“This exhibition is about evolution of fashion techniques over the years. How in 1980s and 1990s we still did purely artisanal things and now we are encouraging artisans to work in the new modern serial scenario because we feel artisans are getting blocked in past tense,” said Hemant Sagar, the famed Indo-German designer, while explaining intent of their exhibition “Paris-New Delhi, From Haute Couture to the Technologies of Elegance” at Bikaner House.
The five-day exhibition presented three-decade-old outfits, pieces like shawl in hand printed velvet or assembled fibre inspired by underwater plantsin modern context.
It assumed significance as the designer duo, is creating awareness about the need to invest in research and design that can be instrumental in placing India on the global fashion map.
“Exhibitions these days are showcasing traditional things again and again. I feel young people would re-appreciate if it (traditional garments) is done in a modern way. ,” added Hemant.
On display at the non-commercial exhibition were over 70-80 creations; some made in Paris (1984-2000) and the other half at their Gurugram atelier (2000-2017). “Initially, the work was done in France by hard core artisans; people who have gone through training of high fashion artisanal work for 25 to 30 years. We took the outfits to Gurugram and asked Indian artisans to do serial production pieces. All developments made here by local artisans were inspired by techniques like macrame, a knotting technique, and other weaving techniques. From one outfit done in Europe they have made five, 10 or 15 pieces. So what we are trying to prove is that if you have serial production facility then you can make bigger array of clothes and they can still be exclusive.”
Excerpts:
What was the exhibition’s objective?
The objective of this exhibition was to make people understand
that development is important and that tradition if fixed in past tense is just reproduction of history. Tradition which is alive is something which could help enhance organised retail in India. Designers are getting traditional clothes into consignments into shops when they need them but fashion is about evolution of something new. If a Chanderi sari has lycra on it then young girls would love it.
Elaborate on the techniques used?
There were hand techniques which showcase work of artisans who know how to make a lace, weave a picture of landscape into textiles, which are really extraordinary artisanal principles. Many of these techniques have never been used by designers here in India. It is to enlarge the gamut and with the idea of inspiring artisans that we are exposing these pieces.
The outfits were made following French techniques used in construction of outfits in the past. Modernity comes from reinterpretation of the past, rather than reproduction of the past. That is why I speak about modern versions and use of past (sari and other) weaving techniques for example, because it will draw young people to it in unexpected ways.
How the process has changed from the time you entered fashion?
In Paris, we used to work according to strict rules and regulations of haute couture. We still function by these but have industrialised the procedures. Draping an outfit in haute couture necessities creating a mannequin replica of the clients body, which today we do in standard sizing. Another difference is that we will search for procedures based on haute couture techniques, but execute them with serial execution in mind. This means a much longer industrial preparation that includes artisans working on the fine procedures by hand and meeting expectation of the serial production.
Rather than presenting them as modern outfits, could these attires be used for nostalgia value like black and white films?
Sure, they could but that would be reproduction of historic clothes that are not relevant to the times today. The core role of fashion is that apart from being an aesthetic choice of millions of people it is the latest proposition of research and practicality. Jumping on to a bus in a sari can be dangerous. Fashions are only successful because people chose to wear them and it is the designers and manufacturers who follow the trend they is initiated that is confirmed by the consumers who want it and buy it. There is no need to reproduce yesteryears clothes now, maybe fit for movies and theatre, only to document times passed by.
Do you plan to showcase these outfits in fashion institutes?
The exhibition is planned to be shown in multiple locations and where it will be shown as of today depends on many elements. Our clothing culture in India is disappearing and giving way to foreign brands who will never develop our local culture and young people are very happy to look global. Point is that if we do not give own textile strength a local expression, we will all look like the rest of the planet in the coming years. And all traces of our tradition would be wiped out.
