Sabyasachi : The prefect imperfection of a human hand

SABYASACHI The Perfect Imperfection of Human Hand

SABYASACHI The Perfect Imperfection of Human Hand

Book Designed and Edited by Sowmya Sridhar

This book wouldn’t have been possible without Unnati Gada. Thank you for intorducing me to the enticing world of Sabyasachi and being a constant source of encouragement in my life.

CONTENTS Sabyasachi; An Insight 1 The Master of Textiles 5 The Gem and Jewel 31 The Shoe Collection 41 Interiors with Sabya 47 The Design Formula 57 Sabyasachi Art foundation 65 Sabyasachi; An Experience 73

1

SABYASACHI The Perfect Imperfection of Human Hand Sabyasachi; when one thinks Sabyasachi, one thinks saree, and that is how closely the two are connected and have been for several years in Indian fashion. What has reshaped and revamped traditional Indian outfits has been Sabyasachi’s creative vision which has soared to great heights while staying rooted to all the inherent glamour and tradition that India has to offer in the realm of fashion. Sabyasachi’s designs are the designs of the past, present, and the future, and that’s what makes him one of the leading contemporary Indian designers.

3

abyasachi Mukherjee comes from a middle class Bengali family of Kolkata.

His mother, Sandhya Mukherjee worked at Government Art College, and was deeply into handicrafts. His father, Shukumar Mukherjee lost his job when Sabyasachi was just 15 yrs. Sabyasachi's sister Shingini Mukherjee (Payal), who is 7 years younger to him, manages the business of the label. Mukherjee wanted to study at NIFT. But, his parents wanted him to become an engineer, as they couldn't understand how a course in designing clothes can help him in future career, and hence they refused to fund his admission into NIFT. Sabyasachi sold his books to pay for the admission form and passed the exam.

After his graduation, he opened a workshop, and started his career from there. Summer of 1999, Sabyasachi Mukherjee graduated from the National Institute of Fashion Technology India with three major awards. Four months later, Sabyasachi started his eponymous label which began with a workforce of three people. Over the years, he has built a clothing brand which has a strong social perspective. At 42, Sabyasachi, is one of the most influential names in Indian fashion. He studied in a Bengali-medium school and grew up with dress dilemmas, and a keenness for art and poetry. Now, he wears his success like one of his heavily embellished costumes. Delighted to own it, but not entirely comfortable in it.

S

The Master of Textiles

5

Gold tied with resham threads Emeralds and rubies jostling for space Gulbahar withering in the courtyard Crushed under gentle crimson feet

abyasachi’s museum-like stores in Delhi, Mumbai and now opening in Kolkata are filled with symbols of a decadent India muted lights surround antiques and precious jewellery counters. Ornamental lehngas and sherwanis are displayed like art installations. Flowers fade in and out from the foreground to the background in his designs—printed, embroidered, embellished or woven. His flair for handlooms Banarasis, brocades, Khadis, Kanjeevarams, Ikat and hand techniques, such as gara embroidery, zardozi and block-printing, is evident everywhere. He made the word “revival” fashionable again; curated woven sarees from diverse regions that were packed in vintage tins with the words “Save the Saree” on them. Everything he makes has a certain unmistakable aesthetic to it. His rootedness in the culture of his home state is the glue behind his wide-ranging artistic sensibility. Sometimes it is obvious in his versatile use of the Bengal tiger motif that springs up at unexpected places Sabyasachi’s debut was at the Lakmé Fashion Week in 2002. He brought an artsy collection called Kashgar Bazaar with non-conformist Indian silhouettes, unembellished woven fabrics and “intellectual” fashion, even though the accessories he used spectacles and books were stereotypical. But in a few years, this unusual prêt brand began inflecting into a bridal design house. His symbol became the intricately embroidered borders laid over heavy saris, paired with

S

7

9

contrasting blouses in a pastiche of textiles. Even when Sabyasachi exhibited woven Kanjeevarams, his customers wanted embellished borders on them.

An element of distinction had ironically become his identity. Notably, his transition to becoming a bridal designer that influentially changed bridal dressing in India was on his own terms. That influence trickled down to the market. Imitation Sabyasachi sarees with borders, lehnga-cholis replete with embroideries and flamboyant sherwanis for men crowded bazaars from Patna to Ahmedabad. The Sabyasachi meme became a converter. Even before the designer could live up to his ambitions of directing the taste of the rich Marwari’s of Kolkata to the finesse of Khadi or teach taste to the nouveau riche.

Through forbidden alleys.

A labyrinth of corridors.

Kohl eyed, her valiant desire, Carves a bare path.

The hesitant tinkle of silver paizebs, Echoing through the moaning walls.

The dusty chandeliers, Sole witness to the clandestine meet.

irdaus’ debuted on the ramp, the unique concept behind this collection was gradually explicated. The name itself - which means the highest gaden in paradise - preempted the design philosophy underlying the creations. Ornate and exquisitely embellished, with brass sequins, silk floss, velvet couching and more, the outfits were truly fit for royalty. There were a lot of long-sleeves as well as collared and detailed high-neck pieces in the collection. Darker hues with metallic accents, which are Sabyasachi hallmarks, made recurrent appearances. The highlight of the evening was undoubtedly the eyeball-grabbing floor length gown and all of the collection took 3 artists and 47 artisans 1600 man hours to finish!

Sabyasachi has dabbled and imbibed his signature intricate like tilla, zardozi, appliqué and Parsi needle work. “Firdaus”. The extravaganza witnessed models sashaying in ensembles like Velvet lehengas, kaftans, flapper dresses, sherwanis, high-waisted skirts and coats in absolute tandem with chunky Louboutin heels and handbags consummated by a flawless rendition of Ali Maula Ali Dum Mast Kalandar by the Manganiars of Barmer and Gaurav Raina of the Midival Punditz in the backdrop.

F

11

A handwoven textile document from 1932.

Engineered by hand, touched by love.

Kora thread knotted with tea stained pearls.

Romancing exuberant Russian needle craft With a frugal Bengal sensibility.

2200 hours of painstaking craftsmanship To keep alive a timeless tradition

Sabyasachi has imbibed his intricate tilla, zardozi, appliqué and Parsi needle work, “Firdaus”

13

Farsi needle work.

Antique textiles of the Qajar Dynasty 113 colours, vegetable dyes silk floss.

Dip dyed brocades and silver gilt.

69 artisans, 2800 hours of pure love.

Over 2 million stitches.

A modern heirloom

17

Naqshi, Meenakari, Polki.

Gems in different hues of pale.

Amber coloured sapphires, rose tinted rubies Dusty emeralds.

Interwoven with basra From the city of Hyderabad.

The fabled jewels of yore

She wears a hand-embroidered tulle gown with dip-dyed velvet

appliquĂŠ, rhinestones, coloured crystals and pearls

T

he destination wedding collection ‘Palermo Afternoon’ offers hand-painted lehengas, crystal embellished gowns and florals.“It has the right mixture of culture and exoticism. Italy being Italy serves as a perfect location of a little dream.

There are different kinds of weddings and customers—those seeking opulence, to more organic in feel onto the pragmatic—our brand caters to all those moods,” said the designer.

The decadent slumber: Hand-embroidered tulle gown with dip-dyed velvet applique, rhinestones, coloured crystals and pearls and hand-painted and hand-printed rose pink sherwani for men in fine silk. Nymph in the forest and The romantic: Hand-dyed and embroidered tulle dresses with a neo-vintage accent. It boasts of rich embellishment and shimmering embroideries that perfectly fits in with India’s ancient and majestic theme.

Emily Dickinson inspires him to do the dusty florals almost like fading chinoiserie in a forlorn mansion. “Melancholic, brooding but yet very feminine,” the designer writes.

Just like those beautiful old oil paintings on those silent corridors watching over you

21

23

‘For the last fifteen years Sabyasachi has pioneered and propagated the use of handlooms in his design collection. His khadi, cotton and silk hand woven sarees are near iconic.

Sabyasachi is of the opinion that Indian hand woven sarees not only create a strong visual statement but also help in carving a distinct identity for the Indian woman in a confused globalized world.

Weaving a saree not only helps in nation building but also contributes immensely to the textile and craft eco system of the country.’

25

Sone ke thaali main jona parosa’ Khaye gori ka yaar, Balam tarse.

Rang barse.

27

daipur collection: “Whether the maharanis in their French chiffon with European flora and fauna print, the maharajas in their quiet arrogance, the exuberant interiors of their majestic palaces, their culture, traditions of clothing, their often eclectic tastes in luxury, all of those notions and insinuations come to life with my creative liberty in the Udaipur collection, says the designer. “While there is global exposure to these iconic people, they are also extremely insular and proud of who they are and where they come from. And the existence of that feral dichotomy to me is the essence of empowered luxury.” Sabyasachi Mukherjee, with his curated old-world aesthetic that we have all come to find endearingly charming, somehow manages to pack a punch every season. There are never-before seen versions of florals, the intricate embroidery is more interesting than when you last saw it and brides simply can’t get enough of the design label.

Sabyasachi suggests that his collection is a reflection of the majestic palaces, the rich culture, traditions of clothing and the eclectic tastes of the Rajasthani royals. ‘The Udaipur Collection’ is, as the name suggests, inspired by Rajasthani royalty. There are references to maharanis, palaces, stately luncheons, rose gardens, gulaal, The Sheesh Mahal and more.

U

The duality of the Rajput rhetoric, A warrior and a lover.

Highest antiquity and noblest descent.

Genteel aggression of those piercing eyes, A tale of valor and restraint.

Woven in sumptuous silks and brocades, Tied in gossamer muslin, Doused in basra.

Standing tall and proud, In disarming silence Lilies, violets and asters, Tulips from private gardens of Holland.

Satin pumps and Mitchell cut diamonds, A whiff of Anais.

Rose twinkling in vintaSge Baccarat.

Of white steeds and ivory Diamlers.

Pale porcelain etched in fine silver.

A fragile tale of decadence, For the Maharani’s luncheon

29

The Gem and Jewel

31

We believe in doing jewelry the old fashioned way.

So no computers for us.

Everything is entirely done by hand.

Drafting the Design with Paper and Pencil Painstakingly Assorting Coloured Gemstones and Diamonds Cut in Old mine style Manually painting desi Enamel Stringing Beads one by one with needle and thread With us you don’t buy Jewelry.

You take Home a piece of India’s Heritage

33

n a sultry summer afternoon, the crew of 74 descended upon Rambagh Palace Jaipur, the elegant home of Maharani Gayatri Devi. The next 6 days were a frenzy of organized chaos.

Sound… light… drones. ACTION! Peacock calls at 4 am with Jamaican Blue Mountain coffee, hair and makeup at 5 and the first act from 6 am onwards. Stacks of clothing being wheeled in alongside boxes of jewellery, whilst muffins and croissants that made their way to the breakfast tables, were quite the order of the day. A myriad of activities was happening simultaneously in perfect orchestration. Hair being braided, eyes being smeared with kohl, tissues being unraveled, finest silks being unrolled, lights being set up, coconut water being served, cameras being perched on trolleys, vintage cars being towed in, gardens being spruced and props being diligently placed in picture perfect locations. The Sabyasachi AutumnWinter 2017 Couture & Jewelry Collection launches.

Sabya showcases his aesthetic skills once again with his first ever jewellery collection. For an upcoming collaboration with diamond jewellery brand Forever mark, Sabyasachi will create a fusion of Sicilian and Bengali jewellery made by Bengali karigars. He says growing up in Calcutta, there was always an unspoken pressure to hone one’s aesthetic skills. His maternal grandfather, according to him had exquisite taste.

The man drove a Morris Minor, commissioned silks from Varanasi and Chennai and got beautiful Art-

O

Deco jewellery from a Bengali Babu in Manicktala. Chota Sabya used to often accompany him on these trips. “I had no choice but to imbibe my grandfather’s exquisite taste. He subtly saw to it”. Sabyasachi admits that he is very fond of jewellery, almost a tad sentimentally. So it has always disappointed him that he could never find the right jewellery for his clothing when he used to dress up his brides. He envisioned them in strong mathapattis and pahadi naths but most jewellers were making an apology of a tikka and a nose pin. The brand takes credit for making both these items a must have amongst all Indian brides in today’s times. “Indian jewellery is beautiful, arrogant and strong and very individualistic. It’s my mission to bring it all back, in all its former glory. And I will not rest till it’s done”. Sabyasachi Mukherjee has been single-mindedly persistent in his efforts to resurrect a bygone era of craftsmanship and has only encountered success in these endeavours. “I am starting my jewellery business with the same principle with which I started by

35

37

clothing business. We have been successful with what we do because we have been able to find a gap in the market that others did not see and bought relevance back to these things,” said the designer, whose thought and aesthetic is deep-rooted in old-world Kolkata, or Calcutta, as he prefers calling the city. “I grew up in Calcutta. Calcutta injects a sense of aesthetic into your soul, and things that are seen as unique in other cities are a way of life here. Subconsciously, this way of life has shaped my design identity. It was almost frightening; this city does that to you,” he says. Mukherjee’s earliest memory of jewellery was rummaging through his mother and grandmother’s closets for treasure. “Their taste was simply exquisite. Perhaps, this is why I feel disappointed, where has all the art gone? Perhaps it was this question that pushed me to find the answer and hence the genesis of my jewellery line. When women wear my clothes, I invariably expect them to pair it with that kind of jewellery,” he concludes.

‘ Using enamel and filigree with diamonds Makes it a little playful while also Giving it a more lived in romantic notion.

The trick is to inject a more accessible Personality into the the diamonds and create a playful vintage aura; almost like wearing couture with trainers.’

39

Gulaabi mhari kamal rani, Choonar rang motiyaa gulaab, C

Churiyaan sheeshe ki surkh gulaal, Peheroo ghagro surang gulabi.

The Shoe Collection

41

en have eternally wondered on “What Do Women Want?” Well, we won’t be coy here and admit to being complex and beautiful creatures! While most men would simply scratch their heads, wonder, and shrug off, few other men have understood what women want in their wardrobes than shoe maverick Christian Louboutin and the bride whisperer Sabyasachi Mukherjee. In this age of global fashion, that the paths of a designer from Kolkata would cross with one from Paris was not entirely out of the realm of possibility. The Autumn/ Winter Couture show of 2015 called Bater or Birds of Prey- witnessed the dark and predatory nature of this duo’s haunting collection replete with traditional hand weaved sarees with intricate embroidered details, bandhgalas, Nehru jackets, sherwanis and modern separates. The mavericks have collaborated again and the culmination is this year’s Fall/Winter couture collection called ‘Firdaus”. “This is a lot more whimsical and quite mad. We have everything in it” Sabyasachi said on this second collaboration. To that, Louboutin said: “It is more of a candy store.”

Firdaus, an Arabic connotation of “paradise” was showcased in Sabyasachi’s opulent Mehrauli store with overtones of conspicuous chandeliers, lanterns, vintage frames and mirrors, bottles of itr, vases suffused with fresh flowers and wooden benches in the garden that leads to the two wings of the of his sprawling 13,500 square feet store. Sabyasachi x Louboutin Fall/

M

Winter Collection 2016 resonates with the spirit of blending quirky materials like cork, leather, spikes, raffia, pony hair and varied embroidery sourced from all over India with fabrics. Louboutin has spelled magic with his signature red soles and embellishments; the range includes flats and very high heels ”The way we started to work together was very organic - very Indian, in a way,” Louboutin tells. “We started to collaborate, integrating my shoes in his shows and from that it was a natural step for me to do this collection. In his studio, where the embroidery is created, it’s basically a type of Ali Baba cave - a profusion of colours, of beads, and of beauty in general. It’s unreal, you have a lot of beautiful things which are sort of just put on the side, leftovers of things. The models towering in their crafty Louboutins and sashaying in their quirk-intricate Sabyasachi ensembles were grinning from ear to ear! Jewelry, an integral part of this show was by Kishandas Jewellery. Christian says India continues to fascinate people from foreign shores with its indigenous content because designers here are forever exploring the “re-attachment to roots”. Thus, “the things that you see in India, you see nowhere else”, he feels.

43

45

The fine zardozi work, coupled with studded backs and suede fringe, manage to honour indigenous Indian design while simultaneously telegraphing a sense of opulent European style. Clunky heels with the unmistakable red soles and short spikes, stilettos with coloured straps, tasseled wedges and evening bags made from crosscultural materials such as peony leather, suede and linen with archaic embroidery defined the new accessory line

Interiors with Sabyasachi

abyasachi Mukherjee has a way of telling stories. The Sabyasachi for Nilaya collection has several prints in each of the five stories of the collection, namely: India Baroque, Makhmal, Jodhpur, Spice Route and Varanasi. Sabyasachi designer wallpaper collections are as rich and layered as the muse that inspires them – the vast and varied theatre that is India. Add to that a sublime eclecticism, an original eye and a design instinct that is in a class by itself. The average fan of the Sabyasachi aesthetic will no doubt be eager to refurbish one’s home given the optimum timeline of the upcoming festive season but the story behind the artful wallpapers goes much deeper than ornate decor.

“I spoke to Asian Paints and requested the best printer in the world, and they made it happen.

We created very large life-sized artworks so the imperfections are contained in them and not tiled, and then found somebody who could scan them and put them on a very organic substrate to make it look like wallpaper that’s probably done on hand paper to give it a very old-world, vintage feel. Despite the look and feel, it’s all waterproof and fireproof, and looks highmaintenance but it’s not—that’s where the technology comes in.” The collection has been divided into different groups and stories, the first one being India Baroque, which is a celebration of north Calcutta. “A lot of people would use India Baroque in its entirety but some would do just a wall. One of my favorite cities in

S

47

49

India is Jodhpur, so this collection is done in shades of indigo. Spice Route is about Indian folklore, fables, the Jataka Tales, the Panchatantra; it’s for someone who uses a lot of Gujarati handcrafts in their home. Varanasi is inspired by the Varanasi brocades and their colours. Varanasi has a belt called peeli kothi, where all the saris are woven, so we wanted to introduce a bit of yellow in the collection. The last part of the story is Makhmal, which is velvet flocking.

All old zamindar houses and nautch ghars used to have velvet because it was the fabric of royalty, so the collection is more opulent.” Ranthambore: The inspiration was Sanganeri block-printed butis, which were used on hunting tents. They were small of course, but we scaled them up for dramatic effect. Kaschmir: It’s done on pearl paper.

All the butis are different. It’s for someone who is poetic, who loves colour, who is feminine, and loves collecting antiques.

Spice Route: It’s got the mithoo miyaan motif, which is basically inspired by Jataka tales, Panchatantra. It’s for the quintessential Fabindia woman, who hoards Kutch textiles, has brass vessels in her home, and wooden furniture.” Indigo: Was inspired

by Jodhpur. In fact, the Mughal Serai in china blue is the wallpaper I’ve ordered for

my own house.”India Baroque was inspired

by Calcutta – a typical home in North Calcutta would have a strong wallpaper (opulent brocade or chintz), on top of that you’d have a Rembrandt painting, you’d have old gilded plates, taxidermy, mirrors, musical instruments, showcases filled with china...they would layer, and layer, and layer.

51

53

The Pottery Barn Collection painted by artisans at Sabyasachi Art Foundation.

55

he Kolkata-based designer forays into the world of home furnishing in typically Sabyasachi style: floral motifs, intricate embroidery, and rich colours adorn a new range of home decor products made exclusively for Pottery Barn! Pottery Barn partnered with Sabyasachi to create a collection of global, vintage-inspired decor that draws up on his design duality of maximalism and minimalism. The result is a collection that evokes travel and items picked up along the way that each have a story to tell. It’s a story of imperfection and the beauty that comes with age but also with craftsmanship and detail. Just like in his fashion designs, Sabyasachi was intensely focused on making sure that the beauty of India’s trained artisans shined through the collection which is why he selected many of the patterns from those artisans who participate in his Sabyasachi’s Art Foundation. Many of the fabric and plate patterns were meticulously produced by hand by these artists exclusively for the Pottery Barn collection. The designer’s gorgeous aesthetic (that’s firmly inspired by his roots) translates effortlessly to his new line of home decor products in this project. The brand has become popular for its easy, effortless aesthetic, its wide spectrum of offerings in the closet (and trunks) and pieces that are as suited to the everyday as they are to more special occasions.

T

The Design Formula

57

The colour of your skin defines ‘you’.

Wear it with pride. It is bigger than Any luxury that money can buy Pride comes from acknowledging your roots.

It positions you at a place far above fashion; You open the gateway to style.

59

abyasachi has described his style as ‘personalized imperfection of the human hand’. He’s drawn most of his ideas from his surroundings and his childhood. Kolkata’s scenic backdrops and imprints that have left a never changing impact on his mind is what comes through beautifully in all his creations. Traditional and ‘Indian’ is his style and he makes the most of it. Gypsies, deserts, antique use of fabrics, textiles, and embroideries get woven into each sari, lehenga or salwar kameez, which are his areas of expertise.

What gives his designs a twist is his unique blend of colors and fabrics. One may never think of putting 4 different shades in four different sections of a sari with different designs, but when Sabyasachi comes out with the final product, one gets compelled to believe that it is possible and achievable. Fusion of different patchwork designs on vibrant colors is his trademark.

In the designs, he tries to maintain a noncommercial balance in an extremely aggressive, commercial and competitive industry. His collection is for people who prefer to walk a path less traveled and who definitely believe that slowing down

S

is not equivalent to dropping out. Vintage and old world Indian charm is extremely apparent through all the motifs and techniques used. He describes it as “International styling with an Indian soul. While the whole fashion industry has taken a plunge in modern day designs and techniques, Sabyasachi’s designs stay completely rooted in what India really is. He pioneered the use of Indian textiles in a modern context. His unique contribution was the use of indigenous methods like bandhani, gotawork, block printing, hand dyeing etc. In construction of modern silhouettes.

According to Sabyasachi, “not to be traditional on your wedding day is totally uncool. I think that is one day in your life where you should celebrate being Indian.”

Sabyasachi Mukherjee, with his curated old-world aesthetic that we have all come to find endearingly charming, somehow manages to pack a punch every season. There are never-before seen versions of florals, the intricate embroidery., Sabyasachi says he remains a shy Bengali middle-class boy who finds it awkward to use a fork and knife, who turns into a hamster if he has to enter fancy restaurants on his own, who compliments people in elevators to ease his anxieties before entering a restaurant, who wants people to give him gifts. The use of rich fabrics and vibrant colors with a layer of astounding and gleaming embellishments is what an Indian bride usually prefers for her big day. Some of his latest bespoke collections are truly an epitome of antique supremacy. Extensive zardozi, resham, and sequins work on soft pinks, peaches, creams, beige,

61

63

mints and a pop of bright red, ink blue and envious green. Summery floral prints, full-sleeve blouse, deep necks, brocades and complex embroidery. Somehow, he is able to capture and portray a reflection of Bengal through his work. It is because he lived, drank and only swallowed Bengal while he was growing up. So, it was natural for him to paint those memories in his own version.

I am an ‘Indian’ designer.

It defines ‘me’ and ‘amy work’.

It is my biggest pride and my greatest asset.

Sabyasachi Art Foundation

65

he designs and art work is created by the artists of ‘Sabyasachi Art Foundation’, a foundation him and his sister started together two years ago in order to commemorate the talented Indian artists who are picked up from the streets by them and are exposed to several opportunities. The art foundation handpicks struggling artists from all across Bengal and offers room and board and mentoring along with a stipend.

“My sister and I run the Sabyasachi Art Foundation.

It was born from the fact that my mother, who was an artist, never commercialized her art, because she didn’t speak English. I think she was a bit intimidated – same premise as English Vinglish! She gave up everything to raise us; we’ve had very flourishing careers, while she didn’t. The foundation is a nod to her and it supports struggling artists. We give them more money than they are earning at the moment, give them a studio to pursue their own art, and they devote 50 per cent of their time to collaborate with us.” With inspirations taken from every corner of India, the use of organic colours and soft, cloth-like textures for the covering, he passionately explains how there’s a design in there for every personality. The antique hoarder, the romantic, the traveler, they’re all sure to find the perfect one. Nilaya extended to his deep interest in the Sabyasachi Art Foundation, which promotes arts and crafts, and his new collaborations.

His words provoked a realization. We give it all we

T

have to make our lives. Then, our lives start making us.Money is most important to him today because his employees rely on him for everything from schooling for their children to medical care. It also enables him to promote the unsung musicians of West Bengal under the Sabyasachi Art Foundation. “I want to start crafts schools in villages, provide nutrition and wages to women,” he says.

Mukherjee started a project called Save the Saree where he retails hand-woven Indian sarees on a nonprofit basis priced and the entire proceed goes to the weavers of Murshidabad.This initiative is also strongly supported by Bollywood divas like Aishwarya Rai Bachchan, Vidya Balan. He has been developing textiles from Dastkarin-Andhra Pradesh, Berozghar Mahili Samitiin-Bihar, Tantubay Samiti-Fulia and Kotpadin-Orissa. The designer uses rich ethnic fabrics in his collection - extensive use of Banarasi fabric can be seen in his range. His rootedness in the culture of his home state is the glue behind his wideranging artistic sensibility. The sheers at the windows are khadi saris from Sally Holkar, founder of Women Weaves, an NGO specializing in Maheshwari saris, while the thicker curtains are Bhagalpur cotton, lined with block-printed fabric traditionally worn by widows in Rajasthan. “That’s a print community that I’m working with because they have complicated print forms. I tried making it popular by getting Vidya Balan to wear them in Paa. It’s called Fadak.” One of Mukherjee’s nest accessories is a running-stitch

67

69

The Benarasi was dying. Decaying under piles of cross pollinated textiles and human greed. It took him 14 years to get it back on track. Slowly and painfully. But he never lost my patience. Because he was not dealing with a textile, he was reviving his identity.

A lot is being done to revive Benaras I do not agree that we need to modernize.

I think we should restore.

nakshi kantha cushion cover from Chittagong.

There are a few pieces of art—mostly Dhruvi Acharya—and canvases by a Bengali artist nurtured by the Sabyasachi Art Foundation.

The Benarasi was dying. Decaying under piles of cross pollinated textiles and human greed. It took him 14 years to get it back on track. Slowly and painfully. But he never lost my patience. Because he was not dealing with a textile, he was reviving his identity.

At Sabyasachi, support is given to various craft and textile clusters all across India. The aim is to keep skill development and heritage alive by making tradition relevant to modern India.

First stop was Varanasi. Over the past two years Sabyasachi has also been involved in reviving cotton Benarasi sarees in pure khadi and vegetable hand block prints from Bagru.He is one of the designers who, by his skillful use of Indian fabric Khadi brought it in the International platform.

Over 17 years Sabyasachi has been working with some of the finest “karigars” in the country. Many of them are 4th generation master craftsmen.

Their sense of quality is uncompromising. Their faith in the superiority of human hand skills unshakeable. They are his pride.

71

Sabyasachi An Experience

he sat by the window looking at the big mango tree in the backyard. Birds chirping as the day was just being born and the sun slowly greeting everyone with warmth. She tied her shoe laces, tucked in her jersey, put on a sweatshirt and started her jog to the basketball court.

The sport had become her life. All her actions very dictated by it. The adrenalin which pumped through her as she could hear the dribbling basketballs and the swish of a perfect shot was incomparable. That became her world. She never paid much attention to the fashion industry back then. It just seemed superficial to her.

She was just a 14-year-old who loved to stay in baggy shorts, a big t-shirt and sweatshirts all day long. Today, at 19, she took up a project to help her break her selfcreated stereotypes and gain an insight on the world she missed out on. Sabyasachi was an eye opening insight for her. Sabyasachi’s designs are Indian in the most authentic sense. The experience of learning the way Sabyasachi functions, his ideals, his thoughts and most importantly his work ethic was eye opening. In today’s modernized India, where the trends in the west are what dictate the trends in India, Sabyasachi is a fresh dose of regal Indian designs. No other part of the world has such a strong sense of cultural, artistic and intellectual history that India has and he uses it to his best. The edge that India has from other countries is a very simple thing. This is a country where people have grown with culture systems. She loved that he brought

S

73

a sense of familiarity in his designs but also loved the fact that he didn’t take away from the originality of the art form he used. Sabyasachi’s designs were like an escape without losing the touch of reality. Not only did each outfit look stunning and gorgeous but also each one of them told a story which surprised and fascinated her. Each outfit presented by him was a tale on its own, the making, the inspiration, the art form, the textile, the karigars. Everything put together made the outfit a Sabyasachi piece.

Sabyasachi, in his own little way, is trying to instill a sense of nationalism and indigenous identity within her who is grappling with confusion and constant influence of western fashion. She never felt a saree could be authentic and traditional and yet look extremely gorgeous. One of the main reasons she found Sabyasachi fascinating was the way he uplifted the karigars who worked under him and how it was one of his most important agendas to bring them in front of the spotlight. She loved the sense of indigenous identity he was developing from his customer. While looking through all his designs she thought, “Oh how I wish I owned a Sabyasachi piece” but the fact that she wanted every piece because it was different from the previous one and was very individualistic removed the idea of owning only a single piece. Indians have been apologetic about their sense of perception and try to fit into a mold that’s been created by the West.

Sabyasachi tries to break that mold by presenting the world and India with the mold which is very desi yet as

good if not better than the one presented by the west. Sabyasachi is making designs which make the people feel unapologetic about being Indian. We as Indians are creative, esthetic, sensitive and we have unique values. While the West has always emphasized on the peripheral – we have always emphasized on the core. We are far more superior in many ways. What we have doesn’t die out as the world changes. Sabyasachi validates all these factors.

She realizes as she keeps probing further in herself that it true.

All these values, thoughts, inspirations all were already present in her, Sabyasachi didn’t teach her all this but he just resurfaced it. Sabyasachi taught her that fashion always doesn’t have to be about clothes, looks and the collections. Its sometimes deeper than that. It’s the stories you want to tell, the cultures and art you want to revive and the to bring about a true identity of oneself and be unapologetic about it.

75

www.sabyasachi.com www.wikipedia.com/sabyasachi www.pinterest.com www.tarunkhiwal.com www.utsavpedia.com www.behance.com/tarun-khiwal www.blingsparkle.com www.businessoffashion.com www.instagram.com www.vogue.co.uk www.vogue.in www.architecturaldigest.in www.strandofsilk.com www.indiatoday.com www.livemint.com www.youtube.com Photography by Tarun Khiwal

Designed and Edited: Sowmya Sridhar Guide: Prof. J Menon