Coffeehouse painting, as one of the most prominent manifestations of popular art in Iran, shared a profound connection with the beliefs of the lower social classes during the Qajar and Pahlavi eras. This style, particularly in its representation of the Ashura event, was not merely a tool for religious narration but also a visual medium for the manifestation of religious identity and beliefs. However, one overlooked dimension in the studies of this field is the examination of human garments in these illustrations; elements that play a significant role in conveying meaning, social class, religious identity, and characterization. The present research aims to identify and compare the types of garments worn by human elements in the works of two eminent masters of the Coffeehouse painting school, Hossein Qollar Aghasi and Mohammad Modabber, seeking to answer this primary question: What similarities and differences exist in the human-centric garments in the selected Ashura-themed works of these two artists? This study has been conducted using a descriptive-analytical method and a qualitative approach. The findings indicate that the human garments in these works, concerning the types of headgear, cloaks, robes, military attire, and women's clothing, while maintaining similar structures, possess significant differences in form, color, decorations, and the level of detail. In Qollar Aghasi's works, greater emphasis is placed on the emotional aspect, and the garments are depicted with more simplicity and symbolism. In contrast, Modabber paid special attention to color richness, textural variety, and intricate detailing in the representation of garments, thereby highlighting the epic dimension of the narrative more prominently. The results of the research suggest that garments in Ashura paintings are not merely decorative elements but are tools for conveying class-related concepts, which each artist has represented differently according to their individual perspective and the cultural milieu of their time. A typology of these garments provides a deeper understanding of the visual semiotics of Coffeehouse art and the pictorial narrative of Ashura.