1. You have been called the progressive texturist. Tell us more about your love for textures and fabrics that you love to keep experimenting with?
Surface texturing is at the heart of everything we do. We love seeing the unexplored potential of a material – often by breaking them apart and then putting them back together. That’s how we discover our techniques. It’s a time taking process – sometimes it takes years. But it’s very satisfying when I give the go ahead to a textile after a prolonged process of experimentation to understand its fluidity, its structure and its ability to take shapes on human forms. The process of creating Silhouettes kicks in at this stage. Once again, it’s driven by the re-engineered material and its abilities and we don’t force a silhouette on it. I have also experimented with paper, silicone, acrylic, steel, bronze and even brass to just name a few. It always thrills me to approve a textile after many rounds of experiments – which sometimes can take years. The second part is also crucial for us – it involves studying the textiles to understand how it falls and takes shape on human forms. We try different things keeping the comfort and wearability in mind. My pieces are often described as wearable art, so functionality and art are both important to me.
2. You have showcased at the prestigious Victoria & Albert Museum in London. How was the experience? Would you like to recall some interesting incident or anecdote?
Showcasing my reinterpretation of the Patola in leather and my take on Jamdani in silicon at the well renowned Victoria & Albert Museum in London was in itself an extraordinary experience. Seeking complete confidence in my designs and works I awaited the showcase eagerly and had a great time talking about my work and the Indian artistry incorporated in my designs. I think the most memorable moments for me were my interactions with people and hearing their views on my designer.
3. Also tell us about the awards you have won?
Some of my accomplishments include Winning 2 Elle Style awards, 1 Grazia Young Designer award, FICCI Young Achiever award – also having my work showcased at the prestigious Victoria & Albert Museum in London. I have also been featured in Forbes 30 Under 30, BBC, Refinery 29, Huffington Post, Vogue Italia, Elle, Harper’s Bazaar, among others.
4. Your hair thin steel wires sewn together to create a structured yet fluid, yet easy to wear silhouette also made news. How was your experience creating it and what attracted you towards this unique form?
The fluidity and the design delivered from the technique is something that I think really sets it apart and makes it a stand out form of artistry that can collectively bring something of awe factor to one who wears it. The challenge of making it wearable was one of the things that drew my attention and was something I strived to accomplish. The process of constant experimentation to help evolve this steel wire technique into what it is today was an innovative and creative journey for me that burgeoned and left a mark on the fashion industry. Using these forms of mixed media and summoning my proliferation for finding material to bring forth an inventive and discerning passion for design and its many forms was the key to considering this process.
5. You treated cotton in a special Rimzim Dadu technique to almost behave like paper which makes cotton crisp and prevents unfinished edges. Tell us the challenges in creating that and the efforts that went behind making it?
In our signature 3D appliqués we treat the fabric with a special technique to almost behave like paper. So when we cut the fabric into a shape it doesn’t fray (the threads don’t come out and the fabric doesn’t unravel). We then use this paper-like crisp fabric to make our 3D appliqués in floral or other patterns. We first developed this technique a couple of years ago when I wanted to do a fun take on summer florals. Since then it has stuck around as everyone’s favourite. We faced multiple challenges and went through a vast process of trials and errors to create the perfect look as changing a fabrics form and flow is not the easiest technique to master.
6. What are some of your other signature techniques?
Some of my signature techniques apart from steel wire include our signature 3D appliques where cotton is treated in a special Rimzim Dadu technique to almost behave like paper which makes cotton crisp and prevents unfinished edges. Apart from this the centuries-old technique of cord work that dates back to the Mughal era is also part of our portfolio. This lesser known craft has
seen a comeback in the form of contemporary designs in India.
7. Where do you get your inspirations from?
The material has always been my inspiration and my muse. My creative process starts from the point when I get excited about a material. Then we start experimenting with it – breaking it apart and then putting it back together in different ways – to see its hidden potential and then present it in a form that nobody expects.
The deception of fluidity in structure, and structure in fluidity is something that excites me. Making the person try on something in metal and seeing them go “oh I didn’t know it would be so soft and comfortable” is something that drives me to constantly push myself and my muse – the material – further and further. Routine bores me and somehow I am always attracted to the unexpected. It’s good to have a bit of a rebel streak – it pushes me to break norms and conventions. When people describe my work as wearable art, I feel vindicated.
8. How did the collaboration with Faballey come about?
It’s about amalgamating our signature sharp silhouettes with FabAlley’s inclusive and fashion-forward approach. Their ideology of inclusivity is something that resonated the most when it came to creating this collection that would showcase the diversity of our product and create something new & young. It’s exciting to make something for a larger and mainstream audience and make it accessible to them with Faballey which is known to be a quality fashion brand for larger demographics.
9. Tell us more about your collections?
The idea of this collection is to create something that goes beyond what we are used to as a couture designer. The collection plays on our similar aesthetic of stellar techniques to clean cuts, sharp silhouettes and statement surfaces bringing forth a thoughtfully refined fashion narrative to flaunt and treasure. Finding inspiration in the megawatt mood of the season the colour palette echoes with electric blues, an evocative crimson red, deep purple, molten metallics and classic black and navy. Amped up with striking finishes like sharp pleats, reflective foil prints, sweeps of shimmer, and edgy metal embellishments, the clothes are crafted to follow the disco dress code.
10. Since it’s the party season, what are some of the party wear trends that are trending now?
Pieces with standout elements of shimmer, prints, texture and embellishment is something you can consider as a staple part statement party trend.
Other ongoing trends to consider like glamorous details like shoulder-baring necklines, risqué slits, body-hugging fits and asymmetric hems are never to be shied away from for any soirée.