Miraya (May 2017) by Namrata Loka

May 2017 www.miraya.us

Colors Of

CONTEMPORARY INDIA

“It’s time to pay people and to pay these artisans their dues.”

- Bibhu Mohapatra

4| Editor’s letter 6| Editorial: Fiona 4| Nikhil Thampi: Lakme Fashion Week 20| Bijou Bijou: the Al Thani Collection 30| Ridhi Mehra: Capsule Collection 36| Op-Ed: Acknowledge Our Artisans 40| Editorial: Urbano 50| Bibhu Mohapatra: New York Fashion Week 58| Editorial: Muted 66| Feature: The Little Black Bow 72| Editorial: Neon Not Normal

editor’s

LETTER

Indian fashion is transcending boundaries, and Spring/ Summer seems to be a favorite inning, for both designers and team Miraya!

We officially opened our doors to Shop Miraya, an editorially curated online store offering contemporary Indian jewelry and accessories. Take cue from the Miraya blog on how to outfit your wardrobe like an expert stylist, and build your own bauble box.

With the Indian wedding season no longer limited to the second half of the year, numerous Lakme Fashion Week lineups included an array of light, feminine ensembles. In this issue, we rounded up the best of bridal and festive wear from both Lakme and New York Fashion Weeks.

Featured designers include Ridhi Mehra, Nikhil Thampi, and Bibhu Mohapatra.

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It is exhausting to conceptualize and produce a brand new magazine, but rewarding to know that this could potentially open up newer avenues for Indian couture.

Namaste and welcome to Miraya.

Namrata Loka Editor-in -Chief

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FIONA

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8 Neoprene vest, crop top, dress, skirt: Esha Sethi Thirani Jewelry: Stylist’s own

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Dress: Esha Sethi Thirani Jewelry: Stylist’s own

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Dress: Esha Sethi Thirani

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MAGIC IN DIVERSITY ALCHEMY Nikhil Thampi Winter/ Festive 2015

Images: Lakme Fashion Week (Facebook)

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For most of Bollywood’s leading ladies, the Nikhil Thampi label is the ultimate source of well-crafted basics that are so experimental that they defy that very definition.

Taking a swift turn,away from the customary, unapologetically glam red carpet offerings,Thampi unveiled “Alchemy” - an unconventional, quirky, and sensuous take on Indian bridal wear, imbued with a dreamy Grecian elegance.

The good thing is, versatile separates like embroidered crop tops and nouveau Kurtas made it into the mix. Even better, the entire mix was delivered like a package, thanks to Thampi’s collaboration with accessory designer Aprajita Toor, who designed exotic footwear and jewellery to match the clothing.

Some noteworthy experimental numbers were Greek-inspired white tunics with diaphanous gold capes and panels, paired with sheer leggings. The ever-ambitious Thampi transformed a sari into a gauze, obi-belted gown with a plunging neckline, and paired an embellished beige Dupioni silk mermaid-skirt with a metallic bikini top - both served as seductive and deshabille ensembles.

Drawing inspiration from the boldness of mythical India, Thampi added his signature touch through cutout detailing on dresses, and slits on the sleeves, which, again, were potentially risky moves for a traditional trousseau.

The choice of colors embodied mythology - saris, crop tops and lehengas in vermilion (coincidentally, that is the color of Sindoor, thus denoting a married Hindu woman), rich orange and turmeric yellow added pops of color to the seemingly white and gold collection.

Per usual, Thampi did not find the need to feature starlets as showstoppers to market his show, suggesting that it is merely design that makes his clientele happy. “It’s always been my philosophy to concentrate on my clothes during fashion weeks. This time too, my hero was my collection,” he said.

There is no denying that Thampi is not afraid to stretch himself: he made a sari-drape work with a dhoti-bottom sans the blouse, and paired dresses with Chudidar bottoms. Question is, which one of the two garments - the white lehenga with an embroidered bralette or bright red cape with gold dhoti pants - will wind up on Thampi-lovin’ Anushka Sharma at the next big fat Bollywood wedding?

It is through these small, fearless gestures that one can gauge just how good Nikhil Thampi is. “Alchemy” lived up to the meaning; these unconventional creations were a thing of magic.

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Images: Lakme Fashion Week (Facebook)

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BIJOU BIJOU Victoria & Albert Museum showcases dazzling Indian jewels that date back to the 17th century

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BEJEWELLED TREASURES: The Al-Thani Collection

“Bejewelled Treasures: The Al-Thani Collection”, an exhibition organized as part of the Victoria & Albert (V&A) Museum’s India Festival, is evidence that time travel lies within the realm of possibility. Rewind to India, 17th century. Turban ornaments, brooches, swords and clothing belonging to the Maharajas (kings) were encrusted with pearls, emeralds and precious uncut stones.

Nizams, sultans and emperors of India commissioned jewelry houses to design in a kundan style; kundan is a technique where diamonds and gems are embedded within a sheet of gold or platinum, and foil backing is used to “create a backless carpet of gold and gems”.

The exhibition is cultural narrative of jewellery from, made for, and inspired by India, and is being held as a part of V&A’s India Festival from 21 November 2015 to 28 March 2016. “The jeweled arts of India have fascinated me from an early age and I have been fortunate to assemble a meaningful collection that spans from the Mughal period to the present day,” said Sheikh Hamad bin Abdullah Al-Thani, private owner of the AlThani collection. The 100-piece collection consists of precious gems, turban adornments, ceremonial weapons, jewellery and ornaments belonging to Al-Thani, and avant-garde jewels by Paris jewellery designer JAR. Highlights include a gold finial inlaid with diamonds, rubies and emeralds, in a kundan setting, that belonged to Tipu Sultan’s throne (1790-1800). Sultan was an implacable enemy of the British East India Company, who combined forces with the Nizam of Hyderabad to defeat Sultan, and killed him in May 1799. This fierce tiger head, which was once a regal ornament, then became historically significant.

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A white gold jigha (turban ornament) with diamonds and modern feather plume belonged to Maharaja Ranjitsinjhi Vibhaji, a 20th-century emperor of Nawanagar.

Perhaps the most prominent and identifiable piece is a fine Mughal dagger with a carved jade hilt owned by emperor Jahangir, which was remodeled for his son and the builder of the Taj Mahal, Shah Jahan.The sculptural carving of the head is believed to be an incarnation of Jesus.

The dagger was also in the collection of Samuel F. B. Morse, the inventor of the Morse code.

The exhibit encompasses a curation of jewels which reveal the powerful stylistic influence that India had on European jeweler Cartier. Cartier-made treasures include: A ruby choker that served as an embellishment on a turban; referred to in India as a guluband, it was made for the Maharaja of Patiala in 1931, and a noteworthy item in the exhibition.

A brooch set in platinum and studded with faceted diamonds, and a 109.5 carat sapphire in the center, made in 1922 for the Maharaja of Nawanagar. Per Hindu astrology, sapphire was associated with the planet Saturn (shani) and therefore associated with inauspiciousness or danger. Legend is that since the Maharaja belonged to the Sussex County Cricket Club (blue and white were the colors of the logo), he believed that sapphire was auspicious to him.

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The exhibition is sponsored by Wartski, a family business that was founded in North Wales, and is being held until 28 March 2016. Specializing in antique jewellery, Russian artistry and with patrons that included six generations of the British monarchy, Wartski celebrates its 150th anniversary through this jewellery exhibit sponsorship.

It is curated by Susan Stronge, Senior Curator in the Asian Department at the V&A Museum.

Related programs include a workshop that teaches Shisha embroidery or mirror appliqué work: Jewels of the Raj Embroidery (15 November, 10.30am-4.30pm), and a Curator Talk on 20 November from 4.30-5.30pm, where the curators of “Bejewelled Treasures” explain their approach to deploy the themes of medievalism and modernity in India.

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All images obtained from: The Al Thani Collection © Servette Overseas Limited, 2014 Photography: Prudence Cuming Associates Ltd Image credits in order of appearance: 1. ‘Arcot II’ diamond Artist: India Date: 1760; modified 1959 and 2011 2. Gold finial from Tipu Sultan’s throne Artist: Mysore, South India Date: 1790 – 1800 3. Diamond turban jewel made for the Maharaja of Nawanagar Artist: India Date: 1907; remodelled in 1935 4. Silk sword sash with jewelled gold fittings Artist: India Date: ca. 1900 5. Carved emerald bead Probably 18th century Mughal Empire

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PASTEL PARADISE MIRABELLA Ridhi Mehra Pre SS 2017

Ridhi Mehra soared this year by taking us back to the garden through Mirabella, a capsule featuring an interplay of fetching colors and exquisite beading. Mehra unveiled Mirabella via Instagram in collaboration with Harper’s Bazaar Bride India, with Indian actress Aditi Rao Hydari playing muse.

Drawing on two motifs - festive sundowners and exotic destination weddings - Mehra’s offerings came in rose pink, lilac, coral, camellia white, and pistachio.

Venturing out into silhouettes besides anarkalis and lehengas, Mehra presented an assortment of maxis, structured dresses, jumpsuits, and demi-cape jumpsuits.

Mehra has many talents, but a highlight has always been introducing versatile separates to the Indian wardrobe. Tassel cape jackets, ruffled tops, and palazzos made it in to the mix, thus breaking the monotony of trousseau wear. Sleek, middle-parted, and pulled-back hair was complemented by dewy, neutral makeup with subtle smokey hints here and there.

Images: Courtesy of Ridhi Mehra

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One of the reasons her collections consistently enthrall us, is her ability to keep the Mehra ethos intact, and still bring something fresh. The extravagant yet minimalistic signature micro-pleated lehengas were paired with iridescent capes, cold-shoulder blouses, and draped cowl bodices., as opposed to conventional blouses and crop tops. Tassels, bugle beading, fringe, and 3D embroidery played up the drama on capes and jackets.

Until now, Mehra rarely used prints, preferring to rely on the alchemy of beading and embroidery on solid colors. For Mirabella, however, she nonchalantly managed to do both. Mehra gave her monochromatic pieces an edge with subtle geometric prints and lines, and textural contrasts. A blush faille midi dress featured bugle beads on the bodice, sleeves and patched-skirt finished with micro-pleated, ruffled trims; the sweeping coral lehengas and cream palazzos came with pops of print.

No one quite juxtaposes contemporary and traditional like Ridhi Mehra, and this time, it was through an accessories collaboration with Once Upon A Trunk. The limited edition line of trunks and clutches are pieces that can quite literally carry a look on any given occasion. In keeping with the soft, subdued color palette, the crystal-splattered and floral-patched accessories designed

by Mehra herself come in colors like blush, ivory, and grey.

A round, pink trunk with rexine embellishments was a standout number. It is the accessible price point ($120) of these accoutrements that prove Mehra’s sensibilities as a modern designer in a millennial-driven market.

Ridhi Mehra has always had an affinity for ensembles that are rarefied and elegant, which makes Mirabella (wonderful in Latin) an apt collection name.

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Images: Courtesy of Ridhi Mehra

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ACKNOWLEDGE OUR ARTISANS

With more than 5000 years of strong history of craftsmanship, Indian textiles reflect culture, customs and longstanding traditions. Once symbolic ofIndia’s protest against British rule and national identity, post-independence and industrialization, hand-made and other textile crafts have continued to be in demand across the world. While some designers publicly profess their love and appreciation for the work of Indian artisans, many international luxury brands do not credit craftsmen despite using their skills.The “Made In India” label is far behind the “Made In Italy” or “Made In France” labels in terms of protection, preservation and promotion.

Hand-skill and ingenuity remain rural and uncommercialized. Some of the most timeless fabrics and sophisticated weaving techniques are used by labels like Hermes, Burberry, Prabal Gurung and Gucci, to produce avant-garde designs. Today, top designers as well as brands all over the world turn to India for artisanal textiles like Kanchipuram silk from Tamil Nadu (South India), the Gujarati double Ikat weaving technique, brocade and Zari from Benaras, and Phulkari embroidery of Punjab.

But how often do we see hardworking, extraordinarily skilled labour being honored by luxury brands?

“It’s time to pay people and to pay these artisans their dues,” Indian- American designer Bibhu Mohapatra said recently to Huffpost Style. Mohapatra may be American-raised, but his soul lies in Eastern India. He collaborated with artisans and weavers to design saris, linen and other merchandise that were sold in India. At Amazon India Couture Week 2015, Sabyasachi Couture’s bridal wear was paired with footwear by French couturier Christian Louboutin. The collection “Bater” emphasized the value of handiwork, handicrafts and old techniques through baroque designs, exquisite embroidery, and badla work.

We need more collaborations like these. They go beyond the realm of tradition and bring recognition Image: Courtesy of Victoria & Albert Museum

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to skilled workers by positioning them at the same level as designers, and ensure affordable living. Each brand should take up the responsibility of increasing the visibility of craftspeople through their network in the luxury sector, as well as marketing. This can result in the development of a global directory that glorifies true talents of artisans, designers, and luxury houses, which in turn benefits the consumer.

Flattery comes at a serious cost to these workers. To profit from selling garments at lower prices, handiwork is often mechanized and replaced by mass-pro-

perior, thus resulting in a low demand for domestic products. For India, changing promotional strategies and repositioning the artistry as exotic and rare pieces of work can bring global recognition to finished products. With sustainability becoming a worldwide concern, it should be highlighted that handloom is eco-friendly and skin-friendly, too.

The Minister of State for Textiles, Santosh Kumar Gangwar, is a firm advocate of promoting artisanship, and has organized exhibitions that enable craftspeople to establish a link with global buyers directly. Change-

There is clearly a global appreciation for Indian textiles, but it is not translating to higher value, credit or even a fair income for the original creators. duction machines. Researchers from overseas come to India to learn how to commercialize craft techniques and subsequently, real art work is diluted due to copies. There is clearly a global appreciation for Indian textiles, but it is not translating to higher value, credit or even a fair income for the original creators.

The majority of Indian craftsmen are not confident to market the quality of their creations, which is actually impressive enough to be considered a benchmark.

Consumers, too, are uncertain about the quality of the “Made In India” label, perhaps because of India’s political past. It resulted in a mindset that foreign products are somehow more prestigious and su-

makers by Ashoka is another program that focuses on craft and cultural revival by “encouraging the artisan to learn how to design his product, assess quality, map the urban market and make art pieces more relevant and adaptable to the global environment.”Their focus is on supply chain management and each worker has a store of his own to receive orders directly.

However, India needs to take ownership of this issue and come up with more exhibitions and programs like these, and they should be marketed to engage audiences at a global level.

India is the leading source of the softest cashmere, em-

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broideries and handwoven silks and yet, the country seldom gets the appreciation it deserves. There is certainly a fundamental gap between the Indian market and the rest of the world, which is probably why India is not considered a fashion capital despite being home to some of the most incredibly skilled labour, and the second largest industry in the world to manufacture textiles. If designers do not begin to honor originality and countless hours of labor, who will?

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URB ANO Photography: Indranil Mukherjee Styling: Drishleen Sethi Model: Diti Saha Post Production: Anjali Kanakia Hair & Makeup: Prasenjit Biswas

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Embroidered cape, crop top, wrap skirt: Esha Sethi Thirani Shoes: Versace 39 Jewelry: Prerto

Dress: Esha Sethi Thirani Jewelry: Prerto

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Embroidered cape, cropped metallic pants, pleated lehenga: Esha Sethi Thirani Shoes: Jimmy Choo Jewelry: Amrapali

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Ivory button-down, pleated skirt Esha Sethi Thirani Shoes: Jimmy Choo 44 Jewelry: Stylist’s own

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Images: Vogue.com 46

THE MOHAPATRA MAGIC Bibhu Mohapatra Fall/ Winter 2016 “You can take a man out of his country, but you cannot take the country out of a man�; there is more than one reason why this quote resonates incredibly well with this Indian-American fashion designer. It all started in Orissa, India, with an old sewing machine, the tutelage of his mother, and his sister as his muse.

Today, his ensembles are a result of experimenting with opulent fabrics, a vibrant color palette, edgy prints, and love for elegance. Taking inspiration from his native country, he incorporates elements such as sequins, metallics and intricate embroidery into his work, which is finished with deft, indigenous craftsmanship.

A man whose simplicity is a result of his humble beginnings, whose aspirations are boundless and whose roster of fans for designs of his namesake label is on the rise - Bibhu Mohapatra.

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Mohapatra’s sources of inspiration are as eclectic as his designs. During an interview before his Fall 2016 show, Bibhu said “(The) Mohapatra muse (man or woman) is a worldly being. Some one who is passionate about things meaningful to them, well traveled and well read, with a strong appreciation of beautifully crafted clothes.”

In keeping with his backdrops, a trip to The Forbidden Palace in Beijing, China, set the tone for Mohapatra’s Fall ‘16/17 collection. Mohapatra created oriental-inspired pieces influ-

enced by the late Empress Dowager Cixi of the Qing Dynasty. “She is the perfect example of the imperfect. She was hungry for chaos and control”, said Mohapatra to Vogue.

Dragonfly adornments by Colette Malouf for Bibhu Mohapatra, Chinese embroideries, and the Empress Red color were recurring elements in the assortment of cocktail gowns, knee-length dresses, fur & wool coats and silk jackets. Dramatic details like flared capes on the back and shoulders, Astrakhan fur and sequins on the 48

sleeves were signature Mohapatra accents that showed the designer’s mastery with interpreting history in his own way.

unique ways.

Given Mohapatra’s expertise with infusing an element of authority into red carpet offerings, the Fall/ Winter collection will continue to be a hit with his clientele that includes Freida Pinto, Michelle Obama, and Deepika Padukone. Coincidentally (or not), each woman channels her inner Goddess, and influences global fashion in 49

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Images: Vogue.com

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NEON NOT MUTED NORMAL

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Photography: Kaustav Saikia Styling: Drishleen Sethi Model: Lisha Sharma Hair & Makeup: Supravat Naha

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Advitiya leather crop top with zipper and pleated dhoti-sari with embroidered collar

54 Cape dress: Esha Sethi Thirani Jewelry & accessories: Accessorize

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56 Beige A-line dress: Esha Sethi Thirani Clutch: Gayatri Chopra Shoes: Steve Madden

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Advitiya palazzos and crop top with sheer sequinned panel and dupatta

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Lilac midi dress: Esha Sethi Thirani Shoes: Versace

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T H E Li T T L E

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f you had to use two words to embody the essence of their brand, vintage whimsy would be the winning combination to choose.

Annora, co-founder and one half of the brand, compares her mind to the show reel of Amelie, The Sound of Music, and Breakfast at Tiffany’s. Khushboo (Boo) completes the story with her vivid imaginations of “living in mystical forests with pixies and elves, alking objects and whimsical tea parties.”

Together, they were an unstoppable force whose inner workings blended seamlessly into a luxury contemporary fashion label: The Little Black Bow. Ann and Boo graduated from Mumbai’s P.V.P Polytechnic in Santa Cruz and went on to intern at the city’s leading export house, Creative Garments. Ann then apprenticed under designer Seema Khan, and Boo worked for buyers like Dolce

& Gabbana, Roberto Cavalli, and Mariella Burani.

The Little Black Bow’s conceptualization story is as extraordinary as their creations. “One day, we were sitting in Ann’s closet lamenting about the factory-generated bling state of Indian fashion.” The result was matching ideas, and a burning desire to make artistic Indian fashion a global phenomenon.

In conversation with Annora: How do you start a collection? What are some basic elements?

We start a collection with a whole collection of pictures. It can be anything that inspires us during that time. It forms our mood board, out of which we make our color board and story boards.

B L A C K B O W

61 Images courtesy: The Little Black Bow

We maintain that we want every one of our garments to tell a story. I think that’s what caters to individualistic style. Authenticity and originality is key. We get inspired from art and moods and try to steer clear from getting inspired from designers.

What does the term contemporary mean in the context of your brand?

Contemporary for us, translates into adapting modern ideas and design elements and translating them into our own. It also means versatility. We didn’t want to follow the concept of matching anything, since that was detrimental to making a style statement with an Indian outfit. It’s important to us that our cholis can be worn with any of our lehengas.

Pick out any one of our dupattas and team it with this new set. It’s more fun, you don’t have to repeat your outfit to every wedding, and you can wear it however you like and dress based your mood - even in Indian ensembles.

What is your concept of the modern person?

A modern person is someone who embraces change and stays true to his or her essence and identity. An authentic and original person with a lot of common sense is modern to me.

I think my concept of a modern person may differ a lot than my comprehension of one. Because my concept might be the definition and my comprehension is that of a millennial.

What is your opinion of the contemporary Indian fashion market?

We think the contemporary Indian fashion market is amazing right now. There’s a whole lot of intellect and research with every collection. There are so many new ideas and concepts. Every label, every season comes up with something beautiful and it’s like we are just challenging each other to do better. The creative output because of this is phenomenal. It’s growing and it’s growing fabulously. I think social media and just access to so much information because of the internet has made this process so quick.

How do you cater to an individual’s requirements without losing your brand’s style?

When we we design outfits from scratch, work on a concept that is true to our style - vintage and whimsical. But we incorporate everything the bride wants in her outfit. The color story, the feel of the outfit – elegant and subtle, fun and flirty, beautiful and sexy, fabric preferences, embroidery inspirations. To make a girl look beautiful on a day she considers her most special is some kind of wonderful really. And that they trust us with this is so gratifying too, that we always want to do something extra lovely. Every single time.

What is one distinguishing feature of The Little Black Bow? To us, vintage translates as timeless. We take into account some trend forecasts, but we endeavor to create perennial fashion. In India, vintage is currently a trend, so is floral everything! Our first collection was floral and vintage, and everything since then has always been. Our use of Western silhouettes in Indian lehengas, pockets in our skirts, lace, vintage motifs, Victorian wall paper prints, and roses - everything is synonymous to the brand, not a particular season. We create every element that is part of the outfit. We don’t use readymade prints, embroidered fabrics or factory made borders.

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The Little Black Bow carries RTW Anarkalis and lehengas (INR 30,000-INR 100,000) and custom bridal wear (INR 100,000 - INR 300,000) Sold online via Pernia’s Pop Up Shop.

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NEON NOT NORMAL

Photography: Kaustav Saikia Styling: Drishleen Sethi Model: Lisha Sharma Hair & Makeup: Supravat Naha

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Advitiya leather bustier and Advitiya leather crop contemporary sari top with zipper and pleated dhoti-sari with embroidered collar

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Vest, skirt, crop top: Esha Sethi Thirani Shoes: Burberry

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70 Skirt, crop top: Esha Sethi Thirani Clutch: Gayatri Chopra

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Advitiya leather crop top with zipper and pleated dhoti-sari with embroidered collar

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73 Dress: Esha Sethi Thirani Shoes: Zara | Choker: Aquamarine

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