Greenwashing is rampant in fashion: Drishti
Drishti Modi and Rashmick Bose of Lafaani, CDC runner ups, bring circularity through unrestricted shapes, kala cotton and their love for repurposing. By Asmita Aggarwal She is a big movie buff, so the brand name is a result of binge-watching cinema, although alternate, thus Lafaani, was picked from the dialogue of Vishal Bharadwaj’s Haider, starring Shahid Kapoor, (the dialogue goes, “Rooh Lafaani”). “Lafaani is an Urdu word which means immortality—immortalizing artisans and making a product last a lifetime, transcending trends is what we hope to achieve through our brand,” says Drishti Modi. They won Rs 5 lakh as award money at the Circular Design Challenge in association with United Nations, as runner’s up. Modi is well-educated, maybe not in design, but at Teri School of Advanced Studies, she completed masters in environmental studies and resource management, though she did a short certificate course from NIFT later in business of fashion. Drishti met her brand partner, Rashmick Bose in Teri and they both decided to launch the label in 2021. Growing up in North India, the initiation to sustainable fashion was from childhood when she saw her mother and grandmother being judicious. “I grew up in Pune, Delhi, and Mumbai, I was always fascinated with craft and textiles. My size fluctuated, and I would often not get clothes that fit me well. I had to choose from one rack, I decided I must design clothes for women like me,” she smiles. Drishti, started by repurposing her mother’s saris, she married her academic training with her passion. Working with craft communities, cotton farmers she understood what she really wanted to do in life during Covid. “Bose joined me, he comes from Bengal which is a treasure trove of crafts, we try to bring what sustainability means in a global context,” she adds. His first exposure to craft was a baby blanket that was made by his grandmother in Kantha, they realized they had synergy in aesthetics. “I have no connection to fashion, don’t come from a design background, I had to build an eco-system—it was challenging,” she admits. Her mentor has been her father, who used to work with monster.com earlier, left to work in the social impact space. “He has been an angel investor and mentor for me,” she says. For LFW X FDCI she has worked with kala cotton, hand crafted embroidery, and reached out to a company in Mumbai which recycles flowers waste from Haji Ali and Siddhivinayak temple. They combined this with eco-printing, and hand painting on ensembles which are layered, minimal everyday pieces, multifunctional and adaptable. “Reversibility gives you freedom to wear it two ways. Our aim is to fight greenwashing by many labels that persist in the fashion space, a consumer is unaware about it. Buyers do not really understand sustainability, like kala cotton does not have certification, it is important to prove it, bring value to things,” she confesses. The move forward is strengthening their story, she says circularity is in her DNA, it’s deeply embedded, she hopes more consumers watch what they buy and are curious about who is making it and how it is made.
Bill Clinton told us to be at MOMA: Gautam Malik
Making bags out of discarded seat belts, the JNU kid, who grew up with a father who taught quantum physics is today building a sustainable community one gilet at a time with his brand Jaggery. If Apple can sell electronics, why can’t jaggery sell bags? By Asmita Aggarwal Former US President Bill Clinton met him at the New York Fashion Week, recently concluded, and told Gautam Malik of the label sustainable Jaggery, that one day he hopes to see his products at Museum of Art (MOMA), New York, the store invites purpose-driven makers. So, the passionate entrepreneur went unannounced to MOMA and pitched his sustainable bags and ensembles, even though onboarding is online. Meet the social innovator, Gautam Malik part of the Circular Design Challenge in partnership with United Nations. You would never imagine a Jawaharlal Nehru University kid delving into fashion—it is not impossible but it is unprecedented. Malik’s parents are both professors—his dad taught quantum physics in JNU and mom super conductivity in Delhi University. It was surprising he chose to study fine arts and media studies from University at Buffalo University, and then Memphis University where he studied communication design. He says, whatever he learnt, he is applying to what he is doing today—whether it is documentary filmmaking, storytelling to making bags out of waste at Jaggery–Reimagining Waste, a women-led social enterprise. They upcycle discarded car seat belts, decommissioned cargo belts and ex-army canvas into sustainable products. “Since 2018, we have been able to divert 2400+ tons of waste from the landfills of Delhi, impacting the lives of 25,000 people,” he adds. His childhood sweetheart Bhawana Dandona, (University of Pennsylvania M.Sc in historic preservation) who worked in conservation of old buildings, found a meeting point in ideas. “We discussed structuralism, cultural heritage, and I loved jamming with her. When I returned from the US in 2010, I worked in the corporate sector in UA/UX design in India after ten years of living in America,” says Gautam. His experience is vast—Time Turner to Jabong, e-commerce designer, the creative head also launched a fashion magazine, but he calls himself a “social innovator”, someone who wants to impact society. In the year 2000, he got a chance to intern at Auroville, Pondicherry, where people from different nationalities have renounced their citizenship, are living as a community, he then decided he wanted to build one too, thus Jaggery. They work in Haryana to Jharkhand mostly with “aspirational districts”, most importantly with Nuh, known for its political tensions. “How do you decide who to work with?” he asks. “Jaggery” or “repurpose” the toss-up was there for the name of the brand, the former fitted in—-as while making jaggery nothing goes to waste; it is produced in small batches, the process is thus humanised, it leaves behind a witty flavour. If Apple can sell electronics why can’t jaggery sell bags?” he laughs. Growing up simply he went to Modern School, found a huge inequality in terms of social status, he would get Rs 25 weekly allowance, he learnt to live in that, JNU is in his DNA. “I had to come back from the US, as I saw India was the hot bed of startups, also living in the US you never feel part of it,” he admits. For LFWXFDCI he is donning a fashion designer’s hat creating bags and garments from repurposed car and airplane seat belts (cars which are 15 years old must be scrapped, according to government policy). This creates enormous waste—they use the rubber, roof lining, seat belts, residue, and have come up with a system wherein many NGOs (also Mayapuri car scrappers) are helping them source it. “We tie up with RWAS like we did in Gurgaon where we are based to start donation drives—you can give your old denims and corduroys and we will spin them into a new designer ensemble,” he admits. He believes in co-creating and partnerships, with Volvo Jaggery does corporate gifting, Tata any car scrapped they can utilise, they ask them to replace cardboard box boxes for Diwali sweets with recyclable bags, their new work is with EVs. “Earlier vendors would fleece us asking for money for things that are waste, they would just throw. They thought we are using it for profit, now they understand many years later what we are doing,” he adds. He faced many challenges, even how workers they would hire, when he would inform they are working with discarded materials, “why can’t we work with new ones? They would say. The bags he makes are sold at Embassy fairs like the US and Austrian as well as Dastkar though he knows the sword is always dangling for this bootstrapped company. “We never know when we will fold, we want to partner people who understand what work we do, it is a dual impact model. Waste is recycled, it is circular, creates jobs, we create a value chain. It’s an ethos-based brand,” he adds. You can get a wallet for Rs 750, and a duffel bag for Rs 7,000. “Also on offer are bespoke products, cargo belts come in different colours, we customise you can choose British, Qatar or Singapore Airlines, play around with the sequence. I started with just one employee Shahid bhai, now we are nine in total,” he says. FDCIXLFW line of garments are risqué-jackets, gilets, reinterpreting the Nehru jacket, corsets, and asymmetrical skirts. The philosophy is gender agnostic pieces, like the caged maxi dress it’s avant-garde but with an industrial vibe. “Society cages us, this is breaking free for me,” he concludes.
Batik has unique monotones: Madhumita
Working with Batik master craftsman Shakil Khatri for the last ten years in Gujarat, to revive the 1000-year-old tradition using vegetable dyes, Madhumita Nath of Ek Katha hopes to serenade a young audience with reimagined crafts. By Asmita Aggarwal She studied textiles at NIFT Mumbai and JJ School of Art, the Mumbai-raised, Nagpur-born Madhumita Nath of the label Ek Katha took time to launch her label. She came from a renowned family of science mavericks, with her grandfather Prof. M. C. Nath, moving from Dhaka to India, setting up the Biochemistry institute, in 1946, Nagpur. Most family members are Ph.Ds, so when she decided to study textiles, it was met with “surprise.” 2016, was the year when she decided she would like to concentrate on Kutch weavers, she sought advice from mentor Kudeep Gadwi, who took her to meet artisans exposing her to lesser-known jewels like Batik from Mundra, Gujarat. The “khakan” is made locally, earlier they used oil of a seed, not paraffin wax to dye, but now only four families are left out of hundreds who have abandoned this process, six in the adjoining village— digital printing killed traditional art. “You can make digitals in Rs 15 to Rs 30 per meter, which ends up in Dadar market, it is quick. Ancient techniques, 1,000 years old, have a subtle layering, the beauty of it has been erased due to bulk digital prints. Batik used vegetable dyes, chemical- free, laborious, painstaking but excellent,” says Madhumita. Master craftsman Shakil Khatri’s family has been batik block printing for six generations, using oil of the pilu tree (Salvadora persica), locally known as kakhan, as a resist. As it is thick and sensitive to heat—the oil can only be used in the morning. Kutch batik left natural dyes shifted to naphthol-based ones, but Shakil sticks to sustainable processes, he makes 12 shades of natural colours from indigo, rust iron, turmeric, pomegranate skin, madder and onion after he was trained at the Kala Raksha, in innovative ways. He gave life to Batik with new designs, artisans in Batik Kutch are Khatris, Kutchi-speaking Muslims. “Khatri didn’t give up block making, his gradations due to the layering is unmatched,” says Nath, who in 2018, made a line for the Sustainable fashion day in Spain with The Circular Project. “I am not a businesswoman, when Covid struck, I shut shop for two years,” she says. Providence gave her an amazing opportunity to learn from an incubator program for women entrepreneurs, NSRCEL, started by the Indian Institute of Management, Bangalore, in 2023. IIM (Bangalore) has partnered with Goldman Sachs, Capgemini and Maruti also. “I received helpful inputs on the financial aspects of running a business, for six months through the management institute. It was a learning to see where I belong, how to survive when you do slow fashion, meet investors, pitch in front of them,” she adds. Apparel Export Promotion Council (AEPC) membership helped her figure out how small batches of hand-made can be exported to the US and the Middle-East. “I wanted to do something craft-based, but I am not a sustainability warrior,” she admits, as she worked with kala cotton, reducing carbon footprints with hand-made techniques. “I love crafts, bazaars, haats, seeing lots of stuff stacked up, and the beauty of Batik is that it is monotone, unique in so many wonderful ways,” she adds. Generally, she admits, Gujarat is often associated with colourful embroidery. “I did start with Ajrakh, but soon shifted to Batik, Kala cotton is not glamorous, but I know North Indians will be hesitant, but the Japanese will buy it at any price, as they know its value. When you can get a heavily embroidered piece for Rs 10,000 anywhere, why would anyone but pure, natural, plain fabrics? Many don’t realise the artistry,” she confesses. For LFWXFDCI, Nath has combined Batik with fabric cording, using khadi and kala cotton from Bengal, also paying homage to Kota Doria, adding delicate, subtle textures to create flowy shapes. Her love for patchwork, cutwork and quilting used in abundance can be seen, without serenading waist defining silhouettes, yet the line is young in appeal. “I would like to do B2B exports in the future —I know I have to build my capacity first,” she concludes.
CDC winner’s clothes with a conscience
Life took a turn for the better from seeing his grandfather’s dyeing unit polluting, to now only dealing with second hand garments, reconstructing them into new shapes, Ritwik Khanna, 25, of Rkive City is a force to reckon with. By Asmita Aggarwal This generation is something else—they really know what they want to do, and one thing is certain, they want to work for themselves. Thus, talking to the Amritsar-born Ritwik Khanna of Rkive City, only 25, was refreshing. He won the Circular Design Challenge in partnership with the United Nations and Rs 15 lakhs fund at the LFW x FDCI show His grandfather had a textile mill, the dyeing house, he noticed, no one ever really cared about the environment, the water was contaminated due to the chemicals dumped in it. At that time, he was not aware of its toxicity, it was not treated. The business shut down, his parents began weaving cashmere scarves, his earliest memory is of sitting on the shop floor packaging, as there were not enough employees for an SOS order. His mom used to run a children’s boutique, often dressed Ritwik in boys’ and girls’ clothes to show customers how it would look on their kids, his trips to Sadar Bazar to buy material were a lesson. As serendipity would have it —life took a 360 degree turn when he left to study fashion business management at FIT, New York. Though Mayo School, had exposed him to seven different types of uniforms he would change in a day to keep up with the strict regimen —in a way it was universalizing design. “Whatever I had grown up seeing, New York was different. I remember having a conversation with my roomie about fashion, when he suddenly stopped, and started talking to a random stranger on the road about his Supreme t-shirt. He knew the price, which year it was launched, graphics, its entire history. This took me by surprise, it was not my culture,” he laughs. He giggles and reveals his fashion was “USPA chinos”. At FIT everyone looked “cool”, they really dressed the part, and trying to keep up, all Khanna could afford was second-hand designer jeans. “In India we don’t like wearing ‘worn before’ stuff, in America it’s a classic trend. I saw the quality was good and began running a small business,” he shares. He would flip Comme des Garcons, Rick Owens second-hand stuff he would buy for almost nothing, and make a 300 percent profit selling it on eBay. He began rolling in moolah, accidently, he did not need the business degree he was already adept at. But he did come back, without completing his course. Covid hit, and education through a computer did not make sense, spending US $25,000. On his return, he visited second hand clothes collection centres in Panipat and Kandla Gujarat, and wondered what happens to torn, damaged clothes, discarded clothes—they are shipped to India. Panipat is known as the world’s “cast off capital”, tonnes of clothes come from UK, US, and other countries, from the port town of Kandla, Gujarat they are popularly known as “mutilated” clothing. Ritwik was alarmed at the kind of “stink that emerges from the factories”. “Only ten per cent of this is recycled, I decided to work with discarded waste, consumer textile, we were able to use old garments, and create something brand new,” he says. Though he does admit unlike in fashion where you get to choose the finest silks and dupions here you work with limitations, as there is no roll of fabric, or colours or any frills–just your imagination. He is happy in the last 22 months he has managed to make a small impact on the environment. His label questions existing supply chains, he is remanufacturing garments, he sorts out the garments at his factory—white shirts, camouflage, old jeans, then the processes begin—sanitising, reconstructing, it is an end-to-end solution, as a brand. “The hardest thing in garment upcycling is consistency, each piece is different, now two pieces are alike,” he says, adding, he elevates the androgynous ensembles with touches of hand embroidery, patchwork, applique, his power lies in the way he crafts them; they do not seem upcycled– he lets the natural fading persist. His brother, 21, has joined his business, he is the operations manager, a “Genius”, he calls him, both sons now don’t work with family business, and they hope to progress, even though they are bootstrapped. He says one day his dad will be proud of the work he is doing. “I know my North star, I know who I want to be,” he smiles, adding he is not a sustainability activist, and neither is he interested in putting anyone else down, to show what “good work is” but he is certainly in a league of his own. Why Rkive City because he will one day have a city that understands how important upcycling and recycling is, also why RKive as it is archival fashion that he is serenading—perfect moniker!
FSP’s brides court shine
What lights up a dull, dark rainy day? Heartthrob Vicky Kaushal, for sure, as Falguni and Shane Peacock didnt shy away as usual from shine, all kinds of it, as well as clashing colours, but added Banarasis to celebrate two decades of making brides sparkle, presenting “Rang Mahal” at the Hyundai India Couture Week 2024. By Asmita Aggarwal As Delhi almost got submerged in rains, a brave few ventured out for the Hyundai India Couture Week 2024. Many felt watching Bollywood heartthrob Vicky Kaushal dressed as a groom for Falguni and Shane Peacock was worth battling the deluge. Though some things only Vicky can do, shake the bands lead singer’s hand, which really held the show together with their renditions of A R Rahman to Bollywood numbers, help his fellow show stopper Rashmika Mandana on the stairs as she wore a heavily embellished white lehenga. Shook hands with journalists he knew and asked them if his catwalk was appropriate. My first car was a Hyundai and I also banged it several times, laughed Vicky. He is a gentleman. We were showered with rose petals, after all it was the grand finale and frankly, we smelt and felt fabulous. The ornate set created, had swans on the ramp and a pool with rose petals, vintage chandeliers hung from the ceiling, the theme was an ode to the magnificence of legendary palaces, the people behind who created these –artisans. Few would have heard, Only fools fall in love by Elvis Presly, being strummed live on a sitar by the musician who was sitting in between opening petals! Freestyle dancing, artistes wearing salmon pink ruffled skirts gave the silver and white lehengas that Falguni-Shane introduced, a heady beginning. The Rang Mahal collection, had for the first time Banarasi brocade lehengas, Chikankari, lace and of course a tornado of sequins, there were mild tremors felt with golden and copper, lehengas, brimming with motifs — swans swimming with abandon, diyas, to banyan trees to peepal leaves. FSP added an extra dupatta to saris, the Banerasis came in pink with pure gold borders, former cricketer Mohammed Azharuddin, seemed to enjoy the unabashed ode to crystals, as the saris came with a shimmering cape. The live band crooned, Yeh jo desh hai Mera, by A R Rahman, FSP decided to replace their semi-precious stone bustiers with silk blouses sans any embroidery, maybe as an option to team it later with a pair of denims. This is their 20th year in fashion, and they are known for not shying away from any kind of glitter, or colour in the rainbow, also combining myriad hues in one fish tail gowns from stark blues to cold silvers. The transparent churidar came in black, and the Spanish influences on wrap shawls, in velvet with tessellation were nifty. Mirror work this year has been everyones favourite, only FSP used larger ones, and created Mughal motifs, resembling the arches of the Taj Mahal. The longest trails like a princess, and French lace complemented zardosi. Pink is another hue that is being celebrated in couture, and it is true, the Peacocks can never execute a line without faux feathers, it is called the Peacock effect. Reliance Industries, will now be venturing into handicrafts, with Swadesh their brand, a bit like Cottage Emporium stores, FSP tied up with them to create a special woven ensemble. The showstoppers Vicky and Rashmika are part of ‘Chhava’, a period drama, where Chhatrapati Sambhaji Maharaj, and his wife, Yesubai Bhonsale form the storyline.
Hardware to Soft Wear
Rimzim Dadu shifts gears and adds motifs, inspired by Baroque, Western classical music, and architecture, to give intrepid women a flavour of innovative material manipulations. By Asmita Aggarwal Engineered gowns, signature metal saris, couture has a different meaning for Rimzim Dadu, it is more of a play of textures, and thats why Bollywoods svelte Sobhita Dhulipala in a white seemed to be the perfect muse. The dhoti is having its moment, its unisex, equally loved by both so are her corsets, as we all marvelled at the way she folds, moulds, tough metal into flowers, petals, beating them into submission. Sequins were placed ingeniously to create pixelated embroidery, I also liked how she took the steam out of couture and told us it could be worn with flats. The interesting aspect about interviewing Rimzim, is she confesses, her husband tells her, he can talk better about the brand than she can, she giggles and tells me. The designer known for her heady experimentations with acrylic, leather, steel, metal, mostly hardware, which she smoothly converts into soft wear, is a quiet samurai. She launched her menswear label, opened a store in Delhi, says, inclusion and sustainability are much abused words”; she launched a line called Disco, which is very unlike her personalityreticent. I wanted to offer men something cool, edgy, and fun. I felt there was a gap, she admits. She confesses, most throw around difficult words, without practicing it —just because you add one plus-size, or dark-skinned model, it doesnt make it cool, rather it seems like a marketing tool. I dont believe in trends; I want to create something which is relevant 30 years down the linea classic. Neither do I study the market, as bridal wear is a very tricky zone. Brides so far like to be safe, but in the last few years have seen a seismic shift, they want to push the proverbial envelope, and abandon herd mentality, she explains. It was uphill mentally to see brides embracing outfits made of steel for their D-day. When Dadu began, the belief was to be an antithesis of fashion, offer clothing that breaks away from the norm or any set restrictions, and this year for ICW 2024, it is no different. She developed or rather delved into a unique visual language inspired by the Baroque style of architecture. There is Western classical music that held me in awe, also architecture which I interpreted through my own vocabulary of cording, twisting, surface texturing. The only change is we have attempted to create motifs, which we never did before, she explains. When she began, almost 15 years ago, Dadu confesses, she was before her time, the market was not ready, she was embarking on a new direction. When you run a business, you have to gauge the audience, it must be a sweet balance between innovation, and marketability, she admits. To achieve a Baroque look-she created a POP (plaster of Paris) type of appeal, thus the line is titled Stucco. Besides new surfaces, they have traditional themes, zardozi, the first time it has been executed, a new one for Dadu. Working with hardware comes with unpredictability, but 15 years of experience has taught her how to make materials malleable, how to stitch a steel sari, even though it came with no rule book. There was R and D that saved us, trial, and error, we also understood how to protect, and finish our pieces. How to tame materials, initially it was challenging, even now we face roadblocks, she admits adding, artisans whom she trained in the processes have been with her from the beginning. Making samples is one thing, but how a garment will sit on a body is another ball game, she adds. Dadu launched couture three years ago, she enjoys meeting brides, she is learning every day, and says she is still in the honeymoon period of crafting couture, it does not seem like a chore or monotonous. Over the years, she has chosen various faces that match her brand identityAnanya Pandey — she is a Gen Z style chameleon; Vijay Varma for taking the road less travelled, as he enjoys dressing. If you ask Dadu whom she admires in the couture space it would be Schiaparelli, and what Daniel Roseberry has done with the Italian label. India is changing rapidly, there is effortlessness in couture, which is my favorite part, she concludes.
Gaurav Gupta’s ode to Indology
Gaurav Gupta is a man who vacillates between the ancient past and the ultra-modernfrom Shunya to Kundalini to now Arunodaya, or dawn, for India Couture Week 2024, he is in awe of scriptures. He has not forgotten the power of AI in the past, when he teamed up with tech to design a gown with IBM. Today, life has taught him to live in the moment! By Asmita Aggarwal Think Gyan mudra, with a snake coiling on the ramp, add star daughter Khushi Kapoor and Vedang Raina, and you get a Gaurav Gupta showcasing at the Hyundai India Couture Week 2024. Bustiers, breast plates, everything was fitted at the top and flowy, including sheer draped dresses with sequinned bodices. He channelled exaggerated shoulders, sleeves and the drip pattern seemed to be a favourite, a bit like molten wax scattered on buff shoulders of mens jackets. Architectural elements in gowns can be clearly seen, as smoke emanated on the stairs leading to the top of the ramp, probably in sync with his serpentine bodices that wrap the body. Gaurav Gupta knows how to serenade women —in a country of shalwar-kameez he has got them to try his gowns glittering in the daytime. To add to this is his prestigious foray at the Paris Couture Week, three times. He may have dressed Beyonce, Cardi B, Mindy Kaling, but there is a lot he is internally fighting for— damages of Rs 2 crore from copycats, and an accident that left him injured, and his partner in the ICU. A graduate of Londons Central Saint Martins, Gupta retails from Neiman Marcus, Bergdorf Goodman, Moda Operandi among others, he makes his presence felt globally. A recent accident reinforced lifes unpredictability and deepened my appreciation for the present moment. Embracing uncertainty, I have channeled this into my work, creating designs that reflect lifes fragility and resilience. With the support of my team and external partners, I am recovering and excited to return to creating magic. I am looking forward to India Couture Week to feel that magic once again, he exclaimed. There is a certain innate sexiness to his offerings, one shoulder is slipping off, a toned thigh exposed daintily, burnt maroons playing with ivories in his line for Paris Haute Couture Week, the Autumn Winter 2024, titled Jyotirgamaya (darkness to light). The way he drapes, pleats, and manipulates fabric, with 3D elements, has won him a devoted clientele. He understands gowns are a play of proportions, and like a master mixer he often gets them right. He launched a line of jewellery, in silver/gold with the sculptural shapes, he is known for, a brand extension of sorts. He believes, global acclaim brings with it a responsibility to maintain the essence of our cultural heritage, it also necessitates embracing futuristic elements, and noble practices. The industry should focus on creating heirloom pieces that are timeless, and can be handed down through generations, he adds. He adds, I think bridal wear today is about individual expression and personal stories. When brides come to us, they seek pieces that go beyond traditional definitions, blending cultural heritage, with contemporary aesthetics, he admits. This season, he is ushering in a new era of high-end couture, offering embellished lehengas, saree gowns, and draped sarees that reflect both uniqueness and versatility. Our collection, Arunodaya is crafted to celebrate each brides personal style while ensuring she feels both graceful and empowered, he confessed. He dressed Bhumi Pednekar in a custom sari in black with three pallus, the saris ran along her curved lines, ensuring the sari remained in a womans wardrobe but with a twist. This year, age-old techniques meet contemporary elements, from intricate floral embroidery revived with Indian zardozi techniques, to cage embroidery in sequins. We’ve also incorporated futuristic elements — metallic breastplates paired with conventional forms, says Gaurav. The pattern cutting fosters sculptural and fluid appeal. The ethos behind this collection is to celebrate renewal and transformation, embodying the spirit of dawn, he adds. If you look closely, most of the titles of his collection are based on an aspect of Hindu mythology, Aarohanam, Arunodaya to Jyotirgamaya and Kundalini —he seems to be a reader of scriptures, is in awe. I find immense inspiration in mythology and ancient scriptures. The Vedas, with their profound spiritual and philosophical insights, have always held me in awe. They offer a rich tapestry of stories and concepts that transcend time, providing endless inspiration for my designs. The idea of transformation, inner light, and the journey from darkness to light, as depicted in these texts, deeply resonates with me, and is often reflected in my collections, he explains. Lizzo, Janelle Monae, Jenna Ortega, Jeremy Pope, and Fan Bing Bing, have been seen attending his Paris Couture Week shows, his first line in the mecca of fashion was named Shunya the Sanskrit word for zero, but he has proved the power of zero. If you place it against any number, it only multiplies, like Gaurav has. He keeps in mind the measured application of crystals, silver metallic embroidery, badla, and zardozi to allow the wearer to take a slice of India with her. This he updates with nose rings, exaggerated shararas, ear cuffs, and a play of light and shadow with ivories and charcoals. Since he began in 2004, almost 20 years now, he believes, translating a vision into a collection is a journey filled with experimentation, failure, and eventually success. It starts with a concept, in my case often inspired by cosmic, mythology, or personal experiences. This is followed by extensive research and sketching. Fabric selection and testing are crucial, as they bring the designs to life. There are times when the initial ideas don’t work out as planned, requiring us to rethink and adapt. However, each failure is a learning experience that refines the outcome. The process is iterative and collaborative, involving countless hours of craftsmanship and innovation to ensure the final collection resonates with the envisioned theme, he concludes.
Nizams Reloaded
Basra pearls, Banarasis, Khada duppattas with ultra-modern corsets, Jayanti Reddy, a business graduate, self-taught designer, offers brides a potent mix of traditional with now at the Hyundai India Couture Week 2024. The highlight has been her collaboration with Italian jewellery powerhouse-Bvlgari. By Asmita Aggarwal One thing is clear Jayanti Reddy loves colour, she comes from the city of Nizams, Hyderabad, and being a first timer at the Hyundai India Couture Week 2024, she announced the arrival of fuchsias and bright reds even as pastels had taken over the runway. Colour washed the ramp, as asymmetrical kaftans, some came with one shoulder, made way for every hue of the red family, and even its closest cousins. Newly married beauty from the city of Nizams, Aditi Rao Hydari told us wearing a roomy sharara, with tone-on-tone embroidery and a jacket was the right choice. Veteran model, Carol Gracias’ opened the show, Reddy, introduced corsets with lehengas, simpler capes constructed to go with heavy lehengas without forgetting tradition—a range of Banarasis and brocades. When you are a debutant, you are unaware of market forces, you tread carefully, internally you are happy you got this fabulous opportunity—Jayanti Reddy, must be thinking as she shines on the India Couture Week 2024 runway. Reddy, from Hyderabad is growing with one store in Kala Ghoda, and one ready to open in Delhi at DLF Emporio, soon, but the business administration and marketing graduate from Case Western Reserve University, Ohio, USA, is a self-taught designer. Couture is about heavier pieces, I have been doing lighter ones for sangeet, mehndi, cocktails to bachelorette parties. I love bling, shimmer, my brand caters to myriad buyers from 21 to 65 years, she adds. Reddy has been an ardent admirer of everything au natural, even Kanchipurams. Experimentation is the key to success, jewel tones work best, pastels are a perennial favourite, and coming from the city of Nizams, she incorporated zardozi and zari, but makes sure it doesnt hurt the wearer. I have also used extensive threadwork and beads; you can wear my choli with another less ornate skirt, or the lehenga with a plain shirt, or the blazer that comes with the sari can be teamed with jeans, she adds, hoping her couture pieces will not stay locked up in a trunk. Reddy wanted a part of the over-the-top royalty to reflect in the linethus Basra pearls, detailing became the focus. Earlier flares worked, now everything has become sleeker, even though it remains a challenge to think of a theme every year, sometimes twice a year, Jayanti believes, the extravagant Nizami culture forms a potent inspiration. The way they manipulated gold, combined it with pearls, is what I attempted to showcase this season, she exclaims. The vintage Khada dupattas worn even over saris, add a touch of regality, and of course drama, it is the traditional costume of Muslim brides. Reddy has always worked with Banarasis, even creating jumpsuits in brocade, or corsets to be worn with saris. Women entrepreneurs must be respected especially when you dont belong to a fashion background and dont follow trends, start with one tailor. In fact, not following the set template helped her, and her business training in running a team of 250. When I started, in 2012, I wanted to dress a woman who was working and wanted something to wear that accentuated her status. Now, Im dressing brides, which I never thought I would, she adds. Whether its the bride or her extended family, there is something for everyoneeven the Ajrak dyed kurtas are an all-time favorite. Celeb dressing always helps, if its natural brand extension, I look at it as a form of support to the designer, as a lot of people like to emulate their style, she adds and hopes she too can soon do a film with Sanjay Leela Bhansali, or a period drama like Heeramandi. Despite doing bridal, Reddy believes recycling is part of her brands DNA, no fabric is allowed to go waste, they make either bags or tassels. I also advise brides to reuse their lehengas, we pull out the can-can, upcycle the old ones, make Anarkalis out of full skirts, she confesses, as she is back after a hiatus, the last show she did was in 2019. The most interesting collaboration for Reddy has been one that came organically—with the Italian jewellery powerhouse, Bulgari. They told me my clothes fit best into design ideology, as they wanted to market their uber luxe Serpenti watches and jewelled pieces. We shot a campaign in Bangkok, with my saris with blazers, and there is another to happen, it is in the pipeline, she admits, adding working with a luxury brand has been thrilling.
Rahul Mishra’s Valley of Daffodils
Flower power never loses its prowess, and Rahul Mishra at Hyundai ICW 2024, made sure the embroidered dupattas were unisex, the pants-suit is now out of the boardroom and frolicking at a cocktail party in a line titled, Nargis. By Asmita Aggarwal Nargis or daffodil is a lively yellow flower, it could also be the yesteryears actress, Nargis Dutt, I am guessing Rahul Mishra stuck to the floral variety, naming it for his line seeped in intricate thread work, at his Hyundai India Couture Week 2024 showcasing! His roots are in Malhausi, a non-descript village near Kanpur, which have gone far into the ground, as he has become the star of Paris, and its super competitive Couture Week, only selecting an exclusive few If his latest workplace is anything to go by 5,000 square feet, inNOIDA or the way that his wife Divya controls the office and directs the workforce, they are a team and thats what makes them so successful. At his showcasing there was live music, which seems to be the mood of Couture Week, and the Sufi master, Nusrat Fateh Ali Khans chart topper Afreen began with cancer survivor and model, Lisa Ray, 51, mom to twins, author of the book, Close to the Bone, take the catwalk in gossamer white, emboldened with roses in her hair. Rahul is a man of collaborations, recently, it was with the Singapore Tourism Board (STB), titled Beginnings. Made In Singapore, with actress Tamannaah Bhatia as the muse. His inspirations have been many—from his daughter Arnas Jungle book, underwater creatures, insects to Hindu mythology (Lord Brahma), old dilapidated havelis and most recently it was Aura at PCW. He began his journey in 2006, and at his presentation, explored various hues—structured jackets with placement embroideries, glow in the dark gowns glittering, bare backs with silvers of dupattas hanging from nimble shoulders, as Sufi Kalams, Chandni raatein played in the background taking us back to the 90s when this number was sung first by artiste Shamsa Kanwal. The ubiquitous sharara has come in various forms, embroidered and sheer, the cape and lehengas are now a No. 1 match, and a must-have in a new-age brides trousseau. Interestingly, the dupatta is interchangeable, it is unisex, it can be worn with a sherwani and lehenga. White, has emerged as a hue of marriages, lighter, softer, and is considered ceremonial. The pants suit was meant for corporate meetings, but Mishra has made it cocktail worthy, glistening with crystals, pearls, and glass beads. The flowers got bigger and bolder in off shoulder gowns, wedding wear today is a game of intricate embroidery techniques and surprising placements. The surface texture was so intricate on gowns that fabric disappeared; power shouldered capes, dripped with tassels, Rahul seemed to love lime green. Musicians really carry the show on their shoulders, A R Rahmans numbers are always a hit, no better way to end the show than that!
Game of Time
Amit Aggarwal serenades the impossibility, linearity, unpredictability of time and maybe tide, through his show as the past (cotton) meets the present (nylon), through his newly created fabric this season for Hyundai India Couture Week 2024. By Asmita Aggarwal When I watched the Amit Aggarwal show at the India Couture Week 2024, I felt a sense of connectionas if it was inspired by the film Matrix only it was reloaded this time! Remember Keanu Reeves and his cartwheels in the air? His battle against time, the film was inspired by Gita, and time travel? Well, Amits show was a bit like that! What I also liked was the fact that he got his admirers not for the catwalk but in the audience like the delicious looking Abhay Doel, a rarity on the ramp and in any fashion space, Dangal star Sana Fatima Shaikh, as well as Kritika Kamra. The set for me resembled a strand of human DNA, considering Amits love for science, I also admired the fact that he has a distinct and growing clientele loving his manipulations on fabric, in an embroidery and embellishment obsessed country. The garments moved with the body, almost in sync despite fervent hugging, it felt it was more of an artistic expression, and truly couture as he pushed the envelope. Amit ingeniously cut moulded fabric, the jackets for men with splatter of candle wax inspired embroidery were interesting. The older model is coming of age, a must for international shows of Dries Van Noten to Issey Miyake, age is now not definable, it is not a barometer of judging your ramp walk worthiness. The advent of reds and velvets for men further added to the spectacle. Amits Instagram is flooded with videos showing his journey to the Kabutar bazar, adjoining Chor Bazar, where he is scouting second-hand denim, sourcing fabrics that can be toughened, reused for his couture line. At the risk of exposing a slice of his personal life, Amit Aggarwal, admits going to bazaars has been a passion since his college days— a Sunday treat. It is entirely true that pegs of inspiration, untold stories lead to creation, among the many treasures that Amit finds, there is a particular jacket that has brought him joy, he is recycling it. This is besides the pre-owned Banarasi saris, he picked up to create updated versions adding his labour-intensive techniques cording to give it a fresh form. Remember the Patola upcycling he did for his brand Am-it, or how he dressed Priyanka Chopra Jonas in the Banarasi Navrangi saris, upcycled. Technology and science have been a part of his thinking since he began, more than ten years back, even a bit of biology and physics. Through the iCloud line that told us how much waste we store in our minds. It is imperative for me to try something new, or I will never know where the loopholes are. I am ready for that 15 minute of scrutiny at ICW, at least I tried, he smiles. There is always an emotion his clothes strike within the wearer, it comes with a wealth of material explorations, has a distinct brand language, making one-of-a-kind clothing, cant be replicated. His experiments this season, is creating a new-age fabric by mixing organic cotton, and nylon, on the hand loom. It offers fluidity, drapes, has a glass-like texture, but when it caresses your skin, it feels like cotton. In bridal, storytelling is the inception of thoughthe hopes to strike a balance by collaborating with faces who have engaging narratives. Never should there be an overkill, each piece must have a mystery, says Amit. A rose even when the petals fall off, remains one so couture should expose a sheer behind a layer, and as a couturier you must know how much is too much. Bridal for Amit is that one moment when you share bigger dreams with someone else, it is not just about wearing an embroidered lehenga, “it is a celebration of commonality. Thus, the show is moody, it transports you to a different space, explores recesses of your memory, through clothing which captures an experience. Showstoppers, a potent part of a couture week show, Amit believes some collections need a spokesperson and some dont, I dont believe in face value, he laughs. The ICW 2024 line is based on the concept of time which is represented through —science, religion, cosmology, and philosophy. Time has been looked at from a variety of angles, life is a game of time, he admits. Banarasi emulates the eternity of time, life after death; beading is about living in the now, little glimmers in our journey; how the beauty of a star is represented through the supernova, since its inception. The craft and new materials explorations represent the linearity of time, when today meets tomorrow, he explains. Time is a bit of a sorcerer, if you go by Einsteins Theory of Relativity, and quantum physics. The last concept is how time also sets an equilibrium, and it ties into the existence we know, he adds. It was in 1998 during the DD days when B R Chopra had everyone glued to their TV sets with his retelling of the epic Mahabharat, and there was one line that stayed with everyone, Main Samay hun the whole story was told by time.