Mughal clothing refers to clothing worn by the inhabitants of the multi-cultural, multi-faith, and multi-ethnic Mughal Empire, whose existence spanned the 16th, 17th, and 18th centuries. Many articles of clothing worn during the Mughal period were already been in use for up to centuries before their arrival in Indian subcontinent. It was characterized by luxurious design, focusing on both the intricacy of the design, as well as the fabric itself, the majority of which was muslin, silk, velvet and brocade. Elaborate patterns including dots, checks, and waves were used with colors from various dyes including cochineal, sulfate of iron, sulfate of copper, and sulfate of antimony were used.

Men traditionally wore long over-lapping coat known as a jama with a cummerbund tied around on the waist and accompanying trousers known as paijama (loaned into English as pajama) under the jama. A pagri (turban) was worn on the head to complete the outfit. Women wore shalwar, churidar, dhilja, gharara, and farshi. Mughal fashion incorporated much jewelry, including earrings, nose jewelry, necklaces, bangles, belts, and anklets. Other clothing types included the peshwaz and yalek robes.

Mughal headware was diverse in style and widespread. Examples include the chau-goshia — a cap divided into four segments, the dome shaped qubbedar, kashiti, the embroidered dupalli and nukka dar, and the velvet mandil. Shoe styles included jhuti, kafsh, charhvan, salim shahi, and khurd nau, nearly all of which charachteristically featured curved up toes at the front. Lucknow was known for its shoes and threading embroidery with gold and silver aughi during the era. Mughal emperor turbans usually featured ornaments, which were also made of gold and precious gems such as rubies, diamonds, emeralds, and sapphire.

During the reign of Akbar, the typical Mughal turban was popularized which was wrapped directly on the head as it lacked a Karakul hat and involved a tight bundle in the front and an ascending slope backwards so that it bulged near the back. A turban band or sash was wrapped across the turban to keep it in place, which was usually made of a different material than the turban itself. Mughal woman's headwear consisted of silk Karakul or boqta hats of various styles which were ornamented with jewels, feathered pin and veils.

During Emperor Akbar's reign, the common costumes donned by him were of a knee-length 'Jama', it's variant the 'Peshwaz' or the 'angrakha' fastened to the right side with short ties or at the center. The Yaktahi Jama originated in Persia and Central Asia, where it was worn both short and long, over a pai-jama to form an outfit known as the "Bast Agag". In Persian, the word "Jama" means garment, robe, gown, or coat. The definition of the Mughal Jama is a side-fastening frock coat with a tight-fitting bodice, nipped-in waist, and flared skirt, reaching the knees. In many miniature figures and paintings, Akbar is seen wearing the Jama girded at the waist with a waistband, and he accompanies it with a small, short turban without a cap and a churidar paijama. Akbar restyled the garment and developed it into a formal gown by removing slits, rounding the hemline, and increasing the fullness of the skirt. As for individual superiors working in the Mughal Court, Hindu and Muslim Jamas – Hindus and Muslims wear the same garment with little different styles, Hindus fasten the Jama on the left side of the body, and the Muslims tie it on the right-hand side.

Akbar did not limit his fashion to these costumes that were inherited from Babur and Humayun, but he brought into fashion many other garments and adapted them to his own requirements, changing the style of costume completely. For instance, he donned the 'takauchiya' – a typical Indian costume that is stitched out of silk, gold, or woolen material, making it versatile for both summer and winter climates. Embroidering his takauchiya with gold and adopting fine shawls as fabrics for his costumes, Akbar showcased the beauty of the 'doshala' –  a double-faced shawl consisting of two fabrics attached at the underside with the fabric having two right sides and no wrong side double folds – in one's outfit. He inspired many to adopt similar styles, and this notified the first change from Central Asian to Indian conditions. Mughals were becoming more Indianized in the true sense of the word.

Only the emperor himself, his intimate relations, and select members of his entourage (beasts as well as men) were permitted to wear a royal turban ornament. As the empire matured, differing styles of ornament acquired the generic name of sarpech, from sar or sir, meaning head, and pech, meaning fastener. Royal portraits from Jahangir's reign show a more elaborate style of noteworthy games clustered at the base of the plume and with a pendant pearl encouraging a gentle droop from the plume itself. During Shah Jahan's reign, an entirely mineralogical version of the kalgi appeared, an ornate, heavily jeweled brooch, in which a stylized plume‟ as well as the stem was composed of gems set in gold and backed by polychrome enamel.

There was a range of footwear that appeared during the rule of the Mughal Empire, with followers of different religions contrasting in their style. For instance, followers of Islam wore shoes and boots habitually to protect their feet from the heat and hazards of the Indian landscape. A distinctive type of footwear emerged in medieval India, the Mojari – these slippers were ornate, often woven with gold-silver zari (thread), and encrusted with jewels to display the wealth and power of its wearer. Differing from other footwear during the time, the Mojari is known for its curled front design, illustrating the luxurious and unique quality. Jahangir (1569–1627), the Mughal emperor is credited with popularizing this type of footwear among the nobility.