INDIA
MADE IN APRIL ISSUE, 2016
RISE OF THE UNHEARD FASHION
CONTENTS Its a Magazine that tells everything that has been going on in India, acclaiming worldwide attention and appreciation. Promoting and making India aware of its’s own culture and hidden beauties. From Fashion to Society a place to Know it all.
3 The Desi Swag : Handwoven Textiles By Gaurang
6 PROJECT RED
When International Designers meets Indian Textiles
16 CONTEMPORARY INDIA :
SETTING WORLDWIDE TRENDS
14 HANDMADE :
47 MUSEUM MEMO :
Its Handmade and Handwoven in KASHMIR
THE HIGHLIGHT OF THE V&A INDIA FESTIVAL
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Bibhu Mohapatra :
Designer who dressed Michelle Obama
Story of a small-town boy from Odisha, chose to give up a foreign degree in economics to design clothes - and hasn’t looked back
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JEWEL SAGA : A variety of trending jewellery
35 Traditional Punjabi Jutti -
has Gone Bespoke and Designer
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Fashion Features : Frieda Khalo An Artist in Painting and Fashion Styling - Isnpired by her personal style. 43 STYLE GUIDE : Tips to Become The 50 Modern Indian Chic ESCAPE : KERALA 45 Inspired : SARIS AND SEXUALITY, BY SUZY MENKES
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aying reverence to the aesthetics of early 20th century Indian royalty and uniting traditional Indian textiles with vintage silhouettes, Gaurang will present his Spring Summer ‘16’ collection, “Calico” at the Lakme Fashion Week 2016 on March 31, 5:30 pm in Mumbai. Each ensemble from this collection is crafted from exquisite handwoven textiles in Khadi, Uppada and Kota using the Jamdani technique GAURANG stated. Declared an Intangible Cultural Heritage of Humanity by UNESCO, the Jamdani is a singularly striking weave that has created an impact across the centuries. The patterns are woven with a non-structural weft resulting in vibrant patterns that dance across the fabric. Adding insight into Calico Inspiration, GAURANG says Traditional Chikankari embroidery finds a canvas in the Jamdani adding its charm to this stately fabric. The legacy of the princely city of Lucknow, Chikankari is an iconic Indian hand embroidery technique that is both subtle and stunning. Showcasing iconic weaves and techniques in all their unfettered glory, “Calico” emphasizes the rich and vibrant history of Indian craftsmanship while championing the Indian woman of today. Drawing on various trends of this intriguing era, each piece in this collection by Gaurang evokes a unique nostalgia. The gowns feature popular silhouettes from the “Belle Epoch” period. Women, whose personalities have been woven into the fabric of Indian history, come alive in this inspiring collection. The Baroda style Navari drape that was Chimnabai’s signature enters the new millennium with a long jacketed blouse. The saree draped as a gown; Sunity Devi’s signature style in England creates a stunning style statement. The traditional saree is subtly reinvented into a garment that is the epitome of the modern Indian aesthetic. Calico draws inspiration from the early 20th century that witnessed the zenith of colonial rule in India when Indian society at large underwent a visible cultural shift. The wealthy and influential were rubbing shoulders with their colonial counterparts as equals, resulting in a unique blend of cultures, symbolic of the Raj in the 20th century.
ACHIEVEMENTS
THE DESI SWAG
PC Jeweller started operations in April 2005 with one showroom at Karol Bagh, New Delhi and is today one of the fastest growing jewellery retail chain with 60 showrooms across 50 cities and 17 states. Backed by strong promoter team, professional management and a reputed board, the company has followed meticulously designed business plan, believed in speedy execution with careful optimism over the years.
PROJECT RED WHEN INTERNATIONAL DESIGNERS MEET INDIAN TEXTILES If fashion is an interpreter of social attitudes, what is the significance of the plus à la mode—red? In India, brides wear red saris, a symbol of fertility and honour; others dot their foreheads—a spiritual emblem of the omniscient ‘third eye’ that empowers them. Red is spiritual and emotional. To visually explore other notions, we asked five exciting designers to work their magic with hand-woven red textiles from different regions of India. What emerged was an intoxicating narrative of strength and passion. By BANDANA TEWARI
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Stella Jean for Maheshwari silk The Maheshwari fabric is impressive without showiness and grand in its simplicity, a beautiful textile woven lyrically. “It was wonderful to trace, between the warp and weft of the Maheshwari, the same soul of magic, craftsmanship and tradition that I believe in,” says Stella Jean. “I believe that through fashion we can gain awareness and, as Arancha González, executive director of the International Trade Centre, said on the occasion of The Power of Empowered Women 2014 event at the United Nations in Geneva: “You cannot change what you do not know, but once you get it, you are not exempt from changing it.” The Maheshwari fabric was donated by Craftisan (Craftisan.in) Right: Shirt, skirt, Maheshwari silk coat; all Stella Jean, Silver round earrings, tribal necklace; both Amrapali; Silver coin necklace, Aquamarine; Silver ring, Silver Streak; Left: Shirt, Maheshwari silk skirt; both Stella Jean; Silver jhumki, necklaces, ring; all Silver Streak; Photographer: Bikramjit Bose; Stylist: Priyanka Kapadia Art director: Jolie Wernette-Horn; Hair and make-up: George Kritikos/Anima Creative Management; Model: Smita Lasrado/Inega Model Management Production: Nafis Shaikh
TEXTILE GONE INTERNATIONAL
Rahul Mishra for Maheshwari silk
The ‘Fiamma’ bag was named after Salvatore Ferragamo’s oldest daughter, who worked very closely with her father—a ball of energy giving creative direction to the house from the age of 16 and leading the way for the many women in the family to follow suit. It’s only befitting that her dynamism find expression in a resplendent bag of Benarasi brocade— an ode to the undying spirit of women. “Flowers are the symbol of life and sacredness. Bright colours and vital energy are testimony of a beauty that needs protection and support,” says creative director Massimiliano Giornetti about the floral brocade he used to create this design. “The power of culture against violence and abuse is in perfect harmony with the feminine legacy and tradition that inspired and represents the ‘Fiamma.’” The Benarasi brocade fabric was donated by Ekaya (Ekaya.in) Cuff (worn as armlet), Aquamarine ‘Fiamma’ Benarasi brocade floral print bag, Salvatore Ferragamo Photographer: Bikramjit Bose Stylist: Priyanka Kapadia Art director: Jolie Wernette-Horn Hair and make-up: George Kritikos/Anima Creative Management Salvatore Ferragamo for Model: Smita Lasrado/Inega Model Management Benarasi brocade Production: Nafis Shaikh Here is a vermilion va-va-voom moment. Charlotte Dellal’s signature spider web masquerading as slivers of liquid gold against the red weave makes this shoe symbolic of untameable spirit. “It felt very special to make one of my favourite designs, the ‘Dolly’, with the Kanchipuram silk that is held in such high regard amongst the generations of women in Tamil Nadu,” says Dellal. “The beautiful pattern evolved with the fabric and that played a huge part in the designing of the shoe. I feel very proud to contribute towards Vogue India’s efforts to drive social change and raise awareness on women’s issues.” The Kanchipuram fabric was donated by Nalli (Nallisilks.com) Kanchipuram silk shoes, Charlotte Olympia Silver spike anklet, Amrapali Silver anklet, Curio Cottage Silver anklet, Silver Streak Photographer: Bikramjit Bose Stylist: Priyanka Kapadia Art director: Jolie Wernette-Horn Hair and make-up: George Kritikos/Anima Creative Management
Charlotte Olympia for Kanchipuram silk
Missoni for IKAT The Indian ikat is an age-old tradition that is beautifully slow. The weaver must dig deep into soft powers—of patience, tolerance and calmness—to allow the fabric to emerge gently from the imperfections of the hand. “At Missoni, we believe that empowerment can be best achieved through creativity, so, in support of the Vogue Empower project, we designed an outfit that mixes iconic Missoni fabric with traditional Indian silk,” says Angela Missoni. The ikat fabric was donated by Ekaya (Ekaya.in) Ikat print dress, Missoni Silver earrings; Aquamarine; On left hand: Silver bracelet, Amrapali On right hand: Classic design cuff (worn as armlet), Aquamarine; Silver ‘Om’ bracelet (worn as armlet), Amrapali; Silver bangle, cuff; both Aquamarine; Photographer: Bikramjit Bose Stylist: Priyanka Kapadia; Art director: Jolie Wernette-Horn; Hair and make-up: George Kritikos/Anima Creative Management; Model: Smita Lasrado/Inega Model Management; Production: Nafis Shaikh
Bibhu Mohapatra: The designer who Dressed Michelle Obama Bibhu Mohapatra, a small-town boy from Odisha, chose to give up a foreign degree in economics to design clothes - and hasn’t looked back... It is a regular, if chill freezing, and January afternoon in NY, or so the news reports show, with the city having escaped the brunt of blizzard Juno. As we speak on the phone, designer Bibhu Mohapatra, in his studio near Times Square, seems to have his hands full. He is juggling seveal things at the same time — preparing for his fall collection for the upcoming New York Fashion Week, arranging for important faxes to be received and responding to all the wishes pouring in on Twitter. It’s been four days since
Michelle Obama, the First Lady of the United States, touched down in Delhi for a state visit wearing a floral printed dress from his Spring - Summer 2015 collection, and messages and tweets of heartiest congratulations are still pouring on the social media and varoius other social fronts. Mohapatra is not at all a stranger to dressing the celebrities of the Hollywood like the A-lisers such as Hilliary Duff Gwyneth Paltrow, Hilary Swank, Glenn Close, Anna Kerr Kriestien Casy, DavEu Elisabeth Ham Wigg and Lucpita El Nyong’o have
worn his designs in the past. He is quite a hero and favourite with Bollywood actors as well, with Sonam Kapoor, Priyanka Chopra and Kareena Kapoor donning his creations on the red carpet. This is also not the first time that Michelle Obama has donned one of his dresses. She wore a yellow, printed and layered dress from his resort collection titled Citrus Painterly, nearly two years ago for The Tonight Show with Jay Leno. Given the United States’ obsession with the First Lady’s wardrobe, it had made Mohapatra a household name. It’s been a long journey for this boy from Rourkela, Odisha, who came to Utah to pursue a master’s degree in economics and then left it all in 1998 to pursue a course in fashion designing in New York instead. “Growing up in Odisha, it was a different sort of India back then, especially when it came to art and design. It was difficult to carve out a career in fashion,” he says. So, he focused on his studies and decided to pursue economics, a subject that he enjoyed. With his brother and cousins already in the US, he too applied for the master’s degree course at Utah State University. “But all this time, at the back of my mind I felt that I had to do something in design,” he says. Mohapatra was nudged in this direction by his professor who was very impressed with the sketches he made in his spare time. “My designs at that time were slightly immature but reflected a sort of confidence,” he confesses. His cousin, Sarita Mohapatra, too played a huge role in helping him make the shift from economics to fashion. But the final push came when he asked his father for advice. “He told me to close my eyes and picture myself 10 years down the line and see if I was happy with
INDIAN MEETS INTERNATIONAL
‘Michelle loves colours’ Even though, Michelle Obama has worn his dresses on several occasions, Mohapatra hasn’t got an opportunity to work directly with her so far. But he is all praise for her style sense. “It is truly special. She loves colours and loves to experiment. She goes for really vibrant designs and doesn’t follow huge brands all the time. Her unique sense of style is an extension of her personality,” he says. whatever I was doing at that time. That sealed the decision for me,” recalls Mohapatra. After interning with iconic label Halston, he shifted to J Mendel, where he rose from being an assistant to design director, all in a matter of nine years. Though he rates his years at J Mendel as extremely significant, Mohapatra left the company in 2009 to start his eponymous label. “It was difficult. But it was my dream to have a label where I could create my own vocabulary,” says Mohapatra, who began in a 15 feet x 15 feet room with one employee. What is it about his designs that appeal to fashion icons from across the globe? “Mohapatra has mastered the balance between a refined sense of sophistication and femme fatale,” says Malini Agarwal, founder of the fashion and lifestyle blog, MissMalini. “Over the years, his designs have proved to be strong on wearability and have a certain polished appeal.” His clothes are considered ideal for women who prefer an elegance that is timeless and yet progressive. Actor Nimrat Kaur, who is part of the acclaimed Homeland series on television, wore one of his designs — a metallic, print-
ed, strapless dress — to the Screen Actors Guild Nominees Party a couple of days ago. She agrees with this assessment of Mohapatra’s designs. “I love the stylish quirks in the dresses. There is a femininity about them, while also exuding a sort of sex appeal,” she says. As of now, he has a lot of projects lined up. First up is the second phase of his project with the handloom weavers in Odisha. The project, which was initiated by the Odisha government and implemented by the Sambalpuri Vastralaya, roped in designers such as Mohapatra, Rajesh Pratap Singh, Abraham and Thakore and others to develop a collection with the weavers. Designs from the first phase were shown at the Wills Fashion Week in 2012. “The challenge before me is to ensure that the project empowers the weavers, that they get a fair remuneration and their standard of living becomes better,” he says. Mohapatra has also started retailing in India through Kitsch, the multi-designer fashion store by Priya and Charu Sachdev. “There is also a jewellery line for India on the cards.
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India is witnessing a resurgence of interest in the designer world, as machine made is increasingly going out of favor in world fashion. China represents machine made while India where hand loom still co-exists and grows is the bastion for handmade fabrics. Despite the power looms of Mumbai and Surat and machine embroidery of Ludhiana and Jalandhar, India is still considered as the home of handicrafts. It is the home of high quality handmade fabrics, hand woven and embroidered with delicacy, a skill that exists only in Persia, Turkey, Pakistan and Bangladesh and a few nations across the world. What makes India so different and so indispensable in handmade textiles is it’s huge variety that changes from state to state with breath taking diversity and exquisite designs. Each of the variations are unique from Jamawar in north to Kancheepuram in south, Bandhni in the west to Baluchari in the East. Woman’s Era explores a few states each week to bring to it’s readers the handmade flavors of India and global designers who work on the fabrics. Jamawar from Kashmir The Jamawar is one of the most famous designs of this region that was supposedly so expensive that the robes ( jama ) were bought by kings and the courtesans by the yard (war ). The reason it was so expensive was because both the woven fabric as well as the embroidery was extremely time consuming. Also it is the traditional artisans insights that are infused in the woven designs that make these designs unique that cannot be replicated by machine made alternates. The Kashmiri. Jamawar is seperate and distinct from the Banarasi Jamawar which is equally famous. The traditional Kashmiri shawl is essentially of two types. The loom woven Kani shawl or the elaborately needle worked and embroidered Sozini shawl. The brightly colored flower motifs or the delicate leafy patterns demonstrate the rich legacy of the valley often called Eden on the Earth. The Kani shawl is a wrap around, intricately woven by the stick ( Kani ) and the spoon. At times dozens of Kanis are used with different coloured threads for a single weft reflecting the intricacy of design. While the use of multiple Kanis improve the colour variation and the fine texture, it makes the journey very complex and the variation in designs mean that the weavers can seldom weave more than an inch a day. Blumarine and ETRO The Kashmiri Jamawar designs have been used by the Italian design house Blumarine and ETRO while the Banarasi Jamawar has been used by Ralph Lauren. In its 2013-2014 wedding dress collection the Italian design
IT’S HANDMADE AND WOVEN IN KASHMIR April 11, 2016 Sandip Sen
house Blumarine used several Kashmiri flower motifs and exquisite embroidery in its white as well as colored wedding gowns and robes. Another famous Italian design house ETRO has also used Kashmiri motifs and designs in its exquisite Paisley collection. The rich, whimsical hues of scarlet, red and turquoise, vibrant yellow, olive green, and ivory, was created as the signature design for the collection became a House-icon, which conjured up a unique blend of art with a dash of colour in which floral Kashmiri motifs played a major part. Both the motif and the fabric used in Kashmir have found it’s place amongst the well known design houses across the world. The hand woven magic is irresistible as is the softness and the warmth of the fabric and its rich hues. The raw material used is essentially Pashmina or Raffal and used to also be Shahtoosh that has been recently banned by the Government because the Tibetian antelope called Chiru deer that provided the Shahtoosh wool known for its softness and warmth is now an endangered species. Pashmina wool available from another Tibetian goat Lena Rama found in the Ladakh region is also soft and very warm and available in a rich monoton es like white, brown, gray, and black.
“Handmade is in. Machine made is passé.” 14
MADE IN INDIA
Indian costumes are known for its colorfulness and elegance. Clothes for men are designed suiting the climate and their comfort, while that for women are made bringing out the essence of feminism. Though there are numerous outfits in each and every state based on its cultural heritage there are a few common outfits such as sari, dhoti, salwar kameez etc which is used with some variance throughout the country. These apparels have undergone a creative transformation, and are under the fashion spotlight. People in other countries also prefer to wear saris, suits, and cholis. Customary Saris takes their Fashion Stride on the Ramp: Sari is a Sanskrit word which means cloth. This was worn by women from the Vedic ages about 600 B.C.The eternally appealing vintage costume, the sari is in style shaped through the creativity of many fashion designers. This traditional costume combined with contemporary trends creates a graceful and dreamy effect. Ethnic motifs are transformed into modern patterns through the skill and expertise of eudite fashion designers giving a modern look to the traditional costume. Enticing fashion trends are available in sheer and translucent fabrics giving a cool and fashionable look. This soft feminine outfit is available in a variety of fabrics such as anyother fabric like -chiffon, georgette, satin brasso, net and many more. This rectangular piece of cloth plays a crucial role in bringing out the beauty of a woman. Craving of jewellery has been manipulating the female mindset since the age human race started. Bejeweled saris are in fashion with a brighter, bolder, and a more elegant look. Tie-and-dye fabrics in graduating shades of beautiful hues give a surreal look. Elegant saris in vibrant shades accompanied with a modern transformation take their part in popular fashion shows. It has and is doing its fair rounds in the runways of numerous fashion shows. This is one costume that will never go out of fashion, keeping the stores flooded with an assortment of designs all year round.
Contemporary India : setting worldwide trends
TheJewelSaga A wide range of trending jewellery
Khadi Naturals offers 100% paraben free handmade herbal products that has specially chosen natural ingridients which will emmerse you into deep care of mother nature.
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Shopping for her trousseau a little more than a year ago, Gurgaon-based Shirin Mann Sangha was clear on one thing. Unlike most brides, Sangha didn’t want to pair her wedding lehenga with stilettos. As she scoured markets in Punjab, Delhi and Mumbai for traditional Punjabi juttis, it all came down to pairs that were either too plain, boring or simply uncomfortable. “I decided to get one made that matched my outfit,” says Sangha, who hunted down a craftsman in Delhi for the job. Sketching out exactly what she wanted, she finally got her pair. “Before I knew it, I was a jutti designer,” she laughs. She rolled out her bespoke jutti label, Needledust (www.needledust.com) soon after and began retailing through fashion portal Exclusively.in. Four months ago, she opened doors to her first studio in Delhi’s Shahpur Jat. “I realised there is a demand for designer juttis that don’t just look good but are comfortable to wear too,” explains the designer who uses pure leather, double padding and fabrics such as brocade, velvet, silk to trimmings such as ghungroos. Interestingly, these juttis, including those with vintage prints, are being teamed with not just ethnic ensembles. “Most of our clients wear them with maxi dresses and jeans,” says Sangha. That’s something Mohali-based designer Sahiba J Singh agrees with. One of the first to offer bespoke juttis in Punjab, Singh dishes out soft velvet juttis in a colour of one’s choice, adorned with delicate thread work. She has even paired her juttis with her riding breeches and continues to wear them with Western outfits. “Initially juttis came in either black or tan leather. These days, the options have increased as everyone wants something unique,” she adds. To make the jutti more appealing to youngsters is another Delhi-based brand, Fizzy Goblet (www.fizzygoblet.com). The juttis, designed by Laksheeta Govil, are made of pure leather soles and back, canvas fronts with a splash of colour or original print work. While the season’s latest — an ikat collection — is truly trendy, their printed juttis are quirky. Interestingly, Govil took to designing juttis as she too wanted a customised pair. Elsewhere, in the heart of Patiala’s bustling old market, Adaalat Bazaar, known for traditional phulkari dupattas and suits, the jutti has a new look. From plain uppers, the footwear now comes with serious embellishments such as dabka, zardozi work and phulkari too. For those looking for some fun, there’s a jutti with a high heel as well. The demand overseas, says Chandigarh-based designer Rupam Grewal, has led to the revival of the jutti in a new look. Recently, she too has forayed into shoe design and has been stitching up bespoke shoes and juttis for brides under her label, Jaamawar Minx. “Earlier the jutti could never be customised, but now karigars are willing to incorporate everything from logos to embellisments,” says Grewal. Customisation is definitely the key.
Step by Step The traditional Punjabi jutti has gone bespoke and designer. by Jagmeeta Thind
N E E D L E D U S T
FRIEDA KHALO
An Artist In Painting and Fashion BY LUXEMI
Folk artist. Nonconformist. Visionary. Eccentric. Feminist. A lot of words have been used to describe Mexican surrealist painter Frida Kahlo and her colorful, complex life, but for Luxemi, one important descriptor is missing from the list: Style icon. Whether it was her art or her fashion, Frida always marched to the beat of her own drum. Here’s what we love most about the painter’s iconic personal style. Frida is known for her eclectic mix of indigenous Mexican patterns, vibrant colors, full skirts and funky statement jewelry. Whether she was out with her artist husband Diego Rivera or at home behind the easel, Frida always chose bold clothing that spoke toher individuality. The artist also incorporated her quirky fashion sense into her famous self-portraits, in which she often depicted herself wearing scarves or flowers wound through her hair, and chunky necklaces and rings. FASHION FEATURES
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Luxemi can help you put your unique stamp on Frida’s funky style. Chances are, your saree or salwar already features some of the vibrant embellishments or textile work Frida was known for rocking. The key to taking your look to the next level? Accessories. Try pairing your favorite saree or salwar with this jewelry to let your artistic side shine ( And while you’re at it, feel free to put fresh flowers in your hair! )
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STYLE GUIDE : HOW TO LOOK LIKE A PERFECTLY MODERN INDIAN CHIC
BOHEMIEAN LEG THONG
Embroidery over Embroidery
MUST HAVES: Metalic Jewellery paired up with Ethinic
TRENDING : INDIAN CONTEMPORARY
TRIBAL PRINT HEELS
Crop Top with Long Skirts
Ethinic Goes well with Modern Hair Styles
HEAVY EMBROIDERED SCARVES
SOCIETY
The first step towards equality in the workplace has always been seen as adopting male dress: hence the trouser suits that are still doggedly worn by the turning-60-years-old generation. Chancellor Angela Merkel and Hillary Clinton are prime examples. If either of them owns a skirt, it must be hidden in the depths of their closets. I was dispirited, as an editor who sees fashion holding up a mirror to society, that Michelle Obama, a trained lawyer, adopted a feminine, even girly, look of dresses and cardigans when she became First Lady. The mesage? I am just the president’s wife. Having worn a sari only once, dressed by an expert, and worn without much grace, I have no real idea if it is an impediment—on the body or in the mind. But for all its elegance and its regional history, the sari—except perhaps those 21st-century versions deliberately shaped to the figure—has no obvious sexual allure. Ah, sex! Why is it that women in the Western world are still obsessed with showing off bosoms, waists, thighs—androgynous zones that go in and out of fashion but with a thrust always apparent? You don’t see the same obsession with arousing sexual attention in the way that men dress. Some may wear snake-hip trousers or want to show
off their abs. Very occasionally, in the creative professions, a man might go to work in tailored, knee-length shorts. But never in a bank or a boardroom. In the workplace, men wear suits or smart casual clothes that just blend in with the desktop furniture. But women continue (for what reason?) to push the boundaries of fashion acceptability. In the Western world, there is currently yet another ‘Great Fashion Debate’. Should women wear shorts to work? And if so, how short? Very short but with pantyhose and smart shoes? Thigh length with sandals, as if on the beach? If the outfits are deemed too sexy for the office, isn’t that a problem for the men rather than the women? How depressing that after so many years of so called equality, women are considered incapable of making the right sartorial decision for their lives—or their bodies. With all the issues facing women in India, I would hope fervently that so-called ‘come-on’ sexuality through clothing is not on the agenda. Although I would support any Indian woman who chooses to turn her back on traditional dress and express her personality through fashion, there is something to be said for having a garment that, in itself, is sexually neutral. How it is worn then offers freedom of choice, which not everyone wanted but deserved.
SARIS AND SEXUALITY, BY SUZY MENKES Are Indian women fortunate in being able to wear a sari, a salwar kameez or clothing that is non-provocative — meaning that there is no overt sexual statement?
“They might not think so. But from a Europan perspective I have seen how Western women struggle to send out a message with clothing that seems appropriate to their lives and aims”
MEUSEUM MEMO
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THE HIGHLIGHT OF THE V&A INDIA FESTIVAL
visual feast, Fabric of India is a fascinating exhibition showing how the vast continent of India has for thousands of years created a rich abundance of hand-made textiles that have dressed, decorated and adorned much of the world. Previously unseen treasures feature alongside everyday items, from earliest known fragments to contemporary fashion, ceremonial banners, temple wall-hangings, bright bandannas from Bengal, even the spectacular portable palace tent of Tipu Sultan, famed Ruler of the Kingdom of Mysore.The journey starts with India’s raw materials of silk cocoons and cotton balls, skilfully spun and woven, coloured by indigenous dyes such as Pomegranate and Indigo (so-called as it came from India) transformed into colourful cottons and sumptuous silks. The ancient Romans described India’s finest cottons as ‘Woven Winds’ for their airy lightness. India’s fine pashmina shawls of Kashmir are highly-prized fabrics.Global export of Indian textiles hit a high point in 17th-19th centuries through the popularity of cotton chintzes, favoured amongst Europans for clothes and furnishings. A grouping of beautiful wall-hangings, bedcovers, robes and dresses in floral chintz patterns illustrates how Indian motifs and techniques were re-interpreted for use in the West.In contrast, Indian textiles became a symbol of political resistance in the early 20th - century when Mahatma Gandhi asked the Indian people to spin and weave their own yarn and fabric by hand, to produce a cloth to wear known as Khadi which became a key tool of the Indian independence movement.India’s dynamic fashion industry uses traditional hand-making techniques in new ways. Designers Abraham and Thakore have restyled the sari, Azzedine Alaia and Maximiliano Modesti set up Les Ateliers 2M in Mumbai specialising in hand-crafted decoration for luxury brands and a recent version of the classic Hermes ‘Cavalcadour’ Fleuri Shawl is decorated with finely embroidered flowers which took five hundred hours to complete. EVENTS
According to Hindu mythology, Kerala was created by Lord Parasurama, an incarnation of Lord Vishnu by throwing his axe across the sea to create new land for his devotees to live peacefully. So, Kereala is God’s own creation, hence it is called God’s own country! Every nook and corner in Kerala you will see Hindu temples, Muslim mosques and Christian Churches; and unlike many other parts of India, people live happily without communal riots and great religiuos tolerance. Hence it is God’s own country full of worship places! Nestled between the pristine waters of the Arabian sea on the west and the lush Western Ghat mountains on the east, its intense network of rivers and lagoons, thick forests, exotic wildlife, tranquil stretches of emerald backwaters and a long shoreline of serene beaches make it a traveler’s paradise.
KERALA : GOD’S OWN COUNTRY INDEED!
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ESCAPE