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  Loom-ing modernity

Loom-ing modernity

| DIPTI
Published : Mar 21, 2016, 7:18 am IST
Updated : Mar 21, 2016, 7:18 am IST

Handloom is weaving a beautiful new story at the ongoing AIFW A/W 2016.

A model displaya an Anavila creation
 A model displaya an Anavila creation

Handloom is weaving a beautiful new story at the ongoing AIFW A/W 2016. It is spellbinding to witness designers consciously initiating a conversation with well-heeled audiences towards promoting handlooms via collections that evoke and provoke a holistic, sustainable lifestyle. Innovation in silhouettes via textiles is beginning to drive the sustainable fashion agenda forward and exciting things are happening. No longer are sustainability and social responsibility a token extra or cynical marketing ploy. The smartest brands are the ones taking full responsibility for every step of the process, from the supplier to the maker — and in some cases the aftercare of the product too. These designers are interested in quality, never quantity — new retailing is retelling the story of Indian handloom. The trade has changed and handloom has shrugged off its ornamental, rustic look.

“Fashion-forward civilians keep looking backward — they are conservative and conservationists. Textile going mainstream is nothing new; it is the raised awareness among consumers about the country’s heritage that is to be praised,” says designer Anavila who proudly belongs to a breed of fashion designers who believe in putting ethics at the heart of everything they do. “We have a strong textile landscape in terms of silhouettes as well as a handloom language and the world takes inspiration from us; so it was only a matter of a few years that we took ourselves seriously and went back to our strong roots, ” she says and emphasises the rising level of acceptability of Indian weaves in the modern world saying, “It’s the whole mood that’s building up right now, not only in fashion but in every aspect of life itself.”

Designer interest, wearability and affordability have turned it into a chic option. The weaves are now spiked with understated colours, the textures are softer, sexier, the designs minimalistic, and the styles many and myriad: Wrap-around skirts, short-sleeved tops, spaghetti kurtis, reversible jackets — all in handloom weaves.

“We as textile designers cannot make garments that are meant to look only heritage or traditional and ancient,” the designer affirms.

Anavila goes on, “We have to change with time and keep pace with the modern day consumer. What you are witnessing right now is the result of this awareness. We are conscious about what we are putting out on the ramp; we are conscious that the world likes edgy elements and we are conscious that the world loves speaking the language of individuality. The modern day consumer wants to know where the garments are coming from, where they’re being produced, the kind of treatment they go through, the genesis of the fabric, etc. So the expression has to be different and dynamic with every collection. If we want to revive our handlooms and take them forward then we have to interpret them in different ways that are appealing and stylish.”

Talking about working closely with weavers and the challenges she faces while making them work beyond creating saris, she explains, “Hand-weaving is a job at the top of the production tree. Watching the dozen men/women at the looms is mesmerising: they work with extraordinary precision, weaving complex checks and stripes for the modern consumer. And since we work so closely with one another, we speak the same language. The textiles are soft because they are hand-woven and most of the weavers are experts in saris in a single loom. But if you have decided to make a pair of trousers, then the challenge lies within the technical parameters — the execution, not in making them understand the garment. We need to work with them by educating them about how to set their weaves in a way that a modern silhouette is achieved. But they get the hang of it. It is a simple ball game. The process is time consuming, but it is worth it.”

Listening to designer Gaurav Jai Gupta describe a garment in thorough detail is almost like seeing it and touching it for yourself. He fine-tuned his fashion vocabulary as a child, watching items that were bartered to utensil sellers, growing veggies in the backyard and watching his mother stitch old clothes together to recycle them in the best possible way. That childhood awareness of a sustainable or organic lifestyle has certainly contributed to the launch of his own clothing line called Aakaro. “Everything that I learnt, I probably learnt at home — sourcing, quality-check, specifying measurements and fit — and there was a lot to learn. When people talk about us and sustainability, they say that it’s because we hand-weave and we don’t use electricity. For me, it’s more about promoting the idea of making clothes that take a long time to make, and that you keep for a long time. Our over-consumption is the worst thing that’s happening to the planet right now,” he says. Talking about green living and what it means to him, he says, “It’s just the way I choose to live! I’m inspired by nature. So, I consider it my responsibility to preserve and protect my inspiration. I use organic practices in my garden, my home and at our studio because I feel that being conscious of how you affect the world and your surroundings gives you a perspective of appreciation and respect — not taking things for granted and being grateful for what you have, knowing that you have to protect it as well. It makes us all more peaceful and keeps everything balanced. You stay focused on what’s really important. I’ve always been interested in sustainability since I was a student. I have that at the back of my mind. It’s important for me to know where things are coming from and where they’re being produced. It’s part of the business.”

When Gaurav taught himself to weave, it was an attempt to make cloth that didn’t feel like all the other cloth on the high street. If you were going to spend money on an item of clothing, he thought, it should feel different. “I need to do something that makes me feel great and attached to the product, and the customer who’s going to wear my clothes needs to experience the same attachment.” Does he feel that the conversation around sustainable textiles is really going mainstream or does it remain a unique selling point “ I don’t think it has anything to do with having a selling point. It is more like when you touch the fabric, you want to show it to somebody else and say, ‘Touch this.’ It all comes down to that,” he avers.

Lastly, designer duo Hemant and Nandita conclude, “We feel that it is this forward thinking sense of adaptability and acceptance of change that has sustained the textile heritage of our country. In fact, this bold experimentation with textiles is a reflection of the essence of our culture where we straddle the traditional and modern worlds. The evolution of handlooms has not only helped magnify the reach of the design repertoire of our country but has brought about so many innovations that are not only refreshing but also awe-inspiring! It’s incredible how these handlooms and handwoven textiles have transcended time and technological changes and continue to be as relevant today as they were hundreds of years ago. The core aesthetic, design patterns and motifs have, in fact, become such major trends internationally — from ikat to zari — that we here in India should celebrate this with our own modern vision.”

I feel fabulous: Malaika Arora Khan Malaika Arora Khan made a stunning runway entry as the showstopper for designer friend Mandira Wirk. The actress kept mum about her marital status but didn’t dodge the media. Talking about her visit to the capital, Malaika said, “It’s always wonderful to be in Delhi. I am coming here after ages and I love the city’s vibe and culture. It is always fantastic to walk down the runway as well. I feel fabulous.” About her personal style, she added, “I am quite feminine and love wearing feminine outfits. I am also a person who digs the comfort quotient.” She was seen wearing a spaghetti-strapped gown with intricately designed golden thread work.