Academic literature on the topic 'Indian fashion designers'
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Journal articles on the topic "Indian fashion designers"
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Parashar, Shruti. "A Study on Khadi: A Swadeshi Fabric Among the New Era." ECS Transactions 107, no. 1 (April 24, 2022): 15407–16. http://dx.doi.org/10.1149/10701.15407ecst.
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Khadi is a thread, which connects both the ancient and new era. Khaddar was the previously known name for khadi stuffs. It significantly cares about the rural artisans to earn their source of revenue; khadi immerges as a fashion material, leading Indian designers like Sabyasachi and the young designer’s fashion shows forcing fashion world to take serious note of it in India as well as abroad. Therefore, paper attempt has been made to discover the awareness about khadi among college youth. A small survey was conducted in the college where the students wear khadi cloths and the reviews they gave regarding the style, quality, on price they purchase, and even as a status symbol and the khadi shop sponsored by KVIC in the Banasthali University itself is being analyzed in this study. From the responses that are received from survey, it was observed that khadi can no more be neglected and it is soon becoming a fashion symbol.
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Sharma, Rajesh, Richa Arora, and Pradeep John Kerketta. "Carrying Traditions of Vibrant IKAT Ahead –Innovative Approaches through Academia." International Journal for Research in Applied Science and Engineering Technology 10, no. 11 (November 30, 2022): 1903–11. http://dx.doi.org/10.22214/ijraset.2022.47707.
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Abstract: Ikat has been carrying a long history through its vibrant blurred texture, colours, yarns and abstraction in design. Ikat of Odisha has carved its own worldwide identity in traditional textiles and cultures of India. Ikat is on revival again in fashion trends with the support of Indian fashion industry professionals, creating new style statement by Indian designers at national and international platforms. New generation has understood the uniqueness of Ikat fabrics and its design development techniques. Different Ikat style patterns have been developed by designer for latest fashion trends in apparel, home furnishing and other products. New innovative approach in Ikat design pattern with the use of new color schemes, yarns and alternate training & development methods has infused new life for the sustainability of this fabric in future and improving the economy of traditional craftsmen and weavers. Academia can fully participate and cooperate to carry ahead this traditional textile –Ikat for future generations and its sustainability. Younger generation can be given awareness about Ikat techniques and potential of Ikat fabric in fashion trends by imparting training in methods & material in accordance with new age approach and trends. Development and training students on Ikat with handloom & digital tool to come up with new innovations.
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Kumar, Sanjeev, and Nandini Dutta. "Weaving a knowledge tapestry of traditional crafts for modern fashion designers: an Indian experience." Art Libraries Journal 36, no. 2 (2011): 17–24. http://dx.doi.org/10.1017/s0307472200016874.
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Design innovations in India’s fashion products result from a fusion of modern technologies and traditional craft skills. This paper highlights the role of the National Resource Centre and the network of resource centres of the National Institute of Fashion Technology in collecting and preserving heritage resources using computer technology. Plans for a National Design Repository and for Shilpakala Jnana Kosha, a digital repository for the tacit craft knowledge of artisans, share the objectives of preserving endangered traditional skills, supporting a process of revival and optimising the use of traditional crafts in contemporary fashion design.
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Sandhu, Arti. "Less is more: The paradox of minimalism in contemporary Indian fashion." International Journal of Fashion Studies 9, no. 2 (October 1, 2022): 339–59. http://dx.doi.org/10.1386/infs_00075_1.
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India’s fashion industry experienced spectacular growth in the decades after economic liberalization. The positive outlook brought about by liberalization led to the development of a culture of design built on the backs of textile crafts centred around material excess informed by re-orientalist viewpoints as well as selective references to India’s freedom movement. Most recently, however, a newer generation of designers shunned the visual exuberance that had become the hallmark of Indian couture. Yet even as they refrain from the visual stereotypes made popular by the preceding design fraternity, they continue to foreground Gandhian principles and the sartorial politics of Indian nationalism in their design statements and approach to craftivism. The difference, however, is in the way these are reframed to substantiate the cultural relevance, authenticity and purity of a more minimalist design product. This article closely examines the emergence of such minimalist fashion and highlights the paradoxes that emerge through anti-colonial, pre-colonial and postcolonial references that are evidence of the incomplete nature of the process of decolonization. This article will argue that such ambiguity is a natural outcome of neo-liberal market forces and the realities of creating exclusive luxury fashion while working with crafts in a philanthrocapitalist framework.
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Singh, Sukhvir, and Jyoti Rani. "Traditonal Indian Textile Techniques Used to Upcycle and Recycle Textile Waste." Textile & Leather Review 4 (December 17, 2021): 336–53. http://dx.doi.org/10.31881/tlr.2021.29.
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The current study focuses on reviewing different traditionally practiced Indian textiles techniques used to upcycle and recycle textile waste, including fabric waste, rejected garments, used garments and fabrics, finished and processed textile products and other kinds of hard textile waste. The findings reveal that many artisans, weavers, craftspeople, self-help groups, and fashion and textile designers from different Indian states are practicing many traditional textile techniques to recycle and up-cycle textile waste. Among these techniques, the famous techniques identified include Kantha of West Bengal, Sujani of Bihar, Kathputlis of Northern Indian states, Panja Dari of Haryana, Namda and Gabba of Kashmir, Kausti of Karnataka, Patchwork and Chindi Rugs. There exists a strong need to make people aware of the methods of recycling textiles that not just increase manufactured textile product life cycle but also contribute towards a sustainable future of the fashion and textile industry in a developing country like India. It has been observed that these techniques play a crucial role in converting textile waste into creative functional products, thus silently contributing to the sustainable future of the textile industry. The objective of this study is to summarize and publicize the methods of these traditionally practiced Indian textile techniques used to recycle and upcycle tonnes of textile waste produced every year. It was found that these traditionally practiced recycling and upcycling techniques of various Indian states are contributing silently to the sustainable future of the Indian textile industry. The recycling of old cloth not just increases the product life cycle but also provides employment to millions of people.
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Singh, Sukhvinder, and Vandana Gupta. "Luxury Brands Market in India: Recent Trends Challenges and Opportunities." Asian Journal of Managerial Science 8, no. 2 (May 5, 2019): 104–7. http://dx.doi.org/10.51983/ajms-2019.8.2.1521.
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Luxury Brands industry has undergone series of dynamic changes in last 20 years. India’s luxury market is set to grow USD 30 billion from USD 23.8 billion by the end of year 2020 attributing to growing influx and expose to international brands, high purchase power of Indian upper class consumer in tier II and tier III cities. According to study by Assocham, Indian Luxury market is expected to expand five folds in next three years and the number of millionaire expected to multiply three times. India, has rich fashion history of bright colours, exotic saris, elegant embroidery, and stunning jewellery, that has been an inspiration for designers around the world. Hence, many international luxury brands recognize the potential of the market of Indian owing to the growing number of billionaires and the rise of the urban elite class. The industry has faced challenges from technological advancements, high import duties and counterfeits products. The purpose of this research paper is to highlight the main areas of concern for the future of luxurybrand industry in Indian market with its challenges, trends and opportunities.
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Patel, Neelam. "The Impact of Architecture Embellishment on Traditional Motifs: A Study." International Journal for Research in Applied Science and Engineering Technology 10, no. 12 (December 31, 2022): 1766–73. http://dx.doi.org/10.22214/ijraset.2022.48300.
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Abstract: This research is descriptive in nature and data collection source are from internet, books and field visits. The reason of this paper is to understand the relationship between the inspiration and impact of architecture and cultural incorporation in the back of the conventional motifs of India. Retaining this reality in mind, researcher attempted to discover the connection between ‘fashion’ and ‘structure,’ that could function style detail for designers. India has a vast history of crafts and textiles. There are huge variations of surface ornamentation techniques and diverse range of motifs as well, but the point is how the artisans got inspired for motifs and patterns embellished on textiles. Motifs are one of the prominent examples of this fusion where one can feel the essence of two different art. The foreign invasion, when both the architectural design and silhouette endured a significant transformation, is when the influence can be found. Many non-indigenous designs were incorporated with the classic Indian motifs as a result of the expansion of trade routes between and within the Indian subcontinent. Indo-Islamic architecture also had an impact on Rajput and Sikh architectural forms. The Mughal, European, British, and Indian art influences are still clearly visible in the architecture and motifs. Motifs inspirations for garments are influenced from the carved motifs in architectures with few changes. Due to the diverse culture these motifs are applied with diverse changes in many regions of India. For example, the paisley design, which has Persian roots and is prominently featured in Mugal architecture, is adopted in numerous cultures with subtle modifications
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Daeli, Yovita Sabatini, Dewi Isma Aryani, and Indra Janty. "PERANCANGAN BUSANA READY TO WEAR DELUXE DENGAN INSPIRASI THE CULTURE OF ANIMAL SPIRIT DARI SUKU INDIAN." Serat Rupa Journal of Design 3, no. 2 (July 25, 2019): 77–92. http://dx.doi.org/10.28932/srjd.v3i2.1728.
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Indian tribes are the people of North America who are famous for their tradition, lifestyle, art and belief as culture tradition. One of the belief tradition is their belief to the spirit of animal which has connection with Indian belief,animism. In animal animism there are several animals which is considered.sacred in the lifecycle of Indians. They are : eagles, bear, and bisons. They are the symbols of life structure to Indian tribes. The combination of the symbols of lifecycle is based on the ways of the winds, seasons, elements, and colors of each of the symbols has become the inspiration of fashion design ready to wear collection deluxe titled OTODEM Throughout OTODEM collection the ethnic but still modern nuances are shown from the shapes and cutting of the clothes. The concept applied on the design adapts the symbols lf animal spirit : eagles, wolves, bear and bison and also from the symbols of ways of the wind, seasons, elements, and colors in every piece of clothing. The symbols are applied on the piece of clothings throughout polyflex screen printing and flocking and the sign motifs, the macrame and stitching technique are used to show the uniqueness of the Indian tribe clothes. The goal is to strengthen the performance and similarities with symbols of Indian tribes. This ready to wear collection is targeted for men and women around 25-35 years old with different backgrounds such as entertainers, designers and public figures with strong and bold characteristics, love challenges and are open to new challenges, curious about ethnics and cultures, and stay in major cities in Indonesia.
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Kuldova, Tereza. "Fatalist Luxuries." Cultural Politics 12, no. 1 (March 1, 2016): 110–29. http://dx.doi.org/10.1215/17432197-3436415.
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This article, grounded in long-term ethnographic research among producers of contemporary luxurious embroideries and fashions in Lucknow, a North Indian city famous for its golden age as a powerful cultural center of opulence and excess, shows how anthropological knowledge can enrich current critical discussions of luxury and inequality. Since the 1990s, anthropology has seen a boom in consumption and material culture studies coterminous with the rise of identity politics and its celebration of diversity. In anthropological theory, as well, linking consumption to identity has stolen the limelight. In the process, questions of production, inequality, and reproduction of social structures have been overshadowed. Critical reappraisal of luxury in anthropological theory can paradoxically show us a way out of this identity trap, since luxury, unlike other consumer goods, demands that we think about inequality. Luxury also forces us to think beyond luxury brands, goods, and commodified experiences, pushing us toward more fundamental questions about what constitutes a good life, morality, and social order. The ethnographic case presented here, which reveals how structural violence can go hand-in-hand with paradoxical luxuries facilitated by fatalist attitudes, points to what such an anthropology of luxury might look like. In a village near Lucknow, women embroider luxury pieces for fashion ramps and celebrities, while being fed meritocratic dreams of individual progress and success by fashion designers and nongovernmental organizations (NGOs) who try to convince them to work ever harder in the name of empowerment. But the women laugh at luxury goods, designers, and middle-class activists and, instead, insist on an antiwork ethic and a valorization of leisure—on wasting time over working; they prefer to “luxuriate” rather than indulge in luxury goods. However, this perception of luxury is connected to hierarchical inequality and a sense of social fatalism that has been reinvigorated through new experiences with competitive inequality, neoliberal pollution, and the false promises of meritocracy.
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Shen, Lei, and Muhammad Hussnain Sethi. "Sustainable Fashion and Young Fashion Designers: Are Fashion Schools Teaching Sustainability?" Fibres and Textiles in Eastern Europe 29, no. 5(149) (October 31, 2021): 9–13. http://dx.doi.org/10.5604/01.3001.0014.8036.
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The fashion Industry is one of the major polluting industries globally, and it has become a hot topic of debate. Thousands of people participate in climate change marches and attend seminars worldwide, but sadly most of them usually wear fast fashion products due to the lack of awareness. This pilot research investigates how well freshly graduated fashion designers know sustainable textiles and fashion as fashion designers are the ones who lead the fashion industry. We used a qualitative research method, and focus group discussion was applied for data collection. Twenty-four freshly graduated fashion designers from China, India, Bangladesh, and Pakistan participated in this research. The focus group discussions were conducted in Shanghai, China. Topics were divided into three categories:(a) fast fashion, recycling & upcycling, (b) zero-waste fashion, and (c) eco-friendly fibres. Findings disclosed that the participants were well-aware of techniques like fashion illustration, pattern-making, and draping but comparatively uninformed about sustainable fashion. They were familiar with the term „sustainable fashion” but completely unaware of details and their sustainability responsibilities. Suggestions to rectify this important issue are provided in this study.
Books on the topic "Indian fashion designers"
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Indian fashion. Delhi: Pearson Education, 2005.
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Prakash, K. The Indian fashion designs. Mumbai: English Edition, 2004.
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Contemporary Indian Fashion. Damiani, 2009.
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Lloyd Kiva New: A New Century. Sonflower Publishing, 2017.
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Varma, Suneet, and Nishat Fatima. Suneet Varma. Niyogi Books, 2013.
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Abu Jani Sandeep Khosla India Fantastique. Thames & Hudson, 2012.
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Fire of a Restless Mind. Academic Foundation, 2017.
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Silk Fabrics from the Orient. New York: Lulu, 2016.
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Dapper Dan : Made in Harlem: A Memoir. Random House, 2019.
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Dapper Dan : Made in Harlem: A Memoir. Random House Trade Paperbacks, 2020.
Find full textBook chapters on the topic "Indian fashion designers"
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"Designers." In India by Design: The Pursuit of Luxury & Fashion, 239–305. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119199724.ch12.
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"Designer Market Structures." In India by Design: The Pursuit of Luxury & Fashion, 215–38. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119199724.ch11.
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Wolff, Nathan. "Strange Apathy." In Not Quite Hope and Other Political Emotions in the Gilded Age, 76–98. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198831693.003.0003.
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This chapter challenges the critical consensus that Helen Hunt Jackson fashioned her Indian reform novel Ramona (1884) after Uncle Tom’s Cabin, insofar as sympathy for her indigenous protagonists promises to bring them into the fold of personhood. As Jackson well knew, designating American Indians as persons was fully consistent with policies designed to dissolve tribal affiliations. By recovering Jackson’s stated interest in modeling her novel on the story of a hunted deer, and by drawing on theories of depression as a political emotion, the chapter rejects accounts of Ramona’s “sentimentality” while insisting that the novel’s aesthetic strategies are deeply affective. Specifically, it draws on Giorgio Agamben’s later notion of “bare life” to support a claim that Ramona lingers with animal-like desperation and depression to register the loss of tribal forms of political life and to trouble bureaucratic visions of efficiently managed populations.
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Hedayat Munroe, Nazanin. "Mughal Dress and Spirituality: The Age of Sufi Kings." In Sufi Lovers, Safavid Silks and Early Modern Identity. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721738_ch05.
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Mughal kingship is discussed as temporal and spiritual power derived from genealogical and political connections with Sufi groups, who migrated to India and popularized Persian culture and literature, including Khamsa poetry. Figural silks from Safavid Iran are analyzed as the inspiration for those made in the royal workshops of the Mughals, who fashion themselves after Iranian kings. Sufi naqshbandan (‘textile designers’) travelled to India seeking patronage and spiritual freedom and, becoming absorbed into the Mughal atelier, transferred their silk design and weaving skills to indigenous craftsmen. Emperors Akbar (r. 1556-1605) and Jahangir (r. 1605-1627) established cosmopolitan courts that emphasized their ties with Sufi leaders, while exploring other faiths. The use of figural silks at the Mughal court brings patronage of the Khamsa silks into consideration.
Conference papers on the topic "Indian fashion designers"
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Chhajlani, Avani. "Sustainable Design through Up-Cycling Crafts in the Mainstream Fashion Industry of India." In 8TH SUSTAINABLE DEVELOPMENT CONFERENCE. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/sdc.2021.006.
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Abstract Fashion is considered to be the most destructive industry, second only to the oil rigging industry, which has a greater impact on the environment. While fashion today, banks upon fast fashion to generate higher turnover of designs and patterns in apparel and relate accessories, crafts push us towards a more slow and thoughtful approach with culturally identifiably unique work and slow community centred production. Despite this strong link between indigenous crafts and sustainability, it has not been extensively researched and explored upon. In the forthcoming years, the fashion industry will have to re-invent itself to move towards a more holistic and sustainable circular model to balance the harm already caused. And closed loops of the circular economy will help the integration of indigenous craft knowledge which is regenerative. Though sustainability and crafts of a region go hand- in- hand, craft still have to find its standing in the mainstream fashion world; craft practices have a strong local congruence and knowledge that has been passed down generation-to-generation through oration or written materials. This paper aims to explore ways a circular economy can be created by amalgamating fashion and craft while creating a sustainable business model and how this is slowly being created today through brands. KEYWORDS: Circular Economy, Fashion, India, Indigenous Crafts, Slow Fashion, Sustainability, Up-cycling