The Design Craft show by artisan-designers at LFW X FDCI proved how intent, talent, consistent backend linkages and identity-driven styling create transition moments in fashion design

By the time the five, smiling artisan-designers took a bow at the recent edition of Lakmē Fashion Week x FDCI in Mumbai, the audience knew “something” had hit the nail on the head. Applause rose. Success speaks loudly. Led by it, when you part the curtains to step behind the scenes of the show, a transition moment lights up.

This was not the first time karigar-designers presented on the fashion week runway. This showcase, however, elasticated the democracy of the ecosystem, without patronising them. Collaborations need to breathe easy—this one did. The links at the back, both weak and strong, had been understood and acknowledged before being hooked into a chain. It was a transition point for artisans too. They may not be as wowed by “fashion” but are excited about the recognition and value of their work without having to rearrange their traditional knowledge as creators.

“Fashion designers believe only they can achieve success on a stage like this, but this show proved that we—artisan-designers—can do it too,” says Zaid Khatri, 21, one of the debutants. He brought to his capsule an improvised technique he learnt from his father, who would dip a hard brush used for washing clothes into dye and create abstract Ajrakh patterns by scrubbing the cloth with it. The effect resembled contemporary marbling.

Presented by Design Craft, the five artisan-designers of the Anjar-based Somaiya Kala Vidya (SKV) brought their interpretations of age-old crafts-textiles from Kutch—bandhani, batik, ajrakh printing and mashru. Shakil Ahmed Khatri, Mubassirah Khatri, Amruta Vankar, Zaid Khatri and Muskan Khatri—different age profiles and from varied batches of SKV’s design course, all linked by similar perseverance and ambition. What was not as apparent at the show was their internal storm. That they must first live up to their traditional artisanal legacies and identities without introducing any cracks in the crucible of all that the region of ‘Kutch’ stands for.

Home is Where the Craft is

“These artisans want to preserve their cultural heritage and traditional skills. Their education at SKV is also designed that way. It is not the fashion terminology that attracts them as much as the recognition they receive on the big stage and the exposure it brings,” says Amrita Somaiya. Trustee at SKV, the founder of Mumbai’s Kitab Khana bookstore, she is also the director of Somaiya Agencies which runs Design Craft. A social enterprise, it is a market platform for design graduates from SKV, who operate under their own labels.

Anthropologist and educationist Judy Frater, founder-director and emerita of SKV, emphasises this route to education. She says that the primary goal of the education programme she developed 15 years ago, was to bring “consciousness to creating”. “Artisans learned to recognise and appreciate their own and other classmates’ craft traditions, and then innovate within those traditions, retaining strengths and cultural identity,” writes Frater in an email from Santa Fe, New Mexico.

While the iterations of batik, ajrakh, mashru and bandhani were up for scrutiny at the show, like in any other collection, the presentation was not the fruition of one season’s work. Darshana Gajare, head of sustainability at Reliance Brands that organises Lakmē Fashion Week draws attention to the background. “Our explorations in Kutch had begun almost two years back with other institutes in the region,” she says. While the SKV collaboration was sealed this January, Gajare underlines considerations of positioning, reasoning, ways of using textiles and crafts without stereotypical narratives. “The industry discounts the creative genius of the artisan and for us it was important to keep that front and centre. This collaboration is also a step to a vertical we are keen to develop in the future. An artisan-designer discovery across India, that could hopefully become a stand-alone IP with its awards and opportunities,” she says. Gajare feels that poet Priya Malik’s rendition on stage as the garments walked out, was the “voice” of the showcase. It spoke about Kutch, its creators and crafts, its white sands and ajrakh in a language poised towards understanding, not just applause.

The show’s success only strengthens the case for including fashion discourse at SKV where courses currently focus on design and business. SKV director Nishit Sangomla explains the influence of training imparted by Mumbai-based designer James Ferreira, a visiting mentor. “James had first visited as part of a graduation jury and would go on to help students stage a fashion show for their convocation,” says Sangomla. He adds that Ferreira’s knowledge of drapes and cuts has greatly enriched design students.

The current batch of the design course at SKV has 20 students of which nine are women and 11 men. They are in the 20-45 years age bracket. Classes are still conducted separately for men and women as they have been since inception. “We heeded the suggestions of master artisans of the region, as well as former alumni,” says Sangomla, underlining the importance of honouring local cultural norms. For those who have followed this education model, know that design education at SKV is open to artisans of all ages. It is not unusual to meet a 65-year-old “fresh” graduate. SKV now also has a campus in Bagalkote in North Karnataka.

The Market Conundrum

In September, SKV students will bring their creations to an annual exhibition and sale in Mumbai. “It is to gauge demand, consumer sentiment, marketing and pricing dilemmas. It is a part of their course,” informs Somaiya. Design Craft’s flagship store is located in Bhuj and while the merchandise may be of interest to itinerant tourists, selling in bigger, competitive markets is a challenge. It does not operate like other fashion stores.

Former market dipsticks and exposures for students were held in Ahmedabad, says Somaiya. The venue moved to Mumbai since last year to test waters in a robust market. The design course at SKV teaches artisans basics like colour theory, design language, pattern making and cutting, but getting their work “fashion-ready” is riddled with trial and error. It is hard enough for debutant designers from urban fashion colleges. For artisan-designers, it is like walking barefoot on scorching sand.

Aradhana Nagpal, creative consultant with Design Craft who is a part of the diverse bunch of people who enabled this collaboration with LFW agrees that the apparel made by debutant artisan-designers may not be immediately ready for retail. “Consistent supply, stitching and getting the silhouettes right will take some work and time,” she says. However, she argues for a two-way bridge with fashion retail and audiences. “While design must be relevant and accessible, the mindset to understand the product is equally important. Therefore, education and awareness must also come from the audience and customers. Platforms like Design Craft and LFW help with talking to the right potential customers,” says Nagpal.

The show’s success only strengthens the case for including fashion discourse at SKV where courses currently focus on design and business.

Identity Styling

“Soch rahen honge aap bhi ab tak yeh karigar hain ya dastkar hai. Bas itna yaad rakhiye ki yeh apni kahani ke ye khud mukhya kalakar hain…” (you may be still be wondering if they are karigars or tradespeople. Just remember they are the protagonists in their own story…)” These lines are from Malik’s poetry recital on the runway. Evocatively expressed identities have long been a triumph of literature. But when sensitive and rooted fashion styling fused from the identities of artisan-designers add to this nuance, it is worth noting. That’s what stylist Daniel Franklin brought to this show. 

When sensitive styling fused from the identities of artisan-designers add nuance, it is worth noting.

Franklin who made two trips to Bhuj says he observed the articulation, body language, expressions, dress and other cultural markers of Zaid, Shakil, Mubassirah, Amruta and Muskaan. Shakil, the oldest in the group, showed Franklin an old-style burqa, a rectangle piece of fabric, that the stylist would eventually use as a face mask with silver jewellery for his capsule. When it came to Mubassirah, he was cognisant of the way she veiled herself when she stepped out of her studio. Picking subtle cues from crafts techniques used in the clothes to body language of the artisan-designers and sourcing accessories from the local Bhuj market to complement, Franklin made sure there was no cultural appropriation in his interpretation. He used lungis as drapes, knotting crushed bandhani fabrics and saris into kaftans, cinching them with accessories that were identity markers of the makers.

Given the many ideas and intentional actions that went into making this show memorable, when asked what was it that made it a success, Gajare is pragmatic. “The biggest marker of success is the reach-outs we have received from different clusters for shows like this. Artisan-designer believe they can get their due on a platform like this,” she says.