art&deal
FACE TO FACE
Rajesh Punj
October'2012
047
FACE TO FACE
‘We have broken taboos and made the forbidden fashionable’
Fashion, White sequin collar
Abu Jani and Sandeep Khosla Amitabh Bachchan in Abu Jani & Sandeep Khosla Designware
Celebrity Abu Jani and Sandeep Khosla are at the forefront of a glittering profession, having dressed such iconic illuminators as Amitabh Bachchan, Dimple Kapadia, Nikhil Nanda, Madhuri Dixit and Shahrukh Khan; with an additional international clientele of Dame’s Judi Dench and Maggie Smith, Darecy Bussell and Sophie Marceau among them, they have successfully fashioned the modern celebrity to a level of euphoria associated with American politicians running for congress. Coined the boys by their contemporaries, Abu Jani and Sandeep Khosla are the father figures of the fashion and film circuit in India now, and such associations and cultural endorsements among the celebrity elite matters. It is the difference between designing and dressing the nouveau riche, and filling the aspiring classes’ wardrobes’ with affordable clothing. Abu Jani and Sandeep Khosla’s collaborative designs were originally launched as the creative line Mata Hari; that modestly and very successfully introduced them to contemporary Indian fashion. International recognition came later with the launch of a range of shawls, under the brand name Shakira Caine that was added to the merchandise at leading retailers, Harvey Nichols,
Neiamn Marcus, Harrods, London, and Bergdof Goodman, New York. Such a level of success led in to their re-launching their fashion label Jashan in 1989 at a ‘save the children’ charity fundraising event in central London. The accolades followed, as they received awards for the work on the 2002 film Devdas. The films followed; Khoon Bhari Maang, Pyaar ka Saaya and Izzatdar. Such approval from the film industry spilled over into the fashion market and audiences and critics alike lapped up their designs. Like the unbridled relationship between Indian film and song, Abu Jani and Sandeep Khosla’s success can be drawn back to their working for Xerxes Bhathena, for whilst there they lifted their ambitions into the celebrity stratosphere. Abu Jani was born in Mumbai into an affluent Muslim family, initially cutting his teeth designing costumes for musicals Grease and Evita. Born in Kapurthala, Punjab, Sandeep Khosla was educated at an affluent school, where he thrived on creative pursuits. Initially working for his family leather business, Khosla moved to New Delhi, where he learnt to design and manufacture garments; moving to Mumbai thereafter where he first came into contact with Abu Jani whilst with Xerxes Bhathena. Collaborating now for some twenty-five years, Abu Jani and Sandeep Khosla represent a very distinct Indian
art&deal
FACE TO FACE
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FACE TO FACE
Fashion, man in coat
style that not only fashions the film industry but shapes the interests of the affluent classes in the sub-continent. Art&Deal magazine: As someone less familiar with your work, can you introduce me to your practice? Abu Jani, Sandeep Khosla is a Fashion Company. We work in several areas of fashion; couture, custom, bridal, diffusion and now prêt-a-porter. We expanded into a new vertical, interior design, fifteen years ago and work on select residential and commercial projects and also design limited edition furniture. A&D: Do you see clothes, fabric and good design as a metaphor for a better life style? Can anyone acquire that? A better lifestyle is made up of upping one's pleasure and joy. Beauty in all its forms from fashion to interiors to art does
October'2012
Fashion, mountain
that. We are aesthetic and sensual beings and anything that stimulates and satisfies our senses automatically betters our life. A beautiful home, clothes that make us feel and look our best, food, art, all of these are ways to nurture that need in ourselves. Apart from these things, Well-being resides in spiritual peace or bliss. You can acquire the material stuff but true luxury exists where there is Love, companionship, contentment. These things cannot be acquired, they are priceless and a result of inner strength and outer connections. A&D: The prominent French architect and designer ‘Le Corbusier’ defined his buildings as blueprints for ‘better living’; do you see your clothes influencing the way people behave? The most wonderful compliment we have received about our couture is from
our clients who tell us ‘once we wear an Abu Sandeep, we cannot wear anything else and feel quite as good’. We design clothes that feel as good as they look. There are no gimmicks, no punishing the body with unrealistic silhouettes designed for size zero. The emphasis is on the finest fabrics, the most intricate embroideries and embellishments. The inside of the garment is as luxurious as the outside. There is a transformation which a successful garment undergoes when it leaves a hanger and adorns a person. It must look better on someone than it did on the rack. The person must wear the outfit and the outfit must whisper and not overpower the person. We dress in order to look our best. Looking good makes us feel good. Feeling good gives you confidence. So yes, Fashion alters both self-perception and what you project. A&D: In India are you influenced by tradition or modernity, and how important is
it who you are designing clothes for? India is a continuum of inspiration, our eternal muse, her strength lies in the fact that she is a khichdi or meld of old and new. We see our history, culture and arts & craft legacy as the raw ingredients or reference points. Then one tweaks, warps, reinvents these and infuses them with our own design sensibility to create something that is classic as well as contemporary; timeless. An artist's inspiration is never linear or clear-cut; India is too many lands in one, and its modernity is always coexistent with tradition. We design for ourselves; we create according to our own compulsions. It is never with a particular person or potential market in mind. Our couture is however suited to certain qualities shared by a diverse clientele. It is for the seasoned. Men and women who know who they are, who see clothes as an extension of their persona, not that which defines them;
people whose concentration is on style rather than the trend-led, transience of most fashion. A&D: In terms of dressing celebrities, how would you both define celebrity? For us every client is a star. When we design custom couture we design for a person, complementing their personality, body, lifestyle, within the set parameters of our own design philosophy. This process doesn't change because someone is famous or a public figure; so that makes every design made to measure client a celebrity in our eyes. A&D: For a new audience to your work, what the key approaches to design that you have introduced to Indian fashion? And are they elemental to an overall change in the way people dress now? We have three essentials that form the core of our design philosophy, to be original,
not cater to a market. Create it. To not compromise on your vision or the execution of it; god is in the details, quality is King. As far as specifics are concerned, I think we have revolutionised and refined the use of embroidery. A large part of our focus has been to revive and reinvent ancient techniques. We have broken taboos and made the forbidden fashionable. White, beige and cream are now considered colours for bridal wear. Making the low brow into couture, whether it was chikankari or khadi. Making finishing an important feature of couture. Borders, trims, edges, lining; all of these are hallmarks of Abu Jani Sandeep Khosla, and can now be seen on TV soaps and in local, high street boutiques. Not to mention their influencing the work of other designers. A&D: Are you distinguishing one group of people over another when you dress them? Only in that those who wear our clothes
art&deal
FACE TO FACE
October'2012
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FACE TO FACE
Couture Mdels in the Abu Jani-Sandeep Khosla collection Almost 24 for Pearls Infrastructure Delhi Couture Week Fashion, desert dress
are by definition a different group from those who don't. We would like to think our creativity adds something to their lives. A&D: In terms of collaborating, is one of you leading, or is there a definite democracy about how you work together, each with their own qualities? There is no leader; we both work together, often at odds with each other. There is plenty of disagreement, dialogue, experimentation, and the final product is always better for the struggle. A&D: Have you ever considered working independently of one another? Never A&D: The key industries in India are film, fashion and information technology. Of film and fashion, how much do you consider each requires the other? Fashion is a large part of cinema. It sets trends and influences the high street. What the common man wears. Cinema doesn't
really have a role to play in influencing couture unless the designer is inspired by a piece of work or an actor. A&D: Is fashion full of imposters or are you in good company? It’s a mix of both. A&D: Can you possibly explore some of your original ideas; explain your practice prior to becoming leading designers? Every idea is original. It is impossible to put it into words for us. We don't use language as a medium of expression. We aren't storytellers or writers, our clothes speak for us. We believe in creating clothes that will be current ten years down the line. To transcend the confines of fashion this is transient by definition. We are in love with beauty, and find it in myriad things which then work their way as inspiration into our minds. We were both always creative. Academics never seized our curiosity. Abu began wanting to study art, but didn't get into art school. I too didn't receive any formal education in design.
This was a blessing; when you aren't taught you are free to dream. A&D: In terms of India, where does it fit in relation to London, New York and Paris? We have immense potential both as an industry and as a market. We can only achieve optimal growth and become international players with financial backing. Fashion houses grow with business backers. Indian designers haven't got the support of Indian Industry or venture capital. A&D: When discussing ‘elemental principles’ how significant is colour for you? Is colour as significant as how something is cut and designed? Colour is hugely important; it provides both the canvas and the paint. We use a lot of colour but our primary love is nudes, creams and beiges. A&D: You have previously talked about a need to ‘patronise traditional fabrics, weaves and embroideries, or give them up to the west’, how significant is tradition to
your practice, in an era when India is at the vanguard of great change? We are unabashedly Indian, and a large part of our creative make-up is rooted in tradition; India is an eternal, living, breathing amalgam of yesterday and today. We believe that India is hip and current. What we need is to ensure that it is perceived as so; both within our borders and then across the globe. This requires projecting it as such. As designers we cannot hope to compete internationally or sustain our culture if we don't have the faith and backing of investors. Japanese Fashion went viral because Japanese and international business houses funded it. Abu and I will always remain true to our aesthetic. We would love for the world to see the beauty and magnificence of Indian Design. We hope India goes Global and that we are a part of that. A&D: Is there greater credence in a more post-modern approach to design that allows for layers, (both historical and modern), rather than a contemporary look for the sake of it?
Always, when you discard your history you dilute your essence. A&D: Is the rise of couture fashion in India a reflection of a wealthier economy and the growth of the middle-classes? India has always had a strong affinity towards couture. We are luxury lovers. Whether it is clothes, jewellery or lifestyle, it is the Maharajahs who led the way. Today the mega-wealthy are the modern day royalty, and we are a massive potential market. A&D: Are Indians always ready for your original designs? We have been blessed to have always found an audience for our work. But the audience cannot dictate one's creativity. Otherwise you become mere fabricators as opposed to designers. A&D: How would you define Indians? Is there a particular aura or ego that defines an Indian that is different from dressing an English or American? India is a state of mind; it is also a certain body type as well as a certain attitude. We
carry certain silhouettes better. The sari requires a voluptuousness, curves which are more prevalent in our own people. Similarly the western person is more at ease in a kurta or a sherwani as they are used to tailored clothing rather than drapes and layers. A&D: What are you currently working on? We are always working. At the moment we are travelling in Europe as we are launching our book, India Fantastique in London and Paris. In the midst of this there are collections to design, houses to decorate and custom clients to cater to. A&D: What do you both hold dear in your work and what of the future, what are your design plans? The sheer thrill of being inspired, of creating things we consider beautiful. Of waking up every single day and living the life we love. What a rare and exceptional gift that is. Our design plans are to raise the bar and break it, over and over again to grow into a global brand.