Fashion retail collections inspired by movies

 

Indian films have often inspired the youth of the country to the limit of dressing up like the characters on the silver screen. In every few years, a movie appears which has the potential of defining the changing times and prepare the young generation for a fresh perspective. In this article, we cover some movies which have created great ripples in the fashion retail industry along with the entertainment industry.

Ajio launches Heeramandi inspired collection 2024

Ajio, a premier fashion e-tailer, has announced the exclusive unveiling of an ethnic collection inspired by Netflix and Sanjay Leela Bhansali’s Heeramandi: The Diamond Bazaar. Launched under AJIO’s House of Ethnics, this limited-edition collection will offer customers over 250 styles of ethnic outfits inspired by the series. Customers will be able to shop the collection starting April 25.

The collection takes inspiration from the colours, silhouettes, fabrics and embellishments used in Heeramandi: The Diamond Bazaar. The range encompasses fabrics like pure silk, tissues, georgettes, and brocades among others, that represent the opulence of the world that Netflix and Sanjay Leela Bhansali have recreated in the series. It includes skillfully crafted traditional dabka hand embroidery, Parsi embroidery, beadwork as well as digital prints inspired by the series.

The women-focused collection consists of shararas, kurta suit sets, lehengas and saris, and starts at Rs 4,000/- going up to Rs 1,50,000/-. Moreover, the collection will also include official recreations of select attire that are adorned by the leading ladies in the show and designed by Sanjay Leela Bhansali’s team.

Ajio House of Ethnics consist of over 3 lac brands comprising of Biba, Nyrikea, Aarke by Ritu Kumar, Satya Paul, Global Desi, Soch, Fabindia and many more. Infact this is one of the pioneer steps by Reliance Retail into cult dressing. A tribute to our majestic artisanal heritage, don’t miss out on exquisite crafts like Zardozi, Chikankari, Gotta Patti, Banarasi, and more!

Vineeth Nair, CEO, AJIO, said, “Fashion plays a very important role in Sanjay Leela Bhansali’s creations that often explore themes rooted in Indian culture, tradition and heritage. It serves as a means of representing and celebrating these cultural elements on screen. So, when we thought of this collaboration with Netflix for Heeramandi, it made a lot of sense. AJIO’s House of Ethnics was the perfect launchpad for this limited-edition collection, enabling access to the fashion that customers adore and helping them create that dreamy Bollywood-inspired look.” 

Van Huesen launched Ghajini collection 2008

Launched the exclusive Ghajini line, which is for today's uber-confident young Indian male who has it all. This range of exclusive modern and minimalistic formal apparel captured the distinct look of Aamir Khan in his much awaited movie — Ghajini.

The Ghajini line translates the style statement of the character played by the iconic actor who is disciplined, self-made, educated, well travelled and fashion conscious. The Van Heusen Ghajini line had the unmistakable stamp of an achiever, a fashionable tycoon, personified through slim plackets, narrow ties and mid-waist straight fit pants. Add to that the waistcoat, and the line aptly articulates the contemporary formal look.

Van Heusen exclusive Ghajini line is priced at Rs 1,299 onwards and will be available at all Van Heusen exclusive stores.

Shoppers Stop launched Om Shanti Om collection 2007

Through it was four brands Mario Zegnoti, Haute Curry, Vettorio Fratini, Push and Shove, Shoppers’ Stop launched the range of garments in stores on 18 October 2007. Since the costumes were inspired from the actors look in the movie, they were a mix of retro and contemporary.

Manish Malhotra, Karan Johar and Sanjeev Mulchandani were on board to design these costumes.

During the launch, Shoppers’ Stop customer care associate CEO Govind Shrikhande said, “We are delighted to have associated with the most anticipated movie of the year. Bollywood and fashion are inextricably linked and an association of this nature allows us to bring to light the style essence of our exclusive brands.”

Bunty aur Babli collection by BIBA ethnicwear 2005

A movie with colorful characters deserves the most vibrant apparel collection. Bunty aur Babli had a remarkable cast of Rani Mukherjee, Abhishek Bachchan and Amitabh Bachchan. BIBA took the challenge of defining the character of Babli which was most colorful, audacious and extrovert. The brand brilliantly balanced the revolting girl maintaining the dignity of Indian culture through out the movie. There is a specific dialogue in the movie when she says “lakhon milenge lakhon in kameezon ke (i.e. these shirts will be worth millions as I wore them)”.

Padmaavat, Ranjhanaa, Sahib, Biwi aur Gangster returns, Yeh jawaani hai Deewani, Cocktail, Tanu weds Manu, Chandani are few other movies which had apparel as well as accessories collections in the market at the time of their release.

 

The Glory of Bharat for everyone

When our beloved Bharat has become the most important business hub in the world, one of the most ancient industry of textiles has every reason to celebrate. Having the razor sharp understanding on textiles, apparel and fashion world, our Prime Minister and his team has made the perfect move to highlight the Indian textiles in front of the global market. Today, when all the big foreign brands & investors are lining up for their entry in our country, our industry is in perfect position to lead the globe in textile and apparel sector through Bharat Tex 2024.

Marking an exceptional celebration of the country's rich textile heritage and its modern innovations, Bharat Tex 2024 held in New Delhi, concluded its maiden edition with resounding success.

The event, inaugurated by Prime Minister Shri Narendra Modi, witnessed an overwhelming response from both Indian and global participants, including top brands and retailers. Organized by a consortium of 11 Textile Export Promotion Councils and supported by the Ministry of Textiles, Bharat Tex 2024 showcased the best of India's textile industry, focusing on trade, investment, and sustainability. With over 3,500 exhibitors, 3,000 buyers from 111 countries, and more than one lakh trade visitors, the event highlighted the immense potential of India's textile sector on the global stage.

From vibrant exhibitions to engaging knowledge sessions and high-profile business meetings, Bharat Tex 2024 offered an unparalleled platform for industry leaders to connect, collaborate, and drive the textile revolution forward.

NIFT has a critical role in the textile, fashion and retail industry in India. It was instrumental in taking fashion industry to heights and define the apparel industry in many ways. We had the privilege to connect with Prof. Dr. Amandeep Singh Grover (Dean of NIFT Panchkula) who very kindly shared his thoughts & experiences about Bharat Tex 2024.

GIFT :  India has a vast treasure of textile genius, which can do wonders for the world. Do you think that Indian Government is moving in the right direction to communicate the same in the global market?

The initiative of the Indian government like Bharat Tex signals a positive step towards promoting Indian heritage internationally as well. Bharat Tex showcased India's textile heritage and talent on a global platform, embodying the country's rich tradition.

Through strategic collaborations between the players of the textile value chain starting from Farm to Fibre to Factory to Fashion and finally to Foreign as our honourable Prime Minister talked about, the government can effectively highlight India's prowess in textiles.

Continued investment in infrastructure, skill development, and marketing will further strengthen India's position in the global textile market, ensuring that its heritage and talent continue to shine on the world stage. So yes, I positively believe that the Government is moving in the right direction.

GIFT :  Sir, you happened to attend the premier event of Bharat Tex in March 2024. How was your experience?

Attending the premier event of Bharat Tex in March 2024 was an enriching experience. The vibrant display of India's textile heritage and talent was inspiring and very enlightening. From intricate handloom creations to modern innovations along with the latest trends which includes sustainability and circularity, the event showcased the diversity in abundance.

Interacting with industry leaders, experts, artisans and designers from India and across the globe definitely provided valuable insights into the depth of the global textile industry.

GIFT :  We have seen numerous exhibitions in the past showcasing textile & fashion handicrafts. How was this event different?

Bharat Tex has been a wonderful platform where all the members from the textile value chain have got an opportunity to fulfill their ambitions whether it’s expanding their business or incorporating design changes, technological changes to produce the product in a shorter lead time.

Personally, the biggest difference which was noticeable for me was the scale at which this event was held along with the variety of products. Bharat Tex also managed to promote the crafts of each and every state of India and even the focus was on ODOP (One District One Product) and the Indian Government is seriously working on all the crafts of India to provide them a global reach.

                                     Prof. Dr. Amandeep Singh Grover (Dean of NIFT Panchkula)

GIFT :  There are many Indian brands, which have become Global now. How are they reacting to initiatives like Bharat Tex?

I was happy to witness Indian brands at Bharat Tex that have a global presence. Some of these brands are Reliance, Aditya Birla, Welspun, Trident, Raymond, Oster and others. The brands were likely reacting positively to the initiative, as it provided a platform for showcasing their products and networking with other industry professionals from all across the globe. This platform is going to give a very positive boost for the established brands and it will also motivate the upcoming Indian brands.

Some Indian brands may see Bharat Tex as an opportunity to strengthen their manufacturing capabilities and improve their competitiveness in the global market. Other brands might approach Bharat Tex with caution, assessing its potential impact on their existing operations, supply chain, and cost structures. They may carefully evaluate the benefits and risks associated with participating in government-led programs. Brands with a strong domestic and international presence may view Bharat Tex as a means to gain a competitive advantage over their rivals, especially those from other countries

GIFT :  How is NIFT as an institute participating in events like this so their students can connect to the real market potential & expectations from them in future?

NIFT was one of the main organizers of Bharat Tex 2024. I believe that NIFT participates in events like Bharat Tex to provide students with real-world exposure and networking opportunities. Through these events, students can interact with industry professionals and it will boost their confidence level and they will gain insights into market trends and expectations. NIFT's participation helps bridge the gap between academia and industry, preparing the NIFT students as industry ready professionals in an easier way. The NIFT students may gain more practical insights while interacting with industry professionals at Bharat Tex with respect to problems faced by industry members.

GIFT : Any suggestions which you may have about the future versions of Bharat Tex as it will be an annual event henceforth?

Following are my personal suggestions for the future versions of Bharat Tex:

i) The event should be at one place like this time it was at Bharat Mandapam and Yashobhumi. For better coordination and visibility, it should be organized at one location.

ii) More interactive workshops to be conducted

iii) Overlapping of the event should be avoided.

iv) Registration process should be made seamless and smooth.

v) Mobile and internet connectivity to be improved for better communication

GIFT is feeling grateful to know the thoughts of Prof. Dr. Grover about this magnificent event. 

We sincerely hope that our country  will be glowing with grace, heritage and future ready fashion solutions across the globe.

 

Opportunity for writers, journalists, bloggers with GIFT

 

Rise of Digital printing in India

 

 

We all love the fabulous prints in our clothes these days. Be it any fabric – almost all of them have aced the printing department. Now the colors are bright as newly bought, the artwork remains intact and details remain the same for a long time. All thanks to the revolution in digital printing on fabric.

The history of textile printing in India traced back thousands of years ago when as per the ancient trends and skills textile design printing served as a significant symbol of cultural and financial power. In the late 1980s, as printing technology got advanced, colour inkjet printers became increasingly essential in the production of digital fabrics for the civilian marketplace.

In 1990, with the advancement in modern technology and the development of large inkjet printers, it all started with an exploratory approach. But such technology wasn’t regarded as the best equipment for fabrics because of the difficulty with light sensitivity to colours. Instead, it was acceptable for paper printing.

Throughout the times, technology kept expanding. Where several large organizations are now producing customized “digital textile printing machines” and in other words “digital printers” which can work with a range of substances involves paper sheets, rubbers, canvases and obviously fabrics.

Digital textile printing is described as any ink jet based method of printing colorants onto fabric. Most notably, digital textile printing is referred to when identifying either printing smaller designs onto garments (T-shirts, dresses, promotional wear; abbreviated as DTG, which stands for Direct to garment printing) and printing larger designs onto large format rolls of textile. The latter is a growing trend in visual communication, where advertisement and corporate branding is printed onto polyester media. Examples are: flags, banners, signs, retail graphics.

Types of printing can be divided into Direct Print, Discharge Print, Resist Print, Pigment Print, Reactive Print, Acid print, Disperse print & Specialty Print

Digital textile printing started in the late 1980s as a possible replacement for analog screen printing. With the development of a dye-sublimation printer in the early 1990s, it became possible to print with low energy sublimation inks and high energy disperse direct inks directly onto textile media, as opposed to print dye-sublimation inks on a transfer paper and, in a separate process using a heat press, transfer it to the fabric.

Check out GIFT for more such information on Indian textiles, fashion and retail business.

 

Why are 'Dinner Jackets' so special?

 

What is a Dinner Jacket?

A dinner jacket is a jacket that's designed specifically for use in a formal outfit. It's similar to a tuxedo jacket. Both dinner jackets and tuxedo jackets are formal. With that said, there are a few subtle differences between them.

Most dinner jackets don't have a tail. In comparison, many tuxedo jackets do, in fact, have a tail. The tail is an elongated piece of material that extends from the back of a tuxedo jacket. It doesn't serve any functional purpose. Rather, the tail on a tuxedo jacket is used strictly for aesthetics.

Another difference between dinner jackets and tuxedo jackets involves the lapels. Most tuxedo jackets have satin-facing lapels, meaning the lapels are lined with a soft and velvet-like fabric. In comparison, dinner jackets may have traditional lapels without satin, or they may have similar satin-facing lapels as their tuxedo jacket counterparts.

The origins of the modern dinner jacket can be traced back to the mid-1800s. Around this time, the Prince of Wales was often spotted wearing a dinner jacket. In the years to follow, King Edward VII began wearing a dinner jacket. Dinner jackets have changed since then, but they still serve as one of the most popular and common types of formal outerwear.

When to Wear a Dinner Jacket?

You can wear a dinner jacket for any formal occasion. As long as it's not a casual occasion, you can rest assured knowing that a dinner jacket is appropriate. Dinner jackets are regarded as one of the most formal styles of men's outerwear. They are more formal than blazers, sport coats and traditional suit jackets. The only style of outerwear that's more formal than a dinner jacket is a tuxedo jacket.

Here are some common occasions for which you can wear a dinner jacket:

• Black-tie dinners

• Weddings

• Ballroom parties

• Graduations

• Formal business meetings

Features to Look for a Dinner Jacket

If you're going to buy a dinner jacket, there are some features you'll need to look for. Start by checking the fabric. Dinner jackets are available in a plethora of fabrics. Some dinner jackets are made of wool, for instance. Wool dinner jackets are typically thick and warm, making them ideal for use during the cold winter months. Other dinner jackets are made of linen. Linen is lighter and cooler than wool. As a result, linen dinner jackets are typically worn during the summer months.

You may discover some dinner jackets made of terry rayon as well. What is terry rayon exactly? It's a synthetic fabric consisting of polyester and rayon. With these two fabrics, terry rayon dinner jackets offer some unique characteristics that aren't found in other dinner jackets.

They are exceptionally strong, for example. Both polyester and rayon are strong. The combination of these fabrics, however, allows for an exceptional level of strength and durability that protects terry rayon dinner jackets from damage.

Another feature to look for in a dinner jacket is fabric-covered buttons. If you're thinking about buying a white dinner jacket, you may want to choose one that features the same white-colored fabric over the buttons. With fabric-covered buttons, your dinner jacket will have a cleaner and more uniform appearance.

Watch out for more such articles about suits on www.studiosuits.com.

GIFT makes sure more and more people eager to know about fashion reach the right place

 

 

Cashmere Trends to Watch in 2024

 

In the ever-evolving tapestry of fashion, certain elements stand the test of time. They perfectly weave themselves into the fabric of luxury and elegance. Among these enduring threads, Cashmere reigns supreme - a symbol of opulence, softness, and timeless allure. As we step into the threshold of 2024, the world of Cashmere unfolds. It promises innovation, style, and the continuation of its status as a coveted luxury.

2024 - a year where fashion will be a dynamic dance of trends and styles. Yet amidst the ever-changing rhythm, Cashmere will stand tall, an unwavering emblem of sophistication. It will beckon us into a realm where each thread tells a story of craftsmanship, warmth, and unparalleled comfort. The allure of Cashmere will continue to transcend seasons. So, as we delve into the realms of anticipated trends, the intrigue deepens, promising a journey through the very heart of fashion's evolution.

In the ever-evolving world of fleeting fashion fads, one fabric stands as a symbol of enduring elegance - Cashmere. Cashmere has proven itself as a timeless companion in the world of textiles. As we look ahead to 2024, several reasons affirm that Cashmere will not only maintain its reign but will continue to be a coveted choice for those who seek sophistication and comfort in their wardrobe.

In the same landscape of Cashmere fashion, designers are pushing the boundaries of creativity, giving rise to a new era of innovation. Designers have re imagined traditional patterns and metamorphosized many classic styles. One notable trend is the infusion of contemporary art into Cashmere designs. From abstract brushstrokes to avant-garde geometric shapes, garments are becoming canvases for artistic expression.

Texture experimentation is another frontier that designers explored. Beyond the traditional plushness, Cashmere is being treated to create varied textures. These innovations not only add a tactile dimension to the garments but also redefine the way we perceive and interact with Cashmere. The marriage of luxurious softness with avant-garde design elements is creating pieces that are not just clothing but wearable art.

GIFT recommends all to reach out to www.pashmina.com for stepping into the magnificent world of pashmina. Its worth it.

 

Sunglasses which banned the sun...

Its quite natural for us today to grab our shades before stepping out in the sun. It is not that we dont like the sun, we ofcourse love the source of life but sometmes the rays are a bit too much to see properly. So, a pair of sunglasses are a common solution as well as a fashion statement today.

That brings GIFT to a very interesting story – a story of a brand which took up a challenge for a brave cause.

In 1929, US Army Air Corps Colonel John A. Macready worked with Bausch & Lomb, a Rochester, New York–based medical equipment manufacturer, to create aviation sunglasses that would reduce the distraction for pilots caused by the intense blue and white hues of the sky.

Specifically, MacCready was concerned that pilots' goggles would fog up, greatly reducing visibility at high altitude. The prototype, created in 1936 and known as "Anti-Glare", had plastic frames and green lenses that could cut out the glare without obscuring vision. The name "Ray-Ban" was hence derived from the ability of these glasses to limit the ingress of either ultra-violet or infra-red rays of light. Impact-resistant lenses were added in 1938.

The sunglasses were redesigned with a metal frame the following year and patented as the Ray-Ban Aviator. According to the BBC, the glasses used "Kalichrome lenses designed to sharpen details and minimise haze by filtering out blue light, making them ideal for misty conditions."

Ray-Ban's most popular sunglasses are the Wayfarer, Erika, and Aviator models. During the 1950s, Ray-Ban released the Echelon (Caravan), which had a squarer frame. In 1965, the Olympian I and II were introduced; they became popular when Peter Fonda wore them in the 1969 film Easy Rider.

The company has also produced special edition lines, such as The General in 1987, bearing similarity to the original aviators worn by General Douglas MacArthur during the Second World War.

In the 1980s the Ray-Ban Clubmaster was added to the model line. The Clubmaster has a browline frame and went on to become the third best selling sunglasses style of the 1980s, behind the Wayfarer and Aviator.

In 2007, Luxottica Group launched Ray-Ban Youth, a collection of prescription eyewear aimed at children ages eight through twelve. Modeled after popular adult Ray-Bans styles, these hypoallergenic titanium frames featured both neutral and bold colorways as well as sturdy flex hinges.

Today, Ray-Ban is very much part of the luxury lifestyle of millions across the globe. Although they are facing more peddling counterfeit products from fake makers than ever, looks like the brand which did not give up challenging the sun – will not kneel before the fraudsters anyway.

As consumers, we should support the brand which did all the hard work by purchasing only the genuine products from the authorised channels. This will be a great support and appreciation for this iconic brand.

Uniforms of the Indian President's Bodyguards

 

The President's Bodyguard (PBG), as it is known today, was raised in 1773 at Benares, by then Governor General Warren Hastings, with a strength of 50 picked troopers and horses. After Independence, in keeping with its high traditions, the PBG rendered yeoman service in 1947 and around the capital in the upheaval during the aftermath of partition.

The traditional uniform and accoutrements today, date back to 1890 and comprise a blue and gold ceremonial turban with a distinctive fan, a red or white long coat with gold girdles white buckskin gauntlets, white breeches and Napoleon boots with spurs. The PBG's special 10'9" long bamboo cavalry lances, carried in stirrup lance buckets are adorned with the red and white cavalry pennant.

A sheathed cavalry sabre is carried at the side of the saddle of each trooper. The wings of a trained combat parachutist, in gold, adorn the breast of each member of the PBG, in symmetry with full medals. The officers and Junior facings, on heavily embroidered tunics with gold aiguillettes. Officers carry cavalry sabred on parade with scabbards supported in a scarlet and gold sabretache.

There are a number of painting available which describe the uniforms of the President's bdyguards. The painting of Maj. Lovett shows a sowar of GBG, Madras wearing a red Alkhalak with 1.5 inches of gold coloured lace round the neck & chest. Blue coloured pagri (also referred as Lungi by British authors) with red coloured stripes on gold and is worn round the red coloured Kullah.

White Gauntlet gloves, white breeches, black Napoleon boots with Blue coloured Kammarband with stripes in red, yellow & white colour complete the uniform.

Another painting by Chater Paul Chater provides more accurate detail of the uniform of the sowar. It shows the same uniform as shown by Lovett but the Pugri is blue coloured with gold, blue & white stripes. Army Dress regulations, 1901 gives almost similar information of the dress of the Native Officer of the unit.

To get more of such fascinating details , one can go on indiandefencereview.com to find a very interesting article written by Sumit Walia, an IT Specialist. He is also a Military History buff who continues to Explore & Research various facets of the Indian Military History in his spare time.

The Great Indian Fashion Town has found this article of great impoartance and worthy to be shared with its audience.

Why Yellow colour is so important for us?

Yellow has always been a very important color in the world of apparels – dating back to the evolution of human race. It is very mesmerizing to know that yellow fabric has earned such an important space in Hinduism – so much so that it is worn by the Almighty God !

 

Certainly yellow colour has a lot to do with our belief systems & spiritual evolution. In ancient religions, yellow was a sacred color. Yellow, like gold, was seen as eternal, imperishable and indestructible. Many religions worshipped the sun, and the sun gods were depicted wearing yellow.

Yellow is considered an auspicious colour in Hinduism. Lord Vishnu (also in his incarnation as Lord Rama & Lord Krishna) is depicted in wearing divine yellow silk fabric – called the pitaambar. It has special significance during Vasant Panchami or Saraswati Puja. Yellow is linked with the goddess Saraswati since it is her favourite colour.

Yellow is seen as a happy, optimistic color because it’s associated with sunlight and summertime. Yellow is also associated with spontaneity and celebration, so stage performers often wear yellow costumes. When yellow is paired with black, it looks like wasps’ coloring, bringing about feelings of alertness and cautiousness. Yellow can increase metabolism. Although, too much of the color can be overwhelming and cause eye fatigue.

Yellow is the colour of knowledge, understanding, and wisdom, all of which are linked with the goddess. It is also believed to represent the colour of spring, which is when the celebration takes place. As a mark of their devotion, people in various regions of India wear yellow apparel, adorn their homes with yellow flowers, and present yellow fruits and sweets to the goddess.

During the puja, devotees bring yellow flowers to the goddess, such as marigold, which are thought to signify the rising sun and the advent of knowledge and wisdom.

Yellow is one of the oldest colors in history, seen in cave paintings over 17,000 years old. The yellow pigment from ochre was readily available in prehistoric times and one of the first pigments used in cave art. Yellow is also a common color in paintings from Ancient Rome and Egypt, where it was used to depict skin color.

The Ancient Egyptians believed the gods had gold skin and bones and used yellow for their skin tone in art. Yellow is also an important color in Buddhism, signifying humility. Renaissance and Medieval artists used “Indian yellow” — a pigment obtained when a cow eats only mango leaves. This color was used to show a person as an outsider, especially Judas Iscariot from the Bible. The yellow colour also denotes turmeric, which is believed auspicious in Hinduism.

 

Who took Indian fashion to Paris in 1964?

Mohanjeet Grewal, who introduced Indian high fashion to Paris in the 1960s and to the world thereafter, is held in high regard among fashion pundits. Yet, she is largely unknown in her country of origin.

She recalls an incident while working for the UN agency. One day, she was in the US, dressed in a saree, which she regularly used to wear to the office. Someone looked at her attire and asked, ‘Are you from Israel?’ It was then that she realised that no one outside of Unesco knew about India and what it has to offer.

That was the trigger.

 -(creation by Mohanjeet Grewal)-

“All I wanted was to showcase and sell India’s craftsmanship to the world. I came back to rediscover India, and I was so excited by the vibrant colours of Rajasthan, the brightness and spark all around, which was in complete contrast to the blacks and the greys of the West. Even if one were to come with a mission to find something ugly in India, they would not be able to find it,” says Mohanjeet.

The first few things she designed for the fashionable French were red coolie shirts and pocketed vests in menswear. Later, she went on to sell white chikankari kurtas from Lucknow and khadi kurtas in different colours. Then she created the bold mini-sari with the hemline above the knee in 1967 and later gold-rimmed dhotis styled as wraparounds, which put her creations on the pages of top French fashion magazines. What put her in the top league was the freewheeling bohemian chic style, which she introduced to Paris in the Sixties. It made her so popular that at one point in time, she was running seven stores in the fashion capital, with even the French designers imitating her style.

Her influence began showing in the wardrobes of prominent clients including actresses Catherine Deneuve, Jane Fonda and Brigitte Bardot, and even Princess Caroline of Monaco and the famous designer, Yves Saint Laurent. Not just her clothes, her clients loved being served cardamom and clove tea when they visited the store.

“Yonks back, I remember when I had done a show in Paris, I was walking near Saint Honoré Street (a legendary Parisian address and a temple to haute couture) and I saw this beautiful shop of Mohanjeet who clearly ruled the Paris fashion scene in the 1970s,” says well-known fashion designer Rina Dhaka, adding that the nonagenarian is “known for many innovative ideas, and clearly did it before everyone else”.

Grewal spread her wings further and expanded her offerings to Spain, Monaco and the US. She sold her designs to retail chains such as Ann Taylor and Bloomingdales, and went on to have a presence on the prominent Fifth Avenue in New York. She even had her fuchsia pink ghagra displayed on the opening pages of the US edition of Vogue magazine. However, all of this was not without ups and downs. Grewal herself admits to having made many mistakes as business, she says, is her Achilles heel; but her survival instincts have kept her going.

Her sense of fashion, Grewal says, resembles her life: unrestrained and free. “I never followed any rules of fashion. I made sarees that I wore with collared shirts. Even when I was young, I would have different socks on each foot, visible under cuffed salwars; [I] wore abstract geometric prints and even Sikh karas instead of glass bangles,” she says.

Grewal believes that what she creates is ultra-luxurious and is in no way inferior to French creations. She worked with rare, authentic and exclusive fabrics, and showcased a variety that could hardly be found in one small store in Paris and so she never had any discounts or sales.

Story tribute to Mohanjeet Grewal courtesy Business Today.

Story of Taneira

 

 

 

Sarees- history, heritage, heirloom; also a creative canvas with endless possibilities, an impressionable style statement and often a profound means of expression. A saree is not just six yards of fabric, for millions of Indians for thousands of years, saree is a way of life!

 

Conceived in 2017, Taneira, the ethnic wear brand from the House of Tata, was established with a vision to bring to life a symphonic medley of the old and new- an eclectic selection of contemporary designs on authentic, handwoven fibres from over hundred craft clusters across the country.

Our journey has been defined by the discovery and revival of lost art forms, development of weaving clusters and artisan community and delivering on the promise of India Under One Roof backed by the inimitable Tata trust. 

 Choose from rich, celebratory weaves in Kanjeevaram and Banarasi for regal events or pick innovative variants such as Organza Kanchi and Tissue Kanchi or Banarasi weaves on Organza and Tissue fabrics for the perfect combination between sophisticated and sheer for your summer celebrations. 

You can also delve in the diversity of lightweight cottons and cotton silks such as Jamdanis, Murshidabad Silks, Chanderis, Maheshwaris and many more in vibrant colour palettes, with motley motifs and intricate embroidery. 

In 2021, we also introduced ready-to-wear kurtas, steeped in rich crafts from block prints to ethnic embellishments- an ode to India’s heritage of dressing eloquently.

To create an effective marketplace for our designs and curations, we have been ramping up our retail presence to bring a unique browsing experience and focussed storytelling to our consumers in each of our 40+ stores across 22 cities in the country.

 

The sashay of grace

 Article contribution : Dr.Rugmani V.

The Jaunsari lehenga is an abode of tradition, grace, health and functionality, says Rugmani V. The Jaunsaris, an agro pastoral community inhabit the Jaunsar Bhawar area, Western Garhwal region of Uttarakhand. Their oral history reveals their migration from Ajmer (formerly called Shakambari), Rajasthan, in order to escape conversion to Islam during the Mughal rule.

Cultural traditions are integral to migrating people as a representation of group identity & heritage. Undoubtedly the most tangible & palpable symbol of culture is dress. Women continued the practice of wearing the lehenga/ghaghra as per traditional Rajasthani custom, with variations to cope up with the altered geography and climate. The Jaunsari lehenga/ghaghra is truly spectacular and is characterized by multiple knife pleats at the waist, comprising of 8 to 10 yards of fabric. This is teamed with a full sleeved kurti and a red headscarf scarf called Dhatu. 

 

Today, the salwar kameez is a staple with both young and middle age women while senior elders don the traditional Jaunsari ensemble on a daily basis, while farming, travelling or during their household chores. When the author attended a festivity at Hanol village, she noted that it was a practice for women to perform a dance on the grounds of the Mahasu Devta temple during occasions as a gesture of sublime devotion. Prior to the dance, she heard an announcement made by the temple authorities urging the women to change into their Jaunsari lehengas, as a mandatory requirement for the ceremonial dance. Women returned in their vibrant lehengas and rendered an incredible performance, vying with the rhythm of melodious folk songs and their unique musical instruments. 

The sashay of the voluminous skirts in all their vibrancy heightened the visual treat. Local women conversed with the author, asserting the significance of the traditional skirts for all important ceremonies and occasions. From this she gleaned that the lehenga occupied a place in Jaunsari culture as the purest garment, it being a living repository of their tradition.

As Rugmani herself wore the lehenga at the best of her new Jaunsari friends, she experienced its effects as a health aid. Form has always followed function in indigenous costume, the Jaunsari lehenga being a living example of the same. The multiple pleats at the waistline are instrumental in regulating body temperature by keeping the waist, and mid regions like the stomach and the backbone warm. This enables one to carry out one’s duties efficiently without falling sick due to extreme weather fluctuations in the hills. Health has always remained a key factor in the hills as all agricultural work must be completed in the seasons conducive to farming. Hence this lehenga plays a vital role as an instrument of adaptation to the surroundings.

The enrapturing saga of indigenous costumes is never ending and will always unravel new stories and perspectives. Documentation of the same is a must lest these are swallowed by modernity and cease to be.

Robots In Fashion Retail

 

Many of us may have noticed modern restaurants being run by robots as waiters, bringing orders to the guests tables. Some restaurants have already turned this feature as their USP and people are loving them. Well, retail therapy is also getting impressed with the robots on the shop floor.

Fashion retailing is more efficient with automated systems transporting products from storage to packing stations staffed by humans. Hence, robots are becoming increasingly advanced, and fashion retailers use them to enhance their business. They are used in fashion retail stores to relieve their retail associates of mundane tasks and concentrate on customer-facing activities instead.

It was concluded from a case study in which robots reduced the cost of a retail unit by 20%. A classic example is Amazon which reduced its operating expenses by 20% with robots and helped customers receive better value for their money.

Many major fashion retailers are now testing robots on their sales floors, greeting customers with courteous smiles and retrieving items from shelves. Therefore, it is well-known that robots are transforming the retail industry in the current scenario. Fashion retailers have witnessed that robots perform tasks ten times more efficiently and consistently than humans.

Robots can provide personalized services in the retail industry and help transform the industry in the future. They are an opportunity for retailers to gain a competitive advantage by adopting the technology amongst various sectors.

Let us see the other effective means by which it aids retail, as suggested by Fashion Design experts in India.

• Robots have been used in supply chain automation for decades and are moving products through warehouses.

• They play a major role in retail by assisting in logistics and management and providing exceptional customer service.

• They are used for inventory management, warehouse operations, and customer care support.

• Robots are proving to be a more effective alternative to skilled workers in warehouses and distribution centers to attract and engage customers.

• It will provide users with a more personalized shopping experience by reading their minds and scanning their preferences, personal style, and personality traits.

• Robots take the lead in professionalism when improving customer engagement and providing outstanding customer service.

• Robots can navigate the area with fewer interruptions, and workers can control the robots through a centralized interface.

Well, there are far more use cases in the fashion retail industry than discussed here.

Surely, a better future awaits us. Stay tuned.

Fashion in the air

Did you check out the latest airport look in India?

Well, for some celebrities, its a very important question. The reason is very clear – Airports have always been the most sophisticated public place. Its huge, its updated, its secured & its all about the experience. Everyday, one can spot paparazzi at the airport waiting for a fashionova to shine.

Today, as we speak about airport looks of celebrities, how many of us do remember the fashionovas in the sky. We obviously mean the crew members of the various airlines – who spend hours in the flight looking after the comfort of their passenger guests. Its noteworthy that these crew members make the most shining brand ambassadors of the airlines. They are infact the perfect embodiment of the airlines values and culture.

Fashion in the airline industry is not a new concept. Airlines have been betting on it for years to create a distinct identity and attract flyers. The first ever uniform designed for any commercial airline crew dates back to the year 1922 by the British carrier Instone Airline. 

Since then, many designers took up the challenge of deigning the uniforms of various airlines included names like Adolfo, Cristóbal Balenciaga, Pierre Balmain, Bill Blass, Pierre Cardin, Oleg Cassini, André Courrèges, Christian Dior, Halston, Edith Head, Stan Herman, Macario Jimén, Vivienne Westwood, Ozwald Boateng & Simon Jersey.

When Air India introduced its trademark sari for air hostesses in the 1960s, it was a way to advertise India as an exotic destination. The perfectly pleated sari became a sort of symbol for the East, projecting a well-groomed and hospitable image of India to global travellers. Fashion Designer Ritu Beri redesigned the Air India uniforms in 2007.

Indeed, the ensembles of each of these airlines clearly speak to the appeal of the brand. While SpiceJet pops in reds & blacks for a bold and vivacious feel, the cool and professional chic of Indigo comes alive in shades of blue. The global sophistication of Vistara finds expression in purple and gold, a palette that seeks to set it apart from low-cost carriers. Amidst these, Akasa is looking to create its space in the skies with the warmth and glow of orange.

The Akasa Air uniforms created by Delhi-based fashion designer Rajesh Pratap Singh, the look essays comfort and originality with a bandhgala-style jacket reimagined in a futuristic avatar. The crew sports cushioned black and white sneakers with orange laces, designed by Vanilla Moon. It’s a rare sighting in airline uniforms and one that is believed to be speaking directly to the brand’s ethos – easy, playful, and fun. Akasa is also highlighting its focus on sustainability through the outfits.

Internationally, In some cases, airline fashion has even been elevated to cult status – like the famous ‘Singapore Girl’. Singapore Airlines’ sarong kebaya outfit for female flight attendants was designed by haute couturier Pierre Balmain back in 1968. The timeless attire made with Asian batik print has stayed the same ever since – including the patterns and fabric. What’s more, each piece is tailor-made for the specific crew member, a tradition that has been alive for over 50 years. The ‘Singapore Girl’ is even immortalised at Madame Tussauds.

This synergy between cockpit and couture has always flown high. From the glamorous makeover of Virgin Atlantic by Dame Vivienne Westwood in 2014 to Air France’s longstanding collaborations with French designers, including Balenciaga, Dior and most recently Christian Lacroix. And it’s an interesting playground for designers.

Obviously, we can see the sky is not the limit for our Indian designers and they will keep spreading fashion in the air.

First Fashion Photographer in India

Fashion gets the speed of fire when it takes the visual route. If people do not see the new trend, how can fashion grow in the society and move to innovation? The best possible way of spreading the word of mouth about fashion is through fashion journalism – of course fashion photography. So, a lot of credit goes to the fashion photographers in our country.

In the times, when everyone carries a digital camera in their mobile handsets – its hard to believe that there was a time when people were literally scared of getting clicked. Thanks to the strong flash light attached to the heavy camera (of old times when it was not handheld) innocent people believed that the camera can actually suck few moments of their life if it shoots them . The camera was a life-reducing machine – that was the word on the street. In a country with that myth, it took some time when people got friendly with the camera.

But do you wonder who was the first known fashion photographer from India?

Looking for success in the field of copywriter, Prabuddha Dasgupta from Kolkata turned out to be the first photographer in India to do a formal photoshoot for a fashion brand. 

 

Prabuddha Dasgupta was a self-taught photographer who grew up in the cultural chaos of post-colonial India. Although he studied to be a historian, he started his career as a copywriter before turning to photography. In 1996, Prabuddha Dasgupta’s controversial collection of portraits and nudes of urban Indian women titled Women (Viking Books) was published, with the intent of reinstating the nude to its rightful place in the Indian cultural discourse.

In the decade that followed, Prabuddha pursued a variety of photographic projects, unapologetically straddling the two worlds of commissioned and artistic work. He brought a bold, individualistic sensibility that very quickly placed him in the ranks of major photographic talent in the country.

He shot the memorable and controversial ad with Milind Soman & Madhu Sapre for TUFF Shoes. Yes, the one with the snake around their bodies.

 

His work is in the collections of many individuals and institutions, like the Museo Ken Damy, Brescia, Italy, and Galleria Carla Sozzani, Milan, Italy. Prabuddha passed away on the 12th of August, 2012. Since, the Estate of Prabuddha Dasgupta has organised a retrospective exhibition of his work at the National Gallery of Modern Art, New Delhi, in September 2015, and published Prabuddha Dasgupta: 1956 - 2012, a book of selected images from the photographer’s various bodies of work.

Oldest fashion brand in India

Today almost everyone in India is wearing a brand – be it a budget brand, a popular brand or a premium or luxury brand. Before the branded clothing, people depended a lot on tailor made clothes – custom stitched by their local tailors. Many ethnic wear boutiques are running their business of stitching clothes for Indian women. Its a wonder to check on how the branded clothes have replaced the tailormade garments.

So, do you know the oldest apparel brand in India? Hint : you see their product every working day around you in office. Its formal shirts are considered one of the best with a huge V on them. The V stands for Van Heusen. Hold on to your hats for this 128 years old brand.

Van Heusen is India's No. 1 premium lifestyle brand for professionals. With a rich heritage of 128 years in the United States of America, the brand entered India in 1990. Over its 32 years of history in India, Van Heusen has emerged as a fashion authority for the ever-evolving Indian consumer and has established itself as the one-stop destination for the latest trends.

Today, Van Heusen is not only the most preferred workwear brand, but also effortlessly straddles across the entire spectrum of dressing, ranging from casuals, ceremonial, party wear to the recently launched activewear.

Van Heusen has a product range of menswear & womenswear – and this brand is equally loved for its amazing quality. This brand is no where close to taking a break and catching up great speed in the Indian apparel retail business.

 

The Silk City of India

If you see a lady in an American cafe, with a beautiful scarf around her neck – you may be looking at a product from the Silk city of India. That beautiful silk scarf may have been crafted from a loom in Bhagalpur, Bihar, India. Once considered as the biggest trade center of Eastern India, the city is famous for its unique silk fabrics called 'Tussahor Tusser'. Silk weaving is an 200 years old tradition in the city. Fabrics produced in the city are famous both at the domestic and the international market. Bhagalpur cluster ranks the second highest, next to Karnataka in the production and exports of silk fabrics.

Well-known for its distinct and stunning resilience, as well as its high quality, Bhagalpuri silk is also known as “Queen of all fabrics.” This natural and pure kind of embroidered silk cloth was recognized centuries ago in the Vedic age. The Maurya age also recognized the magical spirit of this artwork, which managed to entice and fascinate most people during this period. The skills to manufacture the Bhagalpuri Silk was handed down to subsequent generations, progressively increasing the demand for this artwork.

Bhagalpuri silk is made from cocoons of Antheraea paphia silkworms. This species, also known as Vanya silkworm is native to India. These silkworms live in the wild forests, in trees belonging to Terminalia species. Bhagalpuri silk is mainly processed in a place called Nathnagar . 

Due to the limit that the artisans set against harming worms to manufacture Bhagalpuri silk, it is also sometimes referred to as “The Peace Silk.” Cities such as Paris and London, known as fashion capitals, have also shown an interest in this fabric, increasing global demand for this embroidered fabric. If you want to test the authenticity of the fabric, the key is to burn the edges slightly. You know you have an original one if it smells like burnt hair rather than merely leaving a solid residue.

Silk fabrics made in Bhagalpur are being exported to countries like West Asia, Europe, U.S., and Japan. Home furnishings are becoming increasingly famous in the international market. Outfits designed with this exclusive silk fabric have gained immense popularity in ramp shows and fashion weeks. The sarees do sell for around $50 abroad which is quite an attraction in social gatherings specially Diwali festival.

Courtesy : Fibre to fashion, Fashinza

Neeta Lulla : Marvel of Indian fashion

India has always took pride in its ethnicwear – and quite a few designers have made their mark worldwide in this craft. Fashionistas across the globe enjoy the rich heritage from this great country through its marvelous fashion designers. Some designers have done extremely great in this field with a three-sixty degree development of the field – be it in movies, fashion label and social activism. Neeta Lulla is one such jewel from the Indian fashion industry.

Neeta Lulla has been working all her life in the city of Mumbai. She spent much of her professional time in close proximity to film industry. She has contributed majorly in the professional as well as personal wardrobes of global celebrities like Aishwarya Rai Bachchan – who gets along with Neeta like a friend. Aishwarya wore her wedding trousseau designed by Neeta Lulla exclusively. Some pf the most iconic costumes in Indian films like Devdas, Hum Dil De Chuke Sanam, Jodha Akbar etc, are done by Neeta Lulla.

Neeta Lulla joined the legend Subhash Ghai to explore the fashion studies for the new crop of fashion designers in India. The Whistling Wood International Neeta School of Fashion was started by Neeta in 2013 in collaboration with Subhash Ghai.

Neeta Lulla won the prestigious Natinal Film Award for best costmes for Lamhe (1991), Devdas (2002), Jodha Akbar (2008) & Balgandharva (2011). She has a long list of various other awards & accolades won in the field of costume designing.

Her official website if full of fantastic work - https://www.neetalulla.com

Neeta Lulla has contributed to the ethnic wear sector through her commendable work in the film industry. Great Indian Fashion Town is proud to feature her as the jewel of the fashion town.

Use of metal in Indian fashion

India has always been a great fan of gold – be it about wearing it or keeping in bank lockers.

The common man in India treat metal with a lot of importance in their daily life. Many metals have found great value in religious rituals too. Many metals have been used for health reasons as well. But the most favourite metal for Indians – specially women – is gold accessory. Many of the Indian traditions from different religions have given the gold metal an important place. Many important jewelry with traditional value are made ut of gold. One can very well understand the infinite love for gold among Indians. So much so, that gold have got easy inroads in the apparel worn by them.

Banarasi sarees and Zardosi are few of the many beautiful examples of gold being incorporated in various forms of dresses in India. The gold metal superfine threads are woven into the fabric as well as used in intricate embroidery for surface ornamentation. The craft of infusing metal into dresses has won hearts abroad as well. 

Fashion designers, who work with metal as their basic fabric or material are called Metal Couturier. This craft needs very careful study and experience with metals. Many accessory designers have turned into metal couturiers – who now design dresses made from metals. Paco Rabanne was one of the earliest designer from Spain to use metal as the basic material for dresses. Another Spanish designer Manual Albarann worked on this difficult material too. India has her own metal couturier Rimzim Dadu, who has been designing metal dresses for a long time - an example below (pic courtesy : Rimzim Dadu) 

Other than gold, other metals being used in the apparel industry are silver, stainless steel, copper & aluminium. Many of these are used in the form of trims (buttons, zippers, etc.). Many of the official uniforms in Indian army use metal as trims as well as in the gallantry awards and medals.

 Stay tuned for more such exciting articles about fashion world.

 

India's first fashion Influencer

One has to wonder who could have inspired the fashion in the great country like India – which is home to rich heritage, marvelous textiles and amazing craftsmen. Who can drive in the passion which influences the shopping behavior so sharp. Well, the answer is very simple – the Cinema.

Indian film industry got its first ever movie released on 1913 by a passionate photographer Dhundhiraj Govind Phalke – as we fondly call him Dadasaheb Phalke. He is the reason why the Mumbai film industry earned the pride to give the mainstream cinema to India. As he worked in Mumbai all his life, Mumbai obviously got much ahead of the rest of the country.

 

As a commercial port along the western line, Mumbai got to see a lot of merchandise form countries abroad for the rich and super rich families. Often people used the foreign merchandise in high end gatherings but soon it started showing up in streets of Mumbai. Be it apparel or non-apparel, Mumbai got its hands on the western fashion much ahead of rest of the country.

Soon after, merchandise started showing up in movies when people spotted actors wearing jewelry & dresses from foreign lands. Copies of these articles started flowing in the black market and people wore artificial jewelry copied from movies. People of India were undergoing a lot of pressure from the British Raj and the movies gave them a medium to see the silver lining in their life. 

 

 

Post independence, the people wanted a refreshed life free from all the abusive lifestyle they had got used to. Soon, people started earning money from businesses across Mumbai, which left them some to spare on entertainment. People saw their imagination turning into reality on the silver screen. Movies became the favourite entertainment as well as source of inspiration for fashion. Fashion connected them to the actors in the movies and gave confidence to the common man.

Be it the necklace and dress of an actress or the hairstyle of the actor – soon ruled the streets of Mumbai and the other cities. Hence the film industry became the major source of fashion influence on Indians. 

 

The trend has continued till date. New age film personalities specially the actors & actresses are the most popular fashion influencers in India. 

Catch up on more such stories on the Great Indian Fashion Town.

Journey of cosmetic products in India

 

Women have always been the attractive gender and they have taken this responsibility since the civilizations started evolving.

The ancient science of cosmetology is believed to have originated in Egypt and India, but the earliest records of cosmetic substances and their application dates back to Circa 2500 and 1550 B.C, to the Indus valley civilization.

The women at that age used herbal cosmetic products like fragrances, face packs, body packs etc. which were specially prepared for the royal and rich families. Of course there were products for the common households like various lepas, oils, kaajal & mehandi – used till date by women in India.

Many of these products inspired the western countries, which came up with their commercialised brands offering the same products – just machine made. The royal families in India often used these product from the western countries – mostly fragrances – as their own home made products were considered much healthier and fresh to use.

However it was just after India attained its independence, that Pandit Nehru convinced the Tata group to start with India's first ever cosmetic brand. India's first indigenous cosmetic brand 'Lakshmi Beauty Products' was launched in 1952. It was later renamed Lakme (French word for Goddess Lakshmi) and won hearts of millions of hearts ever since. Lakme brand is owned by Hindustan Unilever since 1998 as it was sold by Tata group for INR 200 crores.

Many foreign brands have entered India since independence. They got very good response from this market and they decided to expand their sales channel in the country – reaching out to the urban and then the rural markets. Today these brands are available almost in every beauty parlour in the country.

While the startup wave hit India around the year 2010 – many Indian brands have come up with brilliant products, amazing services and marvelous ideas. The cosmetic market in India is touching US $ 6.7 billion in valuation and its not slowing down at all. It is surely a growing industry with loads of surprises coming up.

Watch out for the best of cosmetics and makeup experts in the Great Indian Fashion Town.

Earliest fashion brands in India

 

Its interesting to note that the earliest global brands which arrived in India were majorly catering to Indian men. The foreign brands made their inroads into Indian land through their loyal Indian customers. Many of their customers were from the royal families of India as well as few rich families in India. Most of these brands made accessories specially watches catering to the Maharajas and super rich gentlemen.

The Swiss watch brand Zenith came to India in 1901 and had the great Mahatma Gandhi & Jawahar Lal Nehru as its consumers. Zenith pocket watch was something the mascot of Swadeshi movement Gandhiji could not let go off. It was clearly because there was no Indian brand making pocket watches at that time – so it had no swadeshi alternative to this product.

The famed Nawanagar Cartier Diamond Necklace was created by Jacques Cartier in 1931 for the erstwhile Maharaja of Nawanagar (now Jamnagar), Sir Ranjitsinhji. The Nawanagar Ruby Necklace has also earned a spot among the most famous and finest jewelry pieces owned by Indian royalty. It was commissioned to Cartier in 1937 by Maharaja Digvijaysinhji Jadeja, the successor of Sir Ranjitsinhji as the Maharaja of Nawanagar. The Tiger’s Eye Turban Ornament was another impressive piece created by Cartier for Maharaja Digvijaysinhji Jadeja in 1937. One cannot simply talk about Cartier’s relationship with the Indian Maharajas, without the mention of Bhupinder Singh, the Maharaja of Patiala and one of Cartier’s regular clients.

Pierre Cardin had a pivotal to play in the Indian fashion story.

Design Guru Rajeev Sethi says “India has a huge debt to pay to Pierre. Pierre Cardin started fashion in India. He took Indian textiles across the world before anyone else did,” while showing Indian prints-inspired swatches clipped to the sketches he made while working for him. “He was able to immediately see the edge India had, the design, colour forms, which nobody else could see. India could be ancient and modern. That’s what he saw,” he explains.

In 1967, at the Ashoka hotel, the only five-star hotel at that time in Delhi, Cardin presented his collection—all made using Indian textiles—to a packed room, with Sonia Gandhi, then fiancé to Rajiv, sitting to the right of her prospective mother-in-law Indira Gandhi with Sanjay Gandhi alongside in the front row.

Lots of such interesting stories will find place in the Great Indian Fashion Town.

Stay tuned.