A seductive play between opaque and diaphanous, tailored and drape-inspired garments was created by the fabrics. Icy colors, sharp whites and high-shine metallics were combined. There were tunics, miniskirts, trousers, and dresses that were easy to wear and elegant.
There was a new nonchalance in the ’90s.
While knits weren’t assigned a country of origin, wool was identified as ‘Italian’ and mirrorwork as ‘Indian’. The note said that the mirrorwork was done in India in partnership with Orange International. The regions of Gujarat and Rajasthan were not specified.
The Banarasi brocades used with their opulent borders for skirts were referred to as Indian silks. They were labelled as “Indian brocades” by international media. Even though the press note didn’t mention brocade, one publication called it ‘hand-loomed’.
The use of Indian textiles such as brocade is easily recognised around the world. Madras checks and hand-blocks from Rajasthan are also included. They may be called Indian silks or luxurious handlooms in international fashion vocabulary, but back home we have specific names for them that are tied to their homelands.
The use of Indian textiles such as brocade is easily recognised around the world.
It may be worthwhile for brands to ask unsung artisans how to name what they create, given the number of global designers now giving credit to the Indian work they use in collections. An Indian silk may need a different name than a rose.
The models are at New York Fashion Week. The photo is from savesay/Slaven Vlasic.