KARGHAA by Praatika Mehra

K A R G H A A 5x15

First and foremost, thank you for picking up this journal. I use the word journal, rather than ‘magazine’ for a few simple reasons — Let KARGHAA be a piece of work that belongs solely to you, something that you can go back to for reference, a journal that you can carry in your backpack with pride. It hopes to convey an essence of nostalgia that one emits with the charm of single ruled or blank pages. One can’t rule out the important role magazines have to play in our lives, yet in this noise, let’s de-clutter your desk slightly. Make notes on it, scribble, doodle, cut and tear out pages or add some of your own, the idea is that you are able to build on an experience with every issue. Let it bring in a sense of community when you share it with someone, something that nudges you save it with your other favourite belongings rather than leaving it for your ‘coffee’ table to consume. Like a loom, I hope this journal weaves in a new awakening, epiphany and a wondrous bond, between you and the community of fashion with every issue. Praatika Mehra

Why do we always skip the Editor’s note?

Indie-geniuses / 09

With (labour of) love, PĂŠro / 12

The prĂŠt coup / 30

9 yards of minimalism / 50

Fracture / 66 The fabric of identity / 40

The minimalist battalion/ 72

In between lines / 80

Beyond the homeland / 86

Our indie designers have gained a cult status for their leftof-center aesthetics and this time around theyâ&#x20AC;&#x2122;re winning over hearts (and brownie points) for uniting over a cause that can change the coming years of how we consume fashion. Can their unified front for the North East Project combined with your next wardrobe addition, really help in the eradication of human trafficking?

Indie-geniuses Journal entry / Praatika Mehra Visual documentation / Courtesy of North East Project

Nailing two causes with one strike is the North East Project. An initiative that aims to uplift the conditions of the weavers hailing from northeast region of India by creating a stable source of livelihood, a step towards eradication of human trafficking in the long run. Impulse Social Enterprises, an organization that is devoted to create sustainable development in South-east Asian nations along with advertising and creative firm called the Brewhouse have anchored this essential movement and paved the path for humanityâ&#x20AC;&#x2122;s greater good. 8

‘Mexican Siesta Set’ from NorBlack Nor White’s ‘Travel Series.

Siding with ‘North East Project’

nomenclature. The idea behind

and lending their design energies

the name extends to an array of

are NorBlack NorWhite, Bhane,

fashion and lifestyle goods, designed

1701, Fizzy Goblet and Safomasi for

and executed with same kind of

their first collective collection titled

indigenous fabric woven by the

‘Cut from the same cloth’. Buying

traditional weavers of the Mishing

a wardrobe staple or a new lifestyle

tribe in Assam.

addition can now help in transforming the reality of not only one weaving

“We’ve worked with The Brewhouse

community but also shape the future

on other projects and have grown to

of one billion plus populace in the

build a great relationship with them

near future.

and what they stand for. When we were approached by them for NEP,

‘Cut from the same cloth’ goes

we just couldn’t say no” says Amrit

beyond the functionality of

Kumar of NorBlack NorWhite. 9

Clockwise / Rug by Safomasi, travel kits from 1701, Mojris from Fizzy Goblet and a sleek armchair from bhane.

“The idea of working with

For the labels, it creates a unique

communities that are at risk for

scope and offers a window that allows

human trafficking, using the fabrics

them to tap on to the vast reservoir

that they are creating was such a

of textiles and skill-sets hidden in the

great initiative. We just love the

often-neglected ‘seven sisters’ of our

North East and have also produced

country.

a collection using fabrics from these regions in the past. For this project we

In most fashion ventures, the

got a chance to recreate our ‘Mexican

authority over revenue is never a fair

Siesta Set’ from our ‘Travel Series’ in

game of trade. NEP is ensures equal

the stunning fabric options presented

division of the revenue garnered,

to us” she further adds.

considering it a poignant step towards building a symbiotic relationship,

With their rising popularity amongst

nurturing a bond of trust between the

the youth, these labels are on the

labels and the weaving community.

verge of triggering a momentum directed towards moulding fashion

‘Cut from the same cloth’ is available

into not just a means of mass

on the labels’ respective e-portals.

consumption, but also a source for

You can either take a pick from Fizzy

a holistic and sustainable economic

Goblet’s pair of mojris or invest

ecosystem. NEP’s initiative ensures

in a hip arm chair by the house of

employment opportunities for

bhane, either way your involvement

tribal weavers. A stable flow of

can result in the greater good of the

projects in a weaver’s life translates

humanity.

into empowerment and helps in sustenance of a livelihood. Once monetary and work stability is consolidated, they no longer have to move out of their territory in search of odd jobs. Such a step eventually results in a drop in unstable migration rate, which is the root cause of human trafficking. 11

K A R G H A A steps inside the sacred space where round the clock, season after another, a new story is breathed in a bottle labelled Péro with of course, labour of love.

With (labour of) love, Péro Visual Documentation / Praatika Mehra

Aneeth Arora designs from the heart. At the risk of being stereotyped as someone who plays safe, Arora embraces her steadiness as a mark of originality and respect for core aesthetics. There is a fine line that she maintains between experimentation and reinterpretation, ensuring that the brand of Péro continues to be recognised from afar, season after another. “When people come to the show or when they see the clothes, there should be surprises but not shocks for them” she says in a manner that exudes an aura of self-awareness and pragmatic approach towards the fashion business. Arora lets K A R G H A A explore the two storied Karkhaana where she along with a dedicated team of artisans create magic. 14

Sandwiched between designers catering to homeland’s lucrative weddings and a layer of international fast fashion brands offering a plethora of choices for every taste (and pocket), the Indian prêt designer is often seen fighting a lost battle. Only the fittest can survive in this fashion edition of Hunger Games universe.

The prêt coup Journal entry / Praatika Mehra

With one half of the designers huddled in the bride’s corner and the other half strutting the red-carpet on the A-Listers’ shoulders, only a handful of prêt designers are willing to play by the urban populace’s wardrobe rules. On top of that, they’re also combating the saturation created by fast fashion momentum, where trends surface and deplete on a weekly cycle at prices that scream bargain. Striving to change the face of fashion landscape with their ‘less is more’ design aesthetic in every stitch — Paromita Banerjee, Rimzim Dadu and Aneeth Arora, have surpassed every deterrent and continue to conceive collections one after the other with grit and thicker skin each season. K A R G H A A indulges in heart to heart with them during the India Fashion Week 2015. 38

Paromita Banerjee’s namesake label finds firm foot holding in the values of slow fashion. Banerjee’s intellectual wear is a harmonious union of traditional values with pragmatic design sensibilities. Every crease, patchwork and colour come together in a synchronized precision for a specific purpose. Like protagonists and supporting cast in a well-scripted saga, they each play a Out-take from Paromita Banerjee’s BORO II. Courtesy of Paromita Banerjee

role and collectively narrate a story in a language that is fluent in emotions and sound aesthetics. Banerjee who is known to follows her instincts rather than sheepishly following the herd attributes her interest in photography and her veracious habit of reading books as a constant source of fodder for thought. Like a well-structured four act Japanese noh drama, she weaves different craft stories by working with a minimum of four craft clusters for every collection that she envisions. Counting herself as a responsible designer, Banerjee recognizes the impact her designs can have on the consumption habits of a society in 39

Out-takes from Paromita Banerjeeâ&#x20AC;&#x2122;s BORO II. Courtesy of Paromita Banerjee

the long run. “What we are trying

three to four things happening on it”.

to do through our brand is make people invest in classics throughout

“Everyday is not someone’s wedding”

the season”, a solution that can tackle

states the designer. “You have days

wastage of clothing, the primary

when you’re in office, days when

residue of fast fashion she says.

you take your kids out for brunch, meeting your friends or have a late

Finding solace in an ancient Japanese

office meetings”, she adds.

technique of mending garments through patchwork, her Autumn/

In response to the notion regarding

Winter ‘15 collection is an extension,

justification of the price tag hanging

rather a second edition of her BORO

from a prêt garment, the designer

line that was first presented in the

gave the simple logic pertaining to

year of 2013. ‘Paromita Banerjee’

creating a deliverable that is primarily

the label, has become popular go-to

quality driven and cost efficient.

prêt solution for a growing clientele that is seeking effective clothing.

“For us quality becomes foremost.

“We cater to entrepreneur segment,

If the consumer knows the garment

we cater to cultural segment dancers,

is going to last you for three to four

MPs, advocates and judges, who think

seasons which means two years, you

that wearing simple effective clothing

(consumer) would be willing to pay

serves the purpose”.

that price. A simple effective outfit is not always directly proportionate

After having carved a space for her

to the cost. Let’s take the example of

label that is infused with the ideology

Jamdanis, they’re are more expensive

of ‘less is more’, the designer still

than, lets us say for instance, chiffon.

feels that minimalist prêt wear has a

In the case of Jamdanis every little

long way to go in India. “People have

block is woven by hand as supposed

really forgotten the fact that things

to (how) chiffon (is made).The

can be so simple and so effective at

average customer is not aware of

the same time. They’ve forgotten the

these intricacies”, she concludes in a

elegance of a simple white shirt. They

wishful manner.

need to have a white shirt that has 41

Archana Rao in a Rimzim Dadu Ikat weave blouse. Courtesy of Ashish Shah for Vogue Italia

For Rimzim Dadu, the idea of

“What works for me in terms

sustainability goes beyond the

of sustainability is a model that

concept of organic fabrics. “Natural

helps, not just me to grow in this

dyes and eco-fashion, these terms

business but also the people who are

are really being abused more than

involved with me, who are working

anything in today’s world. Like it’s

with me ever since I started my

what we are trying to sell to the west,

day one” the designer elaborates.

like an idea about the Indian fashion.

“How do I support them, how do

An idea that we are not even looking

I enrich their lives and what can

for ourselves but are trying to portray

they contribute to me and how can

an image to the west” she shares with

I contribute to back to them. So

a determined stance.

sustainability goes a lot beyond than

just fabrics and materials. It’s a whole

around at competitive prices.”

way of thinking”, she states with unfathomable grit.

Midst the process of providing an offbeat splendour to the younger

Dadu has traversed an eight-year long

gene pool of style in Bollywood,

journey, from her first collection at

Dadu identifies and understands the

Lakmé Gen-Next in 2007 to acquiring

influence of the film fraternity and

a space in the urban consumer’s

the poignant role it plays in shaping

wardrobe in the recent times. “When

the consumers’ choices when it comes

I started about eight years back, I

to fashion consumption habits and

would be told or rather asked by

aesthetics. “Up until now Bollywood

these stores that I supply to is ‘Why

was considered tacky from the

would anybody pay INR 12,000 for

perspective of an outsider. However,

cotton a shirt?’”. Today she is known

Bollywood is now getting educated in

for transforming wires into an ikat

terms of the participation of stylists

weave, creating ground-breaking

and designers who know their game.

textures that are seeping in the Indian

As a result the whole Indian market

fashion landscape with a welcoming

with Bollywood is getting educated as

embrace.

well.”

“Initially it was really difficult. I

While sharing her views on fast

would have people come up to me

fashion, Dadu feels that the Indian

and ask if I could convert a dress

designer prêt wear can step in and

to a kurta and add a chudidar with

bridge the need gap in terms of

it, so that somebody could wear it

plethora of options available in the

to a wedding. Designer wear in the

Indian high-street fashion domain.

mind of the consumer automatically

“High street fashion in India is at a

finds a connection with occasion and

nascent stage, it’s still growing. For a

festive wear. Now I feel that there is

mature working woman who doesn’t

a greater awareness amidst the people.

want to wear a, lets say Forever 21,

There are so many younger designers

where does she go? What does she

that are actually taking prêt very

buy? So prêt is definitely capturing

seriously and turning the ball game

that market share.” 43

Clockwise / Péro’s press kit for Fall 2015 collection, inspired by the concept of ‘Alter Ego’, Aneeth Arora established an analogy of dual identity with uniforms worn in the military realm. Courtesy of Péro. / An out-take from the Fall 2015 collection presented by Aneeth Arora. Courtesy of Péro. / An image of designer Aneeth Arora. Courtesy of Zacharie Rabehi. / Out-take from Péro’s Spring Summer 2015 collection in the making. Image by Praatika Mehra

Application of common sense is the

story, it’s just a narrating the stories

first step of any design solution. The

that I have heard or seen while I am

second is the observation bit. Péro’s

working with people, so that they also

journey – the fabrics they are known

become a part of the process and they

for, the fluidity in silhouettes and

feel oneness with the clothing.”

an old world charm that stimulates all the five senses, began when the

Her press kits are the most sought

label’s founder — Aneeth Arora was

after piece of the brand after the

travelling in a local train.

clothes themselves, every fashion week. “They’re are very tactile and

“While studying fashion in NIFT, I

we try to capture all the five senses.

would travel in local trains and the

We try to transport people to another

stench of sweat that you had in the

space and at the same time, involve

train because of synthetic fabric made

them into the process itself.”

me realise from there on that clothing should feel good against your skin.

Arora’s brand of minimalism has

That’s why we use natural fabrics,

gained a cult following and created

purely for the reason that it feels

an aspirational value for itself. The

good and it feels right” says Arora,

journey of sustaining the identity

whose landmark ability to weave in

that Péro has carved for itself involves

a story with effortless ease season

a nurturing relationship between

after another comes from a core that

her and the clusters she is associated

cannot be pre-planned or dictated.

with. Breaking the barriers of the six

Every collection is a reflection, an

month cycle, Arora has taken it up as

intuition and conceived by labour of

a challenge to revive, interpret and

love.

incorporate the essence of each cluster season after another to maintain the

“I feel that spontaneity and growing

symbiotic synergy.

organically in terms of how one design leads to another, or how

“For me, because I work with

one season leads to the other is the

craftspeople, it’s their sustainability

continuity of a brand. So it is never

that becomes important. What I

conscious that I am trying to create a

try to do is incorporate the same 45

technique with a revised or new

brands through collaboration could

design or colour palette and utilize

be one way broadening the scope of

their skill to the maximum so that

designer prêt wear in India. “I feel

they keep getting work season after

there is always a market for every

season. Because of which I have been

kind of product. There might be a

typecast. I don’t really think that its

niche market size for this because of

big problem though because I cant

the price point. However, to make a

keep showcasing as a different person

designer label more accessible to the

every season. There is a unique

masses we did a line for Westside

identity associated with the brand

and the response we received was a

and it should be there season after

positive one. People really wanted

season.”

to wear Péro but couldn’t because of the price. Through Westside we were

Sharing her opinion about the

able to reach a wider audience. At

unbalance in the industry, Arora

the end of the day it was still Péro.

is optimistic about the future of

We used the same aesthetics, the

designer prêt wear in India. “Most

same traditional textiles syncing it

of them (designers) are doing bridal,

according to a different price value.”

there is hardly anybody who is looking at day wear and thinking that when someone gets up in the morning that one shirt that someone picks up should be your brand. At the same time, when everyone else is wearing a Zara, where the collection changes every week, you would like to special and would like to invest in a designer label.” Citing an example from her own journey as a designer, Arora suggests towards a possible model of syncing the retail values of fast fashion 46

Clothing has predominantly been an essential commodity that dictates and binds us within the diaspora of gender roles. Irony is that on one hand we preach and hail androgyny as a trend that needs coverage across global fashion spreads, while at the same time we label crossdressing as a taboo for men.

The fabric of identity Visual Documentation / Praatika Mehra Styling, Hair, Make-up & Concept / Avani Juneja Models / Jahanvi Aggarwal & Sparsh Gupta

K A R G H A A ventures in the domain of gender neutrality through the means of unified synchronisation of warps and wefts, in a collaborative effort with Fashion Styling & Image Designâ&#x20AC;&#x2122;s Avani Juneja. A narrative that explores gender identity through minimalist silhouettes. 48

Saree – the quintessential and the most coveted piece in an Indian woman’s (or a man’s) wardrobe. From the era post ‘Tryst with Destiny’, saree has become an icon in itself. From resting on the shoulders of Indira Gandhi to gracing various portraits of Maharani Gayatri Devi, it continues to be the epitome of elegance, a powerful symbol of femininity and feminism.

Nine yards of minimalism Journal Entry / Praatika Mehra

In an attempt to break the prejudice of rigidity that is associated with a saree, Anavila by Anavila Misra is weaving an alternative story. The labelâ&#x20AC;&#x2122;s subdued colour palette and a penchant for subtlety has not only garnered the attention of a trail of women of substance (cue film director Kiran Rao) but also given saree an identity that transgresses the auspicious occasions and banquet halls. From designing menswear for Louise Philippe in the early aught to assisting craft cluster projects with the Ministry of Rural Development, launching her namesake brand in 2011 was a gradual process. Attributing her travels and lengthy weeks invested in working with various artisans, reviving their skills and helping them cross over the poverty line, as the key reasons. Attributing her creations as an Out-takes from Anavilaâ&#x20AC;&#x2122;s collection for the women of Santhal project. Courtesy of Shivam Misra for Anavila.

extension of her personality, Anavila believes in offering something that she herself would drape on a daily basis. Indulging in materials that signify the necessity for comfort, her sarees are conceived on hand looms through the wefts and warps of fabrics like cotton, silk and linen. 63

Sanjay Garg’s Raw Mango is built on the foundation of off beat nomenclature, words and phrases from Hindi and Urdu often hand picked to name collections, combined with a visual imagery that provokes, ignites and inspires. Be it the recent ‘Stuti’ collection, a series of cotton sarees with Jamdani weave for Spring Summer 2015 or ‘Phool Mandi’ which was launched in the initial years of the brand’s inception, every collection is a step towards an ode to the contemporary Indian woman. The label’s fluid nature to mould into both, occasion wear and everyday garment has gained itself a cult saree status amongst the younger spectrum of the demography. Popular for its vibrant tones and silk threads, Raw Mango is a marriage between traditions and modernity, indigenous and contemporary. A vision that began with reviving the wardrobe of a modern thinker through sarees has extended itself into a full-fledged prêt endeavour, introducing an array of garments from quilted jackets to flamboyant long dresses, in the form of Sanjay Garg, the label. 64

Above / Raw Mango’s ‘Mushroo’ collection introduced in 2011. Below / ‘Shaher’ by Raw Mango introduced in 2014. Courtesy of Raw Mango.

Fatherland the label, is nowhere near the periphery of the values that partriarchy believes in. More than anything, it has become a popular red-carpet solution for women who walk the offbeat path. Be it Kalki Koechlin or Vidya Balan, Fatherland is personifies the iron lady with its empowering weaves. Ron Dutta’s creative direction at Fatherland is based on one simple principle – revival and sustenance of tribal artistry. It’s revivalist spirit is evident in its handwoven sarees and tribal jewellery, making it a frontrunner in the indie-saree wavelength.

Out-takes from Fatherland’s catalogue shoot. Courstey of Ron Dutta for Fatherland.

FRACTURE is India’s first exhibition (ongoing until May 2015) and held at Devi Art Foundation, bringing together artists and experts from varied mediums to reinvent textiles. Vogue interviewed Mayank Mansingh Kaul, one of the three curators—the others being designers Sanjay Garg and Rahul Jain. The foremost question FRACTURE tries to answer is ‘What does it mean to break away from tradition?’

Fracture Journal Entry is a reblog, courtesy of Rujuta Vaidya from Vogue India.

What was the idea behind Fracture? Among all creative forms of art and craft in India, hand-made textiles remain the most prominent. Their diversity is astounding, and from fashion and architecture to sacred rituals, their uses are complex and varied. This is also a field where the idea of tradition is evoked often, so with such a show we were keen to explore what the idea of Astha Butail (In collaboration with Raw Mango, M.Yasim). Courtesy of Fracture exhibition, Lekha and Anupam Poddar collection.

breaking away from such tradition means in the context of such handcraftsmanship. The show also comes at a time when there is a need to create reflective writing and curatorial work on contemporary design in India, and with this we are trying to push museum-quality work in contemporary textiles which can be shown in a gallery-format. The artists presenting at FRACTURE come from varied backgrounds. How did you curate the list? The bulk of specially commissioned works in the exhibition are based on concepts for textile projects we received through a call for proposals. We sent this out to about 100 art-design institutes and colleges 67

throughout India, and to several cultural institutions. From close to 200 proposals received, we went through a first stage of sampling with about 40â&#x20AC;&#x201D;and finally selected about 20 for finalization for the exhibition. An important consideration was also that such a process allows nontextile artists and designers to also work with textiles, looking at textile material and techniques with fresh perspectives. The final exhibition, therefore, includes, apart from textile and fashion designers, also graphic designers, visual artists, sculptors, a graphic novelist and writer, and a filmmaker. In most cases, the artists and designers who came up with a concept have worked with master-craftspeople and artisans to execute their works, and we have acknowledged their role as equal collaborators in the shaping of the works. (Top) Meera Narula (In collaboration with Asif Shaikh); (Below) Meera Narula (In collaboration with Asif Shaikh). Courtesy of Fracture exhibition, Lekha and Anupam Poddar collection.

Why do you think an exhibition like Fracture is important for India to see? There is such an abundance of textiles in India â&#x20AC;&#x201D; from what we see in markets, to traditional textiles used and worn for occasions and festivals,

that we tend to take their designs for granted. Such an exhibition allows us to reflect on the amount of considered effort that goes into developing new aesthetics in textiles. It also puts textiles in the same league as works of art such as painting and sculpture, as textiles tend to be ignored in their significance as such valuable art that needs to be studied, displayed and exhibited in important art institutions. Did you spot any commonalities or differences in the artists’ representations? There are certain commonalities: firstly, it is that all the works tend to aspire to a certain global aesthetic for Indian textiles—where textures, materials and motifs are based on a certain minimalist palette. This certainly conveys one aspect of contemporary Indian design, where there is a tendency to pair down (Top) Shaikh Mohammad Hussain; (Below) A still from Aneeth Arora’s texture craft. Courtesy of Fracture exhibition, Lekha and Anupam Poddar collection and Péro.

highly decorative patterns towards a simple vocabulary of design. This is not entirely accidental, as most of the artists and designers showing are urban practitioners and are used to working with designs that need to be legible for global and urban audiences. 69

Secondly, and what is a very exciting

to push the bar and create stylized

aspect of the exhibition, is that

fabrics?

most works attempt a certain large scale —in some cases almost 20 to

We can already see how the new

30 feet in their length! They are

ideas generated by the designers and

intricately handmade, and to see

artists through the process of making

such large explorations creates a very

a unique work for FRACTURE,

awe-inspiring visual experience for

are influencing their everyday

visitors.

professional creative practice and work. Any such project has an

In terms of differences, each work

immediate and long-term impact,

is very distinct from the other —

so this would fit within a more

in its final form and use of textile

immediate impact. However, the show

technique. We have Kalamkari

is already being seen as the start for a

hand-painting from Andhra Pradesh,

new series of conversations on Indian

Sujuni quilting from Jharkhand,

textiles for the sheer power of scale

Panja Durries from Punjab, gold

that some of the works use. I also feel

and silver brocade from Benares,

that such an exhibition will pave the

and so on. This shows the diversity

way for more such curated exhibitions

of textiles in India, In some cases,

on Indian contemporary textiles in

traditional textiles are subverted

the years to come.

with unconventional materials - like fashion designer Rimzim

FRACTURE can be viewed daily

Dadu’s Jamdani sari, made in the

until May 2015 (except Mondays

traditional Bengal technique, but with

& National Holidays) from 11 am

synthetic silicon yarn instead of the

to 7 pm at the Devi Art Foundation.

conventional cotton yarn!

Sirpur House, Plot No. 39, Sector 44,Gurgaon, Haryana – 122003. Tel –

Hand crafted textiles in India haven’t undergone any noticeable changes. Do you think an exhibition like FRACTURE might provoke designers 70

0124 4888111

Minimalism is not every body’s cup of tea. While some may sip it and stir their teaspoon thinking it’s an ongoing trend to do so, sheepishly trying to incorporate it with a shaky start to their morning ritual. On the otherside, there are a few who live to drink it. They breathe in it’s aroma and live it as a state of mind. K A R G H A A features the three ladies who are known for their minimalist chic style and have created an extension of themselves, an evidence of which can be found in their start ups and the works that are associated it.

The minimalist battalion Journal Entry / Praatika Mehra

If we go by her education qualification, Maithali Ahuliwalia fits the bill of being the quintessential, 9 to 5 job kind of wonder woman, settled in the busiest corner of the world, taking over the domain of finance, with the entrepreneurial skill set she picked up during her formal educative years at Swarthmore College in Pennsylvania. However, the picture painted above is far from the reality. Infact, the reality is hundred folds better, than the regular bracket of 9 to 5 work hours. Ahuliwalia lent her entrepreneurial instincts along with her boho-chic, wanderlust dipped persona to the task of transforming the existing face of home and interiors segment with her prodigy store – Bungalow 8. Previously nestled in Mumbai’s southern most tip — Colaba, the (Top) Maithali Ahluwalia; (Below) Bungalow 8’s new home at Wankhede stadium. Courtesy of Business of Fashion and Bungalow 8.

store recently found a new nest in the Wankhede stadium after the expiry of seven years long lease. The new address — E&F Block, Sachin Tendulkar stand (9&10), Vinoo Mankad Gate D, has a infectious vibe to it, immediately giving off the impression of a blank canvas ready to 73

be painted again by Ahuluwalia. The iconic lifestyle fixture at Colaba has garnered the likes of well travelled seekers and appreciation from world over for it’s sophisticated kitsch-like persona, giving the vibe of an upmarket flea market of hidden gems, a legacy that promises to continue at it’s new address. A chance encounter with the Mathieu Gugumus Leguillon, who has worked with designers like Yves Saint Laurent and Lanvin in the past, extended the portfolio of the offbeat store towards the fashion realm. Together, the duo have created collection after another, that has a distinct flavour of its own, a pinch of modernity brewed with spices of minimalism. Today, the store is abode to the country’s prêt designers, who with their pragmatic design aesthetics are dubbed as the new pacemakers of the domestic (Top) Prized possession from Maithali Ahluwalia’s wardrobe; (Below) Sanjay Garg’s debut collection at Bungalow 8. Courtesy of Border and Fall and Bungalow 8.

industry, recent induction being of that of Sanjay Garg’s debut collection for his namesake label. Ahuliwalia’s personal style is an ode to her travels, a sacred pairing of vintage and modern, a civil union between contemporary staples and

hand-picked avant garde elements. Her aesthetics which she lends in a generous volume to the to her store, are influenced by a curatorial lifestyle that requires an eye for the unusual and a settling acceptance for simple and basic. A quality that the entrepreneur has been handed down through the virtue of genes (she credits her mother Jamini Ahluwalia, and her late grandmother, Chandu Morarji as being the real influences), Ahuluwalia with her gypsy-like aura, clothed with tasteful rummaging and pickings from across the world, is a true embodiment of minimal chic. Even Scott Schuman, the sartorialist hero couldnâ&#x20AC;&#x2122;t resist capturing the vision Ahluwalia is, for his lavishly famous fashion blog. As Elleâ&#x20AC;&#x2122;s fashion editor, Nidhi Jacob has transformed the editorial spreads culture by bringing to table her sense of style and an unsettling minimalist ease.

(Top) Maithali Ahluwalia captured by Scott Schuman; (Below)p Prized possession from Ahluwaliaâ&#x20AC;&#x2122;s wardrobe. Courtesy of The Sartorialist and Border and Fall.

Be it her involvement in the move to bring basic staples back on the cover followed by categorical pages conversing in the language of 75

monochrome, Jacob knows hows to play the ball game and isn’t afraid to embrace a sense of catharsis in the overtly maximalist imagery driven industry. Jacob has a penchant for leaving a trail of inspiration for the rest to follow. While most fashion editors may be conscious of the labels and the right ‘fit’, Jacob endorses the brand value and power of ‘self’. A core follower and believer in the minimalist code of conduct, her wardrobe when analysed through the lens of photographic evidences — she is a permament and almost a cult fixture in numerous street style feature spreads — consists of staples in the spectrum of neutrals to slate grey, silhouettes that follow an aberrant route, defying the contour of the body and singing a tale of their tune. Her blog -- Hidden Button, is in itself a carnival like experience for the revelers who appreciate the art of hoarding visuals that resonate a sense of nostalgia. Truely, her digital kingdom, this is where she takes the ingridents of her style beyond the print spreads. 76

Nidhi Jacob. Courtesy of Hidden Button, Nidhi Jacob’s blog.

Before taking on the reigns and steering one of the most coveted names in the publishing industry — Vogue India, in the direction of digital-mania, Sita Wadhwani was well versed beforehand with the rules of digital consumption. Her knack for swiftness and effortless ability to understand the digital needs of the contemporary reader, makes Wadhwani one of the key game players in this competitive online sport. In this cut throat arena, amidst the constant battle of beating the competitor first with the right kind of information at the right time, ensuring that your brand name is the first one to ‘break it’ and ‘share it’ with the rest of the world, Wadhwani masters it all in her own manner, or rather ‘style’.

(Top) Sita Wadhwani during Vogue India Wedding Show. (Below) Wadhwani with her husband Cyril-Vincent Michaud. Courtesy of Praatika Mehra and Jossbox.

Her office attire never derails from the track of the monochromatic bullet train. Known for with silhouettes — the shape and kind, the soon to be mother can give any super model worth her salt a run for her money. The former Vogue digital editor’s sartorial choices are a reflection of the 77

attitude that she possesses, a sharp discipline that flows into her work ethic, emphasizing on the necessity of pragmatic, bare minimum in terms of quantity and supreme quality that matches her match her pre-requisite need for subtle elegance and power dressing.

Wadhwani with her husband Cyril-Vincent Michaud. Courtesy of Jossbox.

Originally from Mumbai or Bombay as we all like to call it, Shweta Malhotra’s journey in the realm of communication design began in the four walls of the lecture halls at Sophia Polytechnic, where she studied Commerical Art. Post graduation, she landed in the conference rooms of advertising giants like McCann Erickson and Ogilvy & Mather, where she worked as an art director in the initial years. A phone call from Fabrica, world’s leading fellowship incubator in Italy, chalked out a new course for this young graphic designer whose illustrations have changed the ballgame of fashion imagery.

In between lines Journal Entry / Praatika Mehra

K A R G H A A speaks to Shweta Malhotra and probes into the mechanism behind her minimalist approach to design and how fashion illustrations can prove to break down the walls of intimidation, bringing the prêt culture closer to its recipients –the masses. 80

Fashion designers are predominantly considered to be custodian of fashion illustrations. These are the fine blueprint that only the ‘glorified tailor’ can create, decode and understand. The fine lines, the distorted figures, and rendering style – translates into an individualistic and personal signature of each designer. When you reduce the fashion illustration to its simplest core, it transforms into an open diary that contains the power to invite more readers and on lookers to ‘read between the lines’ and understand the design of the garment in it’s truest form. Shweta Malhotra bridges that gap by creating illustrations that speak the language of a generation that is digitally driven, concious of its choices and dreams of bringing a sense of democraticisation in the fashion circuit. “I started out working as an art director in advertising sector, starting my journey withMcCann Erickson and later with Ogilvy & Mather. During this time, I had applied to Fabrica, which is Benetton’s visual research center in Italy. The experience there opened my mind 81

to a whole new other sort of visual

updates with her artistic driven

communication language. Eventually

mindset. Soon, utilising Instagram

when I came back, I decided to branch

as a tool of expression, Malhotra

out into graphic design and start my

began a series of minimalist fashion

independent journey as a graphic

illustrations, re-shaping the way we

designer.”

perceive them generally.

Her poignant project ‘Something Cool

“When I did the first series during

Every Day’ opened up the doors for

the Lakmé fashion week and the

a sort of self-discovery process a and

global fashion weeks last year, I had

design language that turned itself into

no idea what was going to come out

her signature style in years to come.

of it. I shared the end result with some of my close friends, posted it on

“I worked at a couple of design

Instagram and people loved it. I really

studios for about three years after

didn’t think it would escalate and get

coming back and basically after that

appreciated at this level.”

I started working independently. Experimentation and self discovery

Her work caught the eye of one

happened only when I started

of the country’s leading fashion

‘Something Cool Everyday’ where

publication, resulting in a commercial

I used to do a piece of graphic art

project that provided a platform to

everyday and post it on Instagram. By

reach a larger audience. Elle India’s

the end of the project, I had about 365

‘Look of the Day’, curated by the

pieces, all based on quick rendering.

magazine’s ‘edit’ team picked out the

That’s when I actually got to explore

one crucial look for each day during

who I am as a person and a style of

the India Fashion Week last year.

work which is bold, minimal, graphic

Even though this project proved to be

and colourful.”

a breakthrough in terms of exposure, the designer claims it’s still a gradual

‘Something Cool Everyday’ met with

process of acceptance in terms of mass

her inkling pertaining to the domain

popularity.

of fashion, where she blended her knack for keeping up with the current

“I feel people in India are not open 83

to minimal art as such. The general masses don’t get it. If you look at the work, for instance in London, any kind of graphic art found there is very evolved and this kind of (minimalist) work is found everywhere. Here it’s not as much appreciated but I am glad that people have started to have that approach and are liking it. I hope that the illustrations I create reach out to as many people as it can.” The Elle Project is just one of the stepping stones, paving the way for awareness about the prevalence of designer wear prêt wear by creating an interest in the audience through innovative means that go beyond the maximalist imagery of editorial spreads. “Rohit Bal grand finale illustration is one such example, when the spot light is on designers like him, maybe it kind of makes it less intimidating and more accessible to people” says the Malhotra who has shared her exploratory journey through her blog, works on the principle of being true to oneself and following the aesthetic that her personality is all about. 84

“Being in India where everything is so detailed and maximal, I like to take an object or a garment and reduce it to its most simplistic form. People think its very easy, but it’s actually not. You have to take care of details like embroidery and other embelishments, reducing it to its honest form without taking away the original essence. I am not following any trend, all of this came very naturally to me during my 365 days of illustrating everyday.” Malhotra is looking forward to be a part of the upcoming independent culture of publishing, where like minded people, who share a similar work aesthetics as her’s can flourish beyond the mainstream publication frame. “People are trying to experiment and are building an independent alternative creative culture through offbeat publications and I hope to be a part of it.” As far as the future of her illustrations is concerned, the designer is willing to go with the flow and take each new chapter as it comes. “I am not consciously seeking it but if it (projects and collaborations) happens then its good.” 85

Born and raised in the UK, settled in Hong Kong, Anju Khera’s visit to Mumbai while travelling in the recent years (the young entreprenuer has lived in countries like UAE and France before), fell in love with reserviour of skillset that the India posseses. Khera’s intervention with the crafts, design aesthetics and the base ground of designer prêt wear turned itself into a passion of delivering the flavor of Indian design ideology and products beyond the territories of its origin base. The Bayloom Project, a concept conceived and ignited in Mumbai (Bayloom, takes it name from the ‘Bay’ in Bombay and loom based traditional weaving techniques) aims to provide a platform to the up and coming designers, taking their philopsophy and work and placing them on a global map.

Beyond the homeland Journal Entry / Praatika Mehra

Khera’s endevour through the Bayloom Project is to introduce young designers from India, artists from worldover who produce work that is inspired by India to an audience that doesn’t have access to it. “It was only when I lived in Bombay I realized how much talent and entreprenuel talent there is, and I just feel that the people who are not from India, they don’t really have access and know that the talent that is there.” “People know about the big names, they will always associate them with the Indian ethnic attire arena” she says, while explaining as to why the Bayloom Project is focusing on the new talentset in the country. “Everybody knows about Sabyasachi or Tarun Tahiliani, but not many people know about IKAI, LoveBirds or Bodice. When I set out this project, the idea was just really give these labels a presence outside of India. That’s an ongoing aim and I continue to push that.” Elaborating on the philosophy behind the concept, Khera states the idea is to unite and promote artists that have 87

some form of relationship with India.

Khera shares her opinion about the

“You don’t necessarily need to be

scope for the Indian designer prêt

Indian or from India but if your work

wear within the country and outside,

is influenced by India, that’s the idea

creating an analogy on the basis of

of the project.”

accessibility and excitement factor.

Still in the nascent stages of

“In India everybody wants what

implementation, Khera shares the

they can’t have or don’t necessarily

vision and plan of action that will

have access to. In india Zara is still

fall in place as soon as the concrete

relatively new, when H&M or GAP

decision-making process settles down.

will enter the market, it will be

“Its going to be an online platform,

exciting for people. On the other

essentially an e-commerce base. Once

hand, everywhere else in the world,

that’s in, there will be pop up stores to

these stores are at every single street

build excitement around these brands

corner. Internationally, people are

that people necessarily may not be

looking for something different,

aware of.”

something that goes beyond these fast fashion brands. It works opposite for

So forth, the Bayloom project has

us, we are looking for stuff that we

reached out to young designers

don’t have. There is a market for these

who fit the bill of what the project

deisgners. It comes back to what you

is trying to promote. “We are very

don’t have access to and what is new

much in solid discussions with a lot

and different. “ she concludes.

of designers like Anavila. Its been very well received, people are very excited, its an opportunity that people are not exposed. We are looking for new people to come in at all time, our doors are always open for them as long as it fits our brand’s image, the kind of philosophy that we are all about.” 88

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Karghaa (pronoun) 1. a journal that works towards bringing forward individuals and experiences that are revolutionising the domestic fashion industry.

}

{

Journal (noun) 1. a newspaper or magazine that deals with a particular subject or professional activity. 2. a daily record of news and events of a personal nature; a diary.

}

{

Karghaa (pronoun) 1. a journal that works towards bringing forward individuals and experiences that are revolutionising the domestic fashion industry.

}

{

Journal (noun) 1. a newspaper or magazine that deals with a particular subject or professional activity. 2. a daily record of news and events of a personal nature; a diary.

}

{

Karghaa (pronoun) 1. a journal that works towards bringing forward individuals and experiences that are revolutionising the domestic fashion industry.

}

{

Journal (noun) 1. a newspaper or magazine that deals with a particular subject or professional activity. 2. a daily record of news and events of a personal nature; a diary.

}

{

Karghaa (pronoun) 1. a journal that works towards bringing forward individuals and experiences that are revolutionising the domestic fashion industry.

}

{

Journal (noun) 1. a newspaper or magazine that deals with a particular subject or professional activity. 2. a daily record of news and events of a personal nature; a diary.

}

{

Karghaa (pronoun) 1. a journal that works towards bringing forward individuals and experiences that are revolutionising the domestic fashion industry.

}

{

Journal (noun) 1. a newspaper or magazine that deals with a particular subject or professional activity. 2. a daily record of news and events of a personal nature; a diary.

}

{

100

Karghaa (pronoun) 1. a journal that works towards bringing forward individuals and experiences that are revolutionising the domestic fashion industry.

}

101

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