting tradition is Naima Huq, founder of 'Bangal'. Her journey began unexpectedly. 

"My journey actually started with content creation. I used to make batik and sewing tutorial videos on YouTube. Sitting at home, I wanted to make good use of my time. Of course, content like that doesn't bring much income, but it did help me build a small follower base," Naima shared.

"They were the first ones who showed interest in buying products from me. In the very first month, from a Tk8,000 investment, I received pre-orders worth around Tk55,000. That was the beginning of Bangal," she said.

Her designs are inspired by both family traditions and nature around her. "My inspiration really comes from the handcrafted works of our grandmothers and mothers. Another constant source of inspiration is nature. From flowers and leaves to natural shapes and colour combinations—I take everything from nature. So, my designs are really a blend of traditional handwork and nature's essence."

Instagram influencer Shimin Mushsharat, who is also celebrated for her Bangali-style flair and Bangaliana aesthetic, speaks the soul of Bangladesh through her fashion storytelling and feed.

"I have a soft spot for taant. Born and raised in Tangail, a place well-known for its taant sharis, I naturally feel a deep connection to it.  For me, taant is tied to my roots and memories, and is always woven into my identity."

Mentioning the topic of timeless fashion for her, she added, "I would say and pick Jamdani. It is a symbol of cultural pride that continues to inspire and endures, transcending trends and the ever-evolving fashion."

Fashion has to do with how we connect and remember where we came from. Every design element, be it kalki, village scenes, bird, diamond, mountains, or stripe, reminds us that apparel is both functional and artistic. It is inherited, passed down through the generations, and continues to change little by little for the future.