Tanishq’s three decades of legacy

 

Tanishq, India’s premier jewellery brand from the Tata Group, took center stage for the Grand Finale of India Couture Week 2024 with its finest collections, seamlessly blended with Falguni Shane Peacock’s latest collection ‘Rang Mahal.’ Tanishq's product supremacy was highlighted on the grand finale for its unmatched craftsmanship, differentiated designs, and commitment to quality.

The finale showcased the Best of Tanishq, where each piece was a testament to Tanishq’s prowess of craft and creation that it has cultivated with over three decades of its legacy as the National Local Jeweler of India, thereby establishing itself as the leaders of timeless yet differentiated designs. The product supremacy of Tanishq lies in its design differentiation and craftmanship, consistently offering the best jewellery pieces that blend traditional artistry with contemporary elegance to over 1 million Indian families who have become an integral part of its legacy, building the largest network of trust in the market.

From the Best of Diamonds, the recently launched Enchanted Trails Collection was featured at the Couture Week, which is a work of art, featuring rare and real diamond creations that redefine glamour and style. The collection draws inspiration from the intricate beauty of the exotic nature, incorporating elements that reflect the elegance of flowing rivers, interplay of light and water, the allure of blooming flowers, the graceful movement of branches, and the whispers of lush forest foliage. The collection showcases the dance of boats gliding through serene streams, echoing the poetry of nature’s tranquillity.

Additionally, the classic high jewellery line, Ethereal Wonders Collection dazzled the ramp with rare stones such as aquamarine, tanzanite, pastel tourmalines, rare citrines, and statement pieces with emeralds and sapphires, making it one of Tanishq's rarest of rare collections.

Tanishq’s Exotic India Collection featured intricate Vilandi Jadau designs crafted in Bikaner, Victorian Polki necklaces adorned with uncut Polkis, and regal Rajwada Kundan necklaces. Each piece told a story of grandeur, merging traditional artistry with modern elegance. Tanishq also presented timeless Chikankari work, mesmerizing Picchwai work, opulent Zardosi, and dazzling Polkis, all handcrafted with meticulous attention to detail. The vibrant Meenakari art and captivating inlay work, featuring Chalcedony centerpieces, added a splash of color. Empowering the modern woman with timeless elegance and contemporary charm, the collections celebrates her unique journey, illuminating every step with the brilliance she deserves

Falguni Shane Peacock’s 'Rang Mahal' collection celebrated the regal and dreamy aspects of India's royal heritage. Luxurious silks, rich velvets, and intricate embroideries evoked the splendor of royal courts, while Tanishq's bespoke jewels added a touch of timeless elegance, making each ensemble a true masterpiece. This collaboration brought to life a seamless fusion of fashion and jewellery, highlighting the unparalleled craftsmanship and artistry of Indian heritage. The collection drew inspiration from India's majestic symbols and vibrant hues, celebrating the rich diversity of the country’s cultural heritage. Each piece was a tribute to the timeless elegance and sophistication of India's royal heritage, crafted by master artisans who carry forward the legacy of their ancestors.

Pelki Tshering, Chief Marketing Officer, Tanishq, Titan Company Ltd., shared her enthusiasm about the collaboration, “We are delighted to collaborate with Falguni Shane Peacock for the grand finale of India Couture Week 2024. For nearly three decades, Tanishq’s jewellery has celebrated and reflected the unique journey of today’s woman, who is grounded in tradition, yet embraces a modern outlook. On this prestigious platform, we proudly showcase Tanishq’s legacy of craftsmanship and design excellence in gold, diamond, Polki a legacy that has been winning the hearts of millions of Indians.”

Revathi Kant, Chief Designer Officer, Titan Company Limited, expressed her views on the designs and association, “The grand finale of India Couture Week 2024 provided a prestigious platform to celebrate Tanishq's exceptional craftsmanship and design excellence. From the nature-inspired Enchanted Trails diamond collection to the timeless allure of the Ethereal Wonders and the intricate beauty of the Exotic India pieces, each creation reflects the modern woman’s spirit and sophistication. These designs embody our dedication to superior craftsmanship, combining traditional artistry with contemporary elegance to create jewellery that is both timeless and uniquely distinguished.”

Falguni Shane Peacock commented on the synergy between the brands, "We are thrilled to mark our 20th anniversary with the grand finale of FDCI's Hyundai India Couture Week alongside Swadesh and Tanishq. Rang Mahal is more than just a collection; it is a homage to the artisans, the storytellers, and the custodians of our cultural legacy. Our collaboration with Swadesh brings forth the finest handwoven textiles, celebrating India's rich artisanal heritage. As each model graces the runway, they carry with them the spirit of India's past and the promise of its future, wrapped in the splendor of our cultural history, preserved and celebrated through fashion. Tanishq’s bespoke jewels resonate with our vision, and we eagerly look forward to unveiling our collection adorned with their exquisite creations. Join us as we celebrate the art of storytelling through the lens of haute couture, where every piece is a work of art. We extend our gratitude to Mr. Sunil Sethi and FDCI for their pivotal role in shaping this prestigious event into India's foremost couture showcase.”

As models adorned with Tanishq's jewellery and Falguni Shane Peacock’s visionary designs graced the runway, they embodied the spirit of India's past and the promise of its future. The grand finale was a celebration of the art of storytelling through haute couture, where every piece was a work of art, and Tanishq's jewellery added a touch of timeless elegance, making the event truly unforgettable.

Join us in celebrating the splendor of Indian heritage and craftsmanship, brought to life by Tanishq and Falguni Shane Peacock at the grand finale of India Couture Week 2024.

About Tanishq

Tanishq, India’s most-loved jewellery brand from the TATA Group, has been synonymous with superior craftsmanship, exclusive designs and guaranteed product quality for over two decades. It has built for itself the envious reputation of being the only jewellery brand in the country that strives to understand the Indian woman and provide her with jewellery that meets her traditional and contemporary aspirations and desires. To stress on their commitment to offer the purest jewellery, all Tanishq stores are equipped with the Karatmeter which enables customers to check the purity of their gold in the most efficient manner. The Tanishq retail chain currently spreads across 475+ exclusive boutiques in more than 240 cities.

About Falguni Shane Peacock

Falguni Shane Peacock has established its place as leading luxury couture designers globally over a glorious span of 18 years. The brand has constantly pushed its boundaries to create luxury looks season after season and evolved with every season. Falguni Shane Peacock extends its frontiers by infusing traditional craftsmanship in contemporary techniques and experimenting with silhouettes and colours every season. The brand has advanced in terms of design sensibilities and technology by pioneering features such as virtual styling that let Falguni Shane Peacock personally design and co-create ensembles virtually. With a remarkable reputation for translating its DNA and philosophies into every finely crafted ensemble, Falguni Shane Peacock amalgamate imagination with reality, traditional with contemporary, and infuse true elements of ‘luxury’ to it. The designers are positioned famously for their classic design sensibilities and timeless qualities that make them a favourite amongst celebrities.

The mesmerising bead work in India

Indian bead work is a vivid and intricate art form that reflects the country's rich cultural heritage and artistic diversity. This traditional craft, characterized by meticulous handwork and vibrant designs, has been practiced for centuries across various regions of India. It encompasses a range of techniques and styles, each unique to its geographic and cultural context, contributing to the country's colourful and varied artistic landscape.

Historical Roots and Cultural Significance

Bead work in India dates back to ancient times, with evidence of beaded jewellery and decorative items found in archaeological sites from the Indus Valley Civilization (circa 3300 BCE). Historically, beads were made from natural materials such as clay, shells, and stones before evolving to include glass, metal, and synthetic materials. Bead work has been integral to traditional Indian attire and accessories, often signifying social status, religious beliefs, and regional identity.

In many Indian communities, bead work is more than just a decorative art; it is an expression of cultural and spiritual values. For instance, in Gujarat and Rajasthan, intricate bead work is a crucial component of traditional attire, particularly for women. Beaded necklaces, earrings, and anklets are worn during festivals and important life events, symbolizing beauty, prosperity, and protection.

Regional Variations and Techniques

India's vast diversity is mirrored in the regional variations of bead work. Each area has developed its distinct style, techniques, and motifs, often influenced by local traditions, materials, and needs.

Gujarat: Known for its vibrant bead work, Gujarat's artisans create elaborate patterns using colorful glass beads. The Banjara community, in particular, is renowned for its intricate bead embroidery on textiles, producing stunningly detailed and colorful designs that adorn clothing, bags, and home decor items.

Rajasthan: Rajasthan bead work is famous for its mirror and bead embroidery, known as "moti bharat." This technique involves stitching beads and small mirrors onto fabric, creating dazzling designs that catch and reflect light, adding a dynamic element to the textiles. These works are often seen in traditional costumes, wall hangings, and accessories.

Nagaland: In the north-eastern state of Nagaland, bead work is a significant aspect of the indigenous Naga culture. The Naga people create bold, geometric patterns using beads, which are prominently featured in their jewellery, such as necklaces and headgear. These pieces often signify clan identity and social status.

Madhya Pradesh: The Bhil and Gond tribes in Madhya Pradesh create unique bead work that reflects their close connection to nature. Their designs often feature motifs inspired by flora and fauna, and the bead work is used to embellish clothing and ritual objects.

 

 

Other than these places Sikandrabad, Berelli, Rampur at Uttarpradesh are new hub for bead work, countless job workers who are continuously supporting our Indian export industry. Most these export houses are directly or indirectly supplying to big brands abroad like Tjmaax, Target, Wallmart, Ross, Z gallery, kim sybert and many more. Even some of the vendors of these small places are working directly of some well-known Indian designers.

We can say these places are now the hub of bead work industry in modern days. I can sanguine to conclude that in future these places would be known for their contribution of traditional untold handcrafted articles.

The Crafting Process

The process of creating bead work is labour-intensive and requires a high degree of skill and patience. It begins with the selection of beads, which come in various shapes, sizes, and colours. Artisans then string the beads together or stitch them onto fabric, following detailed patterns. The complexity of the design can range from simple linear arrangements to highly intricate, multi-layered compositions.

Tools used in bead work are relatively simple, typically including needles, threads, looms, and bead frames. However, the artistry lies in the dexterity and creativity of the craftsmen, who often pass down their skills through generations, preserving traditional techniques while also incorporating contemporary elements.

Contemporary Relevance and Challenges

While traditional bead work remains a vital part of Indian culture, it faces challenges in the modern era. The rise of mass-produced goods and changing fashion trends have led to a decline in demand for handcrafted bead work. Additionally, young artisans often migrate to urban areas in search of better economic opportunities, resulting in a potential loss of traditional skills.

However, there is a growing movement to revive and sustain this heritage craft. Efforts by government agencies, non-profit organizations, and designers aim to promote bead work through fairs, exhibitions, and online platforms. Collaborations between traditional artisans and contemporary designers have also led to innovative products that appeal to modern tastes while preserving traditional techniques.

Moreover, there is an increasing awareness and appreciation of sustainable and ethically made products, which has spurred interest in handcrafted bead work. Consumers are recognizing the value of supporting artisan communities and preserving cultural heritage through their purchases.

Conclusion

Despite facing modern challenges, this traditional craft continues to evolve and adapt, finding relevance in contemporary fashion and design. By valuing and supporting these artisanal practices, we can help preserve an essential part of India's cultural legacy for future generations.

About the Author :

Kamal Krishna Choudhury - A versatile professional having 22+ years of profound experience in Textile Design, Fabric Development, Surface Pattern Design, Trend Analysis, Product Development, , Visual merchandising, Photography and Team Management in an organization of high repute.

Pioneers in Textile industry

 

Today India stands proudly ahead in the list of textile industries in the world. Often we wonder how all this started - well, here is a small recap of the pioneering textile industry.

The first Indian cotton cloth mill was established in 1818 at Fort Gloaster near Kolkata, although this mill was far from being a success story. The second mill which was established by KGN Daber in 1854 is called the true foundation of modern cotton industry in India. Its name was Bombay Spinning and weaving Company, Bombay. Bombay Spinning and Weaving Company was the first cotton mill to be established in Bombay, India, on 7 July 1854 at Tardeo by Cowaszee Nanabhoy Davar (1815-73).

Jamsetji founded a commercial textile company with a capital of INR 21,000 in 1868, which ultimately became known as The Tata Group. He was 29 years old and wiser from nine years of working with his father. His first trip to England was soon after, where he learned about the textile industry.

 

 

 

The Industrial Revolution began in Europe at the end of the 18th century. Before this time, people only had access to limited resources as most goods were made by hand. Great Britain had been a large producer of wool, cotton, and linen materials, but did not have the means to produce fabrics in large quantities. At the height of the Enlightenment period, English inventor Richard Arkwright had the idea to make the spinning thread and weaving textiles more efficient. He created the original spinning machine, allowing textiles to be woven faster to produce more. A water wheel was used to power the spinning machine, thus leading to more high-powered industrialism. Rivers and streams were becoming a vital force in mass-producing goods. English industrialist Samuel Slater brought the ideas of these mass-producing machines to economically independent America after he spent time mesmerizing how the machines worked. This became the beginning of the Industrial Revolution in America.

 

As coal and water began driving the efficiency of the production of goods, so did the demand rise. Textile factories, or mills, began to improve the manufacturing of fabrics. Industrial revolution machines allowed factories to produce textiles on a much larger scale by directly weaving thread and turning it into fabric. The first textile mill appeared in Europe in the 1740s, prior to Samuel Slater bringing industrialization to America. As demand continued to rise, so did the number of textile mills across Europe and America, which created a whole new employment culture.

By combining the invention of John Kay with his ideas, Arkwright built the first-ever water-powered textile mill, known as the Cromford Mill. Built in Derbyshire, England, in 1771, the Cromford Mill became a prototype for the production of future mills.

Source – Wikidpedia

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.