Designer Anju Modi tells this writer how national and international boundaries are bridging to create acceptance for all the cultural differences in designs.

Since most of your designs are based on bridal couture, how do you blend the Western silhouettes and Indian fashion aesthetics?

The boundaries have melted and there is a cultural mix all around. Fashion has become important these days; there are destination weddings, gigantic and theme-based weddings, where designs depend on the theme. If it is happening in Banaras, the dresses would be in Banarasi brocade, or if it is taking place in Florence then they would be in soft, muted tones. I feel there is nothing like Indian and Western anymore.

Fashion is never constant. How do you cope with the changing global trends?

Creativity is dynamic. It changes with social changes, automatically my creativity works the same way and I bring global trends into my design.

India has a rich heritage of fabrics, which now are being increasingly recognised as art, unlike before when it was a mere hierarchical symbol. What is your take on this?

We have a textile history of over 500 years. It has been evolving since then. I take my inputs from the weaver and the artisans too.

As an Indian designer, I feel that it is my responsibility to take it forward and help in reviving and regenerating our textiles.

What is your greatest source of inspiration as a designer?

Nature is my biggest inspiration. Different cultures and traditions, architecture, art and music inspire me a lot.

What is new about the India Couture Week this year? What was your unique signature at the show?

Now that there are no boundaries and there’s equal exposure everywhere.

We are creating a future look for brides and bridesmaids where the silhouettes are refreshed in soft colours with detachable white collars and cuffs, while some extra flounces are added to the skirts and bodice taking on a V-shape and the dropped shoulder. Exaggerated ostentation, tight corsets, gigantic hoop-skirts and outrageous bustle make today’s fashion trends look sedated by comparison.

You have designed for some films. How do they help in dissemination of fashion sensibilities and as a designer how do you change your ways for the screen while keeping your signature intact?

I go with the flow of my thoughts and ideas. I transport myself to the era the film is from, and think from that very era’s character. I express my thoughts and ideas for that era through the costumes I make for the film. This way, every film’s costumes are unique and also do justice to the film.

What are the other projects that you are currently working on?

I am currently designing the costumes for Chiranjeevi, Amitabh Bachchan, Nayantara and Tamannah Bhatia for the film Sye Raa, which is based on Uyyalawada Narasimha Reddy, an Indian freedom fighter.

Writer: Pioneer

Courtesy: The Pioneer

Designer Anju Modi tells this writer how national and international boundaries are bridging to create acceptance for all the cultural differences in designs.

Since most of your designs are based on bridal couture, how do you blend the Western silhouettes and Indian fashion aesthetics?

The boundaries have melted and there is a cultural mix all around. Fashion has become important these days; there are destination weddings, gigantic and theme-based weddings, where designs depend on the theme. If it is happening in Banaras, the dresses would be in Banarasi brocade, or if it is taking place in Florence then they would be in soft, muted tones. I feel there is nothing like Indian and Western anymore.

Fashion is never constant. How do you cope with the changing global trends?

Creativity is dynamic. It changes with social changes, automatically my creativity works the same way and I bring global trends into my design.

India has a rich heritage of fabrics, which now are being increasingly recognised as art, unlike before when it was a mere hierarchical symbol. What is your take on this?

We have a textile history of over 500 years. It has been evolving since then. I take my inputs from the weaver and the artisans too.

As an Indian designer, I feel that it is my responsibility to take it forward and help in reviving and regenerating our textiles.

What is your greatest source of inspiration as a designer?

Nature is my biggest inspiration. Different cultures and traditions, architecture, art and music inspire me a lot.

What is new about the India Couture Week this year? What was your unique signature at the show?

Now that there are no boundaries and there’s equal exposure everywhere.

We are creating a future look for brides and bridesmaids where the silhouettes are refreshed in soft colours with detachable white collars and cuffs, while some extra flounces are added to the skirts and bodice taking on a V-shape and the dropped shoulder. Exaggerated ostentation, tight corsets, gigantic hoop-skirts and outrageous bustle make today’s fashion trends look sedated by comparison.

You have designed for some films. How do they help in dissemination of fashion sensibilities and as a designer how do you change your ways for the screen while keeping your signature intact?

I go with the flow of my thoughts and ideas. I transport myself to the era the film is from, and think from that very era’s character. I express my thoughts and ideas for that era through the costumes I make for the film. This way, every film’s costumes are unique and also do justice to the film.

What are the other projects that you are currently working on?

I am currently designing the costumes for Chiranjeevi, Amitabh Bachchan, Nayantara and Tamannah Bhatia for the film Sye Raa, which is based on Uyyalawada Narasimha Reddy, an Indian freedom fighter.

Writer: Pioneer

Courtesy: The Pioneer