Miraya by Namrata Loka

December 2015 miraya.weebly.com

Royal Indian treasures: the Al Thani Collection Namrita Chettiar on how she imbues native aesthetics into

American trousseau Lakme Fashion Week Winter/ Festive 2015

“It’s time to pay people and to pay these artisans

their dues.” - Bibhu Mohapatra

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Whether you love it when Sonam Kapoor

wears an Anamika Khanna sari on the red carpet of Cannes, wait with bated breath for a Sabyasachi- Christian Loubou-tin collaboration, or are simply on the lookout for ways to fuse some Indian-ness into your personal lives, I am pos-itive that this is what you were hoping to stumble upon.

In Sanskrit, “Miraya” means “one who is greatly admired”. Our definition of who we are distinguishes us from oth-ers; it is also what makes us admirable. To honor this, Miraya’s first issue features designers whose creations convey their respective personalities, whose mainstay is Indian craft. In our attempt to catapult emerging talents to fame, we bring to you the first-ever magazine feature of Advitiya, a Kolkata-based brand by Esha Sethi Thirani, a designer who wears her soul on her sleeve while creating.

Editor’s LETTER

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We have your styling needs covered through an exclusive spread on Anandita, a luxury brand of ethnic bags, accompanied by a brief style-guide. Immerse yourself in the pure opulence of couture by browsing through selected collection reviews of the evocative Lakme Fashion Week Winter/ Festive 2015.

The foundation that Miraya was built on is that our most prized possessions are our heritage, culture and traditions - elements that are always with us, waiting to be discovered.

Namaste and welcome to Miraya Namrata LokaEditor-in -Chief

“As a Bollywood buff at heart, I name each of my creations after a movie, thus allowing each

piece tell its own story.”

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By Anandita Ahuja

Model Meghna SinghStylist Meghna Singh

Photographer Akshay Rao Hair and makeup Meghna Singh

Origins Boutique (+91) 9949016883 http://storluv.com/vendors/Anandita/

Anandita bag, Rs. 3500Anandita “Border” bag

.Christian Louboutin shoesRiver Island boyfriend jeans

Topshop sheer cami

ZARA cuffs

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Anandita “Dil Kya Kare” bag

Prada sunglasses

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“The marriage of gilded prints with velvet is distinctive and rich, and nothing enhances it like the colour black. Border was named after the inspiration behind it - saris; the design in the middle emulates a sari border. It will beautifully complement any printed outfit, particular a maxi, jumpsuit or gown.”

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“With Dil Kya Kare, I opted for basic embroidery that could instantly add an aesthetic element to a solid ensemble. Works for a night out just as much as it does for brunch given the pastel color. ”

Anandita “Saawariya” bag ZARA necklace

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“Transitioning from day to night can be done seamlessly with the help of accessories alone. Queen and Saawariya are opulent pieces that could glam up an otherwise plain outfit.”

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“I’d opt for a crisp crop top in fall colors like burgundy or navy blue and pair it with white palazzos to balance the bling.”

Anandita “Queen” bag

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My collection is for the new-

age bride - she’s multifaceted, mod-

ern and has a mind of her own”, said designer Neeta Lulla. “We’ve used traditional embroidery

and fabrics cut in very con-temporary styles to suit today’s bride”.

Showcasing her 21-piece collection with her daughter, Nishka Lulla and Tollywood star Ta-

mannah Bhatia as the showstoppers, Neeta Lulla deployed five exquisite themes - vintage, tradi-tional, sculpt, glam and nature. Lulla presented an assortment of silhouettes with soft ruffles of

wispy chiffons, feminine accents and sultry drapes at Lakme Fashion Week Winter/ Festive 2015.

Neeta Lulla

VINTAGE

Reinvention of Indian Trousseau

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One of Lulla’s many talents is the ability to intro-duce a trendsetting twist with her Indo-west-ern pieces. This time, she steered away from red, theconventional bridal color ; inspired by elements of nature, her color palette encompassed a mix of vibrant hues like orchid blues, greens, saffron and muted shades like ivory, dusty pink and cream that work for day offerings. She went in a novel direction with hair and makeup, incorporating sculptural influences - deep waves, avant-garde up-dos as opposed to regular braids, and matte lips, lots of contouring and defined eyes.

Trust the czarina of Indian fashion to break the monotony

TRADITIONAL

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of trousseau wear. Nishka opened the show wearing a dull grey draped skirt with a side slit, worn with a lace dupatta and a stone-studded blouse. Another interesting sari-inspired look was a dull gold piece with a choli-like lycra pallu knotted and draped on one side instead of going across the torso. Although the reworking on saris was subtle, it was this detail that made a seemingly prim outfit pop.

Perhaps Lulla’s greatest strength is that her gar-ments are never fundamentally restricted to a particular occasion or individual. Her fitted, edgy

GLAM

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and eclectic offer-ings work for brides,

bridesmaids and at-tendees. Take for in-stance the baby blue

crop top with salli work and a matching layered lycra skirt em-

bellished with droplet stones - covetable separates that are versatile enough to be

mixed and matched and worn for occasions leading up to the big day, like engagements and cocktail parties.

Lulla paid tribute to her South Indian tra-ditions by embellishing her ensembles with appliqué work of the heritage fabric, Kanji-varam. A regal, midnight blue velvet lehenga

SCULPT

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was paired with a cape-style ornate jacket, both with zardosi work of Jaipur’s majestic palaces on the borders. Generic, but impressive mainly because the minimal embroidery allows the richness of the fabric to per-meate through.

Neeta Lulla’s expertise with modern design combined with an ability to revive traditions suggest that she may soon become as big a name abroad as she is back home in India.

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NATURE

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BIJOU BIJOUVictoria & Albert Museum showcases dazzling Indian

jewels that date back to the 17th century

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nial weapons, jewellery and ornaments

belonging to Al-Thani, and avant-garde jewels by Paris jewellery designer JAR.

Highlights include a gold finial inlaid with diamonds, rubies and emeralds, in a kundan setting, that belonged to Tipu Sultan’s throne (1790-1800). Sul-tan was an implacable enemy of the British East India Company, who com-bined forces with the Nizam of Hy-derabad to defeat Sultan, and killed him in May 1799. This fierce tiger head, which was once a regal ornament, then became historically significant.

BEJEWELLED TREASURES: The Al-Thani Collection

“Bejewelled Treasures: The Al-Thani Col-lection”, an exhibition organized as part of the Victoria & Albert (V&A) Museum’s India Festival, is evidence that time travel lies within the realm of possibility. Rewind to India, 17th century. Turban ornaments, brooches, swords and clothing belonging to the Maharajas (kings) were encrusted with pearls, emeralds and precious un-cut stones. Nizams, sultans and emper-ors of India commissioned jewelry hous-es to design in a kundan style; kundan is a technique where diamonds and gems are embedded within a sheet of gold or platinum, and foil backing is used to “cre-ate a backless carpet of gold and gems”.

The exhibition is cultural narrative of jew-ellery from, made for, and inspired by In-dia, and is being held as a part of V&A’s India Festival from 21 November 2015 to 28 March 2016. “The jeweled arts of In-dia have fascinated me from an early age and I have been fortunate to assemble a meaningful collection that spans from the Mughal period to the present day,” said Sheikh Hamad bin Abdullah Al-Thani, private owner of the Al-Thani collection. The 100-piece collection consists of pre-cious gems, turban adornments, ceremo-

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A white gold jigha (turban ornament) with diamonds and modern feather plume belonged to Maharaja Ranjitsinjhi Vibha-ji, a 20th-century emperor of Nawanagar.

Perhaps the most prominent and identifi-able piece is a fine Mughal dagger with a carved jade hilt owned by emperor Jahan-gir, which was remodeled for his son and the builder of the Taj Mahal, Shah Jahan.The sculptural carving of the head is believed to be an incarnation of Jesus. The dagger was also in the collection of Samuel F. B. Morse, the inventor of the Morse code.

The exhibit encompasses a cu-ration of jewels which reveal the powerful stylistic influence that In-dia had on European jeweler Cart-ier. Cartier-made treasures include:

A ruby choker that served as an em-bellishment on a turban; referred to in India as a guluband, it was made for the Maharaja of Patiala in 1931, and a noteworthy item in the exhibition.

A brooch set in platinum and studded with faceted diamonds, and a 109.5 carat sap-phire in the center, made in 1922 for the Maharaja of Nawanagar. Per Hindu astrol-ogy, sapphire was associated with the plan-et Saturn (shani) and therefore associated

with inauspiciousness or danger. Legend is that since the Maharaja belonged to the Sussex County Cricket Club (blue and white were the colors of the logo), he be-lieved that sapphire was auspicious to him.

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The exhibition is sponsored by Warts-ki, a family business that was founded in North Wales, and is being held until 28 March 2016. Specializing in antique jewellery, Russian artistry and with pa-trons that included six generations of the British monarchy, Wartski celebrates its 150th anniversary through this jew-ellery exhibit sponsorship. It is curated by Susan Stronge, Senior Curator in the Asian Department at the V&A Museum.

Related programs include a workshop that teaches Shisha embroidery or mir-ror appliqué work: Jewels of the Raj Embroidery (15 November, 10.30am-4.30pm), and a Curator Talk on 20 No-vember from 4.30-5.30pm, where the cu-rators of “Bejewelled Treasures” explain their approach to deploy the themes of medievalism and modernity in India.

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1. ‘Arcot II’ diamond Artist: India

Date: 1760; modified 1959 and 2011

2. Gold finial from Tipu Sultan’s throne Artist: Mysore, South India

Date: 1790 – 1800

All images obtained from: The Al Thani Collection © Servette Overseas Limited, 2014Photography: Prudence Cuming Associates Ltd

Image credits in order of appearance:

3. Diamond turban jewel made for the Maharaja of Nawanagar Artist: India

Date: 1907; remodelled in 1935

4. Silk sword sash with jewelled gold fittings Artist: India

Date: ca. 1900

5. Carved emerald beadProbably 18th century

Mughal Empire

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ACKNOWLEDGEOURARTISANS

With more than 5000 years of strong history of craftsmanship, Indian tex-tiles reflect culture, customs and longstanding traditions. Once symbolic ofIndia’s protest against British rule and national identity, post-indepen-dence and industrialization, hand-made and other textile crafts have con-tinued to be in demand across the world. While some designers publicly profess their love and appreciation for the work of Indian artisans, many international luxury brands do not credit craftsmen despite using their skills. The “Made In India” label is far behind the “Made In Italy” or “Made In France” labels in terms of protection, preservation and promotion.

Hand-skill and ingenuity remain rural and uncommercialized. Some of the most timeless fabrics and sophisticated weaving techniques are used by la-bels like Hermes, Burberry, Prabal Gurung and Gucci, to produce avant-gar-de designs. Today, top designers as well as brands all over the world turn to India for artisanal textiles like Kanchipuram silk from Tamil Nadu (South India), the Gujarati double Ikat weaving technique, brocade and Zari from Benaras, and Phulkari embroidery of Punjab. But how often do we see hard-working, extraordinarily skilled labour being honored by luxury brands?

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at the same level as designers, and ensure affordable living. Each brand should take up the responsibility of increasing the visibility of crafts-people through their network in the luxury sector, as well as mar-keting. This can result in the devel-opment of a global directory that glorifies true talents of artisans, de-signers, and luxury houses, which in turn benefits the consumer.

Flattery comes at a serious cost to these workers. To profit from selling garments at lower prices, handiwork is often mechanized and replaced by mass-production machines. Researchers from over-seas come to India to learn how to commercialize craft techniques and subsequently, real art work is di-luted due to copies. There is clear-ly a global appreciation for Indian textiles, but it is not translating to higher value, credit or even a fair

There is clearly a global appreciation for Indian textiles, but it is not translating to higher value, credit or even a

fair income for the original creators.

“It’s time to pay people and to pay these artisans their dues,” Indi-an- American designer Bibhu Mo-hapatra said recently to Huffpost Style. Mohapatra may be Ameri-can-raised, but his soul lies in East-ern India. He collaborated with artisans and weavers to design sa-ris, linen and other merchandise that were sold in India. At Ama-zon India Couture Week 2015,

Sabyasachi Couture’s bridal wear was paired with footwear by French couturier Christian Loubou-tin. The collection “Bater” em-phasized the value of handiwork, handicrafts and old techniques through baroque designs, exqui-site embroidery and badla work.

We need more collaborations like these. They go beyond the realm of tradition and bring recognition to skilled workers by positioning them

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income for the original creators.

The majority of Indian craftsmen are not confident to market the quality of their creations, which is actually impressive enough to be consid-ered a benchmark. Consumers, too, are uncertain about the quality of the “Made In India” label, perhaps because of India’s political past. It resulted in a mindset that foreign products are somehow more pres-tigious and superior, thus resulting in a low demand for domestic prod-ucts. For India, changing promotion-al strategies and repositioning the artistry as exotic and rare pieces of work can bring global recognition to finished products. With sustainability becoming a worldwide concern, it should be highlighted that handloom is eco-friendly and skin-friendly, too.

The Minister of State for Textiles, Santosh Kumar Gangwar, is a firm advocate of promoting artisanship, and has organized exhibitions that enable craftspeople to establish a link with global buyers directly. Changemakers by Ashoka is anoth-er program that focuses on craft and cultural revival by “encouraging

the artisan to learn how to design his product, assess quality, map the urban market and make art piec-es more relevant and adaptable to the global environment.” Their fo-cus is on supply chain management and each worker has a store of his own to receive orders directly.

However, India needs to take ownership of this issue and come up with more exhibitions and programs like these, and they should be marketed to en-gage audiences at a global level.

India is the leading source of the softest cashmere, embroideries and handwoven silks and yet, the country seldom gets the appreci-ation it deserves. There is certain-ly a fundamental gap between the Indian market and the rest of the world, which is probably why India is not considered a fashion cap-ital despite being home to some of the most incredibly skilled la-bour, and the second largest in-dustry in the world to manufac-ture textiles. If designers do not begin to honor originality and countless hours of labor, who will?

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A riveting narrative is perhaps one of the strongest assets that Abu Jani and Sand-eep Khosla’s runway show brings with it. Inspired by the disco era, the pioneering design duo opened the Lakme Fashion Week Winter/Festive 2015 with their collection “Jawaani Jaaneman”, titled after the classic Bollywood tune from the 80’s.

There was an all-consuming love for music that permeated through all nine segments of the show. Yesteryear mod-els like Noyonika Chatterjee and Jesse Randhawa shimmied to a diverse playlist that included pop tracks like Funky Town, I Will Survive, What A Feeling, and Raat Baki Baat Baki as they sauntered down the runway; the entire show was packed with 70’s and 80’s references that lent

Abu Jani-Sandeep Khosla

“Jawaani Jaaneman” shines brighter than gold

a nostalgic vibe. With 12 mirror-stud-ded disco balls suspended from the ceiling and kaleidoscopic rotating spot-lights, the runway and stage decor ac-centuated the disco ambience. On the contrary, designs transcended through modern, fleeting styles which showed that the designer duo is never straight-forward when it comes to reinvention. Abu and Sandeep have never refrained from being judicious with their flour-ishes. This time, the flourishes were ro-sette-like ruffles. “Beetle Wings”, as the segment was aptly titled, featured asym-metric blouses, pleated gowns, kaftans, and skirts. The combination of cascading drapes and crisp layers of tulle and taf-feta oozed luxury and femininity. It has

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already gained traction with starlet So-nam Kapoor, who debuted the outfit off-the-runway, given her flair for dramatic, outré clothing, just like Abu and Sandeep.

By limiting the color palette to gold, beige, white and grey, they managed to nudge their signature aes-thetics of shimmer, glitz and embellishments forward. Chikankari, Zardozi and mirror-work were el-ements of retro that were given a new av-atar with Swarovski crys-tals and sequins. There was an assortment of lehengas and cholis with plunging necklines, and white gowns slathered with sequins.

With Whitney Houston’s memora-ble “I Will Always Love You” as the soundtrack, a pristine wedding gown made its way down the runway, which seemed out of place and out of theme.

A few menswear outfits included bandhgalas, jack-ets, skinny gold pants, sequined open shirts and tulle coats. Regal and distinctive, albeit underwhelming.

The final, and most interesting seg-ment was titled “Sona” (Hindi for

“gold”), where 50 models wearing capes, ankle-glaz-

ing saris, gowns and gold masquer ade-sty le eye masks boogied

to the song Jawaani Jaaneman, which had near-

ly all the attendees reminisc-ing about Parveen Babi’s dance

moves and her iconic gold catsuit.

However, the gold and glitter felt slightly overwhelming; the entire “Sona” chunk may have benefited from a little more re-straint, but that being said, it was clear that the duo let their imaginations flow freely and reeled it back in a catwalk narrative.

ADVITIYA by Esha Sethi Thirani

esigns

“ There is no fun in wearing couture exactly as shown on the runway or on special occasions.

Couture is a personal pleasure.”

Photographer: IndranilStylist: Drishleen Sethi

Models: Ina Ray and Drishleen Sethi Coordinator: Jyotirmoy

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Advitiya leather crop top with zipper and pleated dhoti-sari with embroidered collar

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Advitiya embroidered bustier and dhoti pants with a sari drape

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Advitiya sheer lace blouse and pleated wrap-around sari

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Advitiya contemporary Sharara and a crop top blouse with sheer geometric panel

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Advitiya palazzos and crop top with a sheer sequinned panel and dupatta

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Advitiya trousers and backless embroidered poncho

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Advitiya embroidered one-shoulder tulle top and floral skirt with lace panel

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Nikhil Thampi

For most of Bollywood’s leading ladies, the Nikhil Thampi label is the ultimate source of well-crafted basics that are so experimental that they defy that very definition. Tak-ing a swift turn, away from the customary, unapol-ogetically glam red carpet offerings, Thampi unveiled “Alchemy” - an un-conventional, quirky and sensuous take on In-dian bridal wear, imbued with a dreamy Grecian elegance.

The good thing is, versatile separates like embroidered crop tops and nou-

veau Kurtas made it into the mix.

Even better, the entire mix was delivered like a pack-

age, thanks to Thampi’s collaboration with accessory designer

Aprajita Toor, who designed

exotic footwear and jew-ellery to match the clothing.

Some noteworthy experimental

“Alchemy” : Magic in Diversity

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numbers were Greek-inspired white tunics with diaphanous gold capes and panels, paired with sheer leggings. The ever-ambitious Thampi transformed a sari into a gauze, obi-belted gown with a plunging neckline, and paired an embellished beige Dupioni silk mermaid-skirt with a metallic bikini top - both served as se-ductive and deshabille ensembles.

The choice of colors truly embodied mythology - saris, crop tops and lehen-gas in vermilion (not a coincidence that it is the color of Sindoor, thus denoting a

married Hindu woman), rich orange, and turmeric yellow added pops of color to the seemingly white and gold collection.

Per usual, Thampi did not find the need to feature starlets as showstoppers to market his show, suggesting that it is merely design that makes his clien-tele happy. “It’s always been my phi-losophy to concentrate on my clothes during fashion weeks. This time too, my hero was my collection”, he said.

There is no denying that Thampi is not afraid to stretch himself: he made a

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sari drape work with a dhoti-bottom sans the blouse, and paired dresses withChudidar bottoms. Question is, which one of the twogarments - the white lehenga with an embroidered bralette or bright red cape with gold Chudidar pants with a dhoti drape - will wind up on the Thampi-lovin’ Anushka Sharma at the next big fat Bollywood wedding?

It is through these small, fearless ges-tures that one can gauge just how good Nikhil Thampi is. “Alchemy” lived up to the meaning; these unconven tional creations were a thing of magic.

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Namrita Chettiar’s

Photographer: Kaushlesh BiyaniStylist: Namrita ChettiarModels: Anya Brill and Sumedha Gholbawww.namritachettiar.com | www.facebook.com/vastrabynamritachettiar

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Dressed in a black top, with her hair in a sleek, severely pulled-back ponytail, San Francisco-based Indian designer

Namrita Chettiar, 42, looks just like she de-scribes her couture bridal gowns: simple, yet elegant and vibrant.

A graduate of Fashion Institute of Design and Merchandising (FIDM), designing seemed al-most natural for Namrita, given her family background. Her maternal grandfather had a custom tailoring boutique that catered to an elite clientele in Jammu, and she would stare at her mother and aunts with the hope of

emulating their impeccable fashion sense some day. However, her father being a scien-tist, was more inclined towards engineering and sciences, and Chettiar moved to Banga-lore to do a Bachelor’s degree in Computer Science and Engineering. But today, she looks back upon all of it as a stroke of serendipity. “The technical knowledge changed my per-spective on how things should be done in the fashion industry. I developed an aesthetic sense as a result of working with computers, graphics and web-designing, and made my degree work for me. College is where I met my husband, so that is always going to be a huge plus,” she says.

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Straight out of FIDM, Chettiar first launched “Sharara”, a ready-to-wear line of evening wear - dresses and tops made from luxeIndian fabrics like brocades and silks. “The mar-ket just wasn’t ready to accept these pieces. But when Vastra happened, I felt like I was there at the right time, in the right place”, she says. Today, her father couldn’t be more proud that Chettiar is happy doing what she loves. “She is independent, happy, great at what she does, and balances between work and family very beautifully”, he says. Clients, too, have noth-ing but praises for Chettiar. The one thing they all have in common is the abundance of compliments their wedding dress receives.

It has been seven years since she started designing bespoke bridal wear and launched Vastra, which translates to garment in Sanskrit, her prêt-à-porter line. Chettiar’s growth as a designer came about once she began to center her work around clients’ needs while still maintaining her Indian roots. “The combination of the traditional white wedding gown with the intricacies and beading of Indian design was a blurry vision that soon became my signature; eventually, the rise of interracial marriages in San Francisco drove the whole thing home”, she says.

The Bay Area has had tremendous growth in terms of diversity. According to a study by The Pew Research Center titled “The Rise of Intermarriage”, between 2008 and 2010, nearly 22 percent of newlyweds on the West Coast married someone of a dif-ferent race or ethnicity. Chettiar began to drift away from strictly traditional outfits to something brighter, beaded, yet Asian.

Instead of emulating the work of her family, Chettiar believes in taking inspiration from them and creating her own product. Localizing bridal designs has been her strongest asset. She fondly recalls the trip to India that changed everything; “I found this beautiful lace fabric and wondered if I could try some beading on it to make it look western, without entirely losing the Indian touch. That’s how lace came in.”

The initial design process of the cou-ture pieces (basic sketch, fabric, colors, embroidery samples and a muslin sample) are all done locally, but the actual ensem-bles are beaded and tailored in India. Owing to her innate design sense and family back-ground, she quickly learned that Mumbai is great with final finish and a certain kind of cut, and Delhi, with embroidery. About 50 percent of the custom clothing she makes are classic white wedding gowns with Indian beading and embroidery. The couture pieces start at $2,500 and go up to $5000, and the Vastra pret line ranges from $500 to $1000.

Chettiar works with a local seamstress for the final round of alterations. “It is incred-ibly difficult to alter one-piece gowns that are already beaded, especially with a client who may be a size 2 on the top and size 4 on the bottom,” she says. “When brides want lehengas but want a gown-like appear-ance, I design two separates. So they have a corset and a skirt that look seamless, and the client can actually wear it as separates, too.”

Her design philosophy is as simple as the name Vastra: to keep the silhouette

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global and the design, Indian. It does become a little challenging as Chettiar explains, “my Indian clients are usually born and raised here, and there is a discrepancy between what the bride wants and what the bride’s moth-er considers wedding-appropriate. With my non-Indian clients, I have to be careful not to make the beading and embroidery so in-your-face that it defies the concept of fusing cultures.”Taking inspiration from designers who con-tinuously innovate and evolve, Chettiar be-lieves that adapting with time is cornerstone to Indian fashion becoming global. She wants

to eradicate the stereotypes that are often associated with Indian garments - salwars and saris being the “only” silhouettes, or, all Indian outfits are over-embellished costumes.

“Designers like Anamika Khanna and starlets like Sonam Kapoor are doing a great job in showing what Indian fashion is capable of. For example, both Anamika and Sonam have shown to international audiences that a sari can be draped in more than one way. We need more such work to spread awareness about Indian fabrics, embellishments, and to a great

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extent, artisans and labour, too”, she claims.

The designer’s penultimate dream is to do a runway show at the Lakme Fashion Week in In-dia, and follow up by a retail store. However, as a mother of two young children, settling down in terms of family is priority. “I think I’m only getting started and for what I want to achieve, I need to be more established, and be able to commit more time and energy”, she says.

Miraya by Namrata Loka

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