Indian fashion is being reinvented. There is democratization of design. In past, designs were for the elitist but are now wearable and simple silhouettes.
Indian fashion designers from the 1980s such as Tarun Tahilani (now 62) and JJ Valaya (now 56) have adapted Western couture to Indian sensibility and craftmanship. Tahilani is a Wharton School business graduate and Valaya, a CA. Tahilani set up Ensemble in 1987 in Mumbai and Valaya an eponymous store in 1992 at Sultanpur, Delhi. Much water has flown through the Ganga and the Jamuna since then, and we are on the cusp of another change.
Both these designers gathered like-minded friends — Rohit Khosla, Abu Jani and Sandip Khosla (who costume designed for Umrao Jaan, 1981). There was Anuradha Mafatlal, Anita Shivdasani, Sunita Kapoor and Neil Bieff. They chose a colonial building at Lion’s Gate, Mumbai to showcase about 80 outfits in December 1987. They utilized the services of weavers and embroiders of Mohammed Ali Road. Anarkalis were inspired by Mughal miniatures. French designers thronged there to buy the clothes. These events were closed-door, with no invites sent to buyers.
Valaya was a pioneering batch student of NIFT, New Delhi. He is the founding member of the Fashion Desigh Council of India (FDCI). It was set up in 1998. He is the first to break ice at Paris Haute Couture Week, 2001. He had a solo show at Delhi in early 1990s. He took it to Dubai, Hong Kong, Singapore and London. By 1996, they had a luxury store that went beyond women’s wear and men’s ware. It showcased home decor, furnishings and artefacts. There was an art gallery too and a fine-dining restaurant.
India Couture Week, 2024. Tahilani broke the shackles of elitism by doing a repeat show for those who missed it in the overcrowded hall.
Valaya feels there is no room for resting in the field of fashion. He reset his vision to contemporary trends.
Fashion cannot serve only the rich and elite. It must find a younger voice. Tahilani now experiments with dhoti-saris and button-downed collared cotton shirts. Fashion labels can sustain only if they find a wider market.
There was liberalization in India in the 1990s. It gave full rein to the imagination of designers. Bina Ramani did her first show with cow heads on sequined dresses. Fashion has become a spectacle. It was playfulness. It was frivolous. However, in order to qualify as an industry, it must be more than a culture club.
When Valaya started, menswear stagnated to bandh-galas, sherwani and churidar. There is steady progress towards ready-to-wear and accessories. Social media guides the youngsters. Though technology arrived in fashion design, it brought an element of homogeneity. It is necessary to change the design philosophy.
Tahilani mingled with the Kumbh crowds to get fresh ideas to shape his fashion philosophy. He observed the draping styles of the pilgrims. There were ideas for slip-ons, zip ups and trouser, sari and skirt wears. There are myriads of ways of folding the cloth. In the sameness too, people are distinctive. The villagers of Kutch region too provide a lot of ideas. Valaya travelled along the silk route to get new ideas. He brought the collections inspired by Iran, Turkey and Delhi. Valaya is now controlled and minimalist.
There should be balance between tradition and modernity in fashion. Never commit the sin of bastardizing the design. But it should be blended with the language of the day.
Tahilani says he has evolved a new grammar of fashion design. One has to make a statement by a light and minimal design. Yet, it should be classical and should also go beyond the event.
Corporate tie-ups help you scale up and stay relevant. There should be workshops in the villages. India has just scratched the surface of its vast retail market. There are segments such as pret, luxury, ready-to-wear and mass. Those inspire us to carry on.
Both Tahilani and Valaya do not use showstoppers. They are confident that there are enough takers available, on the ramp and off it for what they design.