The Ultimate Guide to Indian Luxury Fashion

• Origin of Indian Luxury Clothing
• From Clothing to Fashion
• Evolution of Indian Luxury Fashion over the years
• What made it so different?
• Fashion Icons influencing Indian market
• Indian Designers Reviving Crafts
• The first generation of Indian Fashion Designers
• Challenges faced by Indian Designers
• The Market | Today and tomorrow

Origin of Indian Luxury Clothing

Indians have majorly worn clothing made up of locally grown cotton from as early as 2500 BCE. There are traces in the scriptures where the figures of human figures wearing clothes which are wrapped around the body. Traditional Indian wear was mostly clothes tied around the body in multiple possibilities.

The first trace of luxury clothing was discovered in the Early Modern period which included the Mughal empire, the Rajputs, and the Sikhs. In the 18th century, the Mughals started producing/using rich fabrics like silks, velvets, and brocades for clothing and there was a tradition of wearing embroidered footwear.

From Clothing to Fashion

India itself is yet considered as an emerging yet strong Fashion Industry. The traditional Indian clothing had regional variations in all the silhouettes i.e, Sari, Dhoti, or Ghagra choli. Before Independence, due to the influence of the British rulers on the country, a large part of fashion originated from western culture. It included a series of sequins and gold thread and our Indian fashion trademark which is embroidery, any sort of surface design technique. Indians would create a new fashion statement which would include embroidery applied on different silhouettes like skirts, shorts, and tends to reflect the Western influence as well as include their Indian tradition. Due to globalization, a lot of designers started to come in the second half of the century but at this point, it was really important to revive our Indian heritage and culture.

A large part of the revival movement in the Indian textile industry was contributed by the first-ever Kolkata-based designer - RITU KUMAR who was also a textile and print expert. She started reviving the traditional hand block printing techniques and made it a part of the fashion industry then. She launched her first boutique in Delhi in 1966. During her fashion career, she had made multiple collections that showcased elements like Zardozi embroidery, some additions of the royal costumes back in the Mughal era. This finally had led to the start of the revival of this lost art. Slowly and steadily Embroidery became a very prominent aspect of the Indian wedding attire and gave the business the country's biggest fashion exports. Now people were interested in reviving our traditional Indian techniques like weaving, printing, dyeing or Embroidery, Ikat, Patola, bandini, Shisha work, etc.

As Hindi cinema came into the picture a large part of the fashion and lifestyle was influenced by Bollywood where costume designers had started experimenting with the fashion looks in the 60s. What would be displayed on the big screen would then be followed by the mass market, also situations and themes in Indian cinema became westernized, making way for a display of diverse fashion opportunities coming in India's way forward. “Over the years, popular Bollywood trends have been the Madhubala's Anarkali-look with kurtas and churidars in Mughal-e-Azam (1960), purple embroidered sari worn by Madhuri Dixit in Hum Aapke Hain Koun...! (1994), to Rani Mukherji's short Kurti-suits in Bunty Aur Babli (2005), Veer Zaara suits and blouses from Parineeta. This comes besides various fashion interpretations of the sari in films like Chandni (1989) with Sridevi, Main Hoon Naa (2004) with Sushmita Sen and Dostana (2008) with Priyanka Chopra, which became fashion trends.” Source: Wikipedia

Now that globalization and industrialization have hit the world, India got more exposure towards the west. By the early 80s, the first generation of Indian fashion designers started coming along including Rohit Khosla, Tarun Tahiliani, Abu Jani Sandeep Khosla, and some brands like Satya Paul. Silhouettes like Anarkali got popularised after Mughals Azam in 1969. Anarkalis sets were sort of an Indian version of the ballgowns in the West and it became exceedingly popular among the masses in India as well.

In 1986 the Ministry of textiles finally decided to open the national Institute of fashion technology in Delhi with the help of the Fashion Institute of Technology in New York and this was a very important step that was long overdue for local training designers from India. By 2010 it had expanded itself to 15 branches across India and by 2020, the National Institute of fashion technology embarks the 18th Centre. Another revolutionizing step taken by Tarun Teliyani and his wife they founded India's first multi-designer boutique in Bombay called Ensemble.

In the 1980s Indian designers were largely focusing on Haute Couture, however, in the next decade India saw a growth in the domestic retail industry and they wanted to kind of cater to a larger market. This meant better quality and larger manufacturing facilities available, which could only be possible in a ready to wear line. Together these reasons first allow all the Indian designers to start their ready-to-wear lines popularly known as Pret-a- porter. Towards the end of the 20th century somewhere around 1996 came in Manish Arora, introducing printed T-shirts for girls that had Street Art in saturated colors on them. In 1998,2 years later Monisha Jaisingh came in and shot the traditional Kurta to develop a Kurti which became popular worldwide as the Indian embroidered tunic.

The same here in 1998, the fashion design council of India versus stab list which later started the very own India fashion week in Delhi to promote Indian designers and manufacturers by 2000.

Manish Malhotra, another Bollywood costume designer became an important influence on Indian fashion, having worked with multiple actresses to introduce the cocktail sari in 2000 using pay still colors and fabrics like chiffon, satin, and net. Manish says he was obsessed with saris and Bollywood and he wanted to revive the traditional sari and give it a modern touch. This started another Eire Bollywood fashion influencer and its collaboration with leading Indian designers and leading actors and actresses occasionally walking on the ramp on the India fashion week for the designers.

According to the data, by 2010, the Indian fashion industry despite the ongoing recession, was roughly worth $2.9 billion. One of the Indian fashion designers, Manish Arora also became the first Indian designer to participate in the Paris fashion week.

Change in Menswear

From 2010, menswear became a very new category in terms of experimentation and expansion. Lakme fashion week is considered to be one of the premier fashion events in India which started in 1999 sponsored by Lakme. It is jointly run and organized by IMG reliance Ltd and Lakme. This event was by far the most helpful in launching platforms for some of the newest young designers who had a different take on menswear. Fashion designers like Mr. Ajay Kapur, baloney, and Antar Agni were some of the most talented newest designers on the block.

Mr. Ajay Kumar revolutionizes the Indian men’s perceived fashion by introducing the signature print on the print look on men. He got a lot of new colors to the men's palate and had some of the most amazing celebrities wear his looks and hence popularising the print on print look.

Men in India have become more experimental and flamboyant in their outlook which in turn makes the new-age man want to experiment with silhouettes, pop prints and break the mundane perception of the regular menswear.

Evolution of Indian Luxury Fashion over the years

It is interesting to note, even the most traditional silhouettes like the sari have evolved so much by giving it a modern touch without compromising on the tradition. The first drastic change that Indian fashion had seen was after the arrival of the British in India. It is interesting to note that the Indian population got influenced by the dresses worn by the British rulers. Adjusting change was noted amongst men who turned their attention to sports suits and major alterations were visible in the women’s attire in the form of cholis along with their saris.

1920’s:

In the 1920s women left behind restricted fashion and moved over to comfortable and daring clothing and they switched to skirts trousers but only among the upper-class of the Indian society. The Choli however resemble Charleston dresses. The fabrics that were majorly used were georgette and Chinese silk. This was the face when women started to play boldly.

1930’s:

After the Wall Street crash in the 30s there was a direct impact on the Indian fashion industry because the Indian men now came with belt loops, this was a major alteration while Indian women had a change in their shoulders as they were more padded than before. Cotton saris took a backseat and were replaced by silk saris, the gowns were worn with saris had a different look and there was a higher demand for shorter sleeves.

1960’s:

The surface design techniques that were used during this time are majorly to revive the Indian tradition and this was primarily the post-independence phase. Ritu Kumar was trying to revive the hand block print other various surface design techniques to the traditional silhouettes like saris, Kurtas, lehengas, etc.

1990’s:

The Indian luxury designers were majorly focused on heavy embroideries and put your garments by this time but due to globalization, they were shifting towards more comfortable where. So this was the time when the Indian women Rose their Kameez a few inches above the knee.

2010’s:

The Indian luxury fashion industry had seen almost over 500 designers and there was a passion for incorporating western sensibilities into our Indian traditions. A lot of designers like Sabyasachi, Anita Dongre, Tarun Teliyani, Manish Malhotra, Manish Arora, Gaurav Gupta, and much more what is changing the entire wedding scenario. This is primarily because of the introduction of social media to the world whether Indian groom/bride/guests were conscious about what they are going to portray about their experience to the perfect their life they wanted to project on social media. Social media has become more relevant, millennials had come of age and suddenly they had started to show their spending patterns. It looked like they had taken hold of their own lives. Validation became important for the Indian consumer and a lot of interest in travel was also increasing simultaneously. This experience of travel was so much higher, that they would rather take that trip than hold on to a property, an expensive piece of jewelry, or a new bag. Travel was also changing a very important aspect of India which is “The big fat Indian wedding”. That too was opening new gates of moving the wedding overseas and giving birth to destination weddings. No social media is documenting all of this, not only what they are wearing but also the experience which these clothes brought. This gave a lot of context to the designers for the vision in the coming years and Brands no were just not clothing brands but they were lifestyle brands. This gave way for designers like Shivan and Narresh who launched their own resort wear/lifestyle label which is by far India's first of its kind where they want to break the notion of the quintessential bride in a 15 KG lehengas with all that jewelry studded with emeralds and giving her a flowy pre-stitched sari or a printed Lehenga in which she can enjoy the moment in a picturesque setup.

2020:

The much-awaited move movement for inclusivity and diversity had a huge effect on the fashion industry and lead designers and brands across the world to design clothes for all sizes in age and gender without being biased. Fashion now is not just about the clothes, it's about expressing who you are and being comfortable in your skin. Bridal designer Sabyasachi Mukherjee created plus size fashion in his summer spring 2020 collection campaign making it a part of the wider movement in Indian luxury fashion which makes it more inclusive in terms of size and skin tone. In the last couple of years, the influencer marketing game is changing how the Indians are perceiving fashion. Fashion influencers like Masoom Minawala, Ritika Khurana, Ashna Shroff or becoming more relatable and approachable to the Indian audience, and hence the brands even the global biggest brands in the world want to speak to the audience through social media and these influencers. The wave of sustainability, on the other hand, is a topic that we still are struggling with. There are a lot of brands that have started to incorporate sustainable practices since it's the only way forward. Fashion now is more meaningful and the mass-produced fast fashion brands need to take a backseat. People are now embracing sustainable fashion. The highlight is to popularise local crafts and sustainability which helps people act responsibly and embark on a foundation and push Fashion into becoming more than just products.

WHAT MAKES INDIAN LUXURY FASHION DIFFERENT?

Global luxury fashion brands are building along with the identical set of trends with each passing year however when it involves traditional Indian clothing, it's its essence and belongingness that reflect the country’s deeply rooted tradition and values. Well, what makes it so unique?

In this chapter we broadly categorize craftsmanship, heritage and variety because the strongest foundational pillars and dig a bit deeper to grasp the extent of the role these pillars have played in shaping the ever-precious and enchanting ethnic Indian fashion.

Craftsmanship

India’s diversity, richness in history, culture, and religion is represented through the craft of every one of its states which successively is a product of various empires. For hundreds of years, rural communities have had crafts embedded in them as a culture and tradition. It’ll only be fair to place our incredible handicrafts to justice to debate them at length without missing out on any prominent regions and so we discuss below a number of these gems that have influenced India’s fashion to achieve its current recognition which remains far away from what it deserves.

Crafts of North India

As the northern state of Kashmir is the pride and crown of India, it's famous for various forms of crafts are walnut wood carving, shawl weaving, carpet weaving, names, silverware, basketry, and far more. Especially Kashmiri embroidery practice in Jammu & Kashmir is popular all around the world for its beauty and styles. Kashmiri Amawar shawls are famous for their elegance and diverse designs. They’re made of pashmina wool with weaving sticks. It’s very soft, exclusive and patterns have colors and hues that completely represent the Mughal arts. Kashmiri baskets are an incredibly renowned craft of the state. The crafts and artworks of Punjab are highly regarded even within the international markets. Phulkari work of Punjab could be a traditional embroidery practice to embellish shawls and dupattas which involves intricate needlework. Phulkari stitches are done horizontally, diagonally, and vertically on bright and color combination bases. This process is generally practiced by the ladies of Punjab for extra earning and spending their free time. Ladakh produces a large type of handicrafts. Among the unique handicrafts of Ladakh, thangka paintings are well-known for embroidered silk or cloth using embroidery. These paintings depict the teachings of Lord Buddha.

Crafts of Eastern and North-Eastern India

Bengal has thought everywhere on the planet for its expertise in art and craft. Embroidery, handlooms, fine muslin, and silk artistry, etc. are some samples of handicrafts that originated at the bottom level within the heartland of Bengal - the villages. Most of the handicraft products are manufactured in the province and have been the backbone of the agricultural economy of the State. The leather crafts, a fine example of the latest art and craft in the state, owe their widespread popularity and development because of some innovative work done by gifted artists at Santiniketan. Kolkata is home to a number of the foremost valued sarees like Taant, Dhakai Jamdani, Murshidabad Silk Saris, Baluchari Saris, and Tussar silks. Kantha embroidery dating back to centuries also originates from tales of the province. Recognized because the birthplace of celebrated folk tales, Madhubani as a craft comes very naturally to the natives of Mithila, who happen to possess this innate quality to conceive a visually fascinating story-telling sort, to narrate these interesting tales with their due reverence. These enchanting images referred to as Madhubani paintings translate to ‘Forest of Honey.’ Also among the earliest art varieties of India, Bhagalpur painting is also renowned as Manjusha Art together with extraordinary quilting delicacies. A state recognized for its creative use of raw materials in textiles and crafts and amongst the only a few states honored to possess its craftwork showcased at the National Handicrafts and Handloom Museum in 2010 to Michelle Obama. Silk fabrics happen to be an iconic product from Assamese textiles. It's a precious staple of Assam, with the Antheraea Assama worm producing the unique Muga silk. As Gandhi quoted, ‘Assamese women are born weavers, they weave fairy-tales in their cloth’. . It's believed that domestic weaving is taken into account as a vital skill for Assamese women when it involves marriage. At some stage, an unmarried girl would present a handcrafted Bihuan to her beloved and so it holds a cultural yet as an ethical value in Assam. The silk and textile industry is additionally an economic resource to the state with over 25000 families associated with this craft. Cane and bamboo crafts are unique to Assam, the results of heavy physical work. Ridang, suli, lezai, and long cane are natural resources to the state.

Crafts of Western India

Rajasthan, known for its royal heritage, had crafts embedded in its roots preserved over centuries by the royal Rajput families and are home to smaller occupations. Fabric coloration and embellishments, decorative and puppetry are a number of these artistic expressions originating from this region. The artisans hold this as a mark of respect instead of just an occupation. The dupattas donned by the ladies of Rajasthan are representative of their extensive dyeing techniques like tie-dye, resist dyeing, and direct application. Rathore Jodhpur, a preferred collection from 2008 by Raghuvendra Rathore was inspired by traditional garments from the place. Fabric dyeing may be a product of the Chippa caste of Rajasthan. Mirror embroideries and dyed wooden beadings are symbolic of the attractive state. Mirror embroideries are visible in dupattas from the state of Punjab within the sort of Phulkari. Decorative patterns adorning surfaces, home interiors as floral motifs, dotted designs are prominent in their garments. The Rajasthani craft industry is iconic to India’s global identity with a plethora of its styles globally recognised. Tie-dyeing is just another example of international aesthetics rooted in the simplistic crafts of Rajasthan. The story behind the start of Hewa jewelry continues to be a mystery. It is a novel art of mixing 23-carat gold with multiple colors of glasses. The glasses are wont to provide a glittering and unique characteristic effect. Mostly it reflects geometric and other unique patterns. Skilled labor used gold sheets of the best purity to create pendants, rings, brooches, and bracelets. Gujarat is renowned for its textile production methods. The two adjacent states share similarities in culture and identity. The standard Indus Valley Civilization inhabited the full region, including Rajasthan and Punjab during Medieval India. They began this textile industry in Gujarat. Within textile production, each caste is assigned to occupation of its own. These are weaving, dyeing, and printing. As an example, the Salvi caste is assigned weaving. Garment producers bring these elements together to form the identity of Gujarati textiles. Gujarati garments are symbolized by the direct application method of dyeing. Painted patterns on fabric for dupattas, ghagras, and turbans. Block printing may be a popular direct application technique, Gujarati Ajrakh block printing is amongst the oldest printing techniques and Excavation sites of Indus Valley Civilization give evidence for Ajrakh being amongst the oldest printing methods of the Indian subcontinent. In Bandhani, another famous Gujarati craft, the fabric is tied at different sections before dyeing to create patterns. This foundation of forming patterns through dyeing has emerged from the agricultural communities of this state. Conch shell and shellac bangles are the foremost common. Conch shell bangles are plain white with a light-weight shade of a brighter color whereas shellac bangles are shaped like a shell, painted and decorated with glitter. These have in recent years become an adjunct in both domestic and international markets.

Crafts of Southern India

The diversity of non-secular beliefs has had an honest impact on the crafts of Southern India. The region has seen the rule of various empires just like the Mughal, Portuguese, Dutch, French, and British. Each has left its mark of favor on traditional crafts. Among all the silk garments, Kanchipuram silk is the hottest one. Embroidery is additionally abundantly part of the South Indians. In Tanjore in the province, a unique variety of applique work is completed for adornment on temple hangings. The state is known for bead embroidery, which is completed on fine fabrics to adorn them. It’s usually done on sarees and blouse pieces. Jangaon is legendary for this kind of labor. Colored beads are combined with dark and bright bases. Karnataka is legendary for Kasuti embroidery. It’s finished with two kinds of stitches and also the embroidery incorporates a soft feminine angle. The Banjara Needle Craft belongs to the nomads and wanderers and therefore the embroidery of this way is incredibly rich and flamboyant. The province is additionally known for its excellent handlooms. Handloom of state with its sheer color has become a craft in itself. The saris of the state have their style and have developed for generations. The Chirala textile may be a remarkable craft of the state. It's made by employing a lot of oil, which is employed for preparing the yarn for weaving. After finishing the material, it's wrapped with wax and clay before dyeing in selected colors. Dharmavaram silk sarees are famous everywhere in the globe. The borders of the saris are broad with brocaded gold patterns and even have Butta. There are exclusive designs on the Pallus. Bead embroidery on textiles is additionally very famous. They’re embellishments on fine fabrics and this kind of embroidery is typically done on sarees and blouse pieces. White and colored beads are usually used in dark and bright shades to bring out the wonder of the bead design. Jangaon is renowned for this craft. Weaving may be a household craft of Karnataka. Cotton weaves are in dark earthy colors with heavy maroon and chocolate shades to finish borders. There are sarees in mat design in white or yellow; or within the Rudraksha pattern. The Pallu is typically in alterations of white and red hands with mounts at the 2 ends, woven either in cotton or silk. Irkal could be a special sari of the realm that's made in rich colors like pomegranate, red, greenish-blue, parrot green, etc.

Heritage

The rich heritage of India, also known to mankind as one of the oldest civilisations, is a confluence of religions, traditions, and customs. Indian heritage is a treasure trove of art, architecture, dance, music and also the innate secularism of its people. A visit to the heritage sites is a sort of practice history, changing lanes with every dynasty that ruled Indian soils. The finesse of Indian handiwork, the richness of silk and cotton textiles, the ethnicity of jewelry, everything has come down as a heritage from times of yore and is being kept alive generation after generation. Even food in India may be a legacy and a part of Indian heritage, differing in look and taste in every state of India.

Our culture and heritage with centuries of evolutionary tradition are manifested by the massive handicrafts from every part of the country. Handicrafts are a mirror of the cultural identity of the ethnic those who make it. Through the ages, handicrafts made in India just like the Kashmiri woolen carpets, Zari embroidered fabrics, terracotta, and ceramic products, silk fabrics, etc. have maintained their exclusiveness. Within history, these handicrafts were exported to faraway countries of Europe, Africa, West Asia, and much East via the ‘silk route’. The whole wealth of timeless Indian handicrafts has survived through the ages. These crafts carry aesthetic appeal of the culture that commits to exclusivity, dignity, and magnificence. India’s diversity is an undeniable fact that is visibly prominent in its people, culture, and climate.

Indian culture varies like its vast geography. People communicate in infinite languages, dress uniquely, follow a number of different religions, eat different cuisines but have identical temperament. So whether it's a joyous occasion or an instant of grief, people participate whole-heartedly, feeling the happiness or pain.The full community or neighborhood is involved in bringing liveliness to a celebration. Likewise, an Indian wedding celebrates togetherness, not only of the bride and groom but also of families, cultures and religions. Similarly, in times of sorrow, neighbors and friends play a vital part in easing out the grief.India is one of the foremost diverse countries found within the world and has the foremost complex amalgamation of varied cultural identities.

Diversity

India is the best example to prove the concept of diversity and unity in diversity. Being a 5000 years old civilization, it is a land of rich diversities.

People, despite belonging to different backgrounds, respect one another and stick out the sensation of harmony and brotherhood.

The country houses most of the religions of the planet and is the birthplace to some of them. It also incorporates linguistic diversity.

The 29 states of India have their culture, tradition, and language. The people of the country celebrate quite 30 major festivals of varied religions, cultures, and communities.

Diversity in India

India may be a unique country with an oversized population representing endless sorts of cultural patterns and physical features. People belong to all the foremost religions of the globe and therefore the land has many languages. The vast population of the country consists of individuals hailing from diverse creeds, customs, and colors. India features a vast linguistic, religious, and caste diversity.

The Indian Culture

The people’s way of life is defined as a culture that also entails the way of dressing, speaking, cuisine, worship, and lots of other things. Similarly, the way of life of Indians is Indian culture. It's one of the oldest cultures within the world dating back to 3300 BC. There is great population diversity within the country that brings variety to the Indian culture. The varieties will be identified within the style of religion, languages, dressing, cuisine, art, festival, and far more.

Traditional Clothing

Indian Handicrafts have been living since the Indus Valley Civilization. Several regions in India have established crafts industries that follow the traditional practices.

There are lots of examples like pottery, carpets, textiles, and more. There are wide ranges of handicrafts in India which reflects the tradition and rich heritage of the country.

The richness also can be witnessed in the traditional clothing and attire of India. However, Indians now wear both traditional and western attire.

The clothing style within the country varies from region to region. The ethnic wear for men includes dhoti, kurta, salwar-kameez, turban, and more.

The traditional attire for ladies includes saree, lehenga, Anarkali, Kurtis, and lots more to call.

Prominent Festivals

There are several festivals celebrated in India. Every religion, caste, and culture has its festivals and occasions to celebrate.

There are national festivals like a legal holiday, Gandhi Jayanti, and Republic day celebrated across India.

The most celebrated festivals in India are Diwali, Holi, Dussehra, Durga Pooja, Eid, Guru Nanak Jayanti, Mahavira Jayanti, Christmas, and plenty of more.

Art, literature, and architecture in India

India has very rich art, literature, and architecture from ancient wonders to trendy marvels. they need to flourish in India for hundreds of years.

One of the foremost popular and oldest known works of literature is the epic Ramayana.

There are lots of contributions to arts and architecture over centuries in India. The momentous castles, palaces, forts, temples, and more display the grandeur and excellence within the field. Ajanta and Ellora caves stand as samples of rich art and paintings in India.

Dance and Music

Indian culture is incomplete without the assorted sorts of classical and folk dances. The land has diverse dance forms with folk dance and classical dance because of the main Indian dances. The classical dance styles of India include Bharatnatyam, Kathakali, Manipuri, Kathak, Odissi, Kuchipudi, Mohiniyattam, and more.

The folk dances are performed on several occasions like festivals and celebrations. They include Bihu, Gaur, Chhau, Padayani, Dollu, Dumhal, Garba, Dandiya, Kunitha, and plenty more.

THE FIRST GENERATION OF FASHION DESIGNERS IN INDIA

India, a country with an ancient clothing design tradition. Though a handful of designers existed before 1980s, the late 1980s saw an increase of growth. This was the result of increase exposure to global fashion and the economic liberalization of the Indian economy in 1990. Indian fashion has at least two, and its history can’t be strung together in a single strand. By the early 1980s, the first generation of Indian fashion designers started coming up.

The story starts with Rohit Khosla. He has given the nation an intangible legacy, impacting the fashion in the country. Even though he has been gone for 26 years now, a handful of India’s best designers are thankful to him for his contribution to the fashion industry to blossom in the country. Ritu Kumar, a textile expert started working on traditional techniques, making it a part of the Indian fashion industry. She even established her collection as “ethnic chic”. In 1973, she first showcased her zardozi embroidery in her garments leading to ‘revival of lost art’ in the country.

Hence, Ritu Kumar already cornered the wedding market in the country and later became the designer of choice for international beauty pageant contestants who went to win Miss Universe (Lara Dutta), Miss India (Aishwarya Rai, Priyanka Chopra) titles.

And, within the formation of India’s first governing fashion body, one can evidently feel interspersed instances of affability, harmony and some gaiety which makes Indian fashion a liberating and unique space to work in and explore.

India and its fashion landscape was unformed which relied solely on tailors and talented boutique-owning aunties who had their expertise in throwing different colors and prints together. Rohit descended into this market and with his best design sensibility, he very finely bridged the gap by introducing ready-to-wear fashion in India. As soon as he launched his eponymous label in 1987, Indian textiles and fabrics stood as major inspiration for him.

He was the first to cut voluminous kurtas in crinkled cottons. He also used jute rope as embroidery. He had artist Gopika Nath paint on tussar silk, and geometrized Gujarati mirror work like nobody ever had.

Besides, he galvanized an entire industry that really had nothing going for it; in India of the 80s, fashion was not a profession. His revolution in the ideologies redirected the fashion industry to new dimensions. JJ Valaya interned under him, and Ranna Gill, Sonam Dubal assisted him in his initial years . Suneet Varma, who is Khosla’s cousin says, “Rohit paved the way indians perceived fashion.” It was both Suneet Varma and Rohit Bal who benefitted from Khosla’s appearance in the industry.

At the first fashion show that Khosla, Tarun Tahiliani, Abu Jani Sandeep Khosla and American designer Neil Bieff put together, Rohit Bal was asked to create a line of menswear with them. Khosla has always inspired designers and made them do things they thought were not possible.

A meeting between Khosla and Tarun led to the launch of India’s first multi designer store, ENSEMBLE, in 1987. There were only two stores which sold designer wear at the time, one was RAVISSANT and the other was BINA MODI’S OBSESSION, both selling their own designs. Khosla’s interest and enthusiasm about opening a store, led to a single direction and it all began to shape along with Tarun and his sister Tina.

He was a mentor in all sense besides being a designer or a stylist in every sense .There are absolutely no doubts that Indian fashion groomed because Khosla had his heart and mind into it. The fashion industry would have been at a different pace if it had not been him.

Tarun has now established his label ‘AHILIAN’, as well as ‘ENSEMBLE’ with her sister. Valaya’s couture label has grown fast in the first two years. Varma also began his label in 1987. These, then were the designers who stepped into fill the gaping vacuum left by Khosla’s untimely and unfortunate demise.

‘Anarkali Style’ was flourishing ever since, it was first popularized after Mughal-e-Azam (1969), it was Abu Jani Sandeep Khosla, who was inspired by costumes of mughal courtesans, introduced the floor lenth Anarkali-style of churidaar-kurta in 1988, which soon became the Indian version of ball gown.

Designer Suneet Varma, who inspired by his corsetry training in France, came up with indo-western, ‘corset blouse’, in 1992, made with satin, polyester taffeta or stretch lace. It was designed to replace the traditional choli, or Indian blouse worn with a sari. In the early 1980s, the designer focused largely on haute couture.

T shirts with god print were introduced by Manish Arora in 1997, along with Indian street art in saturated colors.

Another important reinvention was made in 1998 by Monisha Jisingh, who shortened the traditional kurta to develop kurta. Kurti was then popular worldwide as ‘indian embroidered tunic’.

In 2000, another Bollywood costume designer Manish Malhotra became an important influence on Indian fashion. Having designed the trendy looks for actresses Urmila Matondkar in Rangeela and Karishma Kapoor in Raja Hindustani. He also introduced cocktail; sari in 2000. He used pastel colors and fabrics like chiffon, satin or net to revive traditional sari in a modern way.

Indian fashion designers range from Sabyasachi offering traditionally designed textiles to contemporary and globally acceptable aesthetics curated by Payal Khandwala. These supremely talented industry giants are gradually weaving a narrative of delight representative of their reverence for all that is indegenous. At the very core of their passion towards precious handlooms lies a certain self undertaken responsibility towards reviving the forgotten crafts and their super skilled craftsmen communities longing to survive despite their capabilities. Here we discuss some of the bigger names from the fashion industry who’ve taken upon themselves to incorporate and popularise Indian textiles and crafts before they go absolutely extinct:

Gaurang Shah

Gaurang Shah Textile specialist and ace designer Gaurang Shah puts unique spins to traditionally prepared weaving patterns. He works around a lot of handlooms like Kanchi-Kalamkari, Organza-Kanch, Khadi-Kanchi, Patan Patola and Tussar-Kanchi. He is renowned as the first Indian designer to exhibit Kanjeevarams at a national level. He’s also responsible for the revival of the Jamdani weavers community in India. Ritu Kumar Ritu Kumar has been another major influencer in reviving the handloom industry with her most prominent work with Matka Silk, Hand-Block Printing and Bhagalpuri Fabrics. She launched the ‘Banaras Revival Project’ in the year 2016 in order to experiment and explore the art of cotton and silk weaving from Varanasi.

Rahul Misra

Rahul Misra’s collections are heavily reliant on ethnic weaves and fabrics like Chanderi, Daraz work, Kerala’s cotton textiles and Banarasi Silk as well. He debuted at the Lakme Fashion Week with Kerela’s handlooms to make reversible trousers and dresses. He experiments extensively with Chanderi, Khadi and Ikkat for his Haute Couture collections.

Sanjay Garg

Raw Mango reeks of enchanting beauty of traditional handloom silks. The collection is one of the best products of our rich handloom heritage with the perfect blend of contemporary meets ethnicity. Sanjay garg has played a significant role in popularising brocade, Chanderi and Mashru.

Abraham & Thakore

Revolving majorly around Mangalgiri, Jamdni and Banarasi brocades, Abaham and Thakore have been known to work with traditional handlooms. Their signature style is however the black and white Ikat design. The resist dyeing technique has been constantly promoted by them whether it is Patan Patola from Gujarat ior double Ikat from Orissa.

Anita Dongre

Renowned for her larger than life Gota-Patti lehengas, Anita Dongre has been working extensively with Banarasi brocade sarees. Not just her own label, Anita has been associated with quite a few NGOs like SEWA Trade Facilitation Centre in order to uplift independent artisan communities.

Sabyasachi Mukherjee

Sabyasachi Mukherjee has been uplifting weavers from Bengal and Andhra Pradesh for the longest time by commissioning them with regular work through his ‘Save the Sari’ campaign started almost a decade ago. He is widely renowned for his Khadi and Banarasi sarees. He has redefined how Bollywood can play a vital role in reviving crafts through his apparel. He has a very holistic approach when it comes to crafts with special attention to Bengali crafts. He’s even organised an entire show as a tribute to handicrafts and their revival in 2017.

Sailesh Singhania

Known as the Indian handloom artisan for almost 20 years now, Sailesh Singhania, a designer along with a textile revivalist has been an ardent believer of the philosophy of preserving our handlooms and goes way beyond than just his profession. He has about 700 weavers across the country working with him and he also has been supporting a lot of clusters from Pranpur, Kota, Gadwal and Pochampully for helping tem earn a livelihood.

Payal Khandwala

Payal Khandwala with her contemporary aesthetics has been focusing on making rich Indian textiles lucrative and has been successful to give them a makeover to fit the millennial generation. Year after year with her colour blocking techniques paired with eccentricity she has been producing fabrics that appeal to the global market. Through her label she ensures a healthy and sustainable work environment for the artisans.

Challenges faced by Indian Designers

Fashion, flashiness and striking looks have always been vital parts of Indian culture.

For years, cities of New York, Milan and Paris have been everyone’s favorite for fashion. Apart from the talented fashion designers, glamorous looks, each fashion week at any of these fashion capitals serves as the magnet for the biggest names in the industry. However, much of the brands considered by people to be high-end are majorly European. Designers from other continents are getting a fair amount of attention, but the monopoly is still on the side of westerners. Traditional Indian fashion has been around for thousands of years, and pretty much everyone around has come across someone dressed traditionally Indian. The blooming popularity of Bollywood films has also led to an increased appreciation for the vibrant colors and styles of traditional Indian costumes.

However, India’s Fashion industry still has a scope to get its desired goal fulfilled. Also, they have quite a few critical decisions to make before working on a full proof strategy. If you are putting together an exquisite anarkali which is studded intricately with Swarovski crystals, then its most likely to be appreciated by an aspiring local consumer who feels that the garment is classy and elegant. Whereas, the equally wealthy European will probably be just shuffling through the racks.

With everyday changing economic conditions and economic powers of the consumers, has transformed the Indian market to an all time appreciating place for Indian and international designers.

Online Indian Luxury Fashion Shopping

As of today there are multiple online Indian Luxury Fashion Shopping options that every fashion buyer acros the globe can access. Right from getting the best choices in terms of Bridal Clothing, Accessories to having the best options in Luxury Indian Ethnic Wear online - there are many Indian luxury fashion portals to help you shop for the best.

Some of the best Indian luxury fashion portals for women offer a rich collection of clothing from the top most Indian fashion designers. Of course there are many fashion websites today that are focussed on Indian Luxury Fashion for Men and offer the best of Indian designer wear, Luxury Indian ethnic wear sourced from upcoming and well established Indian designers across the country.

These multi designer online stores in India actually cater to the entire Indian diaspora across the globe providing well priced Indian fashion designers collections in Dubai,
Indian designer clothes online in USA, Indian fashion wear online in London and almost all the best locations across the globe.

There are leading Online Indian Luxury Fashion Shopping portals like Aza Fashion, Aashni and Co, Pernia's Pop up, India's pop up, Carma Online, Zobiyo who are doing a fantastic job of promoting Indian Designer Clothing across the world. There are many Indian Designer Clothing Stores established across the world that are selling some of the best in Indian Luxury Fashion and Indian Fashion in general focussing on Indian buyers as well as international buyers with a taste for Indian fashion.

As global Indians travel the world, the best of Indian luxury fashion is following them with fabulous options to buy and easier ways to shop for Indian luxury fashion online.

A CHALLENGE TO GO GLOBAL?

FASHION SHOWS

We have been witnessing a wholesome interest of individuals getting them registered for maybe a 5 day event happening in the country. How crazily people are attracted to attend the events in MILAN, PARIS OR NEW YORK, which is by far really high as compared to the ones happening in India. Domestically, india has experienced a steady rise from 150 individuals to some 200 attending the event. There is a difference in the rising popularity.

There are definitely some yearning buyers and representatives looking out for designer updates internationally. Wherein, India has its set of companies or influencers who are always looking out for something more; something different; something extraordinary. Designers are putting out their best in the shows, yet it’s a challenge to build on to something so global.

SIGNIFICANCE WITH PRODUCTS

Indian designers are known for their immense craftsmanship and attention to detail.

Traditional garments and styles are well ornate and always suits the domestic market it is catering to. With any designer going global, customers sitting in The US or The UK, seems to drop wearing the style. Their preferable style or any international designer they are wearing has a motive. It is something they can style everyday. Its FAST, CHIC, EASYGOING AND TRENDY. Hence, inspite of the fact that indian garments are beautifully crafted, it gets very difficult to sell it in the international markets.

Fashion shows or certain marketing strategies by the designers might get some other buyers on board; but selling them further at present is still very difficult.

By far, the economic status of international countries is so developed. It’s a fast moving life, hence, fashion preferences are directed to fast-fashion products. Survival in the market is wholly revolving around commercial sustainability and how wearable the garment is. Hence, Traditional handcrafted apparels are pushed back while trying to be on the international shop floors.

ONE MARKET: TWO PERSPECTIVES

An Indian designer reaching out to its domestic clients and trying to reach out to some international clients; reforms the customer’s discerning the product. A customer sitting internationally is looking at market very differently. With the types of products being offered a designer tend to lose its focus for the exact target market.

Very subjectively, this has all to do with the right clientele. Objective clarification will then diversify the market waiting for your product. Because there is a major difference in the tastes and preferences of the consumers been targeted it becomes really important to project that:

Do I need more revenue generation and sustainable customers till I serve for fashion? Or Do I need an extreme vast international reach, for the world to wear me except for knowing me?

Answering such questions will then cut down on a challenge and build on any strategy thereafter.

STAYING DOMESTIC IS MORE MONEY?

International fashion is entirely working on three pillars- professionalism, reliability and quality. India is witnessing a major number of designers being couturiers, which possibly takes them down the bar of serving fast fashion. Professionalism here has a complete diversion of number of pieces produced. This is because, orders are increasing with reduced lead time on every order. Further, it reduces the chances of reliability towards the designer.

Although, it is the domestic customers who have been building on strong economy by investing on Indian designer wear. Thereby, they are the ones brin in fame and prestige ;thus, making it a luxury.

Besides, marketing becomes very crucial when it comes to sell your product internationally. IMRAN AMED editor-in-chief, BUSINESS OF FASHION says, “for every 100 brands that are created, only one gets commercially successful.”

Delicately produced Indian garments and with intricate craftsmanship analysts are always stuck at one question:

If Indian designers are wanting to compete in the international markets, can they produce garments with limited deadlines without compromising on quality?

It would not be fair to say that Indian designer market is in infancy ;but, India has over 1 billion potential buyers willing to be served with artistic creation.

An amalgamation of Indian luxury with something international is definitely awaited. SO, SEEING THIS AS A CHALLENGE OR AS A CREATIVE OPPORTUNITY WILL CHANGE THE GAME FOR INDIAN DESIGNERS, EVEN GLOBALLY.