Krishna Gopeshvara: The Truth of Vrishnis

Author : Sanjay Dixit

Publisher : Bloomsbury, Rs 399

This is a more-human-than-divine account of the life of the Hindu mythological figure, Krishna, reminding one that it’s ideology and not individuals that cause harm, writes ABHINAV AGARWAL

Krishna Gopeshvara is a book that takes you back in time and also makes you think about its parallels with medieval and modern history, about divinity and humanity, and individuals versus ideologies. Are there lessons to be learnt?

As evil scales new heights of destruction upon putting on the cloak of ideology, it acquires a degree of pervasiveness and permanence when it adopts the patina of unquestionable dogma. Communism was an inchoate idea in one man’s head. When it became an ideology, it became a Red Holocaust, killing over one hundred million across the world in the twentieth century. When ideology and fanaticism infected religion, they gave birth to absolutism and monotheism, accompanied by violent expansionism across the world. Such is the subterranean message that runs through this book. The evil in one man, if nurtured by the pervert philosophy of the mad genius, can wreak havoc on society.

As the first book in a planned trilogy, Krishna Gopeshvara begins with Kamsa’s death. His two wives are whisked away to Magadha, where their father, Jarasandha, rules. Before a furious Jarasandha can retaliate against the upstart who has widowed his daughters, his guru urges him do a purvapaksha of his enemy, and to better understand the person he is going to fight with. Whether he should march against Krishna or not is a decision his guru, Chandakaushika, leaves to Jarasandha.

As Jarasandha’s guru starts his multi-day discourse, the reader is returned to Mathura, and back in time. We get to see the rise of Kamsa, aided by an evil savant who is bent upon remaking society in the image of his ideology — one book, one God, one King, one salute — and where debate and dissent are unnecessary irritants, to be dispensed with with the sword. We see the imprisonment of Devaki and Vasudeva, Krishna’s birth, the gradual takeover of Mathura by the followers of the kutildharmi and the fallout of their rakshasa karma, under the banner of the viloma swastika. Even as all this happens in Mathura, an infant Krishna grows into a toddler and then a child, escaping attempts on his life, finding kinship with the residents in Vrindavan, learning and growing all the time. An increasingly agitated Kamsa is driven to greater depths of despondency, frustration, and evil, goaded by the Kutil Muni, his kutil dharma, and twisted ideology. This part of the book culminates with the death of Kamsa at the hands of Krishna and the reinstatement of Ugrasena as the ruler of Mathura. The book then returns the reader to Magadha and the first of Jarasandha’s many attacks on Mathura.

As in works of fiction that derive from historical or mythological texts, there are elements of imagination, re-imagination, reinterpretation, contemporization, and more, that an author brings to his retelling. The same is the case here with Krishna Gopeshvara. If Kamsa was the evil doer, what drove him to such depths of depravity as to commit infanticide, and that too against his own sister’s progeny? Kamsa, as an individual, was ambitious. When mated with a twisted ideology and an evil adherent of the ideology, Kamsa’s proved to be a pliable mind, giving rise to unmitigated evil on a societal scale.

As an attempt to force us to look at Krishna differently, the author asks us whether Krishna was divine or human. Seen as an avatar, it serves one purpose, of reinforcing our belief in a divine presence that will surely intercede when evil crosses all limits of tolerance. If, on the other hand, Krishna is human, like us, it serves to make us aspire to that same level of yogic consciousness, since humans may not be able to become gods, but can surely aspire to become better humans. If a Krishna in Kaliyuga is not forthcoming, can we attempt to inculcate Krishna, goodness in each of us? Often enough, through history, people have made the mistake of fighting an individual, while ignoring the ideology. The concept of purvapaksha, the ancient Indian tradition of fully understanding an opponent’s point of view before countering it, is relevant here. If an ideology is not countered, fighting individuals is futile. Krishna’s story, as re-imagined in the book, looks at his life and struggles through the lens of humanity, not divinity.

As you read the book, and as Krishna’s life flows through its pages, do also attempt to view the tale through a modern lens. The book itself is fast-paced and keeps you engaged throughout. You may find yourself agreeing with some parts, and questioning some others. Allow those thoughts and encourage those questions. The journey to find answers will in itself be a rewarding journey.

Lakme Fashion Week (LFW), in association with US-based water brand smartwater, has announced “The Platform”, a programme conceptualised to identify and mentor young and innovative designers who are willing to push the boundaries of fashion and create a new norm.

The show aims to lend impetus to an alternative genre of fashion — unconventional, innovative and fearless, said a statement.

The winning designers will be mentored by India’s prominent fashion icons and get the opportunity to showcase their creativity at the forthcoming edition of the fashion gala, which will begin from August 22.

“The Platform aims to give an opportunity to a new generation of designers who are willing to disrupt the conventional norms of fashion through their authentic and thought provoking story-based collections. We hope for this programme to inspire design, not bound by the constraints of stereotypes giving rise to a new movement in the field of Indian fashion. I am personally very excited about this programme and looking forward to discover some great talent through this initiative,” said Anoop Manohar, general manager, marketing, Coca-Cola India.

Based on smartwater’s core theme of ‘Inspired by the clouds’, the winning collection or collections will reflect the designers’ own interpretation of the theme in the form of experimentation with texture, fabric, shapes or colors that are inspired by clouds.

Jaspreet Chandok, vice president and fashion head, IMG Reliance, said, “LFW is committed to bringing new designer talent to the fore. Having successfully launched many of the most exciting labels, we want to now nurture and help support them with this exciting new programme.”

Writer: Team Viva

Courtesy: The Pioneer

The reporter Muskan Kathuria mentioned that don’t be surprised if you see the trend of bell bottoms, high waist jeans,  neon colors, or hoop earrings again.

BELL BOTTOMS: Remember Neetu Singh and Shabana Azmi flaunting flared pants in the movie Parvarish or Cher in her iconic purple outfit? These trousers with a marked flare below the knee are making a strong comeback and you need to stock your wardrobe already. These pants are comfortable, breezy and add just the right amount of drama to your outfit. You can style them in a number of ways. From teaming them up with a skinny turtleneck to tucking a plain white shirt in, bell bottoms are a quick way to instantly key into the retro trend.

HIGH WAISTED JEANS: This denim is one designed to sit higher above the navel of the person wearing it. So, it accentuates your beautifully carved midriff. You can wear it with a crop top without exposing too much skin or you can tuck in your favourite plaid shirt in it to create a sophisticated look. Not to forget, the relief of not having to pull your trousers up all the time is incomparable.

NEON COLOURS: The Instagram famous outfit of Kylie Jenner in neon purple thigh-high boots at a campaign launch gained a lot of attention. So did her neon pink hair at Coachella, which established the return of neon colours. You could easily stand out in a crowd if you put the outfit together in a clever way. Remember to not overdo the neon; you don’t want to look like a highlighter.

TINY SUNGLASSES:  These sunglasses are undoubtedly 2018’s hottest trend which can be found everywhere. From Gucci, Prada, Balenciaga or affordable brands like Zara, Forever 21 etc, everyone wants in on this trend. It all started when Rihanna flaunted her Andy Wolf frames at the Cannes Film Festival. These barely-there pair of tiny glasses is the current favourite of the Kardashian-Jenner clan and the Hadid sisters seem to have a new pair every time. These accessories will hardly protect you from the sun but they do flatter the shape of your face and give you room to stare into someone’s soul.

SEQUINS: Sequins are the perfect way to glam up your outfit. Even a sequinned accessory can take you from desk to dinner without putting in too much effort. You’re wrong if you think sequins can only be embellished in dresses and gowns. Designers and brands have it ready in rompers, T-shirts, skirts and even phone cases. You can glam up your plain chiffon saree with a sequinned blouse. Sequins might just replace florals this season so make sure to incorporate them into your wardrobe.

HOOP EARRINGS: From Victoria Beckham to Taylor Swift, nobody is immune to the hoop. You can see them everywhere, in all shapes and sizes and in a variety of colours. You were wrong if you thought this trend disappeared long back, because hoop earrings are back and on a larger scale. Circle, star, square, triangle, studded, bedazzled, you name the shape and brands or even flea markets will have them for you. Hoops are easy to accessorise. You can dress them up by wearing them over a party outfit or dress them down by teaming it with your go-to denim jacket.

COORD SETS: Co-ordinate sets, previously known as matching sets, were a trend in the 70s.  Co-ords are a set of matching tops and bottoms. Now, brands are experimenting with the look by teaming up a crop top with a pencil skirt or a blouse with straight pants. This trend, again, is most loved by the Kardashian-Jenner sisters, who love how co-ords accentuate their figure. These sets are extremely easy to style and can be your best escape for the morning “what-to-wear” fuss. Another positive sight of this trend is that you can also pair the top and bottom separately with another bottom and top.

SEE-THROUGH HANDBAGS: Clear handbags can be a tricky accessory to carry, because contrary to the primary function of a handbag, which is to keep stuff hidden, these bags display it to passers-by. But it doesn’t mean that these bags are a downer. These will force you to organise yourself better and make you think twice before you throw things into it. See-through handbags don’t just come in a colourless form; you can get experimental and sport neon colours like red and green as well.

PATCHES: This trend was famous in the 1990s to express one’s individuality and is cool again. Patches are a quirky addition to your clothing and unlike the 90s, they aren’t just sewn over denim jackets. You can iron them on your T-shirts, sew them on your ripped denims or even pin them on your backpacks.

Bandwidth: For every child of the 1980s and 1990s, the Metallica or ACDC T-shirts were part of their signature looks. And now band T-shirts are back and boy, are we happy.  This time, they’re not the regular basic black T-shirts with band names on it, they’ve evolved. You can get ripped crop top rendition of these T-shirts or the ones with a cut out in the front with an in-built choker. This year, the humble band T-shirt came to rising when the Jenner sisters released a series of Tupac Shakur and Ozzy Osbourne T-shirts on Kendall+Kylie website.

OVERSIZED CLOTHING:  Who doesn’t love it when fashion fuses with comfort? Get over the skinny jeans and tight blouses because baggy clothing is in. Oversized shirts, belted at the waist, make for a beautiful lunch outfit or you could even let loose in a baggy T-shirt paired with leggings for a more casual look. You have so much room in your clothes that it doesn’t restrict you. One could gulp in an entire pizza and no one would ever know. The best part about this trend is that you don’t have to gift away any item if you’ve ordered a larger size by mistake and celebrities finally have an airport look that we all can copy.

SLIDERS: From luxury brands like Gucci to sporty ones likes Adidas, everyone’s bringing back sliders. They were essentially backless and open-toed rubber flip flops, but now they aren’t only restricted to rubber. You can even find these footwear in fur, cloth, studded, patched, or even bedazzled. This 90s’ trend has been spotted on a lot of celebrities and we cannot get over how comfortable they are. You can slip into a pair of fur slides for a no-fuss look like Jacqueline Fernandez, or go stylish with a pair of studded slides like Fergie.

Writer: Muskan Kathuria

Courtesy: The Pioneer

The reporter Divya Giri says, the Afghan art exhibition highlights how hope continues to thrive regardless of violence in the country.

I have seen so much bloodshed, I think the stories would fill a book,” says Mohammad Salim Attaie from Kabul, a self-taught artist. Currently in India, Attaie is leading a group of artists from Afghanistan including Abdul Fatah Amar; Mohammad Azim Rawofi and Mohibullah Attaie (Moheb Sadiq) for the exhibition, Afghan Art: A Land in Conflict and Hope.

Attaie and his fellow artists have not had it easy and practiced their craft despite what was happening in their country. The war that ravaged Afghanistan for a long time and the Taliban regime that came to power between 1996-2001, ensured that it was really difficult for the artists to practice their art. The Taliban banned the entire spectrum of creativity and performance including clapping, and they destroyed an estimated 80 percent of Afghan cultural heritage, from religious relics to film reels.

Afghanistan’s art scene has seen a revival since the fall of the Taliban in 2001. Contemporary art reflects on what happened in Afghanistan during the past decades and the current challenges. Most artists have not had a formal art training and paint what they see, with what they have. This exhibition is evidence of the ‘never say die’ spirit of the Afghans.

Attaie was born in 1972 and at 16, had to sign up for the army to fight the Russians, who were then occupying Afghanistan. He says, “I left the army when I was 20, and did whatever I could do for a living like selling tea, working at construction sites and peddling dry fruits.”

He took up art in 2001 when he started gallery Nootaq (meaning starting from scratch) in 2002. The Senai Art School gallery which had protected the art works of artists from Taliban admired his style and encouraged him to take in students and mentor them.

Attaie has curated several shows in Kabul including an exhibition at the United Nations Assistance Mission in Afghanistan (UNAMA) and at the office of the president of the Islamic Republic of Afghanistan.

Attaie says, “Because of the conflict in Kabul, I was forced to leave my home and sell off everything that I had at 15. When I moved to Taliban, art was restricted over there as well. In 2008, I started painting and I preferred oil paint.” But with war all around, Attaie found inspiration in himself. “My family members sell paintings and my brother is an artist too. And this is the fourth time I am displaying my work in India.”

And there is a reason that he keeps coming back to the country. He concludes, “India is one such place where art is nurtured and valued. I am in love with this place.”

(The exhibition is on till May 29 at Annexe Art Gallery)

Writer: Divya Giri

Courtesy: The Pioneer

Author Jaya Misra has twisted the story of Kama Sutra, the ancient dissertation on love and love-making, in a dramatized way, says team viva

Kama Sutra, the ancient treatise on love and love-making, has always inspired admiration, awe and titillation. But little has been highlighted about how author Vatsyayana was not a mere ascetic but India’s first feminist. That’s what Jaya Misra decided to focus on in her new book Kama Sutra, a novel depicting the life and times of a man who lived 2,000 years ago. It begins with a catastrophic day in the life of Vatsyayana when he sets out on a journey. “He wrote his book at a time when few acknowledged that women had desires and needed to express them as equivocally as men. And it became a part of literature,” says she.

Misra has attempted to transport the present generation to an ancient time with her book and establish a sense of relatability. “Vatsyayana was writing in the post-Vedic period and might have faced a lot of problems while penning the book,” says she. The Kama Sutra is the first fictionalised biography of Vatsyayana and encompasses many aspects, including a tale of broken heart, lyrical violence, ageless love, pure lust, a relationship  between mother and son and pain of one-sided love.

The author is a writer, creative director and producer in television who makes films and documentaries. She has also nurtured projects on sports, fashion and fiction. So writing this book while juggling all of this was tough and time-consuming but she carried her draft wherever she went with her team. Misra carried her updated version to Thiruvananathapu-ram and to Manali for the Tubelight shoot as her friend, director Kabir Khan, had invited her to visit the sets.

In search of her story, Misra visited Varanasi as the original Kama Sutra is set in the  narrow lanes of the city. “I got the main idea of the story from the ancient temples because the sculptures made on the walls describe an entire era and its ways,” she says. Misra adds that characters in her story were not framed deliberately but evolved naturally as the content developed.  “The way an artist paints his canvas with a mixture of colours is the way I write my story. Words flow with the content instead of colour,” she says. It took her almost six months to complete her book. Misra, a mother of two children, had to fit in writing with her regular schedule which made it difficult to finish the story in one go.

She says, “My book Kama Sutra has a very different take on the entire concept. It is about the philosophy and theory of love which needs to be explored,” she adds.

Writer: Team Viva

Courtesy: The Pioneer

The photographer who captured every single moment of Sonam and Anand Ahuja’s wedding, Anand Rathi, takes us on a behind-the-scene tour, said by the author Ramya Palisetty.

The most talked about Bollywood wedding was nothing like what photographer Anand Rathi expected.  He went with the mindset that the Sonam and Anand Ahuja’s wedding would be a Bollywood affair where everybody would be holding their guard up while behaving in a certain way. But all his assumed perceptions were shattered.

How was the wedding different from your expectations?

It was a happy wedding that most brides and grooms dream about.

There were no hang-ups and everybody was a regular guest who partied like there was no tomorrow. The bride and groom were easy people without any fuss. They were not the kind of individuals who would especially pose for the camera. All the pictures that are breaking the internet like a peck on the cheek by Anand and Sonam’s giggling smiles were all natural. The Kapoors were so warm and affectionate that the first time I walked up to them, they hugged me and somehow that moment set the mood for the rest of the celebration.

The most astounding thing was that here was a couple who knew that whatever pictures they clicked were going to go wild. They could have easily chosen prim and proper ones yet they chose simplistic ones which defined them as individuals. The whole celebration was a 48-hour marathon. Nobody slowed down for even a moment and it was just like any other Punjabi wedding.

What do you hope would the couple and the guests take back from the photographs?

The theme of the wedding was very fresh with the smell of mogra in the air throughout. I wish that when the couple look back at these photos, they still smell the freshness.

The type of pictures and the idea?

Usually, at weddings you receive a detailed brief by the happy couple about the kind of pictures they want, the dresses they are wearing and the urge to make everyone look thin. In this wedding, there were zero requests. They trusted our style and didn’t try to mould us according to their needs. There was an unsaid chemistry everytime we were shooting them or they were around and it didn’t feel like we were invading their space. They completely forgot we were there. I felt like a photojournalist after a long time.

How are the memories documented?

There are pictures which are timeless and then there are gimmicks. Gimmicks catch attention and are used as marketing tools. I feel pictures are like feathers that you pass on to the future generation. Twenty years from now, when Sonam and Anand’s children look at the pictures, what would interest them and what they would like to look at was the idea in our minds when we were clicking away. Sonam is well aware of the angles and the different cameras but it was astonishing to know that Anand was all about being understated.

There were various themes around the rituals. Like the Mehendi had a white theme, the wedding had pink theme…how did you work on tonalities?

We did a run through with our lightning technicians before the event to allow us to click the white on white images without making it look jarring or gaudy. We didn’t want too many flashes going simultaneously to prevent it from looking like a paparazzi affair. The wedding pictures are very light in their tones and pastely.

The journey of the photographer?

Imagine walking into the Mehendi where the bride meets you and hugs and the groom does the same. It instantly makes you feel like you are at a friend’s wedding. With everyone, be it the DJ, wedding planner or the vendors — they made sure everyone was comfortable and relaxed. There was so much warmth that vendors were on the dance floor serving appetisers and at the same time, their feet were tapping to the beats of the groovy music. The happy vibes were in the air.

How did they zero down on you as the photographer?

We had done a few high profile events. Rhea played a pivotal role in choosing us along with Sunita, Sonam’s mother. Both of them have a very keen eye with artistic minds. Sunita Kapoor, as we all know, has a very refined taste. Somewhere, our style matched their taste.

Weddings are a very personal affair as you are in someone’s emotional space and physically very close to them on their big day. Hence, it was important that they feel the vibes that you carry and vice-versa. We never felt out of place.

Sonam as a bride?

If you see any of the movies with Sonam as the actress, there is a girl next door giggle where she covers her face with her hand. I observed her do that for the very first time during the Mehendi ceremony and I understood that this is her personality. It is very rare that you find someone being comfortable in their own skin at a wedding touted to be the wedding-of-the-year. Most brides and grooms would have a game face on but these two were just blissfully happy.

Anand as a groom?

The first time I met Anand, he told me that I look sharp and greeted me with a hug. At a wedding, it is difficult to keep a tab on everybody but they knew everyone. And then we had a conversation about basketball, one of my favourite sports. This wasn’t a facade, it was something that was there throughout the celebration.

Challenges and obstacles?

We had an instant edit team on standby as we knew we would need pictures that were to be released to the media. They weren’t fussy about the pictures at all. There was zero usage of photoshop. The Anand Karaj ceremony was a challenge as it was a silent ceremony. We had to be practically invisible and the choice of equipment and the lens were basically the ones used for sports photography. With Sony cameras, we could shoot at a good speed and be totally silent. There was no movement of the photographers as well.

One obstacle was keeping up with Bollywood on the last night. Salman Khan would not stop singing and Shahrukh Khan would not stop dancing. At 4:30, they were on stage and going about it like there was no tomorrow. Then, there was Ranveer Singh with a whole different level of energy. After the wedding got over, during the lunch, there was a band playing Bollywood numbers in a slightly fusion way. Arjun and Ranveer are such stand-up comedians that they decided to do a performance and retrieved the Maskalli song from somewhere. They were two jokers but nobody cared and everyone was laughing uncontrollably.

Writer: Ramya Palisetty

Courtesy: The Pioneer

Bringing the works of contemporary artists to the front – all thanks to the songs of the Uncaged Bird at NGMA.

Songs of the Uncaged Bird is a show that traces not just about the contribution of women in contemporary Indian art, it  is a tribute to women artists in the nation,” says Adwaita Gadanayak, Director-General NGMA Delhi, who has put together an empowering collection for the first time under one roof. “When you look at the sculptures of Meera Mukherjee, you realise that she was setting a foundation for contemporary art practices. I also found brilliant works of Leela Mukherjee and Uma Siddhanta from Bengal,” he adds.

In the monumental maze-like rooms of the old building at Jaipur House in Delhi, the mélange of 66 works that celebrates the women artists of the nation,  Songs of the Uncaged Bird holds within it infinite stories. One has to begin with the avant garde artist who pioneered modernism in the early 20th century, Amrita Shergil. Celebrating her achievements and contribution to modern Indian art, the Central Government recognised her as a national treasure artist in 1976. The majority of Shergill’s works are at the National Gallery of Modern Art in New Delhi and these are among the 172 documented works from the artist’s oeuvre. It is, therefore, a historic moment to look at her three works here in this majestic collection.

Sculptural richness

Gadanayak mention of Meera Mukherjee aptly shows that she is both worthy of scrutiny as well as intense admiration. The two sculptures here are inversely proportional in height and their dimensions affirm the brilliance and intellectual superiority that she enjoyed in the language of her creations.

The large sculpture Spirit of Work and the small sculpture both exemplify resonance personified. Mukerjee created works that embody the power of pathos and the beauty within India’s humblest workers — the tribals whom she extolled as extraordinary beings of gravitas. These two works portray the brilliance of Mukherjee and exemplify the poetic cadences that are distilled in the ideation of composition and expressionist idioms. Both these works bring back the words of critic Maitrayi Chatterjee when she wrote: “Passion goaded her creativity and expressed itself in her work, which for her was worship. She exemplified the Keatsian concept, ‘the poetry of the earth is never dead.’” Among the many sculptures on view are the brilliance of Laitka Katt, Rita Dutta, Mrinalini Mukherjee, Leela Mukherjee, Pilloo Poochkan Wala, Shirin Jalvirjee and Uma Siddhanta.

Poochkanwale’s Teeming Millions is evocative. Shirin Jalvirjee’s portrait of Win min Than, the Burmese actress, is an expression of calm serenity. Leela Mukherjee’s Dancer is a minimalist rendition of graceful lines and balance — if the rough rough-hewn edges tell us about simplicity, it is her pot form that adds to the brilliance of composition and the fragility of the life lived.

Sculptor Rita Dutta’s Ganesh Jamai is a statement that extols the richness and strength of India’s religious and mythic traditions. The essence of expression in organic sensibilities comes to the fore in Uma Siddhanta leafed car called Of Mortality an Eternity. Siddhanta was the pupil of Prodosh Dasgupta and this work exudes a love for nature as well as the gravitas of conception when you see that an object such as a car can be translated into the leaves and textures of the botanical kingdom. Sidhanta’s sculpture was the mascot for the invitation card that celebrated 63 years of the founding of the NGMA last year.

Caur and Menon

Among paintings, there are two gems in Anjolie Ela Menon’s Mata Ji, a singular portrait in shades of ochre and Arpana Caur’s surreal Dharti. Caur is feminine and feminist in its perspective, with portraits of women placed in a contemporary urban context. The erotic is downplayed in favour of the sturdy: Gayatri Sinha states that in her paintings, “There is no hint of an expressive sexuality; woman and nature are both symbiotically tied in a circle of perceived threat and uncertain renewal.” The other major concerns in her work, include time, life and death, the environment and the violence of man on man (like Hiroshima, the Partition of India, and the 1984 massacre of the Sikhs). She has created several large non-commercial murals on subjects relating to the environment in Delhi, Bangalore and Hamburg. Caur’s work responds to the surroundings and events of her life, from the crowded Patel Nagar of her childhood to events such as the rape of Maya Tyagi and the widows of the Chasnala mining disaster.

Writer: Uma Nair

Courtesy: The Pioneer

Ramya Palisetty, while discussing Artist Biswajit Das’ paintings says that his art holds up a mirror to the dual nature of groups as well as individuals.

A painting with a woman sitting on a throne, a parrot carrying a scroll between its teeth surrounded by five blind women sitting and in the corner, there is Ravana. The painting is a depiction of the status of women since Ramayana and Mahabharata. Though the society is changing but the position of women in the hierarchy remains the same. Even today, a woman can be a scholar studying her PhD or working in an MNC earning well but, at the end of the day, her mother-in-law still expects her to cook and serve the family.

In another artwork, one can see a snake charmer, Mughal soldiers on horses who are fighting and an elephant with a lady doing gymnastics. As a society, we still enjoy women being shown as objects of entertainment. In the same painting, Gandhi is walking out which depicts that if he was alive today, he wouldn’t be happy with the situation. Though he led the country to independence but the country’s youth hasn’t done anything worthy with it.

Biswajit Das is an artist who displays his internal emotions on the canvas. In today’s times, he feels that we see an incident occuring right in front of our eyes but we do not say or do anything. The political parties try to find associations with religion, promote casteism and religion for elections. “As human beings, I see my fellow mates as a blank slate without any religion and if we do not stop labelling others, we will never progress as a society.” The exhibition is named Indian Circus and the artist has worked on this particular series for the past seven years.

Das hasn’t done any shows or exhibitions, before this, as he wanted to focus on his work. As a painter, he feels that everything that is happening around us is a circus. “Though I display the circumstances but it is for the audience to decide whether it is good or bad.”

Based on current scenario, the exhibition captures Das’ experiences, realisations and childhood memories. He has used icons and symbols to display his thoughts. The idea is to tell a story through the paintings.

India represents classical paradoxes in the way our society functions. The artist feels that if you have money, you can get anything today. “Even if you have no manners, etiquette or proper dressing sense, you are given a status quotient if you have enough money. Everyone is eager to be your friend, ask you for help and want you to solve their problems. Basically, if one has money, s/he has the power to dominate others.”

Dualities are present everywhere and the artist has tried to capture the versatile dualities that are ever-present in our society. “Since my childhood, I have seen Maa Kali and Mother Teresa who are opposite to each other and I was unable to decide who I should believe in. As children, our brains are not developed, so our mothers are our role models. My mother worshipped Kali everyday. As I grew up, I started reading about Mother Teresa and her contribution to the society. The same can be said about Gandhi and Netaji. Both had ideologies that were contradictory to each other which confuses an individual. The belief system keeps shifting and a person is unable to decide who should be believed.”

In a fractured society, Das is inspired to create art because he feels it is his responsibility as an artist to express his concerns about the changing society. “Painting is my medium to voice out my opinions, my realisations and thoughts. I can’t stand in front of everyone and give a speech that would unite people to fight a war like a politician or a leader. If I can contribute something towards the society, it will be through my paintings.”

He has decided that he will continue to do this show in various cities even though it might take him some time as he doesn’t have any tie-ups with art galleries. For this series, he has used acrylics with pastel colours like green, yellow and blue. Earlier, he worked with oil, pencils and a whole lot of different media.

He has never been one to follow rules. As a child, he was pretty clear about one thing. “If I can secure my finances, I can paint whatever I want, the way I want. Today, I work as a graphic designer to keep myself afloat and I don’t have to depend on anyone.” He has always dreamt of making his own identity with his paintings so he could create his own space in the pages of history. “My goal has never been to earn money but to create a name for myself.”

Writer: Ramya Palisetty

Courtesy: The Pioneer

One of the fluid identities, Designer Neeta Lulla, has now come up with her new inventions and latest designs at her newly launched store in Delhi, addressed by Team Viva.

Designer Neeta Lulla doesn’t bother about the labels that get stuck on her and just goes with the flow. She has done it all, from costumes to wedding garments, pret to couture, and taken each task assigned to her as a challenge. So she chooses not to define herself or her design discipline. “From my school days, I have always gone with the flow and somehow it has worked. I have never sat down to make notes or planned my day from point A to point B. I have juggled with designing clothes for multiple films, styling magazine shoots, building a label, showcasing collections and spending time with the family. There is no hard and fast rule when you are multi-tasking. You just need to prioritise at that point of time and see to it that you finish the task.” The designer was in the city for her flagship store launch in DLF Emporio.

What are your expectations from Delhiites once you open your store here?

I have a lot of clients from Delhi who fly down to Mumbai to buy my outfits. With the kind of clothes and the work I am bringing in, I am hoping for great sales. There is sensuality in the latest range. There are vintage colours with silver and foam.

What will be your pitch in the crowded designer retail space in Delhi?

I feel my products will speak for themselves. If I am not doing well, I am to blame and may be I have not been up to the mark. But I have always believed and come up fairly because in the end, the product speaks. I think that is the loudest one can shout.
Apart from that, one needs to keep reinventing constantly. In that sense I am not a consistent designer. But some of my high points have been fluidity of forms and silhouettes, colour accents of the Renaissance and the subtle blend of Indian and contemporary. Last year, I had focussed more on heritage and played with Kanjeevaram saris. This season has Edwardian elements with pretty butterflies which would make one wonder if this is Neeta Lulla. I like to keep surprising myself, given the short attention span my buyers have. As a creative person too, I get bored with doing the same thing over and over again. That is my design philosophy.

Your meticulous research and knowledge of fabric are considered to be one of the reasons why you are sought after for period films. Do you bring that to your contemporary lines as well?

I have studied fashion, so I do extensive research on fabric and silhouettes. I have been teaching fashion for the past 26 years. But filmmakers get drawn by my ability to create a look which is conversive and in sync with the adjectives of the contemporary audience. For example, I had to create a brocade look. Instead of opting for brocades or pure silk, because my DOP was using natural light, I had to create something that looked rich but at the same time did not scream texture. Thus a lot of work was done on mul with embroidery sections created on it. We needed to walk that thin line.

Do you feel India is going through a revival period in fashion, bringing back our age-old textiles like Jamdani?

I think we are quite tradition-bound. It is just that social media has widely propagated that consciousness. There is such a strength in our great artisans and heritage of fabric, colours, and design, we can create a global movement.

How do you feel fashion designers can popularise khadi among a younger audience since it has the potential to employ the largest number of people in rural India?

I think khadi is the essence of our country and I have begun to use it even while styling for films. In the Kangana Ranaut-starrer Manikarnika, there is a whole segment where all the characters are dressed in khadi.

How does knowing the back stories of characters, their behaviour and where they are coming from help you in designing costumes?

It is a process that even I am unaware of. It is just an instinct. Once I get the story, I read the script about four times at length and jot down some takeaways of the character. A kind of colour may be shouts out in my head, a fabric, a fluidity of form. Apart from that, what also works is the careful research I do depending on what era it is they are talking about, what kind of trade happened around that time and between which cities or countries, the merchant boats that came in… It is a long and rigorous process. Manikarnika took me six to eight months. You have to be very careful about how you utilise colours while depicting a negative or positive character.

How different is it being a fashion designer from a costume designer?

As a costume designer, you create an entire look and lifestyle for the character that exists in your mind. The reason we call it costume is because it requires a lot of detailing to enhance figure types to create a character that you probably have heard about. As a fashion designer, the consumer is a flesh and blood filled out character and you fit into his/her requirements.

Do you feel fashion as we know it will see a downfall in the generation we are living in today?

There is a tremendous knowledge about what is going on with everybody and today, at the drop of a hat, you can go on to social media and see what all other designers are doing. Then the presence of brands has spoilt us with choices. And with so many online sites that tell you what to wear, how to style yourself and how to look good, people have started making their personal style statement. However, this was not the case earlier where one looked at a fashion magazine for inspiration. Fashion is becoming generic, there is a glut and I would say, therefore, that fashion is static. We are trying to play it safe thinking we should play to the gallery and ensure sales. We are scared to invent and we are getting scared to take chances with designs and to experiment.

Sometimes when you are experimenting, people come up with queries, get judgemental about your work and don’t even find it to be fashionable. But as a creator, we have to take that risk.

Tell us something about your fashion school?

I did launch the school but now I am not connected with it. With the advent of online education, I like channelising budding designers in the right direction in any way possible. I enjoy tapping into the imagination and creativity of young minds.

Writer: Team Viva
Courtesy: The Pioneer

Manish Malhotra this time on his ramp show has introduced ‘Chikankari’ in his new designer wears with a little twist to give ultra-modern look to the western silhouette, such as on lehenga. During the eve, he takes out time for Team Viva and explained that how handloom is our best lifestyle choice.
Bollywood’s favourite designer Manish Malhotra has been known to innovate within his cultural and traditional roots and specialises in soft, flowing fabrics with a feminine allure. Having worked with weavers and karigars for mainstreaming hand-crafted embellishments, he adopted the sewing and tailoring centre at Mijwan, a collaborative effort with Shabana Azmi and Namrata Goyal, who set up a trust to promote the region’s chikankari work. Every year since then, he has been hosting a fashion walk in Mumbai, hoping celebrity endorsement will draw attention to a textile heritage. This year’s edition will feature Ranbir Kapoor and Deepika Padukone as the show stoppers. The designer took time out from his rehearsals to throw some light on his collection. Excerpts:

How did you begin your collaboration with Mijwan, a village tucked away in Azamgarh, UP?

When I visited Mijwan in 2010, I was impressed by the fashion show that the girls from the Kaifi Azmi school put up for us. It was a moment of immense pride, as it showed us how far these women have come. My association with Mijwan Welfare Society has resulted in six beautiful collections using chikankari, all of which have been widely appreciated. Traditionally, this craft has been synonymous with easy and everyday fashion. When I started working with Mijwan, I wanted to push the boundaries — both for the label as well as the craft, by translating chikankari into the language of couture. This has been our biggest challenge and greatest achievement. From 40 women when we started in 2010, to over 400 today, the effort keeps getting stronger every year.

How do you intend to give your design narrative new expressions this year?

Following the label’s endeavour to translate traditional craft into effortless couture, this year the Mijwan collection will be more contemporary and glamorous.The craft of chikankari forms the very foundation — it looks as good on a Western silhouette as it does on a lehenga. The collection will relive the vintage charm of a bygone era with sheer lightweight fabrics in pastel hues, showcasing the intricate artistry of chikan embroidery. Along with lehengas, we will also be adding opulent, T-length skirts, sheer long and short capes, dresses, elaborately embroidered shoes and fringe clutches. We will be highlighting each silhouette with a burst of pearl embroidery, along with details in feather and fringes.

What are your thoughts about the designers who are currently doing costumes for films. As someone who began his journey from there, what kind of changes have you seen over the years?

I feel reinventing goes hand in hand with evolution. While I love cinema and will always be grateful for the opportunities my work in films have given me, I am a person who craves change. It is not from lack of interest but what growth would there be if everything was status quo. I love the turn both industries — fashion and film — have taken today. Back in the day, people were not exposed to emerging trends and style sensibilities. Choice of clothing was much simpler and access was minimal. But with the world becoming smaller, the current environment is seeing a fundamental transformation on how we create, consume and communicate fashion. I attribute this to the emerging technological advancements and infusion of modernity with tradition. As a result, we have a cornucopia of differently styled looks and that’s exactly what my label stands for.

People are becoming vocal with their opinions on craftsmanship as well as designs we present through fashion shows, cinema or even the global influencers we dress. Both Indian and international designers have played a significant role in promoting traditional crafts through their spectacular design vision and innovative creations — taking the textile conversation from grassroots to glamour across a wider audience.

You have said in an interview that handloom is already positioned as a brand, why do you think that is? And how can handloom be incorporated in ceremonial wear?

Handloom has taken centre stage in the Indian fashion industry today. The growing impact of social media has enabled consumers to contribute to this conscious effort and share the need for sustaining and reviving our heritage textiles and crafts across a global platform. My designs are a tribute to the quintessential Indian aesthetic as seen through a contemporary lens. The present generation is extremely well-travelled and focussed on ethics and is going back to its roots to opt for more traditional fabrics. While earlier, this was considered very intellectual or ‘artsy’, today sustainability is back to becoming a lifestyle choice. Needless to say, these crafts are finding form in both everyday wardrobes as well as formal and traditional outfits. From saris crafted in handwoven textiles to details by way of hand-embroidery and embellishment techniques, our handlooms and handicrafts have a very versatile and global appeal.

Your vision is to develop cotton couture now. Can you elaborate on it? What advice would you give designers who would want to make a shift towards sustainable fashion?

Our country is in the midst of a sustainable fashion movement. Many fashion brands, retailers and media platforms are waking up to this need of the hour. The direction of my label is representative of a new movement in the world of Indian fashion where the aesthetic mixes the functional with the beautiful; is more comfort-driven and highly wearable. My objective is to innovate while not forgetting the roots of our culture and traditions.

How do you re-interpret your designs and style to appeal to the younger and international audience?

My styles have always been opulent, modern and unapologetically glamorous. The Manish Malhotra aesthetic accentuates the wearer’s personality and this is the foundation of every collection that we create. The younger generation is evolved and aware today. Sharp Western cuts highlight traditional outfits; women are adorning crop tops and off-shoulder cut-out capes and blouses with lehengas and pants to embrace utility and comfort in style. I attribute this to the fact of blending the old with the new. Individuality is in vogue and people are more receptive to dressing according to their personality and fusing trends and global influences in fashion.

The aim of Mijwan Welfare Society is to empower women in India’s rural areas with education and increased employment opportunities. According to you, how important is it to empower women in the present generation?

My work with Mijwan is extremely gratifying — personally and creatively. The cause is close to my heart as I believe that empowered women form the foundation of a progressive society. And this starts with education. On the fashion front, the cluster is a microcosm of what India has to offer to the world. It’s a tremendous collaborative effort to enable these women to earn their livelihood with sheer talent, helping them negotiate their position in a traditional, patriarchal society. This is not an act of charity, we need them as much as they need us. Also, it’s the least we can do for the sustainable revival of the craft.

The society started with 40 women in a single centre in 2010. Today, there are 10 centres with a workforce of 400 women. How do you rate the progress?

This year, I finish nine years of my journey with the Mijwan Welfare Society. In 2010, I adopted the sewing and tailoring centre which today operates with the dual objective of reviving the timeless craft of chikan embroidery as well as empowering local women. Working with Mijwan has made me a teacher, listener and student, all at the same time. It is immensely encouraging to see an effort that started as a passion project with 40 women spearheading it into a movement that has grown tenfold.

To have an education and the right to productively shape one’s life creates the foundation for a progressive society. I am proud to be part of the effort that encourages this vociferously yet eloquently. And the sentiment is the same for all the women who are part of this; their lives have changed for the better and they see the revival of this lost embroidery technique in a new light.

We have a long history of warp and weft design aesthetics. Do you feel India is going through a revival period, bringing back our age old textiles like chikankari embroidery.

India has  a rich legacy of culture and textiles and with my label, we work to re-interpret crafts through the language of couture. The art of chikankari originated in the 17th-century courts of the Nawabs yet remains uniquely exquisite and much desired amongst its patrons today. Given the global resonance that the Manish Malhotra label has today, I am delighted to share the versatility of our handlooms and handicrafts for an international consumer base. It has been a great direction for us — one that we are proud to have taken. Bollywood’s favourite designer Manish Malhotra has been known to innovate within his cultural and traditional roots and specialises in soft, flowing fabrics with a feminine allure. Having worked with weavers and karigars for mainstreaming hand-crafted embellishments, he adopted the sewing and tailoring centre at Mijwan, a collaborative effort with Shabana Azmi and Namrata Goyal, who set up a trust to promote the region’s chikankari work. Every year since then, he has been hosting a fashion walk in Mumbai, hoping celebrity endorsement will draw attention to a textile heritage. This year’s edition will feature Ranbir Kapoor and Deepika Padukone as the show stoppers. The designer took time out from his rehearsals to throw some light on his collection.

How did you begin your collaboration with Mijwan, a village tucked away in Azamgarh, UP?

When I visited Mijwan in 2010, I was impressed by the fashion show that the girls from the Kaifi Azmi school put up for us. It was a moment of immense pride, as it showed us how far these women have come. My association with Mijwan Welfare Society has resulted in six beautiful collections using chikankari, all of which have been widely appreciated. Traditionally, this craft has been synonymous with easy and everyday fashion. When I started working with Mijwan, I wanted to push the boundaries — both for the label as well as the craft, by translating chikankari into the language of couture. This has been our biggest challenge and greatest achievement. From 40 women when we started in 2010, to over 400 today, the effort keeps getting stronger every year.

How do you intend to give your design narrative new expressions this year?

Following the label’s endeavour to translate traditional craft into effortless couture, this year the Mijwan collection will be more contemporary and glamorous.The craft of chikankari forms the very foundation — it looks as good on a Western silhouette as it does on a lehenga. The collection will relive the vintage charm of a bygone era with sheer lightweight fabrics in pastel hues, showcasing the intricate artistry of chikan embroidery. Along with lehengas, we will also be adding opulent, T-length skirts, sheer long and short capes, dresses, elaborately embroidered shoes and fringe clutches. We will be highlighting each silhouette with a burst of pearl embroidery, along with details in feather and fringes.

What are your thoughts about the designers who are currently doing costumes for films. As someone who began his journey from there, what kind of changes have you seen over the years?

I feel reinventing goes hand in hand with evolution. While I love cinema and will always be grateful for the opportunities my work in films have given me, I am a person who craves change. It is not from lack of interest but what growth would there be if everything was status quo. I love the turn both industries — fashion and film — have taken today. Back in the day, people were not exposed to emerging trends and style sensibilities. Choice of clothing was much simpler and access was minimal. But with the world becoming smaller, the current environment is seeing a fundamental transformation on how we create, consume and communicate fashion. I attribute this to the emerging technological advancements and infusion of modernity with tradition. As a result, we have a cornucopia of differently styled looks and that’s exactly what my label stands for.

People are becoming vocal with their opinions on craftsmanship as well as designs we present through fashion shows, cinema or even the global influencers we dress. Both Indian and international designers have played a significant role in promoting traditional crafts through their spectacular design vision and innovative creations — taking the textile conversation from grassroots to glamour across a wider audience.

You have said in an interview that handloom is already positioned as a brand, why do you think that is? And how can handloom be incorporated in ceremonial wear?

Handloom has taken centre stage in the Indian fashion industry today. The growing impact of social media has enabled consumers to contribute to this conscious effort and share the need for sustaining and reviving our heritage textiles and crafts across a global platform. My designs are a tribute to the quintessential Indian aesthetic as seen through a contemporary lens. The present generation is extremely well-travelled and focussed on ethics and is going back to its roots to opt for more traditional fabrics. While earlier, this was considered very intellectual or ‘artsy’, today sustainability is back to becoming a lifestyle choice. Needless to say, these crafts are finding form in both everyday wardrobes as well as formal and traditional outfits. From saris crafted in handwoven textiles to details by way of hand-embroidery and embellishment techniques, our handlooms and handicrafts have a very versatile and global appeal.

Your vision is to develop cotton couture now. Can you elaborate on it? What advice would you give designers who would want to make a shift towards sustainable fashion?

Our country is in the midst of a sustainable fashion movement. Many fashion brands, retailers and media platforms are waking up to this need of the hour. The direction of my label is representative of a new movement in the world of Indian fashion where the aesthetic mixes the functional with the beautiful; is more comfort-driven and highly wearable. My objective is to innovate while not forgetting the roots of our culture and traditions.

How do you re-interpret your designs and style to appeal to the younger and international audience?

My styles have always been opulent, modern and unapologetically glamorous. The Manish Malhotra aesthetic accentuates the wearer’s personality and this is the foundation of every collection that we create. The younger generation is evolved and aware today. Sharp Western cuts highlight traditional outfits; women are adorning crop tops and off-shoulder cut-out capes and blouses with lehengas and pants to embrace utility and comfort in style. I attribute this to the fact of blending the old with the new. Individuality is in vogue and people are more receptive to dressing according to their personality and fusing trends and global influences in fashion.

The aim of Mijwan Welfare Society is to empower women in India’s rural areas with education and increased employment opportunities. According to you, how important is it to empower women in the present generation?

My work with Mijwan is extremely gratifying — personally and creatively. The cause is close to my heart as I believe that empowered women form the foundation of a progressive society. And this starts with education. On the fashion front, the cluster is a microcosm of what India has to offer to the world. It’s a tremendous collaborative effort to enable these women to earn their livelihood with sheer talent, helping them negotiate their position in a traditional, patriarchal society. This is not an act of charity, we need them as much as they need us. Also, it’s the least we can do for the sustainable revival of the craft.

The society started with 40 women in a single centre in 2010. Today, there are 10 centres with a workforce of 400 women. How do you rate the progress?

This year, I finish nine years of my journey with the Mijwan Welfare Society. In 2010, I adopted the sewing and tailoring centre which today operates with the dual objective of reviving the timeless craft of chikan embroidery as well as empowering local women. Working with Mijwan has made me a teacher, listener and student, all at the same time. It is immensely encouraging to see an effort that started as a passion project with 40 women spearheading it into a movement that has grown tenfold.

To have an education and the right to productively shape one’s life creates the foundation for a progressive society. I am proud to be part of the effort that encourages this vociferously yet eloquently. And the sentiment is the same for all the women who are part of this; their lives have changed for the better and they see the revival of this lost embroidery technique in a new light.

We have a long history of warp and weft design aesthetics. Do you feel India is going through a revival period, bringing back our age old textiles like chikankari embroidery.

India has  a rich legacy of culture and textiles and with my label, we work to re-interpret crafts through the language of couture. The art of chikankari originated in the 17th-century courts of the Nawabs yet remains uniquely exquisite and much desired amongst its patrons today. Given the global resonance that the Manish Malhotra label has today, I am delighted to share the versatility of our handlooms and handicrafts for an international consumer base. It has been a great direction for us-one that we are proud to have taken.

Writer: Team Viva

Courtesy: The Pioneer

Opening up to Kritika Dua, exceptional fashion designer, Ritu Beri, talked about the potential of young designers, growth in the fashion industry, and adaptation of handloom used to produce magnificent designs.

Khadi has been a prominent part of the collections of veteran designer Ritu Beri’s for the last two to three years. Be it conceptualising and designing Vichar Vastra, her first khadi line for KVIC to her latest, A Miscellany in Khadi, her spring/summer 2018 collection that presents the organic fabric in an avant-garde avatar. The collection has indo-western ensembles, a range encompassing both evening wear with a dose of glamour and casual wear which are fuss free, easy to wear and yet stylish. At Ritu Beri Couture, in the serene lanes of Sainik Farm the sheer variety is mind blowing.

There was a red short hemline anarkali with beaded embroidery on the border and paired with a salwar in the same hue. An interesting combination of fuschia pink and parrot green straight kurti with golden embroidery around the neckline along with a sharara was seen. Though some might find the bright combination a bit jarring. The evening wear section had anarkalis (some with slits) with pajami and sharara and a range of colours to opt from — pink, blue, white and shades of red. The casual wear was demure — Indo-western shirt style kurtis with side split and embellished with Indian motifs and flower patchwork in white, maroon, yellow, orange and black. Some even had a sailor vibe to it with patches containing Buoy Yacht in a cool blue shade. What weaved these two segments together was the presence of pockets which we loved! The designer herself was seen sporting the Indo-western shirt style kurti with a side split and a patchwork of her label near the collar which she beautifully paired with wide-legged jeans with frayed hems and accessorize it with pearl earrings and necklace.

How can Indian designers model a concept towards tradition?

India needs to model a concept towards tradition and still be able to cater to what the world demands. Our talented craftsmen, designers and artisans should stop aping the west and develop corporate houses, establish strong brand identities by focusing on niche aspects of Indian culture. A case in point is that of several Japanese designers who have established successful international brand names while respecting the spirit of the Japanese culture in their design. This has enabled them to carve out a niche for themselves in the competitive international world.

India is a real treasure trove of talent, creativity, ideas, passion design, artisans, and craftsmen. It is all about being who we are but definitely respecting the influences of a global presence

When and how did you decide to create an exclusive khadi collection?

Every designer needs a playground to project one’s state of creativity and realise a hyperbolic dream. I indulge in Khadi, which is a luxurious fabric handwoven with hand-spun yarns. A truly organic fabric, I launched my brand 25 years ago with Khadi and have been rigorously using it since last 2-3 years. As Khadi is made with pure cotton or silk yarns, it soothes the skin as it is skin friendly, making it the choice for me.

Khadi production doesn’t leave behind any harmful waste — it is thus the most eco-friendly fabric ever. Khadi is ‘green’, ‘sustainable’, ‘eco-friendly’, ‘zero waste’, ‘biodegradable’, ‘zero carbon footprint’. Embrace Khadi today, has been my motto as a contribution to our planet!

What are the common myths about khadi that need to be debunked?

khadi is only for the summers: Khadi is called an air-conditioned fabric as it is cool in summers and warm in winters.

khadi is old fashioned and only for politicians: Khadi creates a perfect harmony between tradition and modernity. A versatile fabric, it can be used for both western and Indian ensembles.

khadi is high-maintenance: Khadi can easily be hand washed and is durable. Just use a mild detergent to wash and air dry.  

khadi is only cotton: Khadi also comes in silk and wool blends and the difference between them is apparent in the texture.

khadi is coarse and crushes easily:  Khadi can be very fine, super soft and comfortable. It is considered a luxurious fabric, globally. It crushes not more than any other cotton fabric and looks remarkably fresh almost all day.

khadi was made by mahatma gandhi: Khadi and its existence dates back to 12th century. Gandhi ji advocated the use of the fabric to bring a sense of self-reliance and freedom in the country.  

khadi is very expensive: Khadi comes in different varieties and many price ranges. It can be very affordable or expensive — depending on the quality. There is something for every pocket.

khadi is only for day wear: Khadi can create a statement even at night, if tastefully designed and accessorised.

Among all the aspiring young designers, who according to you, has the potential to make it big?

This elegant fabric, Khadi, has found its place in the kitty of designers like Rahul Mishra, Neeru Kumar, Wendell Rodricks and many others who have been experimenting with the fabric in many ways. They have been showcasing beautiful and versatile collections in Khadi over years, thus making it more approachable.

Why should more people be encouraged to adopt handloom and more designers should be encouraged to experiment with it?

To opt for Khadi, therefore, is to emphasise one’s commitment to the spirit of India over appearance, form, character and even over clothing.

Prime Minister Narendra Modi has made a fervent appeal to every Indian to buy khadi and promote the khadi culture, globally. He propagates the concept of khadi as a philosophy, he quoted Mahatma Gandhi who said, “Khadi kewal vastra nahi, ek vichar hai.” (Khadi is not a mere fabric but a serious thought, a concept.)

Khadi, for me, is an effective and powerful symbol of the futility of ‘western imitation’ and there is a need for a revival of local textiles. This gets me back to the idea of ‘khadi’ as more than just a mere cloth. The plus points of Khadi have never been projected well. We are trying to spread awareness of its benefits through recently conceived campaigns.

What are you passionate about apart from fashion?

I am inspired by life in general! I believe that every new day comes with new ideas, aspirations, and dreams.I am a dreamer I enjoy the impossible situation, I put all my effort to bring challenges to reality. My work is greatly influenced by my personal state of mind. I love to explore new possibilities and work in an inspired mode while mostly designing to satisfy myself.

My passion and my dreams drove me to become an entrepreneur. I see myself only as a creative person. As a creative person in business, I follow my own unique creative ways of nurturing my ambition.

Between 1990 and today, what are the big changes you’ve witnessed in the fashion scene in India, and what are the changes you are glad to have happened?

The Indian fashion industry has undergone a tremendous metamorphosis since I joined in 1990. When I started, fashion was only a diversion for the small elite. It was not considered serious business. “Ritual dressing”, was the order of the day, one dressed up for a wedding or a festival.

The Indian fashion scene is seeing interesting times. The economy is opening up and we are making a mark in the international scenario.

The purchasing power of the Indian consumers has indeed escalated, boosted by a healthy economic growth. For them, wants have now become necessities. The marketing pitch is further enhanced by imagery, events, packaging which helps in identification of a real brand.

Today people are more conscious about what they wear. They want to look their best at all times, which is fantastic for us designers.

Our designers are constantly showcasing in various fashion capitals of the world. Indian fashion is spotted on the fashionable ramps of the world and is a huge source of inspiration globally.

The Indian fashion industry is now considered a serious industry even though it is only over 25 years old; we have achieved a lot in this short time.The future and the growth of the fashion industry depends on its outreach and professionalism of the industry and both of which are happening.

What is that one style rule that you vouch for?

Retaining the traditional element of our culture, my collections generally has a modern twist reflecting a global version of the Indian exoticism. My style is intrinsically feminine — romantic with flamboyance. For me, it’s about enhancing a woman’s individuality and persona.

The silhouettes I design are usually a mix of our rich traditional costumes with an exclusive and contemporary look. I enjoy designing clothes that are grand. I design for the fabulous and glamorous woman, the Rock n Roll Woman! My mantra, from the very beginning, is essentially an eclectic blend of East and West.

You have travelled around the world, is there any particular country that scores high on the fashion quotient for you?

Mine is a story of a young Indian fashion designer who dreamt and aspired to conquer the huge global fashion world in Paris. My obsession with Paris and the desire to go beyond the usual is what ventured me on this crazy journey. The city represents the French Capital’s illustrious past. It also stands for the grandest there is in the world of luxury.

For me, it all began with Francois Lesage. Even before I knew him, if a genie popped out and offered me one wish, it would be to hear stories of fashion from the past, in Lesage’s words.

One basic fashion trend you swear by?

Embroideries are a passion for me. I believe that they enlighten clothes immensely. My style is intrinsically feminine, romantic with a flamboyant twist. Being an Indian designer, embroideries have always been an integral part of my collections and they have influenced my collections every season.

Writer: Kritika Dua

Courtesy: The Pioneer